'V was a bad monster, turned them into freaking zombie demons from outer space.'

• 2Jun 13

  Mobile Game Developers Accused of Marketing Exploitation

  As if tired of the British Broadcasting Corporation being on the receiving end of criticism regarding ethical standards of journalism, their culture show X-Ray has launched an attack of their own on the moral standards of iOS and Android game developers.

  In a recent broadcast, X-Ray argued that said developers 'were not playing by the rules' when marketing mobile games to children and claimed many were specifically targeting the naivety and inexperience of younger gamers. The report comes after many parents discovered their children were unwittingly spending anywhere between a several hundred to several thousands of pounds on mobile games and gaming apps prompting the Office of Fair Trading to launch an investigation.

  X Ray's report focused on gamers in Wales where the average child spends over 9 hours a week playing games on their mobile telephones contributing to an overall industry worth close to £3 Billion.

  One particular game under scrutiny was the Top Girl fashion app, a virtual modelling game where children can dress up characters and were soon asked to spend real money to keep their character's boyfriend happy with virtual gifts. One mother stated her child had run up a bill of £196 after one hour of play.

  A focus of the Office of Fair Trading investigation is the marketing of games as 'free to play' without making young gamers aware of potential additional costs for certain game elements. Many mobile games are released with time limits which prevents continued play unless real money is spent. Such tactics are certainly nothing new in the games industry but Rob Angell, an expert from Cardiff University, argued that such marketing directed at younger gamers constituted a form of exploitation. He stated that while adults have the discipline and maturity to stop playing after their time has expired, 'children will be more impulsive and will make the purchase.'

  Another subject of X-Ray's report was 'emotional blackmail' being employed by developers. The Simpsons: Tapped Out was accused of charging £500 for an in game magnifying glass. Refusing to purchase the item resulted in the message 'Congratulations! You made a baby cry!' Angell stated 'Children should not be made to feel guilty for not making the purchase. For me this causes some conflict with this game.'

  X-Ray also spoke to parents who accused developers of chicanery when asking children to hand over real money for in game purchases. Many stated that prices for items are often displayed in the form of GBP rather than with a pound sign which one parent argued kids would not understand.

  The Office of Communications (Ofcom) has since advised parents to disable in-app purchases on mobile phones and to remember that 'free to download' does not necessarily mean 'free to play'. The Association for UK Interactive Entertainment has stated they take the protecting of young gamers from marketing exploitation very seriously and is asking developers to install password protection software on future games.

  • Posted Jun 2, 2013 4:27 am GMT
  • Category: Editorial
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• 29May 13

  'It's Down to You and Me!' - The Etymology of a Boss Fight

  *Warning - This Blog Contains Spoilers!*

  Like film, there are some games that require us to repeat the experience before more complex story ideas become clear. Perhaps its because those ideas are buried under spectacular gameplay or simply don't register over visual fidelity. Bioshock Infinite is one of these games and it's a testament to its difficulties regarding comprehension that it should culminate in one of the most talked about endings in gaming history. But a lot of that talk has to do with the philosophical and downright bizarre images that bombard the player for the final ten minutes rather than any fundamental element that goes into the definition of a computer game. One element in particular is the boss fight - Bioshock Infinite doesn't have one. It certainly has its share of villains but all are presented with the least amount of interaction by the player, choosing instead to act out their fate via scripted in-engine cutscenes.

  

  This departure from one of the oldest established rules of game design can easily be forgiven considering the focus on storytelling over gameplay. This is also probably why combat, exploration and puzzle solving in all of Ken Levine's games are somewhat generic despite their much touted freedom of approach. Again, this is all fine because the sheer beauty of the settings, heavy use of thematic elements and outstanding story should allow us to easily forget the lack of innovative gameplay in all three Bioshock games. In fact, it came as great relief that Levine wisely chose to focus on his strong point and give Infinite such a memorable send off by overpowering the senses with a combination of image and exposition rather than gameplay. It was the latter that led to my disappointment with the send off given to Jack in the original Bioshock. After being taken on such an expertly crafted journey through one of the most artistically memorable settings of the last decade, it all ended in a boss fight that was jarringly limp by comparison. The villain of Frank Fontaine is unthreatening looking like a cross between the Hulk and The Watchmen's Dr. Manhattan. The bland environment fails to mirror the profundity of the plot while the gameplay hits rock bottom by resorting to one method of defeating Fontaine with a rinse and repeat attack surely not seen since the days of the 90s iterations of Super Mario Bros. In short, the moment Jack steps off that final elevator to meet Fontaine, the profound commentaries on civil unrest and government oppression go completely out of the window.

  

  There is a substantial challenge present in creating a great boss fight in the industry's current transitional period of becoming more story driven and closer to a cinematic experience. How can games give the player direct involvement in the defeat of a villain without putting compelling themes and emotional resonance on hold for the duration of the fight? If Bioshock is any evidence, it seems developers must decide whether to give their game's final showdown a story or gameplay focused perspective. But is a great boss fight really made by finding just the right balance between both? Given Levine's expertise residing firmly in the realm of storytelling, this may be why he was unable to provide us with an effective climatic showdown.

  Part of the problem with Bioshock's fight with Fontaine is the lack of any real difficulty throughout the course of the game. Death has no penalty thanks to devices known as 'vita-chambers' that allow the player to instantly respawn with no downtime or inventory cost. This happens in real time rather than reverting back to a previous save point meaning tougher enemies like the Big Daddy can be worn down without any fear of starting from scratch. This also applies to the confrontation with Fontaine resulting in the loss of any sense of urgency and tension in what should be the pinnacle of both. However this can be argued as essential if developers decide to lean more towards story than gameplay as being hampered by challenging enemies defeats purpose of moving forward with discovery and exploration of plot.

  Even so, there is no rule that gameplay cannot result in an emotionally satisfying, not just exciting, boss fight. Rewind to the early 90s were games were oriented around difficulty and Super Mario is surely one of the leading examples. The Japanese developed games became infamous with The Lost Levels for releasing an entirely different Mario iteration for overseas gamers on the assumption that non-Japanese gamers were not adept at handling higher levels of difficulty present in the former. Nevertheless it's precisely this difficulty that gave Super Mario Land 2: Six Gold Coins such a memorable final level. Mario must traverse Wario's castle avoiding devious traps, pitfalls and new enemies out of left field. Previous levels included a bell that could be rung to activate a checkpoint at the half way mark a - bell not present here. The level's raised difficulty gives the subsequent boss fight enormous resonance as the game's climax by giving the player emotional leverage that is provided by this 'descent into hell' - the triumph through adversity that all fictional characters must go through in order to reach their goal. On reaching Wario himself, the showdown is announced with a midi-version of a drum role as he steps off his throne to confront Mario in person before charging towards him. The fight happens in stages with each taking three hits to defeat. Each stage features Wario with a new ability including flight providing a tense reminder that he is not the pushover encountered in previous zone bosses. All of this ensures his defeat is a memorable and satisfying one. Six Golden Coins manages to achieve through difficulty what modern games seldom achieve through story - a climax that pays dividends to the challenge that has immediately preceded it. This makes Bioshock's ending even more frustrating as it was a rare example in today's market of a game that had enormous character and thematic power at its disposal to create a truly unique payoff. Instead it wastes them by attempting to make use of something it most certainly did not have - challenging gameplay.

  

  So what of story? How can it hope to achieve a satisfying ending in the form of a fully interactive boss fight? Apparently with great success when discussing Metal Gear Solid 2: Sons of Liberty. Despite featuring intriguing gameplay elements centred on stealth and subterfuge, it seems clear the overall focus is on narrative. The game makes heavy use of cutscenes and codec communications Both involve long winded plot exposition and revelations adding to a complex overall plot that would make Christopher Nolan proud. The frequent use of codec conversations do well to remind the player they are not alone in their mission despite spending the majority of the game alone. Central character Raiden has a number of allies to call on including his commanding officer, girlfriend Rose and Snake himself whenever he should need vital pieces of information. Both the flow of information and gradual development of character relationships are what the player invests emotional connection in when navigating the various obstacles. One example is a confrontation with a Harrier jump jet. Rather than leave the player to face the threat alone, Snake is ever present providing support of both the emotional and firepower kind.

  Towards the end of the game, this investment begins to be used against the player in preparation for the final showdown with Solidus. Multiple characters are either killed or removed from the story in some fashion. The colonel who has been Raiden's primary conscience throughout is revealed to be nothing more than an artificial construct and a young girl who Raiden had saved and protected earlier is brutally stabbed to death. Solidus is revealed to be the primary antagonist which ultimately leads to the final showdown taking place on the roof of a ruined Federal Hall in New York City. After being supported by allies, the player is suddenly left to face Solidus alone. The disconcerting cut off from friends adds to the knowledge that Solidus is ultimately responsible for the loss of every one of them. So there is no shortage of personal motivation for defeating him. Adding more resonance is the setting of a crumbling icon in the form of a statue of George Washington. Washington is arguably remembered most for leading the American Revolutionary War, a conflict costing countless lives but with the goal of achieving independence for those who had become indigenous Americans since the arrival of the Mayflower. His selfless idealism is juxtaposed with the presence of Solidus who, as a politician turned terrorist, spent a lifetime manipulating public opinion through staged environmental disasters. This in turn allowed the creation of powerful Metal Gear weaponry with which to hunt down The Patriots also at the cost of countless lives. Both George Washington and Solidus Snake cemented a legacy, but for Solidus it was a far more self centred goal thus making him the antithesis of Washington. How fitting then his final moments should be spent at the foot of Washington's statue desperately reaching up as if wishing history would remember him as such a powerful icon.

  

  The finale of Sons of Liberty is a master class in catharsis as both story and symbolic imagery join together to create one of the most effective boss fights of the last decade. The general rule of all great boss fights is a feeling of a one on one battle to the death. With Solidus and Raiden, after such an outstandingly staged narrative, it's impossible not to feel rushes of adrenaline as personal anguish, loss and powerful metaphor all culminate in a case of 'you or him'.

  How does Bioshock's boss fight compare considering the games high praise for storytelling? Quite simply, it doesn't. The reason being that although the game contains some highly intelligent and intriguing commentary on politics, genetic experimentation and civil liberty, these are represented more by the city itself rather than through character. Jack spends virtually the entire game alone with the only 'interaction' with others being through pre-recorded messages from various citizens of Rapture. No close friendships are formed and there are no allies to call on for help as every message you receive seems to be laced with manipulation as Fontaine, Ryan and Tenenbaum all struggle for influence over Jack. All of this leaves a vacuum for the player by the time he fights Fontaine as he has suffered no personal loss and without the presence of any relevant imagery representing some kind of narrative element, the fight is left hollow and meaningless.

  To close this editorial, the question now is perhaps why game developers apparently find it difficult to create a game that can bring all parts of a whole together for a showdown that delivers both heartfelt story and exciting gameplay. It's not a question of talent as Ken Levine and Hideo Kojima are among the most talented members of the industry. But is there a tug of war occurring between objectives? Like boss fights themselves, story and gameplay constantly vie for the player's attention in all games but if they could only call a truce and learn to coexist, the potential for mutual improvement is almost limitless.

  • Posted May 29, 2013 2:12 am GMT
  • Category: Editorial
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• 27May 13

  A few words on Kinect...

  When Microsoft first held a tech demo of Kinect at E3 2009, I remember being blown away by the sheer potential that was on offer. The game being showcased was called Milo and Kate, a sort of virtual interaction between the player and a 10 year old boy. When I first read about what Kinect was intended to be, I dismissed it as an attempt to rival Nintendo's motion control technology. But it was quickly revealed to be a lot more than the copying of arm movements. One particular awe inspiring moment came when the demo tester quickly drew a picture and held it out to the screen where Milo then reached out and 'took' the drawing from him. A digital version of the piece of paper appeared in his hand with an identical drawing on it. It took me a while before I could quite believe what I was seeing. This clearly went far beyond anything Nintendo was doing and I began throwing all sorts of ideas around in my head about this being the beginning of sentience of computers and artificial constructs.

  

  Unfortunately, this game was subsequently revealed to be only a tech demo and was never released as a full game. Since the release of Kinect proper, I have seen little more than motion control games in the vein of the Wii such as Kinect Sports and Star Wars Kinect. I have yet to see the system achieve the kind of potential seen in Milo and Kate. Many have said that Kinect is generally disliked among Xbox gamers but if Microsoft would only focus more on bringing games like this to the front of the queue, I suspect it would be held in far greater regard as a pioneering piece of technology. I only hope the Xbox One realises this.

  • Posted May 27, 2013 12:35 pm GMT
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