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Itagaki Takes On Tecmo
Already a controversial figure in part for his vocal criticisms of other developers' work, Dead or Alive and Ninja Gaiden creator Tomonobu Itagaki claimed he was entitled to a $1.4 million completion bonus from Tecmo regarding Dead or Alive 4.
Itagaki abruptly resigned and filed suit, which might have prompted others to take on Tecmo. Shortly thereafter, 300 other employees raised a class-action suit against the company for unpaid overtime and an illegal "flexible hours" work scheme. Tecmo has yet to resolve things with Itagaki, but in the meantime, has slapped the vocal developer with a gag order.
"Stop Doing Interviews"
A spat erupted at Activision over the Call of Duty franchise, when, promoting Call of Duty: World at War, publisher-side senior producer Noah Heller was apparently too vocal for some tastes on all the shortfalls of CoD4 that CoD5 would address.
Robert Bowling, community manager at CoD4 developer Infinity Ward, posted a rant on his personal blog entreating Heller to "stop doing interviews," to "promote YOUR game" instead of comparing it to others.
He also pleaded with the media to stop interviewing Heller -- whom he now-famously referred to as "Senior Super Douche" -- and speak instead to the development team at CoD5 developer Treyarch directly.
(This controversy was so pungent that Gamasutra staffer Chris Remo recently used his spare time to set it to music, with delectable results.)
Wilson And Romero Revisit The Past
When Doom creator John Romero referred to former Ion Storm colleague Mike Wilson's work with his venture, the now-defunct Gamecock Media Group, as "jackass stunts," Wilson fired back in an open letter to consumer weblog Kotaku, opening an old argument -- who was responsible for those ill-advised Daikatana ads?
"Unlike you, I didn't get to file a federal trademark for my own personal catch phrase, 'Suck it Down,'" dug Wilson, offering many eyes a look inside the long-running dispute.
The public spat featured fairly gruesome mudslinging from both sides, backhanded snark and lots of public airing of unresolved grievances. Ugly.
Salary Cap Collusion in Montreal?
A former Eidos employee reached out to fellow publishers in Montreal to suggest a "collaboration" to "avoid a bid for higher wages which would only benefit the employee."
That employee, Flavie Tremblay, was allegedly let go from Eidos at that time, and it's still unclear the extent to which any Montreal companies colluded on salary caps, if at all.
But Tremblay, who worked at Ubisoft prior to Eidos, was subsequently re-hired by Ubisoft, and the latest information suggests she still works there. Most parties involved are tight-lipped, but is Tremblay's continued employment an endorsement of her efforts?
ESA Sees Mass Exodus
Throughout the year, the Entertainment Software Association saw a slate of high-profile departures including Activision, Vivendi and LucasArts.
The accompanying discussion suggested big publishers were beginning to question the benefit of the association -- and its E3 event, which has struggled to find its groove amid changes to its formula in recent years.
The publisher departures brought a wave of questions about new president Mike Gallagher's leadership, the function and future of E3, and the cost-benefit equation of ESA memberships that may have prompted the association to announce it would try to return E3 to some of its former glitz and glamor in 2009. Next year will be key for the association to answer some of those lingering questions.
Other Controversies: The PSP 3000's unfixable scan lines, GTA IV's PC release, Activision's Kotick wants franchises with the "potential to be exploited", PEGI vs. BBFC war for UK ratings dominance, Microsoft knew about the Xbox 360's disc-scratching problem, Factor 5 employee reveals studio problems.
You said:
Tom Newman: "#1 for me was the Activision announcement. Activision's origin lies with giving creative freedom and credit to the developers, and the announcement that they are not publishing major titles because they can't turn them into annual franchises baffles the mind. Some of the greatest games ever have been non-franchises. Some of the top-sellers are not franchises either."
Stephen Tramer: "What, no Dennis Dyack baiting NeoGAF? I guess that was already covered in 2008 Developers, but that was still the most hilarious kerfluffle of the year. At least as good as Wilson/Romero."
Rebecca Fernandes: "My favorite was media pundits and analysts claiming that gaming was recession proof. Tell that to all the staff laid off over the last two months..."
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My sources are:
* once upon atari episode 2 (http://www.onceuponatari.com)
* wikipedia (http://en.wikipedia.org/wiki/Activision)
* ign (http://games.ign.com/objects/025/025004.html)
If you've got any evidence to back up their goal of creative freedom, please let me know cause I really want to believe that statement. As far as I'm concerned Activision is worse than what EA used to be and I really hope Blizzard's not already been affected (http://multiplayerblog.mtv.com/2008/10/30/starcraft-ii-to-be-mom-friendly/ && http://multiplayerblog.mtv.com/2008/10/11/key-starcraft-ii-trilogy-details/).
If you can't then talking about this fictional past will only make the current situation look worse.
Here's to pitfall and desert strike...
the whole ending at the grave for about 4 hours of jumping from unrelated topic to unrelated topic in a meaningless and futile attempt to tie up a million loose ends. by the time the credits finally rolled i was bald from pulling my hair out.
one and two had very good stories, particularly two, but guns of the patriots had a story written by a 15 year old boy with ADHD.
>>>Bart Stewart: "Part of me wants to object that any game that was excluded for months from PC gamers should be excluded from this list. Is it helpful to reward a publisher with a 'best of' award or honorable mention for a game on a particular platform if that platform wasn't considered worthy of support at the game's launch?"
Bart may not realize that there is a growing trend of releasing the PC SKU of games months after the console SKUs. This has nothing to do with disrespecting the PC as a platform. Rather, it has to do with combating piracy.
By releasing the PC SKU well after the console versions have had a chance to sell through their peak period (1-3 months post-launch), publishers avoid having pirated PC copies cannibalize sales of the console SKUs. Also, anyone who *really* wants to get their hands on a particular title might be willing to purchase the console version rather than wait a few months for the PC one.
It's not a perfect solution, but it makes a fair bit of sense. After all, nobody benefits from PC piracy except the pirates and those who steal games, and our livelihood by doing so.
When we critically consider other forms of entertainment - for instance, literature, movies, and theater - we can focus on both the phenomenal experience of the thing, and on the formal quality of the thing being reviewed. It isn't a perfect approach, but it gets at the heart of the matter, which seems to be twofold: "is this thing well put together", and "will I be moved by this thing in some fashion?" It doesn't take a vast and complex understanding of the field to speak to those points, either - we all know that a review citing poor special effects and horribly mixed audio (arguably formal issues) suggests that even an exciting science fiction story (the experiential side of things) will come across poorly on film.
The interesting question, I think, is whether we should we approach games (be they electronic or otherwise) in the same way, and if so, whether the tools that we can borrow from other critics are sufficient?
What makes this a remarkable news item though, was that Sony reacted to a gamer's post on a forum, rather than a complaint by any organization. Muslim organizations didn't complain because it was in fact a hymn, but you saw a gamer stating his opinion, and Sony taking that as a representation of over 1.5 billion people. It seems from my limited research that Sony did little in making an effort to contact organizations like the Muslim Council of Britain...which would have saved them a lot of hassle in delaying the title, reprinting BluRay discs, and in affecting launch sales.
Am I to understand that Gamasutra thinks that make of Tris a tetris-like game for the IPhone is a thief? Cause he made an clone of Tetris?
1MGS4/MGO
2Fallout 3
3Lost Odyssey
4Last Remnant
5Soul Calibur 4
6Super Street Fighter II Turbo HD Remix
7Crisis Core
8Valkyrie Chronicles
9Resistance 2
10Farcry 2
Also an indie game not mentioned anywhere here is Passage. It's a very simple 2d experience that only lasts five minutes. Nevertheless I found that it had a profoundly emotional effect on me and is certainly worth checking out at least once.
http://hcsoftware.sourceforge.net/passage/
How about "obtain illegally" rather than "steal"? Does that work for you? Call it what you like if it makes you satisfied.
I'd just ask readers to consider a couple of points.
1. The PC is hardly the only platform on which piracy occurs -- Gamasutra itself recently published an article on the massive, almost casual piracy of games for handheld devices in Asia. Singling out the PC for a delayed release may not be justifiable on piracy grounds alone.
2. The question I raised -- regarding the decision to reward publishers (with a mention in a "best of platform" category) despite excluding the gamers who prefer that platform by not initially launching the game on that platform -- I think stands on its own regardless of the reason for not launching on a particular platform. As I said in my original comments, it's not something I'm losing sleep over, but I do wonder whether it's a good principle generally for anyone who publishes widely-read judgements on games. That said, Chris's response satisfied me that some thought went into the decision to do so, so I have no serious complaints. As I said then, I thought the games that made it to Gamasutra's "best PC games" list were generally excellent... once they came out for the PC. :)