Sunday 29 May 2016

Controversy Clocking Episode 6: The rise of the “in-game economy"


How do games make their money? Both designers and publishers are constantly asking that question. In the current generation of gaming it’s often questionable; I’ve noticed a trend emerging which focuses on making profits even after a player has already bought the game. You could almost consider this episode a follow-up to “The Microtransaction Infestation”; an evolution of practices has taken place in the industry over the past few years. Games can’t be games anymore; they have to be money-making platforms with the potential to make millions months or even years after their initial release.

The phrase “gambling simulator” has been tossed around a fair bit recently and it’s often used to refer to any kind of loot system placed within games that also relies on microtransactions. Often there’s a kind of in-game currency which can earned by playing or by paying real money such as dollars and shark cards in GTA Online, Uncharted Points in Uncharted 4: A Thief’s End or Requisition Points in Halo 5. At best, these currencies are an optional purchase which can easily be earned without spending a penny. At worst they’re made mandatory by progression systems made purposefully slow to bait consumers into putting down money. The system is commonly broken down into a two-step process; first you play the game, which is often multiplayer focused, earning a particular currency for every match. Then you spend that currency in an integrated game store on crates or other collections which are opened to reveal randomly generated items which are then used in gameplay or customisation.


Random is the key word here and the entry of RNG has further fuelled change, slotting itself in with microtransactions and other unethical business practices. Team Fortress 2 and Counter Strike: Global Offensive have both changed from straightforward competitive shooters to loot based affairs comprised of crates requiring paid keys to open. I have over 50 supply crates just sitting around in my virtual backpack in Team Fortress 2; for £1.69 per key it would cost at least £84.50 to open most of them which is simply outrageous. In most cases there is no way to earn these kinds of keys by playing the game and on top of that, any software or server programs which can change cosmetics manually have been eliminated and quietly swept under the rug. I think one of the biggest problems with randomly generated loot is that it doesn’t take into account items that you have already unlocked; while playing Mass Effect 3’s multiplayer mode, unlocking new characters and other items was often a pain for me because again, the loot drops were completely random. It’s another component designed to instil that psychological aspect of gambling; you may get a junk item or something you already own, but then there’s always that chance of snagging that rare weapon or item that no one else can claim to possess. It’s a roll of the dice every time.

In turn, gamers themselves have become more and more drawn to the idea of unlocking loot and having the rarest items and cosmetics. Crowbcat, a YouTube channel which covers specific issues and events produced a very revealing video where Counter Strike players go hysterical; practically losing their minds over getting a rare texture for their weapon or character. It’s incredibly ironic how modern online gaming often boils down to throwing away a few pounds or dollars on a meaningless piece of code. It’s that adrenaline rush that’s carefully crafted through loot systems and the same thing exists in gambling; when you first experience that euphoria, you only want more and that compels people to put down more and more cash for these often unnecessary items. Destiny was especially guilty of this; with an immensely unbalanced loot system that preyed on player’s frustration, putting them through a grind time and time again only to reward them with so little for their efforts. Players want their reward and they're willing to play on and put down funds to make that happen.


The underlying impact of all these in-game currencies, RNG loot systems and optional purchases is a major shift in game development priorities. Why would Rockstar want to make quality single player expansions for GTA 5 when their online multiplayer currency system has made half a billion dollars in the last three years? Much like with microtransactions, these systems aren’t going anywhere because people keep paying for them. Why should Valve come out with Half Life 3 when Steam and its gargantuan content markets are making billions every year? It seems that the creation of new, interesting content has begun to play second fiddle to these in-game economies, not only because they cut back on development costs but they can also be designed to entice unwitting gamers.

I miss the days when simply paying full price for a game was enough, but with production costs always escalating, the amount generated from initials sales is no longer acceptable or viable according to publishers and their stakeholders. The AAA sector is almost dead-set on placing some kind of “in-game economy” to squeeze just a few more pennies out of its customers. Much like with microtransactions the only way these systems will become less exploitative is if people stop paying money into them.

(All images used for the purposes of review and criticism)

Friday 20 May 2016

X-Men: Apocalypse Movie Review

Released: May 9th 2016 (London Premiere)

Length: 144 Minutes

Certificate: 12A

Director: Bryan Singer

Starring: James McAvoy, Jennifer Lawrence, Michael Fassbender, Nicholas Hoult, Evan Peters, Tye Sheridan, Sophie Turner, Alexandra Shipp, Kodi Smit-McPhee and Oscar Isaac

X-Men: Apocalypse is the ninth entry in the long running series following 2014’s outstanding Days of Future Past. With a completely revamped timeline, the series turns to the past again with a capable, yet imperfect offering.

Taking place in the 1980s, Apocalypse is all about… well Apocalypse (Oscar Isaac); the very first mutant and the most powerful adversary the X-Men have ever faced. The titular villain with four horsemen at his back desires to remake the world in his own image and it’s up to the likes of Charles Xavier (James McAvoy), Mystique (Jennifer Lawrence), Hank McCoy (aka Beast played by Nicholas Hoult) and a set of brand new students to stop him. The central plotline and motivations are well focused, but the way it’s layered will raise some eyebrows. The opening act is quite cluttered, forced to both pick up where DOFP left off while also bringing in new faces. The pacing also feels quite irregular, almost dragging the film out; it’s a two hour film but it often feels much longer than it should be because of the slower pacing. The lead in to the fight with Apocalypse ends up being played half and half; on the one hand we see the villain’s power grow and get some solid build-up, but on the other, the heroes are mostly talking and discussing the explosive events as opposed to participating in them. DOFP layered action sequences better, producing a forward momentum that was easy to get swept up in. Things really pick up towards the end though as the action launches into its most extravagant zenith yet. Heroes and villains with many different powers clash in a flurry of special effects that are most definitely worth sticking around for.

The major characters returning from previous films are still great in X-Men Apocalypse; Mystique has really matured since the last film, taking on more of a leading role this time, while Xavier finds himself almost completely outclassed by Apocalypse on a mental level. Michael Fassbender’s Magneto marks the emotional high point of the film with some really heart-wrenching scenes peppered throughout his character’s journey; he remains the best rendition of the popular character in the series. Quicksilver (Evan Peters) is again fantastically entertaining, with a particularly brilliant sequence that’s even better than the one in DOFP. Finally, Oscar Isaac makes for a great Apocalypse, his sinister voice and imposing image taking centre stage throughout the film. The new characters however, aren’t as well defined; with six or seven different newcomers to introduce, it all becomes a bit too much for the film to juggle and Cyclops (Tye Sheridan), Jean Grey (Sophie Turner), Storm (Alexandra Shipp) and Nightcrawler (Kodi Smit-McPhee) all feel quite basic as a result. They all do a good job from an acting standpoint, but simultaneously they aren’t given enough material to work with, lessening the impact they could have had in the film’s closing act.

Where Apocalypse truly ups the ante from its predecessor is in its special effects; with a villain of immense power comes the most gargantuan action set pieces in the franchise. You really do feel the overwhelming strength behind the villain’s grand scheme with entire settlements shifting and crumbling before our very eyes. The superpowers on display are all equally dazzling, maintaining the standard set by previous films. The more emotive soundtrack from the previous film has been toned down in favour of a more bombastic soundtrack that links in with the upped stakes very well. By upping the scale of the action, X-Men Apocalypse is still a treat for the eyes, refusing to falter in the face of a crowded genre.

It isn’t nearly as good as Days of Future Past, but X-Men: Apocalypse is still a worthwhile follow-up with the same brilliant characters and emotional moments. Its major shortcoming is trying to do too much where new characters are concerned which creates an unbalance in the proceedings as a whole.


Rating: 3.5/5 Stars

Sunday 1 May 2016

Post-Viewing: Captain America: Civil War; how to do an ensemble movie right

Captain America: Civil War, one of the best films Marvel has put out recently has shown the competition how an ensemble film should be done. Heck, compared to its DC Comics rival, Civil War is a masterpiece; one which understands its characters while also telling a thoughtful and cohesive story. From a quality standpoint it’s the complete opposite to Batman v Superman in every way. Like it or not, the two films are going to be endlessly compared because they both go for an ensemble focus and they also share several similarities with their plots. Putting the two side by side reveals the decisions and creative choices that place Civil War miles above its biggest competitor.
 
Some of the similarities I noticed are as follows…


1.   1. A villain who pulls the strings from behind the scenes, aiming to pit the heroes against each other

Since the second film, Captain America’s major foes have mostly remained in the shadows, knowing that they cannot hope to best the superhero head on; Civil War is no exception. Helmut Zemo (Played by German Actor Daniel Bruhl) was a Sokovian who lost his family as a result of the Avengers intervention and because of this he wishes to punish the whole team by turning them against each other. Using blunt force against such a powerful team would be foolish so instead he devises a more sinister scheme. This involves obtaining knowledge and intelligence from the shadowy HYDRA organisation, a common presence in the series which has been built up since the original Captain America film. With the team already in disagreement over the US government’s intervention, it’s a case of waiting for the right moment to trigger a conflict. Zemo times this perfectly when the three main characters arrive in Siberia at the HYDRA facility. At this moment when the three of them are all together, Zemo reveals the ultimate secret of the Winter Solider project, that Stark’s parents were murdered in 1991 by Bucky who acted under the trigger words and brainwashing of a sleeper agent. Tony Stark is livid, laying into Bucky with no remorse and it’s this shocking revelation that drives an even deeper wedge between Iron Man and Captain America. In the MCU, the characters are all connected together in some way and it’s this facet that makes for compelling stories that grow and evolve. In Captain America: Civil War, Zemo is mysterious, calculating and intelligent; his motives are concise and just like with every other character in the film, we understand where he’s coming from.

In Batman v Superman, not only does the main villain suffer from a horrid performance by Jesse Eisenburg, we’re also completely baffled by his motivations. Why does Lex Luthor want to take Superman down? We really don’t know the answer at all. In the comics, Superman foils Lex’s plans constantly, creating an intense rivalry between the two that fuels Lex’s desire to best the hero. BVS’s version of the popular villain is a bratty man who hates Kryptonians for some undisclosed reason only to go right ahead and create Doomsday later on. The film likes to think it’s clever by squeezing all these plot threads into a single film; instead it’s a hackneyed series of strangely placed moments that would have been far more coherent if they had been given time to grow and develop over time.


2.    2. The introduction of new characters who haven’t had their own solo films yet

Captain America: Civil War has two major characters to introduce and it does this very well. There’s a solid build-up to Black Panther; we see T’Challa lose his father and as a diplomat, he grapples with the choice between killing Bucky to avenge his father or digging deeper to find the full story of the events that transpired. The explosion at the UN building in Vienna is a subtle hint towards the character and when he makes a thunderous entrance in a thrilling chase scene, it’s an incredibly engaging moment that gets you into the political undertones of the plot. Spider-Man is also very well done; there’s an entire scene where Tony Stark visits the young Peter Parker, discusses his powers and responsibilities before getting him on side for his debut at the airport. By doing this we’re introduced to this new version of Spider-Man, get some much desired clarity on his character and we look forward to seeing him dive into the fray with the others on screen.

Batman v Superman Dawn of Justice juggles five other characters with little success; the most notable of these is Wonder Woman and we learn nothing about her throughout the film; instead she appears every now and again to make a few cryptic statements before getting off screen to shift to another scene in the film’s jumbled plot. Because of this, her arrival at the end of the film is completely muted; a scene similar to Spider-Man where we get a full introduction to her character would have gone a long way here. Then there’s the laughable scene (or should I say blatant tease) where Wonder Woman opens an email to see all the Justice League members present and accounted for. It’s flimsy and a complete convenience that desperately sets up the Justice League with no rhyme or reason. They could have removed this scene and kept the surprise back for further development and build-up but there’s no going back now.


3.    3. The theme of questioning the destruction caused by individuals with immense power

The MCU has had three films so far where our heroes have caused massive destruction and following the opening action sequence of Civil War, there’s certainly a fair bit of apathy towards the team. One particular scene sees Tony Stark bump into a diplomat who lost her son because of him and his comrades in Avengers: Age of Ultron. The seeds are planted here for an interesting moral dilemma which ties into the later fight scenes while also pushing the plot along. About a quarter into the film it seems that the Avengers really are going to sign away their authority when The Winter Soldier (under the control of triggered instructions) sets off a bomb. It’s an explosion that sets back diplomatic efforts, but the film doesn’t drop this thread entirely; instead it intensifies the opposing viewpoints held by Rogers and Stark even more, providing more of a reason for the two sides to clash later on.

Now take a look at Batman v Superman; the opening of that film sets up a plot thread; that Superman needs to answer for the destruction he caused at the end of Man of Steel. Clark Kent himself also discusses what common people think of his exploits with Lois Lane early in the film. It’s the kind of thing we could have seen in a standalone sequel to Man of Steel and would have created an interesting dynamic in the character. We’re about to see this aspect of Superman’s character come to the forefront at a congressional hearing scene; the stage is set for an intriguing discussion and what do we get instead? The meeting explodes thanks to Lex Luthor and any development that could have been made is tossed aside and immediately forgotten about; never again does Superman have to consider or accept consequences for the destruction he causes. Apparently it’s all down to Lex Luthor’s crackpot scheme to make people hate the Man of Steel even more, but it makes no sense at all considering that Superman could simply destroy the building with his own powers alone without needing a bomb. The film simply doesn’t care about character development; instead it stands by the flawed belief that audiences want only the action and explosions, rather than a well-rounded and detailed central character.

So there you have it; my own personal view on why Marvel has nothing to worry about when it comes to crafting a cinematic universe with deep stories and characters. Things don’t seem to be going too well in the DC camp at the moment with infighting between Snyder and Warner Bros as well as trouble with standalone films; I’m hoping that they can take a few notes and possibly rethink their strategy when it comes to putting the DC Universe onto the big screen. The best film blockbusters EARN the profits they deserve by being well crafted pieces of cinema, rather than trying to force money out of audiences by desperately upping the stakes too early.