Monday, February 27, 2012

Nexuiz Review

Via IGN:

The simplicity of speed.

US, February 27, 2012


The last super-fast arena shooter on Xbox 360 was Unreal Tournament III in 2008. So the arrival of Nexuiz may come as a surprise to gamers used to taking their time aiming, reloading, hitting a button to sprint, and using grenades and kill streaks to inflate their stats. Nexuiz evolved from a decade-old Quake mod (noticeable in every facet of gameplay down to the Rocket Jump button), and comes bringing all the nostalgia of that era to Xbox 360. Nexuiz delivers a fantastic balance of speed and simplicity -- when online conditions are stable, that is.


Like other arena shooters, Nexuiz focuses on small levels with accelerated rates of life and death. Nexuiz has nine maps, nine weapons, and pits two teams of four against each other. There's a story surrounding this setup, where two ancient species battle for the entertainment of the universe, but it's largely irrelevant. Nexuiz thrives on its action-oriented focus as opposed to a plot-driven campaign. An intro movie sets the stage, some loading text explains arena history -- but that's it.

Good then, that the action is consistently fun, with a great balance of weapons and Mutators. Nexuiz's starting gun, the shotgun, might just be the best starting weapon a shooter has since the original Quake. While the more attractive rocket launcher looks appealing, the simple shotgun can tear apart enemies like paper. The addition of rapid-fire guns, high-power sniper rifles, mortars, and pistols keep players from sticking to a single choice. Every pickup, each with a secondary fire option, helps contribute to a match's balance, making any given firearm feel fair.

Shoot first, ask questions if you want to.

Mutators add extra layers of complexity to this run-and-gun experience. Through pickups, killing sprees, flag deliveries, and other battlefield feats, players get their pick of these augmentations. Mutators include helpful team boosts like regeneration and jetpacks, to silly fart-noise sound effects and monochrome overlays where it's difficult to discern who the enemy is. There are dozens of Mutators, and by assigning points to different tiers, you can actually increase the likelihood you'll spawn a particular favorite -- an interesting way to put earned points to use.

The chaotic and kooky nature of the Mutators really make Nexuiz fun, as they can help and hinder the best or worst player in the fight -- and unleashing an "invert controls" Mutator is a mean (yet fair) way to get the jump on the enemy. On paper, the sheer variety of Mutators, and their ability to influence both one's own team and the enemy, sounds like a huge shift in balance. But their availability and duration make them a fair pickup, giving everyone the chance to gain benefits.

Steady...steady...

The world of Nexuiz looks beautiful. It's the first downloadable game utilizing CryEngine 3 (Crysis 2's engine). As you fire bullets in ancient ruins, mountainside paths, futuristic cities, and colorful cathedral-style maps, the vistas and atmosphere look impressive throughout. Each gun gets its own gloss, and watching the effects of Mutators drain color from the screen, pop the perspective into third-person, or add sombreros to players adds a playfulness to the already good-looking universe.

Nexuiz's design again shows simplicity through the inclusion of just two classic modes: Capture the Flag and Team Deathmatch. The speed of combat and chaotic nature of Mutators help diversify these typical modes. Objectives aren't shoehorned into maps; rather, levels are designed specifically for each game type. The Capture the Flag maps utilize excellent mirrored layouts, and the deathmatch arena designs encourage constant interaction (and bloodshed). By providing a singular goal for each arena, the hallways, stairways, and corridors play to each map's strength, so there's no way to stray from the directive.

Keep the pressure on.

It takes three button-presses from loading up Nexuiz to get into a quick online match, another straight-to-the-point element of design. But once in a lobby, a match can't start until either six or eight players are present. This is fine when it comes to balance, but once in battle, players can drop out and the match won't auto-balance teams or even let in queued players. This means that the delicate stability of a four on four match can shatter if someone loses their connection, and a team of four can obliterate the lesser side. And if you enter a lobby queued as the seventh or eighth player in an ongoing match of six, you won't even see a counter for how long you'll until the next match starts.

There's a bot practice mode, but it holds no longevity. Even on the hardest difficulty, bots rarely nab flags or do any significant damage to the player. Bot practice retains zero stats, so outside of learning the maps and getting the hang of the speed and guns, there's no reason to return to the AI arena after getting the hang of the game.

The lack of offline options makes an active community a necessity for Nexuiz to survive. When in a full match, with no lag, it's a fantastic shooter that moves like a bullet and challenges players to improve their skills. But if lobbies don't fill up and fewer players show up online, there's no reason to head into matchmaking. Luckily, at a low price point Nexuiz isn't a huge investment and is well worth any shooter fan's time.
Closing Comments

Nexuiz is brilliant when it comes to simplicity and speed. The removal of narrative constraints, elaborate customization, and convoluted online modes serves as a boon for the shooter. Unfortunately, the fact you can't launch a match without six players, the lack of balance when someone drops out, and the paramount importance of an active community serve as a warning to the Nexuiz experience. When a full match plays out uninterrupted, Nexuiz is divine. But the sudden see-saw in balance when someone leaves or having to wait in a lobby indefinitely during non-peak hours mark frustrating aspects of the package.


Peter writes for IGN's Xbox 360 team. You can follow him on Twitter and MyIGN.

IGN Ratings for Nexuiz (X360)
Rating Description
out of 10 Click here for ratings guide
7.0 Presentation
The story's simply not important, and the online connectivity adds risk to the gameplay. But the simplicity of jumping into a match and variety of Mutators keep things good.
9.0 Graphics
The levels, guns, and players all look beautiful using the shine of CryEngine 3.
8.0 Sound
The beats accompanying the game are fantastic, and the sci-fi sounds of combat are great. The beats accompanying the game are fantastic, and the sci-fi sounds of combat are great.
8.0 Gameplay
The speed is great once you get the hang of popping headshots, but matches don't balance when someone drops out and lag can kill the experience.
9.0 Lasting Appeal
Constantly evolving leaderboards and maxing out Mutators adds a lot of replayability to this online shooter.
8.0
OVERALL
Great
(out of 10)

Wednesday, February 22, 2012

A History of Portable Competition

Via 1UP.com:

Header

The Vita's Challenge: A History of Portable Competition

To succeed, Sony's new handheld must escape the long shadow cast by two decades of Nintendo's domination.

By: Jeremy ParishFebruary 21, 2012

Today marks the official U.S. launch of PlayStation Vita. It's a great system, but it has its work cut out for it. Nintendo's 3DS is making serious inroads after a soft launch, and Sony runs the very real risk of seeing history repeat itself. To date, Nintendo has triumphed against every handheld competitor to challenge it since the Game Boy launched 23 years ago. We can't predict how the Vita/3DS battle will turn out just yet, but we can certainly look to history to see how Nintendo has consistently triumphed over its impressive competitors.

The Game Boy Era

1989: Game Boy

Shortcomings: The Game Boy was almost laughable from a hardware standpoint. Its puny processor was more than a decade old at launch, and its screen felt like a throwback to the '70s, too, offering no color support but rather a paltry four shades of grey on a cheap LCD so prone to ghosting and blur that it rendered many action games nearly unplayable. Atari's impressive Lynx arrived almost simultaneously with Game Boy, rendering Nintendo's handheld practically obsolete from day one.

Why they didn't matter: Nintendo's design philosophy rendered many of the Game Boy's perceived flaws into strengths. That weakling of a processor and mess of a screen allowed Nintendo to sell the system for about half of what the Lynx cost, and its battery life was extraordinary. On top of that, Nintendo was at the pinnacle of its NES-era popularity in 1989, and the mere opportunity to play games like Mario, Castlevania, and Mega Man on the go was profoundly motivating. Plus, Game Boy had a killer app in the form of Tetris. Game Boy games weren't often truly great -- but they were certainly good enough.

1989: Lynx

Strengths: Atari's Lynx arrived mere days after the Game Boy and, technologically speaking, blew it away. It boasted a vivid full-color screen with proper backlighting, beside which Nintendo's pukey-looking graphics paled. Behind that screen was an impressive array of hardware, including a beefy processor and a fast 16-bit graphics chip, putting it nearly on par with the TurboGrafx-16. On top of that, Lynx featured an innovative ambidextrous design so that both lefties and righties could play it comfortably.

Why they didn't matter: With great power comes great responsibilities, and Lynx failed at living up to its demands. It cost nearly twice as much as Game Boy, and the hidden cost of batteries was even more significant: It required six AA batteries to run for four hours, where the Game Boy could run five times as long on fewer batteries. The system itself was massive and cumbersome thanks to some ill-advised focus testing. And perhaps most crushingly of all, Lynx wasn't made by Nintendo, which meant its software library was filled with obscure games and dated arcade conversions. The sad thing is that Lynx probably would have done much better for itself had it been launched in a more timely fashion: Epyx developed it in 1986, but Atari sat on it for two years only to debut it head-to-head with Game Boy.

1990: TurboExpress

Strengths: The TurboExpress was nothing less than amazing. A compact and comfortable system, it was capable of playing TurboGrafx-16 games. Not ports, not repackagings; TG16 HuCard chips slotted directly into the system and played with few compromises aside from some difficulty with saves and the different resolution of its beautiful color screen.

Why they didn't matter: Like Lynx, the TurboExpress was an incredible power hog, requiring as many batteries as Lynx for even less play time... and that was on top of its hefty $249 price tag (almost $390 in today's money). The TurboExpress also had the misfortune to be tied to the TurboGrafx-16, a console that achieved very little success in the U.S. -- and outside the U.S., its popularity was largely tied to the TurboCD add-on, which wasn't compatible with the handheld.

1990: Game Gear

Strengths: Game Gear definitely offered the strongest competition to Nintendo's handheld hegemony until the PSP arrived. Compact and comfortable with a slick color screen and a solid library, Game Gear featured all the strengths of its fellow competitors but also backed it with the Sega name -- a true boon, especially in the U.S., where Genesis was eating Super NES's lunch at the time. Another advantage: Gear Gear was essentially a scaled down Sega Master System, meaning existing games could easily be tweaked to run on the hardware and resold. It even had an optional TV tuner!

Why they didn't matter: Unfortunately, as with Lynx and TurboExpress, Game Gear was hoist by its own petard: Its power and screen devoured batteries. While it never managed to overcome its thirst for power, by the time the system was retired it had moved more than 10 million units and boasted a library of nearly 400 games: A modest success.

1992: Watara Supervision

Strengths: Rather than trying to outdo Game Boy, this device by Asian manufacturer Watara took the opposite tack by trying to undercut Nintendo's design. It was half the price and featured similarly low-power, low-cost components.

Why they didn't matter: Supervision was too little, too late. With a paltry software library and even worse visual prowess than its competition, Watara's effort appealed only to cheapskates and, these days, to aficionados of the obscure.

1997: Game.com

Strengths: In the twilight days of the Game Boy, Tiger Electronics launched the Game.com, which offered enhanced black-and-white graphics and far more power than Nintendo's aging machine. It sported a touch screen (a first!), and Tiger pursued aggressive licensing (presumably carried over from its simple LCD games) to bring PlayStation hits like Castlevania: Symphony of the Night and Resident Evil to the system.

Why they didn't matter: Game.com looked good on paper, but it was either a giant train wreck or too far ahead of its time, depending on how kindly disposed you are to it. The hardware proved to be grossly underpowered for the games it aspired to run; Sonic and Resident Evil were downright disastrous. The system felt flimsy and insubstantial, and its touch screen was strictly used in conjunction with its PDA elements, which were ill-conceived and not particularly useful.

The Game Boy Color Era

1998: Game Boy Color

Shortcomings: Nintendo finally took the Game Boy into color nearly a decade after the system's original launch. For all intents and purposes, the Game Boy Color was a portable NES, a system that had been retired several years prior. It was, much like its predecessor, a dated, underpowered device. Its graphics were still considerably less impressive than those of the Lynx, which had been designed 12 years prior. It felt in every way like a stopgap measure until the advent of a true Game Boy successor.

Why they didn't matter: Dated and pointless as it may have seemed, Game Boy Color didn't need to be amazing. It really was a stopgap: A way to keep the hardware line feeling lively while the company rode the success of Pokémon. Nintendo brilliantly launched Game Boy Color simultaneously with the U.S. debut of Pokémon, and its addictive gameplay and impressive multimedia assault kept Nintendo riding high until the manufacturing cost of its 32-bit Game Boy Advance came down to an acceptable profit margin. And, of course, Game Boy Color was still inexpensive, still ruthlessly energy-efficient, and boasted full backward-compatibility with the Game Boy's massive library.

1999: Neo Geo Pocket/Color

Strengths: With Neo Geo Pocket, SNK struck a balance of hardware design that no one else had attempted before: Better than Game Boy, but not bleeding edge. The innards were impressive, but not top-of-the-line. Rather than incorporating a full-color, backlit, active-matrix LCD screen, the Neo Geo Pocket went with a more modest screen (initially black-and-white, but quickly reworked to color) that was gentle on batteries but nevertheless offered some great-looking games. Wrapped around those guts and screen was a wonderful shell: Compact, comfortable, durable, and highlighted by a miniature control stick whose "clicky" responsiveness made playing its library of smartly reworked arcade favorites a joy.

Why they didn't matter: Despite all it had to offer, the NGP was undermined by poor distribution and perception. Gamers had spent a decade thinking of the Neo Geo brand as a pricey boutique platform for rich kids who liked fighting games, and this reasonably priced handheld was dismissed by gamers. To further compound the problem, the excellence of Neo Geo Pocket's library was difficult to communicate easily; SNK's fighting game library was brilliantly remade into a portable-friendly form, with revamped visuals and streamlined controls, but their cartoonish look failed to convey the refinements of the underlying play mechanics.

2000: Wonderswan

Strengths: Bandai's Wonderswan represented an impressive counter to the success of the Game Boy, and expectedly so: It was the brainchild of Game Boy creator Gumpei Yokoi. Wonderswan hit all the high points of its inspiration -- low power usage, inexpensive components, and strong third-party support -- while offering advanced graphical capabilities and interesting new features like the ability to rotate the system's orientation to allow games to be presented either in landscape or portrait styles.

Why they didn't matter: Wonderswan was crippled by three issues. First, it was instantly obsolete, launching as a black-and-white system after the Game Boy color. Secondly, despite its extensive third-party support, many of those games were of poor quality. Finally, Bandai never offered international distribution, so it remained exclusive to Japan, greatly limiting its potential and appeal to developers and publishers.

The Game Boy Advance Era

2001: Game Boy Advance

Shortcomings: The Game Boy Advance stands out as the least hobbled portable Nintendo has ever released. At the time of its debut, it was easily the most powerful handheld the world had seen. Its main drawback came in the form of its screen, which was dim and murky and turned its gorgeously detailed games into indistinct mud.

Why they didn't matter: Gamers complained about how crummy GBA games looked, but that didn't stop them from buying the system. Its excellent software support -- both first- and third-party -- made for some truly compelling portable experiences, and its complete backward compatibility with Game Boy games offered a handy way to play those old 8-bit favorites. In the end, Nintendo even turned the lousy screen into a business opportunity: 18 months after the GBA's debut, they launched the side-lit GBA SP and sold fans a new piece of hardware all over again.

2001: SwanCrystal

Strengths: The SwanCrystal was Bandai's third attempt with the Wonderswan family, and the one that finally got it right. Its graphical prowess was on par with Game Boy Advance, and its software library included some high-profile titles by Capcom, Sony, and Square.

Why they didn't matter: With three different versions of hardware in three years, the Swan brand became too fragmented for its own good; where the GBA SP and original Game Boy all ran the same software, The Wonderswan, Wonderswan Color, and SwanCrystal had their own specific libraries. Game quality remained uneven, and Bandai seemingly never considered international support. And by upping the system's power to be competitive with GBA, Bandai sacrificed its price and power advantages over the competition.

2003: N-Gage

Strengths: Nokia was definitely working ahead of the curve here, creating a portable system that doubled as a cell phone. Considerably more powerful than the GBA, the N-Gage offered 3D portable graphics in a phone designed for core gaming rather than forcing gamers to use the tortured 3x4 buttons of previous game-capable cells.

Why they didn't matter: Any forward-thinking involved in the N-Gage's design was completely mooted by the fact that it looked absolutely ridiculous. The real problem, though, has only become evident in hindsight: The phone and game aspects of the series worked at odds with one another rather than together, as with the iPhone. It was a bizarre Frankenstein's monster of a game system, and on top of that its game hardware wasn't quite powerful enough to achieve its ambitions, causing its 3D games to chug at completely unplayable framerates.

Nintendo DS Era

2004: Nintendo DS

Shortcomings: Most people assumed the Nintendo DS was meant as a desperate, last-ditch resort to fighting the impressive and elegant Sony PSP. With its cheap-looking shell (considerably refined between its initial reveal and launch a few months later) and strange design, it seemed both bizarre and slapash. Its layout offered two screens, which seemed impractical and cumbersome; its processors were feeble; and the storage offered by its solid-state media was painfully restrictive yet high in price. The DS seemed to have a long and difficult road ahead of it.

Why they didn't matter: The ultimate success of the DS -- it's sold more than twice as many units as the "superior" PSP -- stemmed from many of the same reasons the Game Boy was able to face down technically advanced hardware like the Lynx and Game Gear. Its processors were weak, but they were just potent enough to render decent, playable 3D graphics without compromising battery life. Its carts may have been limited, but they also drew little power. The unconventional design of the DS was its real strength: The intuitive touch screen offered a friendly interface for people who were otherwise uncomfortable with the idea of video games, transforming the DS into a crossover device whose appeal and value extended well beyond that of the core gamers portable systems traditionally catered to.

2005: PlayStation Portable

Strengths: The PSP offered everything the DS didn't: A single gorgeous screen, console-caliber visuals, and a diverse array of multimedia and entertainment functions (including the ability to watch movies via the proprietary UMD medium).

Why they didn't matter: That UMD format was actually the beginning of the PSP's troubles. The moving parts involved in its optical drive made for a power-hungry system that was considerably more fragile than the DS. And while it offered console-level visuals, the play experience was hampered by Sony's decision not to include a right analog input, forcing the use of awkward workarounds for console-style action games. Where the DS's hardware revisions were clearly improvements over the original design, the PSP saw the PSPgo, which was a strategic mess. And, finally, the PSP was strictly a gaming device, lacking the breadth of purpose that drove the DS beyond the core gaming market.

2005: Gizmondo

Strengths: The Gizmondo was a weird creature, but certainly an ambitious one. The hardware ran faster than even a PSP with its clock limiter removed, and it helped pioneer the concept of ad-supported reduced-price hardware currently employed by Amazon's Kindle tablets -- a feature that was to be made possible through the machine's GSP capabilities.

Why they didn't matter: Gizmondo arrived stillborn thanks to the shady dealings of its parent company. Even disregarding its terrible (and possibly criminal) business model, the Gizmondo wasn't a particularly compelling piece of hardware; its design bore a bizarre resemblance to a black rubberized taco with valves sticking out of the top. Its software lineup featured a handful of noteworthy third-party games and a whole lot of nothing. And let's not forget that Gizmondo's entire existence has been theorized to serve entirely as an excuse for its creators to fund nice cars and have fancy parties with the media.

2008: iPhone

Strengths: The iPhone managed to bridge the gulf between game system and general-purpose device. It's been a successful rendition of the gaming phone N-Gage attempted so clumsily to create. The iPhone perfected the app store model, revolutionizing digital distribution and the entire concept of video games.

Why they didn't matter: Actually, they did matter. iPhone is the first portable device to outsell a competing Nintendo system; as of the end of 2011, the iPhone family had moved tens of millions units more than the DS, and that's not taking the semi-compatible iPad into account. Just as Nintendo has traditionally succeeded by redefining the rules, iPhone changed the way portable games are sold and the experiences they offer with great success.

Nintendo 3DS Era

Today sees the official U.S. launch of Sony's PlayStation Vita, the successor to the PSP and an impressive (if not quite perfect) piece of equipment in its own right. And yet, it arrives on the heels of the revelation that the Nintendo 3DS, despite a high initial price and weak early response, has become the fastest-selling portable device in the history of Japan's gaming industry. Will the 3DS match its predecessor's success? It's hard to say, but certainly it represents far more of a threat to Vita than anyone could have predicted half a year ago. Does Vita stand a chance? How would you approach the system if you were Sony?

Monday, February 20, 2012

Valve’s Gabe Newell talks wearable computers, why consoles should open up, and game ownership

Via The PA Report:

Valve’s Gabe Newell talks wearable computers, why consoles should open up, and game ownership

Valve’s Gabe Newell talks wearable computers, why consoles should open up, and game ownership

Gabe Newell is the co-founder and managing director of Valve. What we found during our conversation with the man himself is that those titles don’t mean much of anything, and he’s willing to throw his support behind whatever projects needs his help on a day to day basis. Valve has a unique structure… if you can even call it a structure. When you’re finished reading Mr. Newell’s thoughts on everything from Valve selling hardware to his love of tablet computing, be sure to join us for a tour of Valve Software’s offices.

Ben Kuchera: It’s been said you’re not much of an early riser. Can you walk us through a day of your life at Valve?

Gabe Newell: It used to be that I was the best multiplayer gamer here, and then we hired someone. It’s been downhill ever since. Just about anything I do, there’s someone here who does it better. Whether it’s game design, or business issues, or writing, or programming, or anything. I do a lot of things, but I tend to do them not as well as other people, so I tend to fill in holes as much as anything. If there’s something that needs to get done that’s not getting done, that’s what I end up doing. I don’t really have the same day, my days tend to be more reactive than many people’s.

That seems tricky for someone in your position. Is it hard to keep track of what’s going on in the company?

We’re a very flat organization, so we expect everybody to manage themselves. One of the things that people have to do when they’re here, they need to know when to broadcast to me when something’s important. We don’t have any sort of regular report system really at all. Most of the time when information is being distributed it’s because someone decided it was important and people needed to know about it. So the issues of keeping me on top of everything is more of a question of people deciding that getting me involved would be helpful for something they’re working on. It’s not my job to track down or supervise everyone and make sure they’re doing the right thing. It’s more like I’m a resource here and I can be helpful at addressing a problem. It works surprisingly well, but it takes a while for people to get used to it. We’re optimized for people who are very experienced and have been working for a long time and don’t really need someone looking over their shoulder or second-guessing their decisions.

It sounds like things are very fluid, but you’re also juggling a lot of projects. Do you have a five or ten year idea of what you would like to do?

We have a bunch of issues that we sort of identify as kind of structural, long term opportunities. So when you look at Steam, for example, we thought that there were a lot of opportunities to improve the design of business and the design of our relationship with customers and partners around the internet that drove a lot of our thinking about Steam. If you look at Team Fortress 2 we’ve been trying out a bunch of different ideas for how we think we can create more opportunities for community involvement and engagement with multiplayer games. So we tend to have these concepts that we all kick around and gnaw on and then we try to apply those. You can see that what we’re doing withDotA 2 is very much the result of a lot of things we think we learned with Team Fortress 2. If you look further out, like one of the things we’re pretty concerned about is the closing off of open platforms and what the implications are for content developers.

You know, the success that we’ve – that Apple has had in mobile has made a lot of people, rather than thinking of how can we build an open platform that builds on the strength that we’ve traditionally seen in open platforms, they say “oh, well we’re going to go off and build a closed platform as well.” And at the same time it seems really clear that dealing with a bunch of power issues and interface issues in mobile are going to be super important and critical to thinking of how we evolve gaming experiences forward. So you look at those things and you say “okay well we have to figure out a project that’s gonna let us wrestle effectively with those issues and then try out solutions with customers.” You know, where some of the things we’re looking at longer term are just spending a lot of time thinking about input devices. We’re also looking at some of the emerging output technologies that are coming along and trying to figure out how much of an impact that they’re gonna have on our designs. So we mock stuff up in our hardware labs and try and figure out different, sort of game fragments and see how those things work. But it does tend to be pretty focused on trying to get things to the point where we can get it in front of customers so they can start showing us what are the good ideas and what are the bad ideas.

That process always turned out to be a pretty successful strategy, and if you ask what we think we learned the most from, it’s any time we get something out to customers and they say okay, this is what we think we’re learning and make some changes and say “oh, I guess that wasn’t really what we should have been extracting from that, let’s try this.” So that’s actually much more what people wanted us to be hearing back from that.

Is there anything you’re seeing in terms of the inputs or outputs you’re experimenting with that you’re personally jazzed about, or you think that is really bearing fruit, or will in the near future?

Yeah, I mean there’s a surprising amount going on with new – they used to be called wearable computing before those all got kind of set on fire by losing investment firms hundreds of millions of dollars, so nobody wants to call them wearable computing, but they sort of look like the old wearable computing solutions, the difference being that they’re way higher resolution, way lighter weight, much better battery life, and things like that. It seems like just about the time that everybody gave up on them they actually started to become interesting, so we’ve been seeing a lot of stuff go on in that space that gets us excited. We’re trying to get our–the experiments we’ve been doing in–you know we did a ton of work on biofeedback, on biometrics, and that’ll, you know, from our point of view we were like “okay, this is all sort of proven out” and we’re just sort of scratching our heads trying to figure out the best way to get that hardware out to customers without something where we’d just say “okay, this works.” it’s not a question of whether or not this is going to be useful for customers, whether or not it’s going to be useful for content developers, you know, it’s figuring out the best way we can get these into people’s hands.

So we’re thinking of trying to figure out how to do the equivalent of the [Team Fortress] incremental approach in software design and try to figure out how would you get something similar to that in the hardware space as well. The sort of old method of, you know, let’s go make a giant pile of inventory and hope that some set of applications emerge to justify this giant hardware investment doesn’t seem to be the – very consistent with what we’ve seen to be the fastest ways to move stuff forward, so we’re trying to come up with an alternative to that that gives us the ability to iterate more rapidly. That stuff we’re like “this is good,” now we just need to figure out how we can start giving these to customers and iterating on the design quickly enough without having to go off and buy ten million of them and then find out we did something mildly stupid and then having to throw them all away and start over.

I’m very fascinated that you’re interested in wearable computers, especially in these days where our smart phones are basically handheld, touch screen systems. What about a more modular, full-featured approach that we used to see with these prototypes – where does that excite you, where do you see that going in the realm of games or other applications?

Well it’s exciting when you, you know, some of the prototypes that I’ve seen are basically the equivalent of a hundred inch display with considerably lower power requirements than a typical smartphone display, so if you just look at it straight up as a presentation technology that’s pretty interesting. It seems like some of the hard engineering problems are getting solved and a hundred inch display is way better than a ten inch display. The other thing that’s interesting is that a lot of these systems tend to allow you to overlap on a per-pixel basis the sort of real world with the virtual world. That’s sort of a more speculative class of applications, it requires obviously a lot of computation to try to figure out how to integrate pixels from the real world with pixels from the virtual world. So is that a for sure that that’ll end up resulting in a lot of interesting augmented reality games? I think that that’s pretty speculative, but if somebody here said “I’ve got a – I want to try something,” I don’t think there’s anybody here that would say “oh well there’s nothing, that’s a waste of time.” As opposed to the – it’s a hundred inch iPad where it’s pretty easy to see that that’s awfully nice, especially if it takes – it has battery power characteristics than more traditional kinds of displays.

Now do you see a future where Valve is actually selling hardware or do you just want to have things that could take advantage of that technology should it be popular?

Well, if we have to sell hardware we will. We have no reason to believe we’re any good at it, it’s more we think that we need to continue to have innovation and if the only way to get these kind of projects started is by us going and developing and selling the hardware directly then that’s what we’ll do. It’s definitely not the first thought that crosses our mind; we’d rather hardware people that are good at manufacturing and distributing hardware do that. We think it’s important enough that if that’s what we end up having to do then that’s what we end up having to do.

Now we’re talking about things like wearable computers and biofeedback and we’ve touched on Steam a little bit but there’s millions of people out there who are gnashing their teeth when they read this who just want to play Episode 3 or Left 4 Dead 3. Is there ever tension between all the different things that Valve is interested in doing?

Oh absolutely. We’re acutely aware of how much we annoy our fans and it’s pretty frustrating to us when we put them into that situation. We try to go as fast as we can and we try to pick the things that we think are going to be most valuable to our customers and if there’s some magic way we can get more work done in a day then we’d love to hear about it, but we recognize that it’s been a long time whereas we have so many games that people really love–Counterstrike, Half Life, Portal, Left 4 Dead, not a whole lot of Ricochet enthusiasts out there, and at the same time we want to be making sure that those games and those stories and those characters are moving forward while also making sure that we don’t just get into terminal sequelitis.

But we’ve always somehow, you know, part of the reason that we backed off talking so much about what was happening in the future is that when we’ve done that in the past, you know, with Half Life 1it was a year after we originally said it would be, Half Life 2 basically if you go and read the forum posts apparently took us fifty or sixty years to get done so we’re trying to be careful not to get people too excited and then have to go and disappoint them. So we’re sort of reacting in the other direction and saying “okay, well let’s have things a little more baked before we start getting people all excited about it.”

Steam, and pricing

You’ve had a lot of success with Steam, and the bundles, and the sales, and these kind of experiments, do you think at this point you have pricing figured out?

Oh no, not at all. I think we’re learning. We tend to–pricing is just part of an overall broader question about–we’re trying to think of it in terms of how we can create more value for customers that’s not, you know, the traditional way of thinking about pricing actually causes you to sort of segment it off from how you think about lots of things that you’re doing for customers. You should think of pricing almost as a service opportunity and think of ways of doing… it’s like a discovery problem. You wanna figure out how you can connect customers with the right collection of content and services and you need to get away from the sort of one size fits all broadcast mentality. Pricing is one of those things where a lot of people are still approaching it in almost a pre-Internet fashion instead of seeing that there’s actually an opportunity to do a better job of delivering the right stuff to the right customer for the right combination of pieces. So if you look at free-to-play, that should be kind of a wake up call to everybody in our industry that we should have been able to figure that out sooner, that this realization that a lot of customers create more value by being in the world than people were extracting by trying to charge them an upfront fee.


A selection of magazine covers featuring Valve titles

That’s just one example of what will probably be many insights that the gaming community comes up with as better ways of thinking about how you maximize value creations in a community. Free-to-play and the community contribution side are both just sort of different ends of the same spectrum, which is thinking about how to create more opportunities for value creation and value consumption, where you’re trying to get the right people connected to the people who are creating value for other people. So if somebody’s a really good team member you need some way of recognizing that and if you just sort of–the simple way of putting it is that person pays less money for the game. That’s sort of a simplistic way of saying they’re creating value, you have to capture that and if you fail to do it you’re being economically inefficient. That’s just a tiny way of rethinking about how everybody in the community is creating value and how you need to connect that to the right consumers and that’s what the value ends up being, not worrying about whether you charge $29.95 or $39.95, which actually causes you to pay attention to all of the wrong things.

How do you sit down and try to extract the data about which players are going to bring value into the game without almost embedding people into vent servers to listen to how they interact?

Well, we all play games all the time. It’s not Valve who will be saying that somebody’s more or less valuable, right? You have to create and design systems where the fact that somebody is valuable to some other group of people is discoverable by somebody else. The fact that you’re fun to play with is just one of many, many different ways that people can potentially create value in this kind of environment. The fact that I found that somebody was fun to play with needs to be efficiently and transparently communicated to other people who like to play with people who are like people I like to play with, which is totally different. You might find that person incredibly annoying and exasperating and not at all interesting to play with, so if you can create a system in which both of us end up getting the greatest amount enjoyment out of our experiences then you created a lot more value collectively, right? Each person is going to have a very different weighting of a bunch of different values, choices, preferences, and getting you connected to the right experiences with the right people with the right content is going to be a characteristic of a more successful systems, and just sort of treating everybody as if they’re exactly the same and only viewing them as opportunities to extract a retail entrance fee is gonna seem very archaic, I think, fairly soon.

Now this all sounds wonderful and it makes sense, but what kind of concrete mechanisms can you put in place that allow people to express who they like to play with and how they’re either giving or gaining value from the system?

Well, one of the things you have to do is start to come up with metrics, so we look at huge amounts of data all the time and then we try to figure which one’s predictive and which ones aren’t. So if you look at – here would be a simple example– so one of the decisions we made with Portal 2 was that we were gonna care a lot about whether or not people actually completed the game. And once you start paying attention to it and start changing stuff, you know, we made a bunch of changes afterPortal 2 shipped that significantly increased the number of people who actually were completing the game with, I think it was – we had some window like 30 days, so as soon as you just simply start paying attention to some metric and start making changes based on that metric and then measuring those results, you tend to get somebody somewhere fairly quickly. So if you were looking at people and saying “let’s not really care about who, let’s just take a trait agnostic approach to this and just simply view people as clumping together,” we’re not really sure why, some people would say “oh, I can assign various traits and characteristics to these people and I’ll just start measuring those things directly.”

The problem is that if your framework is wrong or if they don’t actually matter, you end up being screwed. So instead you just sort of say “let’s just see – let’s pick some behavior that we can measure and then start to look for correlations that we’ll then try to test for causalities.” So if somebody comes into a server who are the set of people that tend to stay on the server and who are the set of people that tend to leave. And then let’s look and see if that’s random or if it’s correlated, in other words if there are groups of people who tend to stay together and other groups of people who tend to avoid those people or leave or be mad. So then let’s use matchmaking and then say “so we’re going to put these people together,” and in fact what they should do is that they should all be more likely to stay through the entire match, and they also should be more likely to play again within the next week. And then you make those changes and you group those people together and you find out no I was totally wrong, right, none of those people actually did it.

Then you go, okay, there’s something about our model here that’s not working and we need to figure it out, and then you tinker with the model until you say “good, now we can actually with a lot of confidence say that there are groups of people and when we cluster them together they tend to play longer and they tend to play more often.” That way we don’t have to interview them, we don’t have to read their chat logs, but we probably made a set of changes that those people would perceive as being fairly valuable, so that’s just like a really simple example of the kind of thing that you would do without being particularly intrusive into the relationships yet would still probably have a pretty positive outcome for people in the community.

Now on a completely different subject, Rock, Paper, Shotgun ran kind of an odd story about a Russian customer who was banned from his Steam account and lost access to his games, and this kind of raised a very basic question that even lawyers couldn’t seem to answer concretely is whether or not we own the games we buy from Steam. I’m curious for your thoughts on this matter.

I think we’re actually checking to find out what was going on with our Russian customer, I got mail from people saying “what’s the deal with this?” So I actually haven’t heard back yet, but on its face it seems kind of broken and those are the sorts of things we’re happy to fix. If you’re asking me to render a legal opinion then I’m just not the super useful person to render a legal opinion. In that specific case people use my email, which is why it’s out there, and said “hey, this doesn’t seem right” and I’m actually waiting to hear what the result of that specific instance was. At first blush it sounded like we were doing something stupid and then we’ll get it fixed.



Valve's cafeteria

But even from kind of a more general point of view, you have services like Steam or Origin where these many purchases and micro-transactions and all these transactions we’re making through multiple companies are kind of tied to this overreaching account. Do you have lawyers who kind of look at the legal implication of where exactly you fit into that relationship?

Yeah, we have lawyers who look at stuff all the time, I’m not sure I’m answering your question directly. It’s sort of like this kind of messy issue, and it doesn’t really matter a whole lot what the legal issues are, the real thing is that you have to make your customers happy at the end of the day and if you’re not doing that it doesn’t really matter what you think about various supreme court decisions or EU decisions. If you’re not making your customers happy you’re doing something stupid and we certainly always want to make our customers happy. And I think we have a track record of having done that.

There’s also this huge conversation going, especially now with rumors of the new consoles, about used games and piracy. Do you feel like you’ve kind of successfully sidestepped those issues with Steam as a service provider?

You know, I get fairly frustrated when I hear how the issue is framed in a lot of cases. To us it seems pretty obvious that people always want to treat it as a pricing issue, that people are doing this because they can get it for free and so we just need to create these draconian DRM systems or ani-piracy systems, and that just really doesn’t match up with the data. If you do a good job of providing a great service giving people… as a customer I want to be able to access my stuff wherever I am, and if you put in place a system that makes me wonder if I’ll be able to get it then you’ve significantly decreased the value of it. So, you know, people were worried when we started using Steam initially because, oh my gosh, if I don’t have my discs what happens when I get a new machine? And after they’ve done this a couple times they’re like “oh my god, this is so much better, I’m so much more likely” – you know, this isn’t a legal argument, this is a real world argument – “I’m so much more likely to lose my discs than I am to have any problem with my Steam account, that seems way better than having a physical token that I use to access my content.”

A lot of times the systems that are put in place when you’re just trying to punish your evil customers for maybe doing something that’s not in their terms of service end up driving people towards service providers who don’t, right? So, you know, if I have to wait six months to get my Russian language translation and where I can get at this other guy on the street who will give me my Russian translation right away, it seems pretty obvious when you talk about it in those terms how the pirate selling pirated DVDs has a higher product than some of the people who try to DRM their way out of not giving customers what they really want.

Have you ever been tempted to put a set of standards for DRM across games on Steam? Unless you do a lot of research when you buy a game through the service you might not know exactly what you’re getting.

I’m not sure I understood what you’re trying to ask me.

Sure, like if you’re going to sell a game on Steam, has there ever been a temptation by you to kind of create a standardized set of DRM and holding publishers to it, or saying this kind of thing is inadmissible but will allow these certain solutions? Have you ever been tempted to get more hands-on on what kind of DRM is offered through what amounts to your storefront?

We tend to try to avoid being super dictatorial to either customers or partners. Recently I was in a meeting and there’s a company that had a third party DRM solution and we showed them look, this is what happens, at this point in your life cycle your DRM got hacked, right? Now let’s look at the data, did your sales change at all? No, your sales didn’t change one bit. Right? So here’s before and after, here’s where you have DRM that annoys your customers and causing huge numbers of support calls and in theory you would think that you would see a huge drop off in sales after that got hacked, and instead there was absolutely no difference in sales before or after. You know, and then we tell them you actually probably lost a whole bunch of sales as near as we can tell, here’s how much money you lost by bundling that with your product. So we do that all the time, we’re just – you know, I wouldn’t be super happy if some other third party tried to tell me how to have relationships with our customers and I expect other people feel the same way, and I also tend to think that customers don’t really like it when you try to impose rigid rules on them as well, so we tend to think and hope that over time people will move towards doing the things that are in the best interests of both the customers and the content developers.

You know, it’s a really bad idea to start off on the assumption that your customers are on the other side of some sort of battle with you. I really don’t think that is either accurate or a really good business strategy, and so we just sort of keep trying to show – you know, I think that we have a lot more credibility now with developers on issues like this simply because there’s so much data that we can show them where we say look, we’ve run all of these experiments, you know, this has been going on for many years now and we all can look at what the outcomes are and there really isn’t – there are lots of compelling instances where making customers – you know, giving customers a great experience and thinking of ways to create value for them is way more important than making it incredibly hard for the customers to move their products from one machine to another.

You’ve gotten, or Valve as a company has gotten more involved with the consoles, especially with Steam coming to the PlayStation 3. Is there anything that you think is very important to be included in the next generation of consoles, across the companies?

If you contrast what goes on in the movie space versus what goes on in the game space it’s clear that the games developers are moving several times faster than the movie developers, but then if you look in terms of thinking of ways to be innovative per providing higher value content, I mean if you look at the revenue numbers and the profitability numbers of the game space versus the movie space it’s clear that we’re moving a lot faster, and if you look at within the game space and you look at where a lot of the interesting things happening whether it’s World of Warcraft, whether it’s Facebook and social games, whether it’s innovations in things like free-to-play, they happen where people can experiment and do different things and they don’t happen in places where there are rigid, enclosed rules that restrict people.

You know, we still don’t have World of Warcraft on consoles and as a World of Warcraft player and as a console owner I find that super frustrating. I think the same thing happened in the past with a lot of hardware innovations, so there was way more opportunity for – you know, Nvidia and AMD existed in the PC space and that’s why they end up, you know, rather than internally developed proprietary graphics solutions on the consoles, they’re all gone, everything in the console space is coming from the PC now, and I think that we really need to see the same thing in terms of just general attitudes about platforms and that whichever console vendor sort of embraces that, I think they’ll see huge benefits. It’s not the games that are out there today, it’s the games that we don’t – haven’t even thought of yet that are gonna end up being important. I would push them very hard to stop thinking of themselves as being a platform for everything that already exists and start betting on the inventiveness and the benefits that you would get by embracing a more open approach to the internet and game delivery and game business models and things like that.



The centerpiece of Valve Software's lobby

Do you think that’s something that the corporate culture of places like Sony and to a greater extent it seems Microsoft would ever be willing to embrace?

I think that you either embrace the new approaches or you go away. I mean Sega and Atari and lots of other, you know, Vectrex, Commodore, you either figure out how to move forward or you get left behind and I don’t think it’s any different. As soon as Valve stops doing interesting, innovative work we’re gonna be left behind and we’ve all been around long enough in the game industry to know that and you have to be pretty myopic not to realize that just because something used to work a certain way there’s absolutely no reason for them to expect that that’s going to be the tickets to being successful in subsequent iterations. So whether or not they do it is a harder question to answer than is change inevitable and some people manage to make transitions. You know, if you ask me I thought Nintendo’s ability to make the transition from 2D to 3D was one of the hardest and yet also one of the most successful transitions that occurred in our industry. So people can do it but as soon as people stop somebody else will step in and keep the industry moving forward. That occurs a lot faster when you have open approaches. There’s sort of a hedging strategy, you can say everybody has to do everything exactly our way and as long as everybody has to put up with that degree of oversight and control on your part then your margins probably go up and your ability to make other people do stuff probably improves, but the problem with that is that when you fall you fall really fast and I think there’s so many examples of that in the history of our industry that you just, you know, some people will embrace those lessons and other people will be sending out their resumes.

From the conversation we’ve just had it really seems like the strategies and the products that come out of Valve are very fluid, almost on a month to month basis. If you were willing to kind of put on the crown and pick up the scepter what would be a dream project for you that the company is not yet involved with that you would love in the fantasy land to kind of put 100% of your resources behind?

So I use a tablet a ton, so if I could pick one magic wand I would have us all sit down and design a new, more gaming friendly tablet hardware interface and then build some content that really was designed at the same time as the hardware. So if I could pick one thing that would be it. Because I’m really frustrated as a tablet user with how mediocre the gaming inputs are.

And you know this is going to be on all the blogs the next day, when you pick up a tablet to use it, what tablet do you use?

Oh I use the iPad. I have an iPad 2.

We at the Penny Arcade Report would like to thank Mr. Newell for his time, and now it’s time to see where the science happens!