Tag Archives: Call of Duty

Here’s what I learned from CheckPoint S3E22.

  • Another iOS game that’s ruining the sacred history of a certain comic book hero failing miserably at getting reinvented? What a tease.
  • Well, the intro doesn’t really need spicing, but I wonder if Loading Ready Run have heard about Hot Pepper Game Reviews. That sounds like it could be a kick-ass way of making the intro spicier.
  • 1197 vehicles in the latest Gran Turismo game? Sweet. Looks like Graham is sold on the Lunar Rover being included in the game. That’s fine, but I’m sure that the break-neck speeds of 10 miles per hour will really make it a viable choice in the various races the game provides.
  • A Japanese game developer in the mid-90s overvaluing art over gameplay? I’m sure Street Fighter 2 wasn’t the first game released where that was the case, but I can’t say that I’m terribly surprised that it is.
  • Sports games hit a plateau this past year with the iterations released in the final months of the present generation of consoles. Sure the graphics could always be improved, but the performance and the control that players had over athletes in these simulations have it a high point. With many of these titles borrowing multiplayer game cues from buying packs of trading cards to build out a roster in the fairest way possible, it really is something where increasing the number of unique models in the audience has become a tentpole issue for the various franchises of sports titles. Realistic crowds were more of a selling point than multiple players contesting a ball in mid-air in the FIFA ’14 trailer. Do sports game fans really care about the simulated audience?
  • Mobile gaming embracing pay-to-win isn’t a new phenomenon, but it being new to DC Comics characters and universes seem to be. Injustice: Gods Among Us features in-game purchases that allow you to unlock late-game characters early, making the whole game a bit more of an exercise in patience more than skill. The other titles have in-game purchases that are locked to game progress, and suffer for the lack of exploitability. It’s a shame that these games are just money sinks instead of decently fun titles in their own right.
  • The Ellen Page Simulator just seems to be more of a derivation of Heavy Rain for the sake of the game developer doing something that’s weird and paradigm shifting instead of a game that actually seems unique enough to warrant praise. The actors are actors and they do their jobs pretty well, but as Graham points out, the limits that the game presents to the player on relatively simplistic sequences, such as walking down a hallway, break the whole point of the game as the developer sees it. Beyond: Two Souls was supposed to have so many decision trees and capacity for variance that it was supposed to blow most other games out of the water. Instead, it barely holds up thanks to the performance of the actors involved.
  • Desert Bus time this weekend? Desert Bus time this weekend.
  • COD: Ghosts runs at 720p on the Xbox One while it runs at 1080p on the Playstation 4. It’s still a bad game because fake Infinity Ward made it. No need to have a discussion about which system is better using COD as the framework.

Here’s what I learned from CheckPoint S3E10.

  • A black butterfly, if we’re honest.
  • GAGTAA Day a success! Great!
  • DuckTales Remastered’s marketing campaign of retro issuing a NES cartridge might win over some retro gamers, but the limited quantities of the gold-pained carts suggest that it’s for hardcore collectors only. And even then, what is the price of something like a re-issued gold-color painted NES cart? I dunno, but it probably belongs in a museum.
  • A game that could be cool for the mobile platform juggernaut iOS is now completely worthless thanks to a prominent sponsorship with Coca-Cola. And it’s a Temple Run ripoff to boot? Well, in that case, I hope the promising future suggested by whichever development studio thought this up to sell to Coca-Cola dies in a fire.
  • Oh, Kathleen. Sell that Ocean’s 75 spot. AND PAUL GETS AIRTIME ON A SHOW? MORE PAUL, PLEASE. And Graham gets to take a crack at it too. I know this is a funny bit, but the Sony studio that created God of War making news for weird internal structuring should be news, right? Changing the formula every once in a while, especially if it’s from the Sony side of things, should be a welcome story, right?
  • The big news: the Xbox One doesn’t need the Kinect to operate as previously stipulated. “We have reached peak sass” indeed, text crawler. Of course, MSFT had to have invested in some market research, but they were trying to channel other companies that just get to change things around in a given industry simply for the sake of making metric asstonnes of money. That didn’t work out, and so instead, they have fixed the Xbox One. And I’ll probably be buying one, as I had already planned to do. Because I am a bad, bad person. Slightly less bad now that this particular announcement has been made.
  • I’ve always thought that the Zombie mode for Call of Duty titles was a broken, dumb, stupid, tasteless Left 4 Dead-esque ripoff made for the generic Call of Duty player. This has been confirmed for the OVER 9000th time by the upcoming DLC that has something to do with dieselpunk zombies in World War 1. Or something like that. It’s dumb. And it’s stupid. If you think that it’s cool, I’ll let you have that the Zombie mode that was quirky enough to be cool was the edition included in Black Ops, especially with the cast of Castro, Kennedy, McNamara and Nixon imitators. When Treyarch started developing the game modes around easter egg like discoveries, instead of simply adding an easter egg to the level, then the mode got pretty shit.
  • Fudge? Whoa, TMI, Kathleen.
  • MechWarrior Online players bought enough 10 USD special edition mechs to raise 100k CAD for the Canadian Cancer Society? Pretty cool.

A prelude to a few investigations.

The larger idea that prompted the above tweet is the following: is the viewership to players ratio for any given game a factor in esports marketing ventures?

I’d like to take a look at the numbers game, so to speak, behind esports events and broadcasts. What is coveted ‘critical mass’ behind the explosive growth and inevitable decline of a game’s viewership?

I want to try to understand this particular train of thought because I’m not sure there are many marketing perspectives from the video game industry’s side of esports. Perhaps that’s why Valve hid Dota 2 behind the beta invite wall for so long? Maybe that’s why Activision could throw a million dollars at Call of Duty one year and not do the same the next year? What gave Blizzard the idea that its much smaller scene could support the reformation of its World Championship Series events against its competitor’s League Championship Series? Why did Shootmania never ascend to replace Quake?

As with anything esports-related, the scope of the initial questions that has prompted me to look into things as simple as numbers has outgrown its initial goals over time. Of course, this also means taking the time to actually sit down and watch these events, something that I really haven’t done lately. Which series of events for each game should I start with? This is the crazy question I’ll have to answer first, really.

Maybe it’ll get me excited about esports again.

We’ll see.

[contact-form][contact-field label=’Name’ type=’name’ required=’1’/][contact-field label=’Which game do I try to figure out first?’ type=’select’ required=’1′ options=’CS:GO,Dota 2,League of Legends,Other,Shootmania,StarCraft 2′][/contact-form]