Steam Refunds and Changing the Digital Distribution System

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Steam, arguably the most well-known digital video game distribution platform in the video game industry, recently began utilizing a revolutionary new feature: full refunds for digital game purchases. This may seem relatively insignificant in the grand scheme of things; after all, people have been trading and getting refunds for games as long as they have been available. But, to my knowledge, this marks the first time a major company has allowed their customers to receive a full refund for a digital product that they have purchased, for any reason. The terms and conditions, as outlined on Steam's website, are as follows:

"You can request a refund for nearly any purchase on Steam - for any reason. Maybe your PC doesn't meet the hardware requirements; maybe you bought a game by mistake; maybe you played the title for an hour and just didn't like it. It doesn't matter, Valve will, upon request via help.steampowered.com, issue a refund for any reason, if the request is made within 14 days of purchase, and the title has been played for less than two hours. You will be issued a full refund for your purchase within a week of approval. You will receive the refund in Steam Wallet funds or through the same payment method you used to make the purchase."

Valve, the company that created and operates Steam, obviously has set some pretty strict guidelines for how refunds will work. When I first heard about this, I was worried that people would quickly take advantage of it, by buying a game and completing it, only to demand their money back, effectively playing a game for free. However, it is apparent that Valve has crafted a fair way to allow gamers with legitimate complaints to get their money back. I only wonder if this marks the beginning and end of digital refunds for games, or if it represents the first step in massively changing the way digital games are sold and distributed.

As a gamer, I typically stick to buying physical copies of games, unless of course they are digital-only. I do this mainly so that I can trade them back in when I want to get a new one and not have to pay full price. There have been ideas and rumors floating around about the trade or sale of used digital games since they became readily available. In my opinion, allowing refunds for digital games is probably as far as gaming companies are going to go in regards to the sale of second-hand digital-only products. The idea of a "used" digital game makes very little sense to me. For instance, if I purchase a physical copy of a game, it comes with a case, a slipcover, and a game disc. Like many other physical things, the minute it reaches my hands it begins to depreciate. It no longer holds the same value as it did when it was brand-new.

Because digital games are intangible objects, they cannot obtain or show wear and tear, nor can (or should) they depreciate in value. They do not have cases or discs, and exist exclusively as a digital entity that cannot be seen or touched. If I buy a game for $15 right now, it should still be worth $15 years from now (unless of course it goes on sale or is reduced in price). Allowing someone to buy a digital game for $30 instead of $60 because it is "used" breaks the whole digital distribution system. Why would anyone in their right mind pay $60 for a digital version of a game when they could get it for $30, especially considering that both versions are in exactly the same condition?

If digital game trade were to work, developers would remove certain features or functions from the game (like multiplayer) to reduce its value. Still, as it is right now, the trade of digital games does not seem like something that would work. However, Steam and Vale have the right idea. The process and rules they have set up allow people to receive refunds for digital purchases without being able to take advantage of their services. As far as I am concerned, this is as far as refunds/trades will get for digital games, but who knows what the future has in store.

Fire and Blood: My Thoughts on Mad Max: Fury Road

For weeks on end, I have been trying desperately to turn my feelings about Mad Max: Fury Road into comprehensible words to no avail. Just about every attempt boiled down to me saying "IT'S PERFECT GO SEE IT" over and over. It's now been three weeks since it opened in theaters, and the fires that it set in my brain are slowly starting to recede, and I am finally able to clearly state exactly why I feel that Fury Road is, and forever will be, the greatest movie-going experience of my life.

Mad Max: Fury Road is a film that takes a part of you with it when it's over. I left the theater with my head buzzing and my body slightly weakened, like I just finished an intense two-hour workout. I couldn't think straight for a few hours after watching it for the first time; it's a miracle that I was able to drive home safely. It left me breathless and exhausted, yet I still wanted more. I knew the minute I walked out of that theater that I was going to see it again.

From a technical standpoint, Fury Road is an astonishing achievement. It does so many things so well; it's a masterclass in editing, cinematography, directing, production design, world building, sound editing, acting, and practical effects work, and should be studied in film school for years to come. It should also be said that it's a minor miracle that a film so packed with wall-to-wall action can be so comprehensible. There wasn't a single point where I was confused as to where people were, what they were doing, and how they got there. This is a film that starts at full speed and only gets faster, but you never get lost in its frenetic, breakneck action.

Like the last two films in the franchise, Max plays more of a supporting role here, stumbling into the story by accident. It's Imperator Furiosa, played so brilliantly by Charlize Theron, who takes center stage, and it's her story of redemption that is the heart and soul of the film. Furiosa, along with the five women she has tasked herself in saving from a lifetime of sexual slavery, are all very capable, believable individuals. Not once are those women objectified or used as some sort of "accessory"; each has a unique mindset and set of abilities that are utilized throughout the film. They are more than just a plot device; they are real, believable people who play a key role in their own survival.

Fury Road never falls victim to the many tropes that plague many Hollywood action movies, especially ones that feature female characters. Our heroes are able to reach a reasonably happy end not because Max comes along and saves the day, but because everyone plays a vital role and works together. No one person is more important than another. Furiosa and Max are evenly matched, and they both realize that the only way they are ever going to survive is if they work together. They quickly get a feel for each other's strengths and utilize them whenever needed. Over the course of the film they get to know each other just enough to build a solid partnership; there are no forced implications of any sort of relationship building between the two; they're just two people working together out of necessity (and chance) to survive.

One of the most refreshing things about Fury Road is that it doesn't preach to its audience. The world and the characters that inhabit it are explained through subtle yet revealing visual clues. You get a clear understanding of who these characters are and what makes them tick by just watching them. You understand the trials and tribulations that they experienced without ever having the film delve into some long-winded backstory. It trusts the audience to unravel its mysteries without having to be constantly shown the solution. Not once does it take the people watching it for granted. I can't tell you how refreshing it was to watch a movie that let me discover its world on my own.

It's been said before, but it bears repeating: Fury Road is unrelenting. There are a few breaks now and then that allow the characters and the audience breathe a little, but its foot never fully comes off the accelerator. Everything is always moving forward, never wasting a single frame. The action is brilliantly choreographed and shot, and is constantly one-upping itself. After watching the sandstorm sequence, I was certain that there was no way anything that the film could throw at me from that point on could top it. I was (happily) proven wrong again and again, constantly having to pick up my jaw off of the floor. The way this film builds is a lot like climbing Mount Everest, only when you reach the summit you just keep going up, blasting through the atmosphere and into deep space.

Mad Max: Fury Road a film that reminded me just how powerful, inspiring, entertaining, and beautiful cinema can (and should) be. It is a modern action masterpiece that has set the bar for all films to come. It is almost mind-boggling that a film that spent so long in development could not just turn out as great as it did, but to become a benchmark for all modern filmmaking. It's a film that makes me want to go out and create something. It's as inspiring as it is breathtaking.

Much like he did with The Road Warrior in 1981, George Miller has rewritten the book on action cinema. From now on, I will judge every film in one, simple way: "Is it as good as Fury Road?".

Sadly, I think that answer will always be "no".

The Return of Retro

Image courtesy of Gamer Headlines

One of my favorite games released this year (so far) is Axiom Verge, a 2D side-scrolling action/adventure game in the same vein as Nintendo's Metroid series. It flew under my radar somewhat, but finally caught my attention about a month before it released on the PlayStation 4. Critical response has been overwhelmingly positive but it has not received the same attention as some of the other, bigger games released this year. Though it may seem diminutive in stature compared to the industry's big blockbuster franchises, Axiom Verge is an extremely meaty and rewarding game that relies on the player's quick reflexes and sharp thinking to advance. From its pixelated graphics to its pumping chip tube soundtrack, Axiom Verge has the retro blood of all the classic action platformers of the late 80s/early 90s pumping through its veins, and as someone who has been playing games for a long time, that is a very good thing.

Perhaps the most extraordinary thing about Axiom Verge is that it was made by one person. Tom Happ spent the good part of four years pouring his heart and soul into this project, designing all of the characters and weapons, mapping out all of the levels, writing the story, and even composing the game's musical score. Happ lists Metroid, Contra, and Blaster Master as Axiom Verge's main influences, and the love for those games is clearly present in just about every ounce of the his creation. Many games today cite multiple games as influences, but most have moved away from conventions of the past in favor of newer, simpler game design. However, as recent trends indicate, Happ is not the only person with a deep love and appreciation for gaming's past. Retro gaming is making a big comeback.

Axiom Verge represents a renewed interest in games that adhere to the "old school" rule book. The game industry is full of big, expensive games that utilize state-of-the-art technology to give the player an unrivaled, realistic gaming experience. But every so often, it is good to revisit the past. Independent developers are leading the charge; games like Shovel Knight, Guacamelee!, Rogue Legacy, Fez, and Spelunky were all made by small development studios, and all of them were huge hits critically and commercially. They gave me the same feeling I had as a kid, discovering video games for the first time. It is that sense of discovery and nostalgia that I think is sorely missing in the industry today, and is something the constant barrage of Assassin's Creed and Call of Duty games cannot offer.

I would love to see more games like Axiom Verge in the future. What makes it so great is that it wears its influences on its sleeve without blatantly ripping them off; it is a great, unique game in its own right. Games like it, along with the fantastic Shovel Knight and Rogue Legacy, show that fancy graphics or a deep story are the only things that make games great. The games made back in the Super Nintendo/Sega Genesis era were all made with one goal in mind: make the best possible game with whatever limited resources are available.

Technology was not what it was back then, so developers had to rely on genuinely great game design and expert craftsmanship to get their game made and sold. Games are easier to make than ever, and in the process, have lost that certain heart and soul that made games of the early 90s so memorable. I am truly thankful games like Axiom Verge exist and that an audience is responding to them the same way I am. Maybe modern developers will take notice, and finally remember that in order to keep going forward, sometimes you have to look back.

Nintendo Goes Mobile: A Game Changer?

Picture courtesy of Game Informer

This past week, Nintendo made a stunning announcement that they were teaming up with mobile game publisher DeNA to release games and apps on mobile devices. This was long rumored, and Nintendo constantly denied any desire to enter the mobile market, especially when its 3DS brand of handheld gaming devices has been selling incredibly well, even beating out both the PS4 and Xbox One in sales for the month of February. Nintendo will develop all of the games (which will all be brand-new, and not ports of existing games) while DeNA will lend their expertise to make sure the games fit within the mobile space. The announcement came alongside the reveal that Nintendo was also working on a new, next-generation home gaming console; usually news about a new gaming system would take center stage, but the revelation that gamers will soon be able to play Mario and Zelda on their smart phones or tablets is a huge deal.

In the wake of this announcement, Nintendo's stock rose almost 33%, which is great news for the gaming giant. Nintendo has always been a company that plays by its own rules, for better or worse. Most recently, this mindset has backfired in a major way; the Wii U has been a major critical and commercial disappointment (which is possibly the reason why they are currently working on a new, more powerful system) and many long-time fans are becoming more and more fed up with company's failure to keep up with the ever-changing gaming market. However, with the decision to develop and publish games on mobile devices, it seems as if Nintendo is finally willing to keep up with the times.

Even with the commercial and critical disappointment of the Wii U, Nintendo is still the world's most recognizable and popular video game company. Developing and releasing their games on smart phones and tablets is arguably the smartest move the company can make, especially in today's market. Mobile gaming is the biggest and most profitable in the entire industry, so by bringing their games to mobile devices, Nintendo has the opportunity to reach a new market and create a generation of new fans. Nintendo president and CEO Satoru Iwata stated that the company hopes that their mobile games will help people become "interested in the Nintendo IP" and will become more motivated to buy a Wii U or 3DS.

Nintendo claims they want to begin releasing mobile titles as soon as this year, which is an admirable and attainable goal. In my opinion, the sooner they can get their games on mobile devices, the better. Despite their recent upswing in sales, Nintendo still has a lot of catching up to do if they want to go toe-to-toe with Sony and Microsoft. Hopefully this decision will lead to much greener pastures for the company; as someone who grew up with Mario, Zelda, and Donkey Kong, there is nothing I would like to see more than Nintendo be on top once again.

Helldivers Review: Glory in (Constant) Death

Image courtesy of Sony Computer Entertainment

The beginning of each new year can be somewhat of a dead zone for gaming; all of the biggest releases are still on the horizon, and a solid new game is hard to come by. I typically use January/February as a place to catch up on my gaming backlog, but sometimes, out of nowhere, a great game sneaks up on me to (once again) push all of those unfinished games to the side.

Case in point: the brilliant and insanely tough Helldivers, a PlayStation-exclusive top down science fiction murder fest from Arrowhead Game Studios (whom you may recognize as the developers of Magicka).

If you've played Magicka, then Helldivers should feel right at home; you can team up with three of your buddies and traverse a near-endless stream of procedurally generated maps killing enemies and completing objectives. However, friendly fire is always on, meaning you have to coordinate with your friends in order to succeed. This adds a new layer of strategy and coordination; if you want to survive, you have to work together. And watch where you point your gun.

The setup for the game is straight out of Starship Troopers: you are a Helldiver, the best soldier that Super Earth has to offer. It is the distant future, and you are tasked you with eliminating the evil alien menace that is plaguing the galaxy and out to destroy Super Earth's way of life. It's up to you and your Helldiver pals to spread managed democracy across the universe and ensure freedom for generations to come! It's gleefully hilarious, especially since your character yells out "Have a fresh cup of tea-mocracy!" and "FREEDOM!" just about every time you kill something.

Gameplay is simple enough to grasp but has enough layers to create some unique strategy. You travel from planet to planet (each with varying difficulty) completing objectives, all the while trying to escape with your life. You have an arsenal of weapons that can be expanded and improved the more you level up. Each planet you visit also has scientific samples that you can collect to gain research points, which are in turn used to level up your weapons and abilities. Each player has the ability to call in support via strategems; equipment ranges from turrets and ammo to an APC and even a giant mech suit. Before you leave each mission, you have to wait on your escape shuttle; it's a little 'last stand' of sorts, with enemies coming at you from all sides. It's frantic and incredibly fun, especially when you throw other players and multiple strategems into the mix. Controls are precise, meaning you have no one but yourself to blame if you die.

Helldivers doesn't hold your hand at all. It rarely does you any favors, so that means it's up to you to take care of yourself and your teammates. Everything in this game can kill you: your friends, your own weapons, your defensive equipment, a teammate's drop pod, even the rescue shuttle can flatten your ass. You may thing that's a little too much, and at times it can be (especially when you're close to the end of a mission) but trust me when I say that nothing that Helldivers threw at me was frustrating. In fact, the multiple deaths made the game that much more fun (and hilarious). The feeling of accomplishment you get when you clear an insanely tough mission is incredibly rewarding.

You can play the game solo, but I would strongly suggest you either play with friends or use matchmaking. Helldivers is made for co-op, and it's much more entertaining and rewarding playing with others.

We're barely into 2015, but Helldivers is all but guaranteed to secure a spot on my "Best of" list at the end of the year. It's been a while since I have played as rewarding and entertaining game as this. I highly suggest you gather three of your closest buddies and dive straight into hell; you'll have a damn good time.

Just prepare to die. A lot.