Without medi-gels—the life-saving healing salves in Mass Effect—our Commander Shepards would be toast. Out in the real world, though, we can't just apply medi-gel to our injuries: it doesn't exist. Or well, it didn't, not like this. Not until recently.
According to Mother Nature Network, Joe Landolina, a college student at NYU, has invented something called "Veti-Gel." Apparently it speeds up the clotting and healing process, enough that "even wounds to internal organs or major arteries are able to close up instantaneously."
Look at this video to see it in action (unless you're squeamish; there's a ton of blood). It's insane.
"I have seen [Veti-Gel] close any size wound that it is applied to," Landolina says. "As long as you can cover it, it can close it."
The article has more claims about Veti-gel's incredible properties, including the ability to heal second-degree burns in a day. Even more uncanny is the fact that they sometimes do call Veti-Gel medi-gel.
If you're curious, this is what medi-gels do according to the Mass Effect wiki:
Heals various wounds and ailments, instantly sealing injuries against infection and allowing for rapid healing by having the gel grip tight to flesh until subjected to a frequency of ultrasound. It is sealable against liquids - most notably blood - as well as contaminants and gases.
By contrast, Veti-Gel:
When any part of the body is wounded, the damaged extracellular matrix helps trigger a cascade of chemical reactions in the blood that ends in fibrin - fibers that join togehter to start blood clots.
If Veti-Gel reaches the blood's platelet cells, it helps signal them to change shape and stick together to further help plug the hole in a blood vessel. [See also: Artificial Blood Clots to Improve Soldier Survival]
And when Veti-Gel comes into contact with the extracellular matrix in the wounded tissue, it binds to it, forming a kind of cover over the area. That eliminates the need to even apply pressure to the wound. "It looks like, feels like, and acts like skin," said Landolina.
Veti-gel still has to go through the FDA, but even so, damn. Every day, we come a little bit closer to the future depicted in sci-fi like Mass Effect, people.
College student invents gel that halts bleeding [Mother Nature Network Via Ann Lemay]
After about seven hours with Tomb Raider, I'm on board with Evan's endorsement. It's a very good game, and a strong example of the whole "game that's like a movie" thing that Uncharted laid out a few years back. But what of the PC version?
I've been putting it through its paces, and can happily report that it's a strong port, albeit with some stray rough edges that will hopefully be ironed out in the near future. The PC port was handled by Nixxes, the same people responsible for the great PC versions of Deus Ex: Human Revolution and Sleeping Dogs, among others. Like those games, the PC version of Tomb Raider comes with all manner of expected PC customization options, and it runs well.
I'm using a rig with an Intel i5 2.8GHz CPU, 8GB of RAM and a GeForce 660Ti graphics card, and have been able to get the game running pretty smoothly on "Ultra" settings. That means the framerate hits 60FPS a lot of the time, but slows to 45-50 when I'm in some of the bigger outdoor areas.
The game carries the AMD brand, and it seems like it's got some issues with Nvidia cards. That's mostly manifested itself in the constant crashing I experienced, which I fixed by toggling off tessellation, but which can apparently also be fixed by rolling back your drivers. I've also had a strange visual freak-out happen during a rainstorm shootout where suddenly, I was subjected to kaleidoscopic visual glitching. Restarting the game fixed it, but even the main menu was totally glitched and unviewable, meaning I had to use the arrow keys and some guesswork to get myself to the "Quit game" option.
There are other bugs as well, and at least one Kotaku reader has reported the game being entirely unplayable on his 660Ti. There's also this video that Patricia found, which shows one of the game's most harrowing sequences playing out with a weird invisible-woman Lara. Eep.
But really, those kinds of bugs have been the exception, not the rule. The PC version also has a helpful benchmarking feature that lets you test out your various settings and get a feel for the FPS range you'll see. It seems a bit conservative with its verdict, but that's ok.
Another (very small) thing that nonetheless bugged me: It's too difficult to quit the game, largely because the in-game "quit to menu" option isn't at the bottom of the list as usual, but the middle:
Kinda weird. A small thing, but one I noticed. Mostly because, of course, it breaks one of the ten commandments of video game menus. In fact, there are three steps between the game and your desktop—the quit to menu click, an "are you sure" pop-up, and an additional quit game command in the menu. Yes, these are the tiny things that bug me. (Note: It turns out you can hit Alt+F4 and get a quit-to-desktop prompt. That's a nice option to have, though it doesn't make the menu placement any less strange and doesn't help you out if you're playing on a TV with a controller.)
Enough about menus. Let's talk about hair! One of the features exclusive to the PC is the humorously named "TressFX" which AMD describes as "a new frontier of realism in PC gaming" and which I describe as "kind of weird-looking."
Here's a video of TressFX in action on my computer:
AMD is responsible for TressFX, and I'm running an Nvidia card, so I can't say whether it looks better on an AMD card. Though the official demo video looks about the same as it looks on my PC. Really, it just kind of looks like the Apachii Sky Hair mod for Skyrim. The hair is weird, and I vastly prefer Lara's ordinary ponytail. Plus, it causes my performance to take about a 10FPS hit, so it's not really worth it.
(And actually, when I think about it... does the way Lara's TressFX hair looks make any sense? It kinda doesn't. After all, she clearly has a hair thingy (official term), so why on earth doesn't she fix that mess at every campsite to keep it out of her face? This seems like an example of putting tech over realism, in a game that makes its bones on verisimilitude. Again, tiny thing. I digress.)
Last point to mention: Controls. I've been playing the game on my TV with a controller for the most part. I tested out the mouse/keyboard controls and find that while they're fine, the game feels like it was designed with a controller in mind.
The cinematic Quicktime events in particular just don't work all that well on the keyboard—for example, an early one has Lara scrambling up an incline to escape a cave. On a controller, players use the triggers, which feels like an approximation of the act of scrambling. On PC, it's the left and right keys, which don't feel as good and also make it confusing when players have to dodge left and right to avoid oncoming rocks.
There's also the problem Patricia pointed out where the game shows you the quicktime prompt in one place but tells you which button to press in another. That's confusing, and I've seen a ton of people getting stuck on the various QTEs. Which is also a drag because often, if you fail a QTE, you're rewarded with a grisly, graphic death sequence. Not the kind of thing you want to watch 15 times while you try to figure out which button to press.
But those (mostly small) shortcomings aside, the PC version of Tomb Raider is a strong port. And Nvidia is working on a fix for the issues with their cards, so it's likely that it'll get more stable for Nvidia users sometime soon. Even as it stands, despite a few stray hairs, Tomb Raider's PC version matches the quality of the game itself.
Want to know what it's like to be unfamous Kotaku mobile editor Michael Fahey for a week? Play around 30 gaming apps across three platforms while attempting to connect to SimCity in order to write a review of a game that you assure everyone will think is pretty good once they can connect to it. Also write some tips, and cry a lot. Oh, and the PC you're reviewing SimCity on has one of these attached to it.
Did I mention I am moving next weekend, and have added more things to my current residence this week than I've actually packed? It's been one of those weeks that make me respond to "Oh you write about video games for a living? That must be so much fun!" with cutlery.
Honestly it's not so bad. I get to play some amazing games (see below), and I get to do it while I'm close to my children, but not close enough to strangle them. It's a good life. You should try it. Let me know where to mail the kids.
Chip Chain — Free [also on iOS]
A challenging combination of match game and strategy game. Match numbered poker chips and they merge into one of the next highest number. It's combo-riffic.
Marbelous! — $.99
(Not to be confused with Marbelous without the exclamation point) This is a pretty little puzzle platform adventure, featuring a ball with more character than many human characters.
Rivals at War — Free [also on iOS]
Belie3ve it or not, this is a collectible card game. Players purchase boosters and build a deck that represents a military squad, and then battles play out real-time in 3D. I can see in-app purchases becoming an issue here, but the concept is very cool.
God of Blades — $.99 [also on iOS for $2.99]
The ridiculously good sword-combat running game is now on Android, and it's only $.99 — $2.00 less than iOS. Go, Android!
Dojo Danger — $.99
Now here's a unique game. It's zombies vs. ninja using marbles on a tabletop laced with traps. A truly unique turn-based strategy game.
Melodive — $.99
An incredibly trippy diving/flying game that you need to keep in your pocket for the next time you make bad decisions at a party.
Meltdown — $1.99
This one's incredibly cool. You're a Russian scientist with the power of teleportation, tasked with trapping roaming monsters in special warp gate dealios. Very tricky puzzles in this one, and a really groovy style.
Journey to Hell — $3.99
Whoa, where'd this one come from? A gorgeous 3rd person shooter with a real Painkiller vibe to it. You can expect more on it next week.
Color Heroes — Free
A delightful little platformer starring a painting monkey. The controls are really odd — tap a side to move in the direction and the opposite to jump, switch when changing directions — but it's cute enough to power on through.
Outland Games — $.99
It's an endless runner set in the Monday Night Combat universe, complete with annoying=as=hell announcer! Fun runner, the announcer can die in a fire.
The Ories — Free
It took me awhile to figure out the name of this cute and shiny physics puzzler. Read it again. Get it? Lovely game.
Liberation Maiden — $4.99
SUDA51's awesome downloadable 3DS shooter comes to iOS, and it's so good. Touch screen controls are a little tricky, but I dare you to find a better sci-fi game starring the female president of New Japan anywhere.
Plenty of video games have toyed with a desolate future in which an extinction level event has wiped humanity from the face of the Earth. The Silent Age isn't about the future. More »
Aw, look at the little bear. Isn't he cute? Oh my god he's got a little scarf. And look, he's followed around by colorful fireflies. I bet his game is as light and fluffy as his widdle ears. More »
I contend that one of Square Enix's finest acquisitions in 2009's take-over of Eidos Interactive was the six miniature trained killers of 2009's action-adventure, Mini Ninjas. More »
When Sega's Hardlight Studio released Sonic Jump last year, I shook my head. Jumping is not the ability Sonic the Hedgehog is known for. This week Hardlight has released endless runner Sonic Dash on iOS. More »
It's been a huge week for mobile running games. There's a new Temple Run that's tied to Disney's Oz: The Great and Powerful. Mini Ninjas went for a jog, Sonic the Hedgehog busted out time-tested moves, and the Monday Night Combat folks launched the Outland Games. More »
Richard Garriott, aka Lord British, was carrying a backpack full of fascinating things, when he stopped by Kotaku's offices last week to talk about his next game, Shroud of the Avatar.
What was in the backpack? His very first computer role-playing game—he's holding it in his hand right here; it's all in ASCII code on a spool of paper made for a Teletype machine. CIrca 1975.
Find out what other treasures he brought in our video interview with him (posted below).
Learn about his Garriott's next game here.
Just a few short years ago, Funcom's Joel Bylos was in charge of level 20 through 40 of Age of Conan, a massively multiplayer online game that was, at launch, widely criticized for a lack of quality content past level 20. Now he's the creative director in charge of Age of Conan, Anarchy Online and The Secret World, and his goal is to make unhappy players at any experience level a thing of the past.
Earlier this week I spoke to Bylos about his newly-announced role at Funcom, the Norwegian developer that's been very good to the Australian transplant. He was lead designer on the Age of Conan "Rise of the Godslayer" expansion. Then he served as lead content designer for paranormal MMO The Secret World, where he was responsible for some of that game's most innovative and exciting content, including the tough-as-nails investigation missions, which required players to actually do research outside of the game.
In September of last year, Bylos was elevated to the position of game director of The Secret World, helping transition the troubled subscription-based game into a more sustainable free-to-play (after game purchase) model. He also proved he wasn't afraid to poke fun at himself, via a series of "End of Days" video logs that cast him as a paranoid nutjob.
Late last month, Funcom announced Bylos' newest role — creative director of the company's new centralized live team, a single entity responsible for overseeing development of three very different massively multiplayer online games. Now that former creative director Ragnar Tørnquist has gone off to work on his dream project — the Kickstarter-funded Dreamfall Chapters — Bylos is the man in charge.
So what's he going to do?
I was saddened to learn that, of Funcom's three major MMOs, Anarchy Online is the one Bylos has played the least. When I realized he wouldn't get any of my Leet jokes, I nearly scrapped our interview altogether. But I soldiered on, just as Funcom did when Anarchy Online's 2001 launch was heralded as the worse MMO launch of all time. We're talking SimCity-level issues here. Servers didn't work, registration didn't work, and billing didn't work.
Funcom spent six months fixing Anarchy Online following the disastrous launch, and it grew into an excellent MMO that claimed a good two years of my life, but those initial missteps cost it what might have been a truly massive following.
"Funcom is pretty aware and open about the mistakes it's made," Bylos said of the Anarchy Online launch problems. When the company launched Age of Conan in 2008, a big red line was placed on a monitor, representing the largest number of concurrent players enjoyed by its predecessor. "We passed it 20 minutes in. It was a big moment."
What Anarchy Online lacks in subscriber numbers it makes up for in player passion. The most dedicated citizens of the planet Rubi-Ka have stuck with the game for nearly 12 years. About time they got a graphics upgrade, wouldn't you say?
The promised visual update is a priority for Bylos, who told me he'd like to see it implemented this year. He'd also like to give some of the game's mechanics a tweak.
"Anarchy Online has a lot of content and things to do. its problems are 12 year-old systems and poor systems balance," said Joel.
Age of Conan's problem wasn't stability — it was content. For some reason, an inordinate amount of focus was placed on the first 20 levels of the barbarian-based MMO. The Tortuga starting area was amazing, filled with fully-voiced quests and character driven stories. At one point during development there was a plan to make levels 1-20 their own single-player RPG, with the MMO part kicking in once players were finished.
"My job at Age of Conan was 20-40," Bylos told me. "I was basically told 'You've got no voiceover and less guys and you have to make it work.'"
It did not work. I played through the opening island a dozen times, but the quality and content gap was too jarring for me to continue long past level 20.
That balance has gotten much better since the game was launched, with Funcom sporadically releasing large expansion packs to give players more to do. Bylos' plan is to switch from large expansion packs to smaller content updates on a more regular basis, similar to what's being done in the latest game, The Secret World. "Think every two to three months, instead of every two to three years."
Expect to see those two games mentioned in tandem quite a lot in the coming days, as the live team works to align the tech roadmap between the two for more efficient implementation of new features.
"The idea is to entwine Age of Conan and The Secret World." The two games run on the same basic engine, so new features added to one can easily be added to the other, a benefit of having a single unified team working on the different titles. "If we bring, say, arena PVP combat to Age of Conan, we can use the same PVP from The Secret World."
Compared to the previous two titles, The Secret World's launch went pretty smoothly, due in no small part to Bylos' experience on Age of Conan. Not wanting a repeat of that game's uneven experience, as lead content director he made sure The Secret World didn't fall into the same trap.
"With The Secret World I really pushed the guys – every area needed to be the same."
He also pushed MMO conventions, taking advantage of the game's modern-day setting to create investigation missions — a series of quests that involved looking for answers outside of the boundaries of the game world. Many of these were tough-as-nails, especially the one that featured Morse code — not written out Morse code, but an audio sample. Most modern MMOs would shy away from challenging players in such a way.
"It treats people like adults," Bylos said of The Secret World's content. "Not a lot of ridiculous hand-holding."
The launch wasn't flawless, of course. While the single-server architecture of the game held firm in the face of a massive influx of players, some of the mission scripts didn't fare so well, causing several of the game's more interesting quests to break under the strain.
And then there was the underwhelming response to the game from the MMO community.
"We were shocked when the game came out — it should have sold better." Bylos felt they'd been catering to an MMO community that something different from the normal class-based MMO, something other than elves and dwarves. Then Guild Wars 2 came out, and players flocked to a game that was, essentially, the fantasy game players seemed so tired of.
But The Secret World soldiers on. The recent move to pay-to-own, free-to-play has seen a surge in players, and Bylos plans on keeping the content coming. Regular content updates continue this month with Issue #6: The Last Train to Cairo. Bylos describes Issue #7 as "James Bond vs. Eldritch horrors," which simply sounds delicious. All of this is ramping up to the introduction of a new Tokyo adventure zone, and PVP will be getting a kick in the pants with content that takes advantage of the game's three-faction system.
Joel Bylos has big plans for Funcom's three core MMO titles, but his overarching goal is a simple one "I want the games running strong and growing, and I want players getting their money's worth. My vision is to make them run smoothly and keep the players happy.
Considering the volatile nature of most MMO player communities, that last one might be a tall-order, but Bylos is confident in his abilities.
"I wouldn't have taken the job if I didn't think we could get things done."
Yesterday in New York City, Electronic Arts held a special event focused on queer issues in gaming. And it happened mostly because the company itself was willing to face its own stumbles in presenting gay characters in its video games.
The impetus for Thursday's Full Spectrum event—co-sponsored by the Entertainment Software Association and the Human Rights Council—began after the controversy surrounding the addition of Makeb, the so-called (not by EA) "gay planet" to the company's massive online game Star Wars: The Old Republic.
When I spoke to the folks from EA who were at the event yesterday, they all acknowledged that the publisher had "stepped in it" with Makeb.
"It," in this case, is the sudden controversy that erupted when they added same-sex romance options to The Old Republic.
From one corner of the internet, the publisher was getting blasted by anti-gay activists who felt offended by the inclusion of Makeb. And criticism came from gay advocates, too, who felt annoyed at having to pay for access to a place where those romance options were possible, though segregated from the rest of the game's universe.
According to VP of corporate communications Jeff Brown, it was the intensity and volume of the response that made EA decide to hold a forum where LGBT issues in both the creation and playing of games could be discussed.
Brown's colleague Craig Hagen was one of the organizers of Full Spectrum. While he acknowleged the pride he felt in EA creating a place like Makeb or allowing same-sex relationships to happen in their Mass Effect games, Hagen also said the company could have done better in crafting those options. Mass Effect didn't allow for male same-sex relationships until Mass Effect 3 and Makeb was added to The Old Republic more than a year after the online game's launch.
Hagen describes EA as a progressively tolerant workplace but a studio that still is learning how to do things right. "Ten years ago, it was very easy for me to move into the EA Sports studio [where Hagen works out of], to identify as a gay man, and to bring my partner to studio and company events without any experience whatsoever of homophobia. I saw the same sex relationship benefits that EA offered when I was hired."
"I was involved with the development of the transgender policy that EA adopted," Hagen continued. "I was around when Sims [included] same gender content. I saw all of that. Then when something like Mass Effect or the latest episode of Star Wars occurs, I just stand back and go, even as progressive as EA is, we still make mistakes and we still have a long way to go."
I asked Hagen what he would say to LGBT players who feel embattled in an online game like Battlefield 3. How would he tell them to hold on? "I don't know that you tell them," he answered. "I think you have to demonstrate to them...by the encouragement and the continual development of additional LGBT storylines in our products. The reinforcement inside of EA that this is an environment where you need to feel comfortable, free, and open to develop the right kind of storyline, the appropriate storyline that not only reflects the developer community but reflects the gamer and the consumer community out there."
It's not an "it gets better kind of message" then, I posited. It's a matter of actively making it better?
"Yeah," Hagen said. "That's the point of what [journalist and Full Spectrum panelist] Hilary Rosen made: it's not about defending ourselves, it's about defining ourselves. We recognize we're not perfect. No one is perfect. We're going to make mistakes. When we make a mistake let's learn from it and let's get better."
I threw a generalization about competitive online gamers at another Full Spectrum panelist Matt Bromberg, who helped found eSports company Major League Gaming before becoming general manager at BioWare Austin. Because of the hyper-aggressive nature on online gaming, it would seem that the players who spent the most time in the hothouses of FPS lobbies would be more likely to lob offensive epithets like "fag" to their opponents. But Bromberg said that wasn't the case. "My experience was the opposite," he countered. "I think the more skilled and hardcore a gamer is, when they get really good, their interest in spending time griefing people or doing really anything other than playing at a super high level drops to almost zero."
During the panel that Bromberg participated in, the idea was put forth that RPGs are a genre where progressive inclusion of gay characters and storyline possibilties can happen easily, because those games are all about options and crafting a virtual identity. I asked Bromberg if there was anything stopping a same-sex romance from being the main path, and not just a secondary option.
"I don't think anything does," he answered. "I think it goes back to, ‘What's the authentic story being told?' You're fighting off a race of machine creatures who are going to destroy the world? That's probably the main story. I think underneath that story, there's all kinds of combatants with all sorts of preferences. But I don't think anything stops it other than someone writing a game where it's authentic and meaningful and can sustain a whole game."
Looking back on this week's SimCity launch debacle, it isn't just remarkable that the game's servers failed, it's remarkable how many different ways they failed.
The spectre of Diablo III has loomed over this entire affair, as Blizzard's action-RPG is certainly the easiest point of reference for an always-online PC game that fell on its face upon launch. There is one major difference, however. Diablo III failed in one easily identifiable way: Error 37.
Error 37 was useful, because it became emblematic of the entire disaster. Sure, there were other errors that cropped up later, but Error 37 is the one emblazoned on t-shirts, immortalized in gaming forums, and ingrained in the public consciousness. It was Diablo III's failure, writ large.
SimCity has no Error 37. This game's failings are as varied and unique as the colors of the rainbow. (A shitty rainbow.) Their variety makes the game's overarching problem more difficult to encapsulate, diagnose, and prepare oneself for. SimCity could fail at the outset, or it could fail mid-session. You may have been unable to download it, or you may just be unable to escape the tutorial.
Last May, the day after Diablo III launched, I wrote an op-ed titled "Last Night's Diablo III Debacle Demonstrates The Problem With 'Always-Online' Games." Here are the final two paragraphs:
The important thing to note is that last night, a game was rendered unplayable for a large amount of time entirely because of server failure on Blizzard's part. Maybe it'll never happen again. But maybe it will.
We always knew that by demanding a constant internet connection, Blizzard was taking away a portion of the consumer's ownership of their game. Last night, as the starting gun fired, we got a reminder of what that really means. It means that we play at their pleasure, and that we no longer have the power to decide when our game starts and when it doesn't.
Replace "Blizzard" with "EA" and I could've written that this morning.
In an effort to get my head around the week that was, I've put together a partial list of the many ways that we've been unable to play SimCity since its launch late Monday night. This list certainly isn't complete, but here are some of the ways SimCity has failed for me and my colleagues at Kotaku.
No Unlock For You: Right off the bat, there was a string of problems with games unlocking on time. Lots of people weren't even able to begin downloading the game until hours after the official launch time. It was never quite clear what the hell was going on, only that some people had access to the game while others didn't.

No Pre-Loading: One of the only reasons to ever pre-order a digital game is that, at least through Steam, you can "pre-load" the game and play it immediately as it unlocks. You'd think that EA's Origin would have used a similar approach. You'd be wrong. For reasons passing understanding, Origin didn't allow anyone to pre-load SimCity, meaning that everyone had to download the entire game at the same time.
That led to the unlocking problem above, and also to the interminable installation of the game itself, best exemplified by the "Processing Large File" crawl that we all had to sit through. When I initially downloaded the game in Origin, about an hour after it unlocked, I thought I was in great shape. The entire thing seemed to download in under 30 minutes. Wow, really? Well, no. Actually, most of the game downloaded through the pre-launch menu, and it hung for so long at 23% that I figured it had surely frozen. In fact, I quit and re-started the download multiple times. But then, I finally just let it be, and 20 minutes later it kicked up to 24%. Jeez.
Server-Selection Pinwheel: This one often happens to me when I'm trying to select a different server. It's usually right after I've gotten so fed up with waiting that I decide to take drastic action. I load up the sever selection tool and see a couple that are marked green. I click one, and my Windows spinning-wheel of thoughtfulness starts spinning… and spinning… and spinning, for more or less ever. Or until I give up and try again.
Login Closed: This one's doubtless known to anyone who has tried to play the game, at least on North American servers. You'd try to log in and will simply get a pop-up that the servers are unavailable. EA has, at some points, taken servers down for maintenance, but their announcements and timetables have been so nonsensical (see the below error message, via NeoGAF) that it's difficult to say whether a given server unavailability is planned or accidental.

That might be the least clear server maintenance message I've ever seen. Then again, even when there was a listed downtime, it had no bearing on reality.
The Endless Tutorial Of Death: Yet another problem with the always-online setup seems to be that each server saves a profile for you, but if you go to another server you have to start fresh. That makes sense to a point, but it's odd that the game can't seem to remember that I've done the tutorial like, 5 times. So, every time I switch servers in a desperate bid to find one, any one, that will let me play, I have to go straight into the tutorial again, with no up-front option to skip it. It's annoying—sure, I can just bypass the tutorial after the first dialog bubble turns up, but I wish the game could remember I've played it before. Furthermore, the tutorial never actually tells you you can skip it, so I'm sure lots of players have simply suffered through it again and again.
The TRULY Endless Tutorial Of Death: Then comes the bug that's one of the cruelest: Finally, you get past the server woes and into the game, you begin the tutorial for the seventh time, planning to bypass it asap and start a real game, when for some reason, the tutorial won't actually start. It just sits there, showing you the tutorial town, playing that dreamy music, but it won't ever give you that first pop-up speech bubble. You quit to the main menu. It tells you, hello, would you like to do the tutorial. No, you would not. You load the tutorial again. Same thing happens. Back to the menu. Hello, would you like to do the tutorial. No. You despair.

No City For You: If you manage to get past the loading and the tutorial-loop, there are still plenty of other ways SimCity can fail. How about at the very next screen, where you select regions? Yep, that's a big failure point as well. Several times I'll get all the way to picking out a plot of land for my first city before being told that no, actually, I can't play the game after all. So sorry.
Crash And Burn: Even if you get a city built, it's entirely possible that you'll lose your connection to the server, and therefore whatever work you'd done. Sure, in theory, you can get right back into your server and pick up more or less where you left off, but that's not working all that well right now. It's understandable to just go hop to another server, but of course it's impossible to take whatever you were making with you. Some players have reported crashing out of the game and coming back to find their cities marked as "abandoned," open to be taken over by other players.
Wrong DLC, Buddy: It somehow didn't even cross my mind that there could be non-server-related ways for this game to fail, but it sounds like it's also possible to be unable to play with friends because you don't own the proper DLC. Which is particularly galling, as it's difficult to parse all the different DLC, and I feel like the few times I've gotten into the menu, I've seen ads for several different DLC packs with no real idea of how many there are, or which one is which. It's one thing to require everyone to have the same map-pack to play a Call of Duty map together, but with granular DLC like SimCity's, requiring everyone to have the same DLC to share a region is madness.
Server Unavailable: While sometimes the game would block logins, other times the servers would simply become "unavailable," prompting an error screen like the one above.
Missing City: Others have reported that even after getting into the game for prolonged periods of time, the cities they've spent hours building have either disappeared or become inaccessible. Others have lost access to the servers upon which their cities were saved, and as a result lost access to their cities.
While the variety of SimCity's failings may set it apart from Diablo III, the games have one thing in common: They're both unintentional—but unequivocal—arguments against an always-online requirement.
This week, it seemed that the grim future Diablo III foretold came to pass. SimCity has failed its users so thoroughly and in such a variety of ways that I can't help but stare at the wreckage of this by-all-accounts lovely game and shake my head. Surely there's a better way.
Bars, clubs and noisy taverns are always crucial locations in a story-driven game. They are save points, places where we can sell useless stuff from our inventory, gather information, meet a key character, or just simply get into trouble.
We have selected bars and inns that look the grittiest. Bars that are perhaps most memorable as being dangerous and chaotic. So no Stray Sheep this time (well, it's chaotic in a way though), sorry Catherine. Those types of bars will be the subject of another post.










Point-and-click adventures, Western RPGs or anything in a cyberpunk setting are probably full of shady, dangerous bars. Show them in the comments below with visuals.
sources: FatedBattle's LP, Deus Ex Wiki, PinkKittyRose's LP, TheWiNiZ, WindFamiliar's LP, Toegoff's LP, Larry Omnipedia, cubex66's longplay
It's been a long while since I watched the Matrix movies, but watching this 'speedrun' rendition by 1A4STUDIO brings it all back to me—including how silly and absurd some parts of the movies are.
Also—obviously, the bullet time in the movies is rather 'video gamey,' but this highlights that those aren't the only things that come off that way. But what really makes this is the bevy of small, cutesy details. I think I like this better than the film!
Speedrun: Matrix in 60 seconds [1A4STUDIO Via Laughing Squid]
Does the world still care about Japanese role-playing games? Do people still want to buy them? Do they still deserve our attention?
Ask your average gamer—or your average game developer—and they'll tell you that the JRPG is a dying genre. They'll tell you that Japanese RPGs haven't evolved, or that nobody buys them anymore. That JRPGs are too niche to bring to America. That the style isn't worth anyone's time.
America disagrees.
For a long time now, I've been arguing that JRPGs are under-appreciated—that the genre is far more diverse and interesting than people believe. I've also argued that the fanbase for JRPGs is larger than most people think it is.
Robert Boyd thinks so too. Boyd, an American indie developer who makes turn-based, Japanese-style RPGs, believes that there are tons of westerners who would happily buy more JRPGs or JRPG-style games. If only there were more to buy.
"I think the market for quality JRPGs outside of Japan is grossly underestimated," Boyd told me in an e-mail yesterday.
His proof? Boyd's 2011 game Cthulhu Saves The World sold 300,000 copies on PC alone—and another 100,000 on mobile platforms and the Xbox indie marketplace. Cthulhu Saves The World is a traditional turn-based RPG that in many ways emulates classics like Dragon Quest and Final Fantasy. It's also funny, charming, and interesting in its own way. And it's a big success.

Granted, Cthulhu is a cheap game, and Steam has promoted it a few times with bundles and sales. But those are massive numbers even for a $3 game, and Boyd believes his JRPG isn't an anomaly.
"Zeboyd Games is a two-man studio and we made Cthulhu Saves the World in under a year (and not even working full-time on it)," Boyd said. "Not only that, but at the time, we had very little previous development experience. If we were able to find that kind of success with our low-budget JRPG-style RPG, I don't see why a bigger studio with a solid understanding of the genre couldn't find even more success with bigger-budget higher priced games."
There are some other Westerners making JRPGs—Adam Rippon's Dragon Fantasy has been a success on iOS and will soon be on PS3 and Vita, and a number of developers have started Kickstarters for JRPG-style games like Echoes of Eternia. But Boyd thinks the market is still untapped.
"PC in particular has exploded in the US over the past few years thanks to Steam's growing popularity and the rise of indie games," Boyd said. "And yet there are still very few JRPG-style games being released professionally on the PC."
You don't have to be an indie to get an audience—despite common consensus, big-budget console JRPGs have also found a fair amount of success over the past two years. Nintendo of America president Reggie Fils-Aime told me he was quite pleased with Xenoblade's sales when we chatted last year, and Xseed has said that The Last Story is their most successful launch to date.
Most recently, the stellar Ni no Kuni tore up the charts in early 2013—according to one person in a position to know (who spoke to me under condition of anonymity), Namco Bandai was very pleased with the RPG's sales in the United States. Although the publisher has yet to say anything about the game's reception, Ni no Kuni was the number-one seller in the UK in January as well.
People want to play good JRPGs. Just look at the charts for February's PSN sales, via Sony:

Yeah, that data happens to coincide with Square Enix running a sale on Final Fantasy games for half of February, but it's not a coincidence. People aren't just buying up old Final Fantasy games because they're cheap. People are buying them because they want to play great JRPGs.
So let this be a message. To a few different groups of people.
To Japanese publishers: Bring your games to the west! If they're good, people will buy them. Word will spread. We'll help.
To game developers: Make JRPGs! They're not obsolete. People want to play them. Not every role-playing game has to feel like Skyrim or Mass Effect. There are a lot of different styles to play around with.
Most importantly...
To gamers: Speak up! Let your voice be heard. Support great JRPGs. Spend your time telling companies like Square Enix that you want to see games like Bravely Default come to the West, and tell indie developers that you'd love to see them make more JRPGs.
Don't lose faith, no matter how many people tell you that this is a niche, undesirable genre. The numbers tell a different story.
Random Encounters is a weekly column dedicated to all things JRPG. It runs every Friday at 3pm ET.