Released this month was the beta for Halo Reach, Bungie's last game in the Halo franchise; and all people with a copy of Halo ODST were invited to jump in the beta (in a matter very similar to Crackdown and the Halo 3 beta three years ago).

I think it goes without saying that I, of course, jumped in.

It definitely feels like Halo. The look, the sounds, the weapons, they are all very at home in the Halo universe. But there are a lot of differences, too, that make it new and exciting.

Visually, I'd say Reach is "grittier" than the other Halo games. It is set immediately before the events of Halo 1, and it's made to look older and less polished than the games set in a later time. (Whether that "makes sense", considering Reach fell in a very short time before Halo 1's opening, is I'm sure a matter of debate.) Spartan armor is mottled and scuffed instead of smooth and shiny, and even the medals that appear on-screen have a dirty, textured look to them.

The "equipment" feature from Halo 3 has evolved into "armor abilities". Instead of picking up a piece of equipment, you spawn with a certain ability as part of your "loadout" (which is a combination of your armor ability — constant until you die — and your starting weapons — which can be replaced with what you find on the battlefield). You may choose a loadout with Sprint, Armor Lock, Jetpack, or Cloak. (Elites, in the game types where you can play them, have a Roll/Evade ability in place of the Sprint, and they have no Armor Lock.)

The loadout feature is nice, in that it gives you the option to tailor your abilities to your playing style. Also, since you can choose a new loadout every time you spawn, you're not locked into something for the entire game — you can switch abilities between deaths depending on how the enemy is reacting or how the game is playing. (In traditional capture-the-flag games, I was partial to using Cloak to get in or guard the flag, and then switching to Sprint once the flag was in motion.)

Also new are assassinations. When you come up behind someone, you can tap your melee button for an instant kill. That's not new. But if you hold the button down, you will perform an assassination move that lets your opponent know they've been owned, with a knife in the back, or a neck-breaking head twist, or a pound to the ground. That's new. They don't seem like much, but they add a lot to the game, especially when you sprint up behind the enemy flag carrier, jump up behind him, and do a two-fisted pummel to smash him into the ground inches before the score point to save the game. The only danger is, during the assassination animation, you are vulnerable, and someone can kill you to save their teammate. Or, someone can kill your victim and steal your kill (you are awarded with an "assist", for holding them still, I suppose). The beta did seem overly sensitive in turning quick-touch kills into animated assassinations, which resulted in a few vulnerable deaths in close quarter intense firefights; that may have been intentional, to show off and test the assassination code.

One of the interesting problems in making a prequel game is adding new elements to make the game interesting, but without adding things that make the past seem better than the future and leave you wondering, "What happened to R2-D2's thrusters?" I don't know if they've succeeded here or not. It could be argued that these armor abilities were only in development on Reach and were therefore lost when the planet fell. Maybe the campaign will address this, or maybe it'll just sweep it under the rug. While it may not be important to Reach's game play, it will have an effect on the overall Halo universe; and for a company that has dedicated much into the building of this universe's story, it will be important, especially to maintain the immersion. I suppose we'll see how it plays out when the game launches.

In all, I'm excited for the new Halo. It's different enough from Halo 3 to be new, but enough of the same to be worth playing. My preorder is in for the retail release, which, I'm sure by no coincidence, has been announced for exactly 117 days after the end of the beta.

Piracy Causes Everything

Many software publishers and developers like to blame piracy for everything, from less-than-expected sales to the reason for DRM, but this is a new one. Sony America's Senior VP of Public Relations Rob Dyer gave an interview to Gamasutra recently. In the interview, Gamasutra brought up the lagging sales of the PSP handheld consoles. Dyer's response:

… And we also believe that there's a way that you will be able to, not stop, but slow down the piracy in the first 30 to 60 days from a tech perspective. There's some code that you can embed that we've been helping developers implement in order to get people at least to see a 60-day shelf life before it gets hacked and it shows up on BitTorrent.

That's been the biggest problem, no question about it. It's become a very difficult proposition to be profitable, given the piracy right now. And the fact that the category shrunk inside of retail.

It's true; you can't hit any torrent tracker site without seeing thousands of download links for a Sony PSP.

Wait, no.

Last time I checked, you can't download hardware. And if pirates are actively seeking out games to download and play, it stands to reason they'd need a piece of hardware to play them on. So, rampant piracy of games, if anything, should have an increase of hardware sales, no? Heck, I'd be more inclined to buy a PSP if I knew I could easily hack it and get a bunch of free games for it (if I did that sort of thing).

Piracy may have an impact on the revenue the entire division brings in, when you combine hardware and software; but until we can hook up a replicator to BitTorrent, you'll have a hard time convincing me that the failure to move hardware is a fault of piracy.

A Look at Swearing in Video Games

Here's a nice little opinion piece written by the author Mohammed over at Frag Crunch, titled "A Look at Swearing in Video Games". I've expressed my dismay on more than one occasion here about a game's use of excessive language ruining the experience (or interest) for me. It's always nice to get a second opinion.

I'm not sure I'd go as far as he did in his conclusion, though, that the excess of a few examples necessarily negates a whole medium's status as art. I would suggest that Hollywood has put out quite a few movies that take things to excess with little value (language, gratuitous sex, violence, meaningless special effects); but just because Michael Bay puts out a few movies that are all explosions and no plot, I wouldn't say movies aren't an art form in the general sense. The value of certain, particular works of art in the medium can be debated, but I'd still say it's a form of expression.

Single player vs. multiplayer

I've completed the Legendary campaigns of Halo 2, Halo 3, and Halo ODST. I've slogged through the Veteran campaigns of Call of Duty 2 and Call of Duty 4, including rescuing a hostage from an airplane full of terrorists in less than 60 seconds. I've even managed to get through a complete episode of Left 4 Dead 2 on... well, Advanced, not Expert.

And yet, when I attempt to play on Xbox Live, I might as well bring a knife to a gunfight.

I don't know what it is, whether it's incompetent enemy AI or something in me that just chokes when I go against human players. All I know is, this music video sums it up nicely. :)

Game Room

New to Xbox Live Arcade this spring is Game Room, a virtual arcade space where you can play retro arcade and console titles and issue game challenges to your friends.

The games in Game Room are pretty faithful recreations of the originals. You can even select different viewing options, including the original arcade feel that replicates the pronounced curves of the CRTs used in the old machines. Unfortunately, the same can't quite be said of the controls. Games that control with a joystick seem to work just fine, but games with special controls aren't quite as good. The arcade console Tempest, for instance, had a knob that allowed for very quick and precise control over your paddle. That control over both speed and precision is just something that doesn't work quite well when translated to pushing a stick left and right. The old Intellivision console had a numeric keypad on its controllers, and so each keypad button that a game uses is mapped to one of the buttons on the controller. While they made their best attempt at grouping like functions on the controller (i.e. Sub Hunt had keys for ¼, ½, ¾, and full speed, which are all mapped to the four cardinal directions of the D-pad), you still have to take some time memorizing the translation before you can play the game effectively.

On the plus side, this app has some serious potential for sucking some money away from me. On the first day alone, I was eager to buy Tempest and Yar's Revenge. The challenges are a great idea, letting you call out or answer a call to play a certain game based on certain rules (e.g., who can last the longest in Tempest, or who can get the highest score with the default settings in Centipede). The "medals" you can earn in each game are kind of a neat idea, too, as they give you something to shoot for outside of simply playing the game, but they're straightforward enough that you don't have to go out of your way to get them (no having to set up a "custom room" with a second controller plugged in to boost).

However, there are more than a couple negatives. For one, the user interface doesn't feel like it was tested for usability. There is a "showcase arcade" where most of the arcade cabinets are already set up, but to enter it, you have to press 'X' on the main menu. Why not just make this a menu option? The first time I entered the showcase arcade, it was from accidentally hitting X, and it took me a bit of time to figure out, first, where I was; second, how to get out; and third, how to get back in if I wanted to. And, whether in the showcase arcade or your own, they opted to preserve a "realistic" arcade feel by having actual arcade cabinets and, almost always, an Avatar playing at each one. It's all well and good, except as you're browsing the arcade, it's difficult to see what machine you're looking at. The game's title in its original font and design isn't always legible when seen on a virtual cabinet on your TV screen, and the Avatars' large heads tend to block most of the game cabinet's screen and even some of the name placard.

A rather glaring UI issue that I find completely annoying (and really fuels my doubt as to whether it was tested for usability) is the Atari 2600 console screen. The Atari 2600 had a series of switches on the console that you used to select difficulty and game types, and to start or reset the game. To access these switches, you press a button on your controller, and a pop-up window with those switches appears on the screen. However, this pop-up window almost completely covers the game screen, so as you're pushing, for instance, the Game Select switch, you can't see the screen to see what game you've selected. You have to keep closing the window to peek. It borders on unusable.

Another issue I'm running into a lot is connectivity. Very frequently, I get a warning message about not being connected to the Game Room server. Fortunately, most of the time, it's recoverable. When ending a ranked game, I'm warned that failure to connect to the server could result in a lost score, but I have the option of hitting 'A' to try again, and it almost always connects on that second try. (Or, if it fails, it doesn't tell me.) When I view my challenges, I frequently see "Challenges are not available", and I have to back out and re-enter the challenges list before the message goes away and the challenge list is active.

Whether this is related to connectivity or not, I don't know; but I have had my medals and level reset once so far. I had already earned six medals (three each in Tempest and Yar's Revenge), and I had ranked up to Level 2 (and earned an achievement for the trouble). But one night, I thought I'd check my profile, and I noticed that my number of medals had somehow dropped to 3 (only three medals that I had in Yar's Revenge as of the night before — which, if I had thought about it, I might have realized it seemed odd that the game seemed to be "re-awarding" me the medals as I was playing Yar's, because it probably was) and my level was back down to Level 1. I worked on and re-acquired my medals in Tempest (which was no easy task, since I'm not nearly as skilled in Tempest as I am in Yar's), and sure enough, the game made a big deal about awarding my medals and showing me level up to Level 2. (No extra achievement points for doing it twice though.)

And, I shouldn't forget that, on that first night, Game Room wouldn't even let me buy any games. I'd press my button, but nothing would happen — no points deducted from my account, no new game for my arcade. It did seem to resolve itself by the next night, but of course that meant I wasn't purchasing my games on "release day", which meant I didn't get the free "mascot" with each arcade game I bought.

And that's when I can even start the application. Fairly randomly, Game Room gets stuck in the "Loading" screen, where the progress bar stops at about ¼ and never moves forward, until I force an exit to the dashboard and try again.

The concept behind Game Room is a good one, good enough for me to fight through the issues to get to the actual games, relive some old memories, and reclaim my title as a Yar's Revenge champion. But the issues are numerous, enough to make a lot of people I know forgo the experience altogether, which is really a shame.

EA not learning from Ubisoft's mistakes

It wasn't that long ago that I was writing about Ubisoft's abysmal DRM scheme, that makes their games unplayable if your internet connection isn't perfect (or if their servers go down). Well, it seems EA isn't learning from that mistake, as Command and Conquer 4 suffers from the same problems, where a hiccup in a network connection in a single-player game causes an expulsion of the game (and associated progress loss).

What is amazing to me is how the EA blogger that broke this news then goes on to justify this, by saying it's not fair to call it a "single-player game" since it's constantly uploading stats and downloading unlocks.

Excuse me? It's not fair to call a game that you play by yourself a "single-player game"? Oh, he thinks we should call it an online-only game, "which it basically is". Yeah, it basically is because of the obnoxious DRM installed with the game.

Oh, but wait. EA has a perfectly logical explanation: It's not DRM. See, it's a service. You can install the game on multiple computers, create multiple "Commander Personas" (save files?), play the same save from any computer, and even run the game without the game disc.

Really? Funny, I can do all of that with, say, Diablo 2 (well, with a "nocd" hack to play without the disc). If I want to play my saved game on another computer, I can copy the save files on a USB stick. No internet connection required.

Yes, EA. If you require me to connect to your server to play the game, that is DRM. You do get points for adding features to the service, but the service is still DRM. You can't just redefine it away.

F- you, Fisher!

I got a chance to play the demo for the upcoming Splinter Cell: Conviction on Xbox last night. I've enjoyed the Splinter Cell games in the past, even if it takes me an excessively long time to play them (I think I may have a tendency to "over-stealth"). I've missed out on the multiplayer, but the single player experience is one I've found to be fairly well-done.

The demo is certainly interesting. The game play is really intense. The demo starts out with Sam Fisher interrogating someone in a bathroom for information leading to the people responsible for the murder of his daughter. While Fisher has never exactly been hugs and kisses before, this scene is particularly brutal. See, new to interrogations is the use of the environment to encourage the victim to talk. What that means in this case is, if you're standing near a urinal, Sam will take the guy's head and smash it into the fixture, repeatedly, until the porcelain basin is destroyed. The guy will then give up some information, which is projected on the walls of the room. The effect has a very dramatic, cinematic feel, like a scene out of Natural Born Killers. To get more information, Sam can take his victim over to the bathroom's mirrors and smash his head into them, or use his body to break down the stall doors. It's almost unsettling in its brutality.

The demo then flows into the next mission, where you must infiltrate a warehouse. The transition is, again, very movie-like and very well-done. If it's any indication of the final game, then there is going to be very little in the way of "loading times" as each mission is just going to flow right into the next one. Very nice.

The game has a very easy-to-use cover system, where holding the left trigger lets you take cover behind obstacles, and tapping A lets you move from cover to cover. It's a convenient way to not only discover not only where you can take cover, but get to those places without fighting your controller or the environment. The "tagging" system offers a very easy way to take out enemies quickly (tag up to three enemies, then hit a button and Sam takes them out automatically), but to keep from making the game too easy, you have to "earn" the tags by getting in close and taking people out with a punch.

Objectives are projected onto buildings and scenery. It fits the whole cinematic theme and has the added bonus of guiding you to your destination. In the back of my mind, I'm wondering if there's going to be an instance where the projected text is going to be hard to read because of perspective or contrast with the environment, but it definitely didn't come up in the (very short) demo.

The big downer, though, was what happened when I encountered enemies in the warehouse and started taking them out. Every time I was discovered, or took a bad guy out, the survivors who were now on my case would shout obscenities. And not just any obscenities, either; most common were "F-bombs" of some form or another, followed closely behind by taking the Lord's name in vain. They were loud, punctuated, and it happened every time. And I could find no in-game option to censor the language.

Call me a "prude" if you wish, but this is not something I want to hear when I'm playing a game for my own entertainment. (At least, when I'm playing online, if another person takes their language over the top, I have the option of muting that player.) I don't like it; my wife, who is nearly always sitting in the family room reading while I'm playing, doesn't want to hear it; and we don't want our toddler, who lays around the room while I'm playing until he finally falls asleep, to be exposed to it in our house. It's one of the main reasons I stayed away from Gears of War, it's one of the reasons I shunned Rainbow Six: Vegas, and it's why I'm going to avoid Splinter Cell: Conviction this year.