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Shawn Elliott's Video Game Symposium Begins, 1: Review Scores

Etelmik

Neo Member
So okay, the problem is that the majority of readers don't get that reviewing can only be a subjective activity? Is that agreed upon?

Hmmm...if someone slams the Dark Knight or Chinese Democracy or whatever, the discussion becomes why or why not the person is wrong. With games, it's like, what...."NO U?!" That is so depressingly reductive, and yet I am strangely prepared to swallow that pill if it's the truth.

The next issue would be alerting older people to this kind of writing, right? Because there are a surprising number of 20-30-40-somethings that don't read much about games at all and don't realize there is more mature, adult reading material out there. There is perhaps no Rolling Stone of games for adults, and the problem isn't (I hope) that no one would read it, but that many an adult doesn't know this kind of discussion even exists. I didn't even know about it myself until about a year ago, and I'm only in my 20s.

I still get asked about games by my friends and they have no idea they can find out for themselves by surfing the Internet, even though they use it often. It's bizarre and sucky.
 

1-D_FTW

Member
I really think GFW at the end was gaming enthusiast press's purpose. Reviews, for all the reasons pointed out, just are not their strength. Whether it's because they're "lazy and not doing their job", just overworked with too many hours of game to review in a month, or just human and unable to truly enjoy and appreciate all the genres they're forced to cover.

Games and movies are mostly different in those two areas. Movies are much shorter and easily digestible. Most people are also able to appreciate all movie genres as long as the writing and acting are good. With games, as we get older, most of us tend to settle into genres we really appreciate. To be constantly forced to review genres you're not in love with seems like a recipe for what we have. Maybe that's why I feel most reviews suffer from "Destination syndrome." You don't sense they appreciate that the journey is the destination. They're just slogging through as quickly as possible so they can fill out their template with serviceable cliches.

It's in this sense that gaming forums (as flawed as they are), give a much better interpretation and collective review than single reviews at the corporate sights/magazines. Fundamentally, they're just better equipped to distill a game's essence. They're not overstretched and they're going into passionate detail about what works/doesn't and why.

So until they accept this is not their strength, they'll continue to be marginalized. There's great opportunity for them, however. They have access others don't. And IMO, GFW should be the template for their new beginning. The reviews are disposable. Don't make them the cornerstone. And until they embrace this, most people are gonna continue ignoring them.
 

Dave Long

Banned
I should also point out that my "job" as a reviewer has always been as an outsider of sorts to the industry itself. I don't go on junkets. I don't always go to E3. My PR contact is extremely minimal (Sega are the only ones that I've had more than a "Hey, can you send me this game?" type of contact with). This isn't my full-time job. And I'm not in an office with sixteen other like-minded gamers constantly talking about videogames day and night.

That definitely makes me an outlier when you're talking about IGN or Gamestop, etc. Those guys spend all their time at the trough of electronic entertainment, and I think that also contributes to Drinky's problem with the way these games get reveiwed. There's a herd mentality in their own office that ends up sinking ships that under any other circumstances would still be floating.

I'd much rather most everyone be more detached from the industry we cover, but I realize that's not feasible either.

I like to joke about the Game Informer editorial page. I'm sure they're all great people, but it's like sixteen pictures of the same guy with all the same tastes in videogames save maybe Adam Biessener, the MMO guy. I guess if their magazine is only read by 20-something dudes with goatees they've got that shit covered? But what about everyone else? And keep in mind, that publication is given out like candy wtih Edge cards at Gamestop so you are almost certainly reaching a lot more people with that mag than the 20-something duder set. Get some diversity!
 
unsurprisingly, i also think gameinformer is probably the MOST guilty of the things i've complained about -- of not playing games beyond the cursory amount necessary to grab some decent screens, and of turning agendas into gag-addled writ, and of reviewing expectations of a game rather than the game itself.
 

Dave Long

Banned
Punchy said:
Were they the ones that complained that an RPG (one of the Mario's, I believe) played too much like an RPG?
Yeah, the infamous Paper Mario: The Thousand Year Door review. They gave it 6.75 because it was "a very kiddie game".

This was the defense...
"GI-Jeremy wrote:

Lisa and I both knew that our Paper Mario scores were going to cause controversy. Yes, we know that many people out there will love it. We also know that it is a well-made game. However, it also WILL NOT appeal to many people - I would safely say that more people will dislike it than like it. Why? Like we said in the review, it's a very kiddie game - it's target audience is clearly young gamers - I would say 10 and under. For that reason, we had to score it low. Remember, we aren't scoring games strictly on our personal opinions, we're also scoring them based on how much we think THE GAMING PUBLIC will like them. We've all played games that we personally disliked and scored them well because we've known that most people will like them, and we've also scored games low that we love, because most people won't enjoy them.

For example, I really like the bizarre frog golf game Ribbit King, and I gave it a 7, because it's just not for everyone. Paper Mario 2 also scored low because it's just not for everyone. If you think it's a 10 in your book, it's a ten in your book, and that doesn't change if we disagree. We're here to guide you on what games to pick up, but ultimately your personal opinion is what will make you buy a game or not.

I hope this helps."
 

Punchy

Banned
The nonsensical back-pedaling makes it even better.

Thanks for writing. There has been a lot said about the post I made in our forums, most of which, like your letter, is completely fair and valid. In a fit of irritation, I posted said message without really thinking about it, and have lived to regret it. Everyone here scores games based on their personal opinions, not based on what we think the public wants to hear. If we scored based on what people wanted to hear, Paper Mario 2 would have gotten a much higher score, like a 9 or a 10.

But that's not how we do things. What I meant in my message on our forums is that I thought the majority of gamers would feel like I did about Paper Mario 2 – disappointment once they got their hands on it. I didn't mean to imply that I thought about how the public would perceive a title when scoring it, I just meant that I thought those who agreed with my score would outnumber those vocal opponents of my score.

I'm sorry to hear that this incident has caused you to distrust the magazine in any way. You shouldn't. Everyone here is honest and up front about their opinions, and scores games accordingly. You can feel free to distrust me if you want (although I think I am being quite honest with you in admitting that I publicly screwed up), but don't let it spoil your opinion of everyone else here, the work they do, or the publication that we put out.

Thank you,

Jeremy Zoss
Associate Editor
Game Informer Magazine
 

Flynn

Member
I'm becoming more and more convinced that review scores are little less than a number that we pull out of our asses. Personally, I don't like digging up in there. And I don't really want something that somebody else fished out of their back door. So I'm gonna come down on the side of a) not caring about review scores and b) kinda wishing they'd go away.
 

FartOfWar

Banned
Dave Long said:
As an example of a big budget game that got the Dynasty Warriors treatment, I give you Frontlines: Fuel of War...

http://www.metacritic.com/games/platforms/pc/frontlinesfuelofwar?q=frontlines

As far as I'm concerned, it's one of the best games of 2008. Whether you're looking at the mechanics of the gameplay, the unique and varied single-player campaign or the fantastic online play, there's no way it should be called "mediocre", especially within its genre. It even excels in sound design and visuals.

I reviewed it, too, and if people want to criticize that, go ahead.

But what really bugged me the most about the other reviews was how few of them seemed to grasp the fundamental changes to the Battlefield formula that Frontlines made, most of them rather small on the surface but huge when you stir them in the pot. The lack of Medics especially (because really... who the hell wants to heal people in a shooter?), was a sticking point for me with other reviews. It's a HUGE change, and one for the better, that makes you play the game in a way you simply wouldn't have done in Battlefield-style games before this one.
I guess I'd like to see more examples like that brought up by these guys. It's not just the niche games that get short shrift. It's happening even to the "big" titles.


I agree that Frontlines is a good game marred by some standard army-vs.army FPS design problems as well as severe technical and interface problems. Some rapid-fire reaction:


"you can always pick your battlefield role separate from your weapon needs"

In life, loadouts reflect battlefield roles. Many shooters of this sort deliberately mirror that fact in order to create classes. Classes offer synergistic combinations; role-specific strengths allow players to feel that they're uniquely contributing to their team's progress; yadda yadda. Class-based design brings both benefits and drawbacks, as is obvious here:

" It opens up the tactical options to players immensely, making people potentially useful at all tasks instead of just a single, specialized one."

When players are potentially suited for every tactical situation there's no need for specialists, sure. Its benefits are class-based design's drawbacks and vice versa. You aren't exploring either at any depth. Nor are class-lite FPSes new. COD 4 came out in 2007. What would be cool is a comparison of Infinity Ward's game and Frontline that takes tactical variables into account. Frontline's maps, multiple vehicle types, and battlebots generate vast tactical variety which means a generalist in that game is a jack of more trades than a generalist in the other. This introduces issues worth considering (including what you could call "player "RAM").

"It's inevitable that you will die, and when you do you can change your kit to suit the changing battlefield conditions."

This has been a Battlefield standard since the series began.

"In fact, there are no medics. That simple fact changes the entire dynamic of the game in the best way, because everyone on your team is a tool for killing. When you're redding out, you can only hide to survive as your vision restores. Gameplay emphasis shifts from running and gunning to cover and stealth."


Few, if any, class-based FPSes feature noncombat medics. Medics in Battlefield 2 are lethal with the L85A1. They're ferocious in team Fortress Classic and effective in Quake Wars. As for auto-regen... COD, Halo, Brothers in Arms, none of these ring bells?

"It also means vehicles are of extra importance during assaults, because having a metal skin to protect you is crucial in hot fire zones -- and those vehicle assaults are where the game's aural punch plays a key role."

Again, how is this any different than Battlefield, let alone an underappreciated design breakthrough?

"It's here that the game's title has significance, because the front lines move forward or backward with an ebb and flow that seems all at once believable in single-player and multiplayer gameplay. "

This is a nice take on TFC's Warpath map, and attempts to reduce or resolve the uneventful moments and uneven flow of Battlefield matches, but you're not laying it out here. In fact, this paragraph doesn't tell me where Frontline's pacing and flow diverge from Battlefield's.

"It's definitely recommended that you tackle single-player before going online, because it points out the differences between this game and others like it. Once you achieve awareness of your body and its vulnerability in the game, you'll see the brilliance of Frontlines: Fuel of War and how it focuses everyone on the tactics of combat as they apply to pushing forward across a map with flowing precision. It makes you want to be at the forefront of victory."

You mean you're recommending it? How specifically does single-player point to these differences? Some of the alleged differences you attribute to the multiplayer mode aren't in Frontline's singleplayer. Being aware of our bodies' vulnerability somehow shows us that Frontlines focuses us on forward tactical movement? Knowing that I can hide when hit makes me "want to be at the forefront of victory?"
 

1-D_FTW

Member
Flynn said:
I'm becoming more and more convinced that review scores are little less than a number that we pull out of our asses. Personally, I don't like digging up in there. And I don't really want something that somebody else fished out of their back door. So I'm gonna come down on the side of a) not caring about review scores and b) kinda wishing they'd go away.

I don't usually pay attention, but I saw this score posted here for IGN's review of PoP:

9.0 Presentation
A well-told fairy tale that has a considerable amount of backstory for those interested.
9.0 Graphics
A beautiful and imaginative world that looks incredible covered in Corruption or dandelions. A true achievement in artistic design.
8.5 Sound
The music is fantastic and the enemy voices are handled well. The Prince comes off as a bit too much of a jerk and some of his lines feel a bit forced.
9.0 Gameplay
A few minor issues, but the experience itself is one that every gamer should experience.
8.5 Lasting Appeal
The main adventure can be completed in less than 10 hours, but it will take some extra time if you hunt down all the Light Seeds. Unlockable skins add some fun to a second playthrough.


All of that earned a Final Score of 9.3

I know the 1UP editors constantly rail about not adding all the sub-categories up and dividing, but WTF? If some category was so fantastic to override all the lower scores, shouldn't that category score, you know, above a 9.0? That review is the absurdity of scores in a nutshell.
 

1-D_FTW

Member
I've made the mistake of expecting logic. Something can be so good you can overlook its flaws. That's perfectly logical. But if you're assigning scores and you say it's best attribute is a 9.0, how do you then give it a 9.3 for total? It surely involves inserting one's hand into their bottom side and pulling it out.

Not that I care about scores. I agree they're worthless and should be abandoned. I just quoted that review to show how randomly absurd they were.
 
I think review scores are necessary, but not in its current form. By that I mean that there shouldn't be effectively a 100 point scale that only uses 30 of them. I mean the whole idea of determining how a game is a 9.9 rather than a 10 boggles my mind. The most pragmatic use of a review score is to give good titles a way of distinguishing themselves. Something like a 5 point scale such that buyers can sort. The best example of a good review score system is 1up's in which games are assigned a letter grade. It gives good games a distinction but is nebulous enough such that head to head comparisons can't be made based on scores alone.
 

CzarTim

Member
Read it last night. Certainly the most interesting thing I've read in a while.

I think I agree with those guys saying it depends on the editor/publications. There will be some for a more intelligence audience that want a deeper look at games and some that want a consumer report. The important thing to remember is that while I love GAF, the industry puts way to much weight behind it.

Most gamers haven't heard of GAF, most haven't heard of 1up or Edge, most choose games by the back of the box (go back to the Merchants of Cool segment.) So if one web site gives a game a perfect score, the publisher won't care if it's a shitty review from a generic writer, on a web site still stuck in a 1998 layout. They can still put 10/10 in big bold font on the front with "www.WePayedForThisReview.com" as small as possible under it and still get the same effect.

With that in mind, who gives a fuck? Some will always give a score, and some won't. I wish more people answered Steven's question, who is really affected?
 

Slavik81

Member
1-D_FTW said:
I've made the mistake of expecting logic. Something can be so good you can overlook its flaws. That's perfectly logical. But if you're assigning scores and you say it's best attribute is a 9.0, how do you then give it a 9.3 for total? It surely involves inserting one's hand into their bottom side and pulling it out.
The mistake you're making is in thinking that because those are the only categories mentioned, that those are the only categories that can exist. It's possible that there is a category that is not Presentation, Graphics, Sound, Gameplay, or Lasting Appeal in which the game was exceedingly good.

One example, not specific to this game, would be Narrative.
 

CzarTim

Member
(neutral) Drinky Crow
Banned

Did I miss something? Why was he banned? (Other than his inability to use the shift key.)
 

Esperado

Member
One thing I'm thinking about having read the first paragraph and the last (Copy and pasted the whole thing into word so I could print it and read it from paper so I saw the last paragraph early) is whether the actual gameplay (the interaction between the game and the controller) is considered art. In a hundred years will gameplay have evolved to a point where playing old games is clumsy and archaic? I mean, it's easy to see in a game like Goldeneye, which was a pinnacle in console FPS and is now barely playable for most. I remember hearing from 1up that Gears of War 2 was so good that it takes away any reason to play the first game. So will Gears of War 3 cast the same shadow on its predecessor? Then, will the games a hundred years from now do the same? Will they keep innovating and refining on the gameplay and control over and over until there is no reason to play games from the past? Will it only the story driven games that are replayed? Are the merits of any game story today so good that in a hundred years people will still find them relevant? Or would they rather rent a movie? I think the games of today will be like silent films from the past. Yes, there will be people who play them, but the vast majority of people born a hundred years from now will never experience them.

Another thought I've had is whether or not we've reached the peak for types of gameplay achievable on the standard controllers for Xbox 360 and PS3. Are games going to continually give the same variations of gameplay or are there still large innovations and refinements to be made? Then, whether or not the controller standard of today will be the same in the future. How will it evolve from here? I think the controllers are today are very versatile, but with the Wii, Guitar Hero, Wii Fit, etc. There is obviously a market for different peripherals. Will games of the future largely come with their own control systems? Will that make each game's gameplay fresh and unique. Would control and gameplay then be considered art? Or will they just keep coming up with new standards that all the console makers make slight variations of? Then, will gameplay just continue to evolve until the point where all games control similarly and the control of every game is some variation found in a another?

Sorry for all the questions, but I'm trying to make you guys (and myself) think about this stuff.
 

Punchy

Banned
Slavik81 said:
The mistake you're making is in thinking that because those are the only categories mentioned, that those are the only categories that can exist. It's possible that there is a category that is not Presentation, Graphics, Sound, Gameplay, or Lasting Appeal in which the game was exceedingly good.

One example, not specific to this game, would be Narrative.

Then what is the point of the breakdown in the first place? If you're only going to score certain aspects of the game, and not score others, then those "unscored" aspects shouldn't affect the final score. They are not important enough to mention, but important enough to be relevant? That is kind of a catch-22 and it's why I think not only does the 100 pt. scale suck, but subdivisional scores are idiotic as well. Anyone that wants to go that in-depth into a game's review would probably read the actual text...unless of course your text is 10 pages and reads like a high school persuasive paper.
 

Freshmaker

I am Korean.
firehawk12 said:
I'll just summarize what I said in the comments:

When musing about having reviews on the site, the Cheap Ass Gamer proposed a dollar value scale for their reviews. So, current gen games would be reviewed out of 60 - a game that is must buy gets a 60. A game that you should rent or wait for in the bargain bit gets a 10. The idea is that the number tells you the actual dollar value of the game.
No game should be $60.
 

Mr.City

Member
Perhaps I missed something, but the idea of reducing the score system down to buy, rent, or avoid was never mentioned. I think eliminating numbers or letter grades ( 1up.com) would make think things transparent as possible. Simplifying the system is the best way to deal with it because, like it or not, the numerical score is something that is forever bound to game reviews.

When it comes to writing reviews that go beyond being a consumer report, it's going to be an eternal struggle. A game is both a product and something that you experience. Sure, a multiplayer game x has y features and z amount of weapons, but what about those moments that aren't factored into the design document?
 

CzarTim

Member
Mr.City said:
Perhaps I missed something, but the idea of reducing the score system down to buy, rent, or avoid was never mentioned. I think eliminating numbers or letter grades ( 1up.com) would make think things transparent as possible. Simplifying the system is the best way to deal with it because, like it or not, the numerical score is something that is forever bound to game reviews
N'Gai mentioned that he had no problem with it, but I think that does demean the review to a consumer report whether that was the intention or not.

As Jeff mentioned, a score is shorthand for getting the gist of the review. If it only says buy, rent, pass, then your saying that this review only looks at the game in terms of it's monetary value.

Quite frankly, that's what I'm looking for when I buy a car or electronics, not an entertainment medium. What are games? Something for consumption, or a toy to pass the time?
 

Dave Long

Banned
Before I play this quote/requote game with you, I find it interesting that you have no problem ripping through one of my reviews while you folks sit back in your ivory tower and don't do the same for things you've written. Do you believe you're that much better than me that you can critique what I do when I haven't said more about what you're up to with this symposium other than, "I don't think anyone cares."?

FartOfWar said:
I agree that Frontlines is a good game marred by some standard army-vs.army FPS design problems as well as severe technical and interface problems. Some rapid-fire reaction:


"you can always pick your battlefield role separate from your weapon needs"

In life, loadouts reflect battlefield roles. Many shooters of this sort deliberately mirror that fact in order to create classes. Classes offer synergistic combinations; role-specific strengths allow players to feel that they're uniquely contributing to their team's progress; yadda yadda. Class-based design brings both benefits and drawbacks, as is obvious here:
My immediate response to this is, "This is not real life." It's a videogame. I'm not expecting them to make everything realistic and you're creating a strawman argument against me by inferring such, especially since each class in the game has "role-specific strengths" that "allow players to feel that they're uniquely contributing to their team's progress". Best of all, no one has to throw out little health packs or ammo packs... something that's really kind of boring. There's a good reason that Valve made the Team Fortress 2 Medic a guy with a "health gun".

" It opens up the tactical options to players immensely, making people potentially useful at all tasks instead of just a single, specialized one."

When players are potentially suited for every tactical situation there's no need for specialists, sure. Its benefits are class-based design's drawbacks and vice versa. You aren't exploring either at any depth. Nor are class-lite FPSes new. COD 4 came out in 2007. What would be cool is a comparison of Infinity Ward's game and Frontline that takes tactical variables into account. Frontline's maps, multiple vehicle types, and battlebots generate vast tactical variety which means a generalist in that game is a jack of more trades than a generalist in the other. This introduces issues worth considering (including what you could call "player "RAM").
Infinity Ward's game is not a Battlefield-style game, which is where the specific interest of this review lies. And breaking out of the mold of previous Battlefield-style games by making all players more useful as guys with guns is something Frontlines does. That's all the above line of mine says.

"It's inevitable that you will die, and when you do you can change your kit to suit the changing battlefield conditions."

This has been a Battlefield standard since the series began.
It's a review meant to inform people who have played and haven't played these games. This lets them know that they can expect to change kits and aren't locked into a choice at the beginning of a game. That's all. I think your pointing this out is kind of petty, don't you?


"In fact, there are no medics. That simple fact changes the entire dynamic of the game in the best way, because everyone on your team is a tool for killing. When you're redding out, you can only hide to survive as your vision restores. Gameplay emphasis shifts from running and gunning to cover and stealth."


Few, if any, class-based FPSes feature noncombat medics. Medics in Battlefield 2 are lethal with the L85A1. They're ferocious in team Fortress Classic and effective in Quake Wars. As for auto-regen... COD, Halo, Brothers in Arms, none of these ring bells?
You're inferring "noncombat medics", a strawman again. The reality is that even in Battlefield 2, if you're a medic that's spending time shooting people, you're pissing off your teammates who want to be healed and revived. You're not doing your job. By removing that entire dynamic from the game, Kaos Studios removed a huge point of conflict among players on the same team.

And the auto-regen... all those games are not Battlefield games. Kaos Studios are the first ones to incorporate the mechanic into the capture point style of play. It's a massive change, especially when you remove the medics from the game. And you're ignoring the last line, which is the huge change that comes about. People cannot be lemmings running in to every Capture Point willy nilly because you can't afford to take the bullet and have some dude pick you right back up. You must smartly use cover to advance and survive to take points. The game rewards players who are sneaky and/or intelligent about their positioning on the battlefield.

"It also means vehicles are of extra importance during assaults, because having a metal skin to protect you is crucial in hot fire zones -- and those vehicle assaults are where the game's aural punch plays a key role."

Again, how is this any different than Battlefield, let alone an underappreciated design breakthrough?

Vehicles become even more important because you can use them for cover. In fact, you need them for cover on the open battlefields. Only so many words available to say it (and you're pulling out one sentence... which is something I'll get to later...) This game makes vehicles and finding cover even more important than they are in previous Battlefield-type games.

"It's here that the game's title has significance, because the front lines move forward or backward with an ebb and flow that seems all at once believable in single-player and multiplayer gameplay. "

This is a nice take on TFC's Warpath map, and attempts to reduce or resolve the uneventful moments and uneven flow of Battlefield matches, but you're not laying it out here. In fact, this paragraph doesn't tell me where Frontline's pacing and flow diverge from Battlefield's.

You took that one sentence completely out of context... here's the whole paragraph...
Bringing everything together is the maps, which have a wonderful variety of locations, and that leads to a hugely varied amount of gameplay styles. Some feature house-to-house fighting where every corner is a potential deathtrap, while others are wide-open affairs on the oil fields. It's here that the game's title has significance, because the front lines move forward or backward with an ebb and flow that seems all at once believable in single-player and multiplayer gameplay. The only downside to the design is it's nearly impossible to reverse the crashing waves of invaders once you're backed into your last corner of the map.

It's in the context of the map design, which encourages the ebb and flow. I didn't say it as well as I should have, but I'm not sure why you decided to pull out that one sentence from an entire paragraph about map design to make it seem like I was making a comparison.

"It's definitely recommended that you tackle single-player before going online, because it points out the differences between this game and others like it. Once you achieve awareness of your body and its vulnerability in the game, you'll see the brilliance of Frontlines: Fuel of War and how it focuses everyone on the tactics of combat as they apply to pushing forward across a map with flowing precision. It makes you want to be at the forefront of victory."

You mean you're recommending it? How specifically does single-player point to these differences? Some of the alleged differences you attribute to the multiplayer mode aren't in Frontline's singleplayer. Being aware of our bodies' vulnerability somehow shows us that Frontlines focuses us on forward tactical movement? Knowing that I can hide when hit makes me "want to be at the forefront of victory?"
There's a big "BUY IT" on the top of the page, so yes, I'm recommending it. I'll leave it at that.

Now when are you doing this for Kieron F. Gillen, Tom, and the rest? Because I'd like to read those, too.
 

FartOfWar

Banned
Dave Long said:
Before I play this quote/requote game with you, I find it interesting that you have no problem ripping through one of my reviews while you folks sit back in your ivory tower and don't do the same for things you've written. Do you believe you're that much better than me that you can critique what I do when I haven't said more about what you're up to with this symposium other than, "I don't think anyone cares."?

I haven't finished reading your response and had to pause here. I think you're hung up on some serious misconceptions. If there's an ivory tower it's in your mind or I'm not in it. So far we've discussed review scores. That's it. Had one of the people participating in the symposium offered one of our own pieces for critique as a model of perfectly matched score and text, I hope we would have recieved honest responses.

And thinking I'm better than you -- where is that coming from? You argued that Frontlines received inadequate reviews from writers who neither completed the FPS nor appreciated its accomplishments. You asked for criticism. I supplied some. I wasn't sniping in response to your skepticism, and I apologize if I suggested otherwise or offended you.
 

Shins

Banned
palmas.jpg
 

Dave Long

Banned
FartOfWar said:
I haven't finished reading your response and had to pause here. I think you're hung up on some serious misconceptions. If there's an ivory tower it's in your mind or I'm not in it. So far we've discussed review scores. That's it. Had one of the people participating in the symposium offered one of our own pieces for critique as a model of perfectly matched score and text, I hope we would have recieved honest responses.

And thinking I'm better than you -- where is that coming from? You argued that Frontlines received inadequate reviews from writers who neither completed the FPS nor appreciated its accomplishments. You asked for criticism. I supplied some. I wasn't sniping in response to your skepticism, and I apologize if I suggested otherwise or offended you.
I did ask for criticism, but you took a snipe at me in another thread recently here at GAF and that carried over to this one. Sorry.

I also didn't say what I offered was perfectly matched score and text. I freely admit I'm not the best writer around, though I think I've been at this long enough and written for enough publications (including the one you used to write for), to think I'm ok at it.

Anyway, I laid out the response to better explain some of the stuff you pointed out. But I'd still like to see you guys do it with your own work, too.
 

1-D_FTW

Member
Punchy said:
Then what is the point of the breakdown in the first place? If you're only going to score certain aspects of the game, and not score others, then those "unscored" aspects shouldn't affect the final score. They are not important enough to mention, but important enough to be relevant? That is kind of a catch-22 and it's why I think not only does the 100 pt. scale suck, but subdivisional scores are idiotic as well. Anyone that wants to go that in-depth into a game's review would probably read the actual text...unless of course your text is 10 pages and reads like a high school persuasive paper.

Well said. They're the ones who brought the scores into the process. So if you're gonna grade everything in an assembly line process, show the part that stands out most and is its "selling point."

Plus, story, for example, belongs under presentation (they specifically mention fairy tale and backstory.) I have a hard time envisioning any aspect that couldn't be shoe-horned into one of those categories. So if it's story that's so great, give Presentation a 9.3 and imply everything else is secondary.
 

FartOfWar

Banned
Dave Long said:
My immediate response to this is, "This is not real life." It's a videogame. I'm not expecting them to make everything realistic and you're creating a strawman argument against me by inferring such, especially since each class in the game has "role-specific strengths" that "allow players to feel that they're uniquely contributing to their team's progress". Best of all, no one has to throw out little health packs or ammo packs... something that's really kind of boring. There's a good reason that Valve made the Team Fortress 2 Medic a guy with a "health gun"..

Total misconception. My proximate point was not that shooters must imitate life, but that some mirror it for reasons other than authenticity. I listed some of those reasons. My ultimate point was both that different benefits and drawbacks accompany a game's position on a grade of class-free (Quake) - class-lite (COD 4) -class-heavy (TFC), and that these are well worth exploring, especially if your goal is to grasp "fundamental changes" in a formula.


Dave Long said:
Infinity Ward's game is not a Battlefield-style game, which is where the specific interest of this review lies. And breaking out of the mold of previous Battlefield-style games by making all players more useful as guys with guns is something Frontlines does. That's all the above line of mine says."

I believe Frontlines is a Battlefield-style game (our definitions of Battlefield-style game might differ), and I'm saying your case isn't convincing me otherwise. As I understand from your previous post, making that case was your main concern.

Dave Long said:
It's a review meant to inform people who have played and haven't played these games. This lets them know that they can expect to change kits and aren't locked into a choice at the beginning of a game. That's all. I think your pointing this out is kind of petty, don't you?

Totally fair. I understand that reviews are written for diverse audiences, and don't assume that this one ought to be all things to all readers. I pointed it out as an instance of evidence conflicting with your conclusion about Frontlines not being a Battlefield-style game.


Dave Long said:
You're inferring "noncombat medics", a strawman again. The reality is that even in Battlefield 2, if you're a medic that's spending time shooting people, you're pissing off your teammates who want to be healed and revived. You're not doing your job. By removing that entire dynamic from the game, Kaos Studios removed a huge point of conflict among players on the same team.

I did infer noncombat medics. I also assumed you were arguing that medic classes aren't desirable and don't enage in combat because you wrote, "In fact, there are no medics. That simple fact changes the entire dynamic of the game in the best way, because everyone on your team is a tool for killing." In the best way. Because everyone on your team is a tool for killing. So you actually meant that the game that Frontlines changes is... an FPS I haven't heard of in which medics aren't also tools for killing? As for Battlefield 2 medics I'll add an appeal to authority to the supposed strawman. I played, too: http://bf2s.com/player/44671906/

Regardless, the medic's contibution to team conflict that you mention is totally interesting. I also think your question -- "who the hell wants to heal people in a shooter?" -- is far more fascinating in non-rhetorical form. In fact, researchers have conducted scientific surveys that touch on the subject. However, instead of asking who, they ask why.

Dave Long said:
And the auto-regen... all those games are not Battlefield games. Kaos Studios are the first ones to incorporate the mechanic into the capture point style of play. It's a massive change, especially when you remove the medics from the game. And you're ignoring the last line, which is the huge change that comes about. People cannot be lemmings running in to every Capture Point willy nilly because you can't afford to take the bullet and have some dude pick you right back up. You must smartly use cover to advance and survive to take points. The game rewards players who are sneaky and/or intelligent about their positioning on the battlefield.

Fair enough. It was a false analogy (if you discount COD: United Offensive). As for the last line, though, you're seriously suggesting that lemming-play pans out in any Battlefield? That players don't need to use cover to advance and take points, even with a medic present? That BF2, BF2: Special Forces, and BF 2142 don't reward "players who are sneaky and/or intelligent about their positioning on the battlefield"? Here's where the argument that any reviewer who comes to different conclusions can't have completed the game gets interesting. Your logic should lead me to believe that you've never installed a Battlefield let alone played one.


Dave Long said:
Vehicles become even more important because you can use them for cover. In fact, you need them for cover on the open battlefields. Only so many words available to say it (and you're pulling out one sentence... which is something I'll get to later...) This game makes vehicles and finding cover even more important than they are in previous Battlefield-type games.

....


Dave Long said:
You took that one sentence completely out of context... here's the whole paragraph...
Bringing everything together is the maps, which have a wonderful variety of locations, and that leads to a hugely varied amount of gameplay styles. Some feature house-to-house fighting where every corner is a potential deathtrap, while others are wide-open affairs on the oil fields. It's here that the game's title has significance, because the front lines move forward or backward with an ebb and flow that seems all at once believable in single-player and multiplayer gameplay. The only downside to the design is it's nearly impossible to reverse the crashing waves of invaders once you're backed into your last corner of the map.

It's in the context of the map design, which encourages the ebb and flow. I didn't say it as well as I should have, but I'm not sure why you decided to pull out that one sentence from an entire paragraph about map design to make it seem like I was making a comparison..

My previous comment still serves in this context: Frontlines attempts to reduce or resolve the uneventful moments and uneven flow of Battlefield matches, but you're not laying it out here. In fact, this paragraph doesn't tell me where Frontline's pacing and flow diverge from Battlefield's. In fact, I can name many BF maps that fit your description of Frontlines', down to the oil fields.
 

FartOfWar

Banned
Dave Long said:
I did ask for criticism, but you took a snipe at me in another thread recently here at GAF and that carried over to this one. Sorry.

I also didn't say what I offered was perfectly matched score and text. I freely admit I'm not the best writer around, though I think I've been at this long enough and written for enough publications (including the one you used to write for), to think I'm ok at it.

Anyway, I laid out the response to better explain some of the stuff you pointed out. But I'd still like to see you guys do it with your own work, too.

Oh, I'm not saying that I thought you were offering perfectly matched score and text. I used that as an exmaple of how this sort of thing could have occured in the symposium section on scores. (I'm not sure how else it could have come up in the first section.)

BTW, I honestly don't want this to turn into a shitty snark fight. I'm no better than you. I don't believe I'm in a tower, I don't want to be in a tower, and I don't want anyone to think otherwise. I want our discussions to be worthwhile and, in a perfect world, amount to something. It's just that I can't guarantee outcomes before I know them. All I can point to is the potential that we'll all learn something from one another (and ourselves). You included.
 
Finally got around to reading all of this (shit is it long).

I feel like review scores/grades have become a necessity because of the failure of game reviewers as writers. Instead of being able to interpret their opinions of the game based on the language of the piece they resort to pointing at a score. I encourage anyone in this thread to try covering up the scores in an EGM or GI and just guess the score by reading the reviews.

Most reviews set out to inform the reader more than evaluate the game. Sometimes more than half of the review simply explains modes/options/etc. without saying anything about their overall effect on the game. If you're lucky you might hear that it's "engaging", "compelling", or "entertaining", but that is often times as deep as "criticism" in game reviews goes.

The audiences need to be as up to date as possible is also a part of the vicious cycle of reviews reading like previews. The audience demands to know all about the characters/weapons/plot/modes/etc. and the reviewers probably find a need to include those write ups within the game. Short word limited reviews end up wasting essential space just informing a reader about a product. Even unlimited text reviews are hampered by the overuse of information delivery. These reviews end up being too wordy for people to care, resulting in a seven page exclusive GTA IV review that nobody really will make it through.

Even worse we now have reviewers simply using the scores to make a statement. Nick Suttner giving Boom Blox an A+ was such a god damn joke to me after I played the game. His score was his blunt way of trying to express that it was a Wii game that made use of the controllers motion sensing abilities. The review score was simply a means of getting people to notice the game, which is a pretty dirty and underhanded use of the system. Kieron Gillen says it's a way to get people interested in things, but I think it's sort of a dirty practice and a system that's often open to exploitation.

N'Gai mentions this, and it is the number one reason I don't usually take video game reviews to heart:
Second, how much of this game am I going to be able to complete before my deadline? That’s very different from how I approach plays, television, theater or literature—I wouldn’t dream of critically assessing a piece of work from those media without having completed it. Why doesn’t that stop me from doing the same with videogames?
I couldn't disagree with N'gai more that even as a "critic" he doesn't need to complete video games. Without an intimate knowledge of the game how can you possibly see how your critical analysis possibly pans out? Let's say you only play the first two Acts of Gears of War 2 for example, you might think that the cover mechanic is fairly limited and prefunctory in how it's used. But when later levels begin to introduce moving cover, deployable cover, and changing landscapes that mechanic becomes much more interesting.

Because of the evolutionary mechanic of game design where gameplay ideas are constantly twisted and represented to the player it is impossible to get a complete picture of what the game intends to do without playing through the entire game. If you could only see the top half of Starry Night would that critique really be valid? If you're going to treat video games like any other medium you need to be aware of the game in it's entirety.

I've had complete 180's on what I think of games halfway through, or sometimes even after the fact upon reflection. I think it's a mistake to score games immediately off of your "gut reaction" for this reason. If a game leaves off with a good ending but a poor beginning can the reviewers opinion be influenced? Ideally reviewers are analyzing games before they score it. Why would you score it based on an emotional brief sketch of your thoughts rather than the well composed deep thinking analysis you do? Shoe brings this up and it's something I really agree upon.

Ultimately review scores are more trouble than they're worth. They bring about problems without adding anything of value to the review, and can often serve as something for the writer(or even the developers) to hide behind when confronted with other criticism. N'gai says it best, "Review scores are yet another signal to your readers that your words don’t matter."

Symposium was definitely an interesting read, but more than anything I'm looking forward to the other aspects of reviews being covered. Review Scores are such a small facet of the problems with video game reviews, but still one worth being discussed in-depth.
 

Dave Long

Banned
No Means Nomad, I think you're missing an important thing about the scores... readers want them.

Everyone that's taken them away has taken heavy criticism for doing so. Worse, people don't take the time to even find your reviews if they have no score because they're now trained to go to Metacritic or Game Rankings to find the reviews in the first place.

So really, people don't care so much about the words, only the number. And when you don't give a number (like we do at Crispy), you don't even get the courtesy of a link from those places. It's like your site doesn't exist.

Putting all that aside though, I don't like the idea of starting with a score in your head. I've never done that. I play and play until the score forms on its own in my head. As I noted earlier in this thread, there's a place you reach when you're playing that kind of defines what the score needs to be. You just go with it and let the chips fall where they may. As long as the text matches reasonably well, you should be fine.
 

LCfiner

Member
Meier said:
I know he has that as his Twitter pic and I've assumed it must be a joke, so I'm curious what he really looks like.

That pic ain't no joke. Shawn is the hip-hop gangsta Doogie Howser of game journalism/ development.
 

Thomper

Member
Tried reading some before, but too long to do it on a computer. Doesn't feel right, so I'm printing it tomorrow and reading it somewhere on the go. Appreciated what I did read, though.
Blame! said:
because maybe if shawn was a hot dude, his reviews would be more credible?
Everyone knows Jeff is way hotter. Oh, Brodeo crew...
 
Dave Long said:
No Means Nomad, I think you're missing an important thing about the scores... readers want them.
You're right. It's what readers want, and in an industry that feels like it's sort of sinking on the business end (with so many magazines tanking) it's hard not to do what the reader wants.

But that doesn't mean review scores are good for reviews just because readers want them. The quality of a product sometimes comes down to ignoring what the consumer wants. Maybe movie watchers want happy endings, but should Donnie Darko end without the Donnie dying?

Reviews would be better off without the scores whether readers want them or not. Whether it's practical from a business standpoint is another question, but it's one that goes largely unanswered because of how homogenized the gaming media is in opinion and format.
Dave Long said:
So really, people don't care so much about the words, only the number.
As long as game outlets keep treating reviews as the number coming first and the review itself coming second readers will continue to value the letter/number more. Most reviews are so poorly written it's hard to take anything other than the number seriously, so why would you expect readers to care about the words? In many ways it's "game journalism's" own fault that people look at the score above anything else.
 

voltron

Member
Meier said:
I know he has that as his Twitter pic and I've assumed it must be a joke, so I'm curious what he really looks like.

Jesus christ use google image search if youve got such a hard-on for some actual Shawn pics. ffs
 

Mr.City

Member
czartim said:
N'Gai mentioned that he had no problem with it, but I think that does demean the review to a consumer report whether that was the intention or not.

As Jeff mentioned, a score is shorthand for getting the gist of the review. If it only says buy, rent, pass, then your saying that this review only looks at the game in terms of it's monetary value.

Quite frankly, that's what I'm looking for when I buy a car or electronics, not an entertainment medium. What are games? Something for consumption, or a toy to pass the time?

Why does there need to be a gist or a summary of a review? More so, why does it need to be a number form? As Tom Chick asked on the Quarter to Three forums, whatever happened to sub headlines?

You say that a buy,rent, avoid system reduces a game's worth to a monetary value, but what does that say about a review written as a consumer report? (graphics, sound, fun factor, etc) People who can't live without scores are the same people who probably don't read a reviews or don't unless the score convinces them somehow. Why not cut out the middleman and make things as clear as possible for these folks?

Also, what exactly does a numerical score system convey about a piece of entertainment medium? If you're talking about a score system sterilizing the experience, then that applies to all score systems.
 

Durandal

Banned
Fragamemnon said:
[...]
Take for example, a high quality wargame like AGEOD's Birth of America 2. The few reviews of the game are well under what the enthusiast wargamer consensus is, because the people reviewing the game just aren't wargamers and get all huffy and puffy the minute a game gets more complicated than a Total War or Civ game. They then slag the game in the review for being too complicated despite the fact that the game is very straightforward and easy to learn for a wargame.
[...]
I guess my point is before we talk about review scores, there needs to be a debate over actual review methodology and what are some good recommended practices when writing a review. Right now review scores can't really be discussed for a lot of the same sort of reasons that Ben Bernake's Fed can't buy up troubled collateral debt obligations-no one really knows what the real worth of a game review is, and sometimes, they don't even know if the author of the review would eagerly "own" it.
[...]
As always, I'd prefer less handshaking and pats on the back and more blood on the floor. :D

This. Besides the score itself there is something wrong with most game reviews regarding content and methodology. Most of the reviews range from a sidetracked mess to self-indulged paraphrasing. Sure, a couple points made are interesting, but coming partially from the poeple who are responsible for the bad reputation games journalism enjoys in the general press. Take that however you want. But the general opinion of games journalists in "the" press is the one of 30 year old frat boys still trying to grow out of the mindset of a 16 year old. Listen to an episode of the Giant Bombcast.

However, take the Review @Eurogamer of MGSIV as an example and try to read it as somehow who has not played MGS or does not know a whole lot about the series.

http://www.eurogamer.net/articles/metal-gear-solid-4-guns-of-the-patriots-review

Was the above article helpful to you? Dont get me wrong. As an enthusiast gamer and long time fan of the series i enjoyed reading it a lot. But is this really a review, breaking down the game for someone still trying to decide if he should buy it or not?

Then there are the reviews devoid of information about the game in question.

http://www.1up.com/do/reviewPage?cId=3171581&p=4&sec=REVIEWS

The first stealth edited version of this review did not contain any information about the combat at all. I have no screenshot of the first review so if you want to take that as an theoretic example for all the other reviews out there that fail to inform you about the game they are actually reviewing go ahead. Like this one of CT DS:

http://www.1up.com/do/reviewPage?cId=3171483

It does not tell you anything about the game. So it ends up with an A. And if i wouldnt have played the game i wouldnt even really know what it is about. How is this a review?

Games journalism is a mess. Its a convoluted little club of boys jerking each other off and producing very little helpful information. The poeple working in this industry now are self-centered pen pushers which were fair enough when gaming still was a niche hobby for teens and the odd grown up but underqualified to provide the mass with educated opinions and selected information. Like Fraggamemnon said, its better to go through a games forum with the bullshit filter on to learn about a game. Or watch a couple videos and check the demo.
 

RedFalcon

Neo Member
Let's get the obvious out of the way first: games are a subjective, i.e., qualitative experience, so stamping them with a score, i.e., something quantitative, makes for a mess from the get-go. Sure, a lot of us understand that that a score should be an expression of value -- not a measurement -- but that hardly helps matters. The average reader is trying to correlate something that doesn't exist -- they're trying to assign an objective weight to an individualized experience. Sure, you can make an argument that parts of a review can be objective, e.g., does the frame rate every drop? Is there screen tearing? Are there any game crashing bugs? But trying to then give those broken components numbers throws us back to square one.

Some sites try to get around the score problem by using summary statements, e.g., Crispy Gamer's "fry it, try it or buy it," yet are these -- at their heart -- really any different from a score? Both a number and a concluding statement do the same thing: they attempt to rank an experience (usually in terms of whether or not it's worth your dollar).

However, if you're in the completely-eliminate-scores camp (like myself) you've got to pay attention to the format of the review. If you look at the text of most reviews you'll notice they're very compartmentalized -- some sites/publications more so than others. For example, IGN individually rates the graphics, sound, etc. This echoes the mindset that reviews are a consumer guide, hence the attempt to rate every aspect of the "experience."

But there's a little more to this compartmentalization. I think it sets up an extremely poor precedent for discourse. Sure, if you just want to argue scores or believe that game reviews shouldn't go beyond a consumer report, then you probably find very little wrong with reviews writing. However, if you want to critique an experience and discuss it with others, but your launching off point is a standard review then your talking points are mainly: a score (or some form of overall ranking) and descriptive sections about how a game functions and whether it's "fun" (a very malleable concept that we always throw around). That's about it. We could jump the gun here, but I see that Shawn has review vs. critique saved for the near-end of the symposium.

I think there's nothing wrong with having two systems: reviews for those of the consumer report mentality and critiques for those that want to talk about the game beyond the usual borders. It's disheartening, however, to hear Jeff Green talk about how big companies like EA pay so much damn attention to Metacritic and barely know about all the video game sites out there. (I believe he mentioned on Gamers With Jobs that quite a few at EA didn't know of sites beyond Gamespot and IGN).

I can echo score fetish on the part of developers and publishers: I was playing review code of a game at a development house and during my interview with the game's director he said, "Well, you almost finished the game today. What score or rating would you give it?" Now, I was in the room with another journalist and that guy said, "Four out of five." The director turned to me and I said, "Sorry. I've haven't finished the game and make it a policy never to talk score." He said he respected that statement, but I could tell he was dying for something quantitative. During a different press junket I was accosted by a PR person asking me why a site I worked for gave one of their games a particular score (I didn't review it) and this guy badgered me for a good 10 minutes. I have nothing against reviews per se, but scores seem to start conversations on the wrong foot, i.e., they reduce the potential for productive conversation.
 

Shurs

Member
This is a very interesting read and I like the idea of continuing the discussion on this board as we can add a) reviewers who are not a part of the symposium and b) the intended audience of game reviews.

So my questions to the games journalists who care to answer is:

What is the purpose of your review of a game?

Who are you serving with your reviews?

There was a lot of talk about pressure regarding scores from PR people, publishers and devs. If the aforementioned groups, who have the most to gain or lose based on reviews, had their way, would they rather game reviews be scored or not scored?

I appreciate the symposium. Thanks.
 
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