L.A. Noire is one of the most anticipated games of 2011. The premise is unique, as gathering evidence and solving cases are going to be at least as important as any other features of gameplay. The motion capture looks amazing. The voice acting sounds fantastic. There's a lot to be excited about when the game finally emerges next month. 

Unfortunately, L.A. Noire is also set up to be one of the most segmented game releases in recent memory. In fact, unless you own a PlayStation 3 and you purchase the game from both GameStop and Wal-Mart, you will be missing out on some cases that make up the overall experience. Other retailers are offering DLC items-- which are bad enough-- but this move to start ransoming parts of the single-player experience based on which retailer you buy the game from or on which console you have is, well, a crime. 

Rockstar Games, the publisher for L.A. Noire, is quick to point out that the exclusive cases that consumers get for preordering at either GameStop or Wal-Mart will be available as paid downloadable content some time after release. This is not a victory for anyone other than Rockstar, which gets to make even more money off of consumers for content that, arguably, should be in the game to begin with. The console-specific DLC is going to be a strengthening trend throughout 2011, as Sony and its "Only on PlayStation" mantra seems to indicate that the company is looking to foster the addition of specific content in multiplatform games that are on the PlayStation 3. Retailer-specific DLC, however, is the biggest problem. 

Game reservations have their importance. Purchasers for retailers like having some sort of metric to use when determining how many copies of a game that they need to order to satisfy consumer demand without buying too much. Reservations used to be a lot simpler. Back in the days of FuncoLand, for example, you just gave your name and phone number to an employee. That gave the store manager some idea of how many copies that his or her store would need when the game came out. In return, sometimes there were small trinkets that publishers would provide in exchange for this. T-shirts, dog tags, and other small tokens of appreciation changed hands. The big problem with this "honor system" was that many customers would not follow through on the intent to buy reserved games, leading to excessive copies of games floating around. When GameStop (and other retailers) moved to asking for a small down payment, the thinking was that the exchange of funds would respresent an early investment in the game and that more consumers would follow through and buy the game when it came out, or shortly thereafter. Reservation bonuses from publishers were still around to sweeten the pot. Up until this console generation, the preorder system made sense for all sides; retailers knew how much to buy from publishers, publishers made their money, and consumers were guaranteed their games and sometimes got something tangible out of the deal. 

Then... this console generation happened, and now the reservation system has gotten way out of hand, and it's the base consumer that loses out. 

Publishers still get what they want, as retailers are still buying their games. Gaming-specific retailers use reservations as metrics to determine an employee's worth, forcing employees to aggressively seek reservations from consumers and make the game-buying experience less cordial and more like an interrogation. Reservation bonuses are rarely tangible anymore; we've gone from t-shirts and pens to downloadable content like extra guns and costumes, which used to be included for free in games a generation ago. When it comes to part of a gameplay experience, such as levels, characters, or cases, these bonuses become items of ransom. In order to get these parts of the game, you have to reserve it at specific retailers... or you pay extra for it as DLC at some point, meaning that the $60 game is no longer $60. 

Now, with L.A. Noire, it's not just one retailer that has this "ransomware". It's now two different retailers, each with its own specific case to offer. Even if consumers cave to GameStop and reserve the game there, a case (or potentially two) is still missing. It's simply not possible to buy the full game with $60. It doesn't matter how insignificant that you may consider these DLC cases to be, the fact is that they're part of the overall game and have been stripped out for ransom-- or for alternate revenue above and beyond the arguably exorbitant price tag that remains for these games.

The reservation "bonus" is no longer a bonus. It's the ability to get closer to playing the full game as it was intended. It's legal extortion, and that's one case that Cole Phelps won't be taking on come May 17th. 

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Recent economic trends-- notably rapid increases in fuel prices and associated price hikes in the general cost of living-- should be something that the console video game industry starts taking seriously. Everything is getting more expensive at a most inopportune time for the domestic economy, and with the decline of disposable income, it's only a matter of time before pain is once again felt by the console gaming industry. Consumers are going to be forced to make tough choices in the coming weeks and months, and spending money is getting more scarce as we enter the second quarter of 2011. Many tax returns have already been spent, eliminating one way to fund sizable entertainment purchases. 

We've been through this before; most notably during the gas price hikes of 2008. Back then, the industry was thought to be "recession-proof"... and yet developers were shuttered, publishers announced layoffs, and sales inevitably tumbled. Less than three years later, fuel prices are poised to not only eclipse the $4 per gallon barrier-- but far exceed it. In fact, some localities are already dealing with prices above $4.50. Prices have jumped 20 cents per gallon in the last two weeks, and with oil prices poised to make a run at $115 this week and continue to rise, the trickle-down effect of these increases will be felt by consumers in a number of areas. Food prices are rising. Utility costs are likely to rise, especially heading into the summer months. Other costs of living are certain to be affected as well, and consumers will have to account for all of these increases while managing paychecks that aren't reflecting these trends. 

This means that consumers, as they did back in 2008, will be forced to make sacrifices. There's no doubt that video games will be one of the major areas of decline. Software prices continue to be high, especially for being so far into the console generation. Hardware pricing has stalled, at least until probably June when Nintendo and Sony are expected to announce their price cuts, and the $250 price point of the 3DS is leading to a lot of caution now that the launch window is closing. Console game prices remain high, unlike iPhone/Android software, which is far more enticing for tight budgets. 

It's almost as if the console video gaming industry honestly believes that consumers can't live without their video game fix. It's a bad attitude to have, and it won't be long before even more damage is done to a business that was invincible five years ago. People within the industry need to wake up and recognize that there are steps that can and should be taken to ensure that the damage is lessened and that more people remain interested when the economy eventually recovers:

1. Hardware price cuts: Waiting until June will be too late for any momentum shift for the Wii and PlayStation 3. These cuts need to happen sooner, even if it takes the sails out of E3 a little bit. Since it's likely that gas prices will be at their highest just before the big show, companies must make a preemptive strike and attempt to generate interest before the worst hits. 
2. Software price cuts: There needs to be a signal to move software pricing down, at least back towards the $50 level. More titles should be added to each console's respective "Greatest Hits" lines, which should sell at a uniform $20. In short, making the first move to cut prices will show consumers that console video games can be affordable, even during hard times. Digitally-distributed titles, especially ones that have been available at retail for longer than 12 months, need price drops to Greatest Hits levels, no matter how popular the IP is. 
3. Pre-owned game cease-fire: We all know how the industry feels about pre-owned games. We also know that, thanks to constant connectivity, it's now possible to use alternate revenue methods(such as Online Passes) to attempt to force consumers to contribute something to the publisher's bottom line. It's time for a cease-fire. Reward consumers who buy new instead of taking such a hardline "They're not our customer" stance and stripping out content. The industry needs to at least make an effort to understand that consumers aren't buying used to spite the industry; instead, they're buying used to save a bit of money so that they can continue to afford playing video games in some capacity. 

Just like many consumers, the console video game industry is going to have to make some hard choices of its own if it wishes to remain relevant on a mainstream scale. While price cuts can initially hurt the bottom line and a temporary reprieve from the War on Used Games might seem like admitting defeat by some, taking these or similar steps would go a long way to rebuilding trust and faith from a consumer base that's gradually been eroding. If nothing is done and the industry continues down its path of self-centered greed and shortsightedness, a future of weak sales and a continuation of declining interest is all but assured. 

The alarm bells are ringing. The time to respond is now. 

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Namco's Ridge Racer series and I have a long history.

Nearly 16 years ago, I played Ridge Racer for the first time on an import PlayStation unit at an independent game store. I was hooked almost instantly. It's not that Ridge Racer necessarily did anything different than other racing games that I'd played before, but it was colorful, fast, and the music stayed in my head long after my play session came to an end. I knew from that night on that I would be spending $300 on a PlayStation come September 9th, 1995... and that was only the beginning.

I've played almost every Ridge Racer game since. Ridge Racer Revolution was decent but felt more like an extension of the original when it debuted in 1996. Rage Racer followed in 1997, and it was a stark contrast to the earlier games as earning money for winning races and choosing the right car for each race were much different than the straight arcade style that the Ridge Racer games were known for previously. Ridge Racer Type 4 made tweaks yet again with the Real Racing Roots '99 campaign, improved visuals (like taillight streaks), and a jazz-infused soundtrack that still rates as one of the best around. I still own all of these, save for the original Ridge Racer, which I'm hoping makes its way onto the PlayStation Store at some point. 

When I bought my PlayStation 2 in 2001, Ridge Racer V was one of the games I got at the same time, along with NHL 2001, SSX, and Swing Away Golf. Ridge Racer V was a big jump in terms of graphics for the series, and the return of the original Ridge Racer course with a new coat of visual paint was amazing to behold. The lighting effects blew me away and the framerate had been greatly improved over the 30fps from the original PlayStation title. These visual improvements didn't get in the way of classic Ridge Racer gameplay, which was very important. The interesting story mode was gone, in favor of a return to a more arcade-style feel, but Ridge Racer V felt like a return home for a franchise that had undergone changes for the previous two installments-- and that was fine by me.

Getting an Xbox 360 and a PlayStation 3 over the course of this console generation, I bought Ridge Racer 6 and Ridge Racer 7, respectively. I wasn't initially a fan of the new focus on drifting and gaining nitrous boosts, but it grew on me. The visuals were improved once again, and seeing Ridge City in high definition was-- and still is-- jaw-dropping. I still own all three of these games, as well. As with Ridge Racer V, there were nostalgic nods to previous games in the series. Music tracks from past games were available for download. The infamous Ridge Racer helicopter looked better than ever, as did the original Ridge Racer course-- which was beautiful in its familiarity. Ridge Racer 6's World Explorer mode was an interesting way to approach single-player racing and the accent on collecting cars was reminiscent of Ridge Racer Type 4. I prefer Ridge Racer 7, if only because it feels like a more complete version of Ridge Racer 6 and the ability to adjust and tune vehicle parts was welcome. 

When I found out that Ridge Racer 3D was going to be a launch title for the Nintendo 3DS, I knew that I had to have it... even though I really didn't know what to expect from it. Screenshots weren't exactly promising,, but I was still excited. The prospect of Ridge Racer in 3D was admittedly pretty cool, and I had faith that we wouldn't see a disastrous effort like we'd seen with Ridge Racer DS... which was a sloppy port of an already-weak game in Ridge Racer 64. In a sea of average launch titles, I had hope that I could count on Ridge Racer 3D to be a good complement to Super Street Fighter IV. 

Then... I played it. A lot. 

Ridge Racer 3D won't win any awards for technical achievement. The frame rate returns to the the PlayStation's familiar 30fps and lots of visual touches that we've been accustomed to seem to be missing. The game really doesn't do much to break the mold that was set by the others in the series, but it's still a fantastic experience and was meant for me, the Ridge Racer fanatic. It's all about fan service, and Namco delivers it in spades with this game. Bits and pieces of many of the games that I mentioned earlier are here: classic race circuits, classic music, and classic gameplay. Car models aren't all that detailed, but seeing them approach (or blow by you) in 3D is pretty amazing. Seeing tracks from Ridge Racer Revolution, Rage Racer, and even variations of tracks from Ridge Racer 6 makes me smile. Music tracks from older games join with new creations to fill the soundtrack, and the built-in psuedo-surround effect from the 3DS' speakers adds to the quality. The Grand Prix progression is a cross between Rage Racer and Ridge Racer 7 as points are used to buy new vehicles and upgrades. The gameplay is pure Ridge Racer, no matter whether you use the D-pad or the analog disc, as you tear around the track and deftly drift through corners and hammer the gas to straighten out. There is an option to drift "on demand" with a button press, similar to Tokyo Highway Battle, but series veterans not only won't need this... but they won't want it. 

The formula feels similar to what Namco did with its Ridge Racer release for the PSP, but with a 3D coating. The experience is pretty long; a couple of hours into the game, I'm only just now unlocking the second tier of cars with more power and speed. I'm aiming to turn in a review for Gaming Nexus, but may do one here as well. What I can say, even at this early stage, is that Ridge Racer 3D is already my favorite 3DS game and looks to stay that way for at least a few more weeks. 

Thank you, Namco, for giving me the game that I didn't know I wanted. 

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I've been spending a lot of time lately with The Masters: Tiger Woods PGA Tour 12. The game is addictive enough that it's pushing me over my review deadlines, and there's a lot to like about the game. Many of my concerns from the last couple of Tiger Woods games have been addressed with this year's title, from presentation improvements to the ability to play without the questionable Focus meter to delivering a pretty rich Career Mode that's blown me away. On the surface, all is well with Tiger 12... but there's one major change that I do not approve of and could potentially be a forebearer of things to come. 

First, a little background. In Road to the Masters, which is the new Career Mode in Tiger 12, you have to earn your PGA Tour card before hitting the circuit. You battle through an Amateur Tour, the Nationwide Tour, and then endure Q-School with the hopes of cracking the Top 25 in that event and getting a spot on the Tour. Once you get your Tour card, the golf season functions like it has in most other years. There are events every week to take part in, and in order to qualify for The Masters, your golfer has to be in the Top 100 in the EA Sports Golf Rankings. The overall goal in Tiger 12 is to become the best golfer in the world, overtaking such talent as Phil Mickelson, Tiger Woods, Dustin Johnson, Ian Poulter, and many others. To move up the rankings, you not only have to play consistently well... but you need to play often. 

Unfortunately, an improvement that was made to Tiger 12 in implementing DLC courses into the Career Mode was taken a bit too far. 

Yes, it's great that DLC courses are now a part of the actual schedule for your career, rather than simply for online play or for casual play. This adds value to the downloadable content. The problem is that the courses are tied to specific events on the PGA Tour schedule... and if you don't either own or buy the DLC courses required, your player is forced to skip that week of action. There are no substitute courses, and skipping weeks can be costly to your overall ranking. This is a bad precedent, as the game basically locks out events if players don't pony up more cash. 

In other words, to get the full Tiger 12 experience, as it's intended, you need to pay considerably more than face value for the game. This is worse than Online Passes and launch day DLC that arguably could have been on the disc. There's nothing on the box to indicate that you'll need to buy these courses, either. Unless you've read reviews-- and the reviewer actually calls this to your attention-- you'll have no idea that this tactic even exists until you've earned your Tour card and see an event as being locked because you don't have the course. Defenders of this tactic claim that missing a week or two isn't a big deal and that it doesn't have much effect, or they counter that even tour pros take weeks off due to fatigue or other reasons. These explanations are ridiculous. There are better ways that DLC courses could have been implemented, including allowing for alternate courses if the DLC course hadn't been bought or adding the DLC-specific events to the Tour schedule once the courses are purchased. 

I've spoken little about DLC when talking about previous Tiger Woods golf games despite its obvious inclusion and the potential for microtransactions. In years past, you could use actual cash (or Microsoft Points) to buy items from the Pro Shop if you didn't have the XP or virtual funds to do so. Costs for DLC courses also had been rising considerably, but buying them was completely optional and had no bearing at all on single-player action. With Tiger 12, the rules have changed. DLC now has a direct bearing on the retail product. It doesn't add anything; it merely completes the package that you already paid $60 or more for. 

Sadly, this tactic spoils what's an otherwise fun and addictive golf experience. I love playing Tiger 12 and, unlike some of my colleagues, don't feel the need to criticize it because it doesn't do enough that's new or because the formula feels tired. I think that it's a great game... but EA's DLC approach hurts the overall value significantly. How much? We'll see when my final review is completed and published. 

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I was excited for Mortal Kombat. The demo played pretty well, albeit a little on the slow side. The special editions of the game looked pretty neat. It felt like a throwback rather than an attempt to keep expanding in the direction that the games took during the last console generation. It seemed like a day-one purchase for me, if only to support the revival of a fighting game that used to share the spotlight with Street Fighter some 15 years ago. 

At the same time, I was a little disturbed by some of the publishing decisions that Warner Brothers Interactive had made regarding the game. Different DLC for different retailers means that consumers have no way of getting all of the content that is available for the game when it launches without spending more than the $60+ that they're spending when they buy it. Then I heard about DLC characters after the fact, and after what Capcom pulled with their $5 per character pricing, I am less than excited to hear about any DLC characters-- especially before the game's launch date. 

With the addition of an online pass fee-- including the way that the company is disguising it from packaging and forcing retailers to tell consumers-- I'm officially done with Mortal Kombat. My Kollector's Edition preorder is getting cancelled today and I'll have to reconsider whether I'm going to buy the game at all. I'm sure that Warner Brothers isn't going to miss my $100, but it's the only way that I can send the message that I don't agree with any of these decisions that have been made regarding the game's content... errr... kontent. 

As with all of these cases of online pass usage, we're seeing the Industry Defense Force mobilize and defend the practice. Woe be the developers and publishers, for they do not profit from the sale of a preowned game... and all of you who buy them are no better than a pirate who gets the game illegally. After all, the industry doesn't see a dime from used game sales-- even though they actually got the profit already when the game was sold. Oh, and lest we forget the strain on the online infrastructure... even though there's no additional strain at all. Pity the poor industry. They are the victims here.

Unless these people actually work within the industry-- as programmers, artists, producers, or something else-- then I don't get why they blindly defend such ridiculousness. Apparently these people have money coming out of their ears since they buy everything new. Here's an idea: If you're worried about the industry not getting enough money, why don't you start sending donations? Come on. I dare you. Pick up that checkbook and write a $50 check to Warner Brothers, Electronic Arts, or THQ. Put your money where your mouths are. Of course, nobody will do this... and even if they did, publishers wouldn't know what to do with it. 

Preowned games are been around for decades, and, until this console generation, there wasn't this movement of vilify the practice and punish consumers who bought them. We can argue about weak trade-in values all day (and I'll agree with you), but game trade-ins have always made games and systems more affordable and preowned games are simply cheaper alternatives to buying new. $5 less is still $5 less, no matter how minor a difference that you think it might be. If you told me that you'd walk by a $5 bill lying on the ground or that you're not pleasantly surprised by finding a $5 bill in your jacket pocket, I have no problem calling you a liar. Sure, resellers like GameStop can be criticized for imbalanced pricing-- but they're not the only resellers around. eBay, Amazon, Best Buy, and others all engage in the practice. In going out of your way to see GameStop drawn and quartered, you're trying to do away with what's been an acceptable practice for generations. Let's also not forget that no matter what method of tender that is taken for the sale of new games at GameStop-- including trade-ins-- the company already paid cash money to distributors and publishers for them. Everyone got paid. 

The Industry Defense Force throws around terms like inflation and increased development budgets as reasons why we all need to suck it up and accept these anti-consumer programs. When's the last time inflation showed up in your paycheck? I sure as hell don't recall. Also, if you're going to use inflation to justify higher costs to consumers, then they can just as easily remind you that food and fuel costs are rising, too, and when a silly form of entertainment like video games becomes too expensive... they'll stop buying them. As for increased development budgets, that's the industry's fault. Big-budget games are popular because the industry put them out there and consumers bought into it. I'm willing to bet, though, that the development budget for Just Dance 2 isn't nearly the same as it was for Bulletstorm-- and yet Just Dance 2 killed it in sales. Imagine that.

Let's talk about the Industry Defense Force's other popular term: Entitlement. How dare consumers expect the same level of content and the same feature sets that we used to get included with our games until this console generation? Those things cost money, you know... and now that internet-connected gaming and DLC has given the industry the opportunity to finally charge for these things a la carte, consumers should just accept it. How about no? Why should consumers all of a sudden stop expecting online play, bonus costumes, cheats, and other features to be additional expenses after all these years? Should they accept it for the good of the industry? Should we stop questioning because, to quote Bruce Hornsby, that's just the way it is? I don't see why. We're paying 20% more for new games on average, and getting fewer features. That's not a case of entitlement-- it's robbery.

I'm frankly tired of reading that consumers are responsible for the well-being of the video game industry. I'm sick of reading comments, message board posts, and tweets that make it sound as though it's up to us to keep the industry going and that it's somehow our fault that developers and publishers are closing their doors. That's not a problem for consumers to be tasked with. It's an industry problem. If the industry crashed and burned tomorrow, consumers will find other sources of entertainment to pursue and spend money on. The onus needs to go back on the industry to rediscover the magic that it had during its period of expansion from 1995-2005. Instead of penalizing consumers with nickel-and-dime DLC and stripping out features from retail releases, maybe they need to make video games financially accessible and infuse them with value once again.  

And, don't look now, but Warner Brothers is looking to implement Online Pass into Batman: Arkham City. That's a single-player game. The future is, indeed, upon us. 

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I came out pretty strong on Twitter recently, decrying the loss of instruction manuals as publishers such as UbiSoft and EA Sports have made moves to abolish print manuals in exchange for digital manuals that can be found as extra content on the game disc. While publishers are reasoning that eliminating such manuals is better for the environment, it seems evident to me that there are more significant factors at work here-- most notably the cost-cutting nature of such a move and the general lack of effort or desire to continue the practice. Defenders claim that new, in-game tutorials are an acceptable substitute for this omission, and while I can see their point, I don't agree entirely that it's acceptable. 

For starters, what if you wind up going back to a game after some time away and forget how to duck or cover, for example? I, for one, don't think to run the tutorial again for one move... so I usually consult the manual to check what the proper controller action is. I don't have to walk into another room to check my computer, and I don't have to quit the game in order to access the on-disc manual. I realize that it's an antiquated notion... but I actually read the manual, just like I have done for the better part of the last 30 years. Perhaps it's my own failure to adapt to an ever-changing climate, but it's damned inconvenient for me to have to jump through hoops to access a command list. I realize that publishers haven't been putting much effort into documentation for the last few years, but how much of the Earth are you really saving by eliminating what little documentation that you give us now? More importantly, do publishers think that consumers as a whole really buy into such a flimsy explanation? I sure hope not. 

That's the second point here. Saving the environment is indeed a great cause, but publishers wouldn't be making such a bold change to how video games are packaged without some sort of kickback on their end. Eliminating manuals cuts down on overhead and-- SURPRISE!-- cuts costs in a way that only the publisher benefits. Game prices aren't ever going to reflect cost savings in this era of industry greed. No way. You need to only look as far as Microsoft's digital distribution model for evidence of this. There's virtually no difference between buying digitally and buying in-store, except that you have to wait an hour or two to actually play your game once you buy it digitally. You're paying the same prices in Microsoft's Games on Demand store as you are at most retailers... and Microsoft's pricing is sometimes higher! Digital distribution is supposed to cut costs, but when do consumers see the benefits? 

I understand that I'm a bit of a dinosaur in comparison to the average video game-related personality these days. I won't pretend that "the way it's always been" isn't partially fueling my disdain when it comes to this topic, but I also think that the intentions set forth by the industry here aren't as noble as they're portrayed to be. Of course publishers aren't going to come out and agree; it's bad PR. Just once, though, I'd like to see somebody step up and just be honest when it comes to stuff like this. Consumers aren't all dumb. Some of us see what's going on. We know that video games are a big business. The difference is that the industry is more direct about its intentions during this generation than in any other generation before it, with changes that really only put more money in the industry's pockets. 

• Hardware prices are higher and the hardware has a higher defect rate during this generation than any before it. 
• Software prices are higher despite lighter content and fewer features. 
• DLC adds expense to software for things once found in games in generations past, such as game modes, costumes, and extra characters.
• Instruction manuals have gone from full content to four-page controller schematics to being phased out of existence in favor of in-game tutorials and online manuals.
• Game cases--especially for the Xbox 360-- have become more environmentally friendly as the cost of putting too much pressure on disc spindles, causing damage.
• Digital distribution hasn't cut costs at all; in fact, it's more costly since prices are the same in addition to energy and internet costs for download. 

All of these things, either directly or indirectly, steer extra revenue into the industry that was never there before. The loss of instruction manuals, while a minor omission or even welcomed by some, is just another screw being applied to the consumer. It's getting to the point that it's no longer accurate to point the finger at the industry for such behavior. Instead, we need to look at ourselves and point the finger of blame. As long as we continue to buy into and simply accept these changes without questions or changes in our buying habits, we're basically admitting that we're OK with paying more and getting less for our entertainment dollars. 

That's something that we can control, and unless we do, the next console generation stands to stick it to consumers even worse. Perhaps we should start bending over now. 

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Last October, I wrote about what I perceive to be the dishonorable practice of review embargoes. I stand by my belief that the reason for many embargoes is to prevent early negative reviews for potentially spoiling sales of a game. Consumers can be excited about the game and buy it and launch day without reviews being made available until after many purchases have already been made. The cases of Medal of Honor back in October and of the recently-released Homefront (THQ for X360/PS3/PC) are classic examples of using embargoes to this effect. 

Homefront is turning into quite a mess for THQ. Sporadic reports of online multiplayer problems on day one were made worse as the day went along and reviews began seeping out from underneath the veil of the game's review embargo. Sites that broke the embargo as many as three days before it was lifted netted a Metacritic aggregate score of 88 back on March 12th. As I write this, the aggregate score has sunk to a 72. That's an 18% decline and moves the game, based on Metacritic's own definitions, from "generally favorable" to "mixed or average". Worse yet, THQ's stock values plummeted more than 20% on Homefront's launch day and many analysts drew a direct correlation between the stock value drop and Homefront's sinking review scores.

I'm hearing and reading testimonials from consumers who bought and played Homefront, and the experiences have not been favorable at all. Broken online play, sub-standard visuals, a very short solo campaign which doesn't even outlast Medal of Honor or Kane & Lynch 2, and various bugs and glitches all make Homefront sound like a arguable waste of $60 that could have been avoided if not for the embargo which at least initially saved the game from being ignored completely. I won't be surprised to start seeing copies traded in by week's end, much like we saw in the cases of Medal of Honor and even Bulletstorm, most recently. 

There are valid reasons that review embargoes can be employed by publishers. Embargoes can level the playing field so that site traffic is based on userbase or writing quality rather than simply being first. Embargoes also allow ample time in many cases for reviewers to devote ample time to gameplay experience, rather than rushing through and creating sub-standard content. i understand the arguments here, but I personally don't buy into them because review embargoes aren't uniformly enforced. This isn't always the fault of the publisher, especially if sites that break the embargo acquire the game through a retailer that breaks street date. The offending sites in those instances owe nothing to the publisher since the game was bought instead of sent by PR or the publisher for free. 

The problem is that there are other cases when sites tell PR sources or publishers that they're giving games a great score and are then given the green light to publish early, thus breaking the embargo and nullifying its purpose. This indirectly punishes sites who play by the rules and may potentially have some points of contention with the game in question. This tweet from Joystiq Reviews Editor Justin McElroy lends support to the notion that this kind of thing happens:

Hey video game friends? Please stop telling PR your scores so you can break embargo. You're hurting everybody.

If some sites get preferential treatment because they have glowing reviews of a game and can potentially inflate the Metacritic average while others have to bide their time and wait, then there's something very wrong with the system. Simply put, if you're not going to universally enforce review embargoes for all sites for whom you've sent review product to, then the practice of review embargoes should be dropped altogether. It's a shady practice made worse by selective enforcement. 

I encourage you to check out this column on the subject, written by Dennis Scimeca. Although Dennis has made some edits to his original column and there seem to be more allegations than evidence, he raises some valid points. The four websites that broke the embargo date all had scores of 85 or higher, which set the early aggregate score at its lofty starting point. Dennis has put word out to the sites to find out how they received copies of the game early; since some retailers received Homefront as early as March 10th, it is possible that street date was broken and the sites didn't have to follow the embargo-- but the possibility also exists that the sites were given permission to publish early. Will we ever find out what really happened? I doubt it. I do believe, however, that skepticism is warranted in this case. 

Sadly, I believe that this Homefront example will serve as proof that publishers and PR need to not only continue the practice of review embargoes-- but to also strengthen them and perhaps even stir discussions of extending them well into launch day in order to prevent negative reviews from impacting sales before units have a chance to sell. Worse yet, if reviewers wish to keep receiving review copies, they may be forced to play along without question. Perhaps this is a worst-case scenario, but it's also impossible to rule out... and that seriously harms the credibility of the industry and of the video game review process, all in the name of money. 

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On March 11th, I made a decision to consciously back away from writing and Twitter while I do some soul-searching. I have multiple challenges that I'm dealing with at the moment, including stresses from work and a serious lack of confidence and motivation. I appreciate the kind words that some of my Twitter followers left for me, and I'm also sure that decision to back off after receiving a rejection notice (that I expected) from the ESA regarding E3 has something to do with my thought process. 

Since this is my personal blog-- although it's been largely gaming-centric since its creation-- I'm going to shoot straight and speak candidly. 

I'm honestly considering giving everything up. The blog, writing in general, Twitter, and so on. I have come to the realization in recent days that my dream of following in the footsteps of so many other writers that I admire just isn't in the cards. I'm not going to make anything out of myself doing what I've been doing, and I'm at a turning point where I am asking myself whether it's worth it to keep going, just for the sake of being involved in the gaming press in any capacity. I'm not certain that my writing quality is improving, and I am finding that a lot of what I'm saying about the industry in general is becoming redundant. I sound like a broken record when it comes to many issues. I still feel lost in a few areas, too, and that's nobody's fault but my own. I'm one voice in a cast of thousands, and I don't know that it's enough. 

I've tried to hold out hope that something would fall into place and give me incentive to pull things together. My dream of working "in the industry" for a living is really just that: a dream. I don't think that I've ever really had a shot at making that happen, and for some damn-fool reason, I had this thought that proving myself at E3 would make some tiny bit of difference. I put all of my eggs in one basket, and they all went rotten when the ESA announced its crackdown on attendance for this year's event. It's now one of those situations where I have to figure out why-- or if-- I want to be involved in the gaming press since my former goals are seemingly unattainable. Perhaps my reasoning is selfish, and you have every right to believe that. I just wanted the opportunity to prove myself on the big stage instead of doing what I've done for years-- reporting from home while colleagues are actually experiencing things first-hand. 

The rejection was the tipping point, but there have been other doubts rattling around in my head. My ADD is winning the focus battle more often than not, so working on news stories is very hard for me. I can't focus on them. I'm thinking about too many other things... what games I need to be playing, how I'm going to afford them, whether anyone is actually reading what I'm writing, and so on. I'm sure that some of you understand how difficult a battle this is. It's slightly easier to fight this battle when you keep telling yourself that you have something to motivate and drive you. I've also been frustrated by "real life" stuff that I can't get away from. I'm really unhappy in my current job, but if I want to survive, I have to suck it up and keep doing it-- like millions of others besides me. I get easily flustered and stressed when I have to deal with more than two people at a time and my mind races to what else is going on instead of what's in front of me. I was secretly hoping that fulfilling this dream of mine could have been a way out... to finally get a job that I knew I could do well and whose source material made it easier to battle the stressors and pressures that came with it. 

So... my status is in limbo right now. I know that's about as indefnite a status as there is, but I really have to do some serious thinking and can only commit one way or another when I know that I am ready to do so and when my crisis of confidence is resolved. 

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I already have problems with launch-day downloadable content. Although discussions about the subject on Twitter with PR people and those "on the inside" have generated a few valid explanations, I'm still not 100% fine with the practice. I honestly don't care what the reasons are; if you're talking about launch-day DLC-- or even talking about DLC for a game that hasn't even launched yet-- I firmly believe that publishers need to step back and wait awhile before announcing it. At the very least, publishers could keep it quiet for a month and then talk about it all they want. That way, those who purchase early don't have to feel like they spent money on a game that arguably could have-- or should have-- had more content. I can accept explanations about certifications, especially with Microsoft's hardline attitude, but that shouldn't affect this situation. Keep a lid on it, wait a few weeks, then surprise us with news that there's new content ready to roll. 

See, I always thought that the purpose of DLC was to enhance games after they've launched, in order to promote replay value and get consumers to hold onto their games instead of trading them in. Now, most sane consumers really don't have a reason not to wait for the inevitable Game of the Year or Ultimate Editions. Those are the COMPLETE games that your hard-earned cash is spent on. Those of us idiots who buy on launch day get the incomplete versions, ready to go with multiple alternate revenue streams called DLC. If we'd just wait a few months, we'd get the DLC for free in most cases with these repackaged versions. 

But we don't wait... because we're too eager. We're too excited. We're too damned stupid to see the folly of our own ways. We want our games now, and if we have to pay more than $60 to see all of the content, then fine. 

Now, look where our "want it now" attitude has landed us:

Nobody who buys a single copy of L.A. Noire come May 17th will be able to access all of the game's available content, unless they purchase more than one copy of the game at $60, due to multiple (and different) preorder incentives. Sure, you can purchase access to these extra Cases and Suits for a nominal fee at a to-be-determined timeframe after the game has launched, but the copy of the game that you will be buying will not be a complete game. You can go ahead and argue that the extra Cases will probably be secondary to the game's story arc, and that's fine.

You can also continue defending such greed-driven practices all you want. Keep telling yourselves that we need to save the industry, or that games are just an expensive hobby and that we need to accept it. Feel free to keep applying the Inflation Variable, even though the average consumer will tell you that his or her paycheck sure as hell isn't inflating. I'm sure that some of you will be at least thinking, "Hey, if you can't afford it, don't buy it. Simple." Right? 

Here's a news flash for those of you who think this way: The video game bubble is already deflating, and people are indeed not buying what they can't afford. You're getting your wish, Industry Defense Force, but it's not good news for you. Fewer potential consumers equals fewer sales. Fewer sales equals less revenue. Less revenue equals lower stock prices. Lower stock prices equals fewer investors. Fewer investors equals less capital for developers and publishers. Less capital means fewer games released in the best of scenarios-- and the shuttering of development studios and even smaller publishers in the worst cases. Feel free to insist that trends "aren't that bad". 

I've seen this downturn coming for over two years, and the worst of it still isn't here. The industry will very soon have to deal with U.S. fuel prices that will easily eclipse $4 per gallon and potentially flirt with $5 if the perfect storm of events occurs. Disposable income will rapidly decrease and many consumers who were able to afford one or two games per month will be forced to cut back. You can believe that "people need entertainment", and that's fine... but video games are proven to be an expensive form of entertainment that requires a fair amount of money up front to enjoy. Other forms of entertainment-- going to the movies and dining out, for example-- will also be taking hits once gas prices eclipse $4, which could happen as soon as the end of March. These industries know that there's trouble ahead... and yet the video game industry continues to not only consider itself invulnerable... but it apparently believes that consumers aren't spending enough money for software at $60 per game. 

You want more proof that consumers are tiring of the current video game sales model? Look at this Nielsen report. Traditional video game spending is down while cell phone spending is up. Why might that be? One real possibility is that it costs much, much less to buy a game for your iPhone or Droid phone than it does to buy a console game or a game for your handheld platform. Even Nintendo, once thought to be a portable gaming juggernaut, is concerned. Reggie Fils-Aime's not-so-subtle jab at mobile phone games is arguably a sign of fear or weakness. Reggie doesn't want consumers to spend only a few dollars on a mobile game because he's concerned that they won't be as inclined to drop $40 on a 3DS game. He's rightfully concerned. Consumers spent LESS money on console and handheld video games despite being a year removed from the worst of the Great Recession. 

Am I saying that this L.A. Noire DLC stunt is the straw that broke the camel's back? No. Am I saying that a crash is imminent and that the sky is falling? Not necessarily. What I am saying is that the video game industry is reaping what it has sown. Fewer people are buying video games, and fewer still will buy them as the economy again wobbles towards recession because the industry has successfully priced them out of the market. The Industry Defense Force has long believed that video games are only for those who can afford to be in the club, and now they're going to get their wish. Hopefully they'll also have enough money to spend over the course of skyrocketing prices for food and fuel to keep the industry humming along like everyone believes it will. 

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I've made it no secret that I hold many people who have managed to make being a part of the gaming press into a career pretty highly. There are lots of them out there, from freelancers to full-time website staffers, and I really can't name them all without probably leaving a few people out. It makes me feel pretty good knowing that I've managed to strike up relationships with a few of them via social networking. Even though the chances are small that I will never get to do what they do for a living, the fact that we can communicate on a similar level encourages me and drives me to at least try. As I sit here, getting ready to draft my first review for my new home at Gaming Nexus, I know that it's the support of these (and other) people that's helped me to get back on the horse and do something with the talent that I (apparently) have. 

Unfortunately, recent events also make me realize that some of the same people that I have had respect for also want to see me fail-- at least indirectly. In response to the ECA's recent decision to link press invitations to E3 with site traffic, which will likely all but eliminate any chance that I have at attending this year's event, I have been seeing some of these people approve of these changes and actually consider them to be better for everyone. I will not publicly call any of these people out, but I will say that the sense of entitlement among these privileged individuals is disheartening and disappointing. 

I can understand why the ECA is looking to curb access to E3 somewhat. New websites are springing up all over the internet, and there's only so much space to house all of the potential visitors and the industry members in one building. I can see that there's a sense of thinking that, just because you write a few articles for a website, you get to go to the big show. Lots of websites post this possibility when looking to hire potential staff members, as long as they can pay their way to and from the event plus the lodging incurred. From an enthusiast standpoint, any video game fan would love to attend E3... but from the ECA's standpoint, it's not about enthusiasts. It's about press coverage for the companies involved. Most people who attend the event either work in the gaming press or for the industry in some capacity, and I fully agree that this idea should be adhered to. Sure, there's time for fun, but many attendees should be there for a reason. Enthusiasts have their own events, such as PAX. E3 is, to coin a popular meme, serious business. 

I would've liked to have made this blog post solely about the ECA's decision, which is possibly a revenue driver more than easing logistic problems. After all, the ECA isn't necessarily denying access to websites and their staff. Instead, the explanation is that the ECA is happy to have you at E3-- for a fee. That's right; you can attend E3 with more than your allotted contingent provided that they pay for passes-- on top of all of the other expenses incurred just to get to and stay in Los Angeles for the event. If the ECA is hurting for cash, why not limit the number of passes for each qualifying site and then charge for each additional pass? That's a reasonable solution. The bigger and more established sites should have no problem covering these additional expenses, plus it would undoubtedly alleviate foot traffic concerns and likely weed out some of the attendees who are there for pure entertainment. 

What I don't understand is the perceived attack on those people who aren't part of "the fraternity". Sentiments such as "try harder" and "build your site" do nothing for websites who can't build without having proper coverage right from E3. Sure, writers can crib press releases and post assets, but readers-- the ones who give sites the requisite traffic needed to actually attend E3-- don't want that. They want news right from the show floor. They want impressions, pictures, and on-site interviews. Shutting out sites or severely limiting the number of attendees that get passes only hampers a website's efforts to grow. Of course, established megasites and writers are absolutely loving this; smaller waits in line at demos, more open appointments, and... less qualified competition. The big sites and writers know that E3 is important, despite what a few have been claiming recently... and, I'm sorry, but sending one representative to cover an event like E3 is a suicide mission. It's counterproductive. The quality of the coverage would be so diluted that readers wouldn't give a damn. 

Contrary to what some of these "fraternity" members think, there are plenty of people who do genuine work when they have attended these events in the past. It's unfortunate that some attendees make a bad name for a larger group, but this happens at any event. There's always gonna be Drunk-And-Likes-To-Fight Guy at bars, or people who use the Express Lane at the store to buy 25 items. There are outliers, and they don't represent the majority in any way. I've had the pleasure of working with volunteer members of the gaming press who have attended E3 in the past, and they just worked-- much like the same people who are champions for these new restrictions. 18-hour days of listening, walking, playing, talking, typing, and reporting... and they don't get a DIME, like some of these other people. Why would anyone want these people shut out or make them jump through hoops of fire just to get in the door?

This especially hits home for me, because I know that attending E3 would mean tremendous experience for me, and that I know that it's not about swag or parties... but despite my years of writing and paying my own dues (as best I could, given the rollercoaster that's been my personal life), it won't be enough for this one year that I actually have the financial ability to cover the expenses of travel and lodging. The ECA decision is one thing, but the reactions from some of these career writers are patronizing and insulting. It's almost as if they truly believe that they belong and the rest of us don't. It's like there's some unwritten list of arbitrary requirements that must be fulfilled in order to be considered "one of us". 

I'm not better than anyone else. I have never claimed to be. I have a strong passion for console video games, and I have all my life. I write with the hope that others may share a similar perspective... or maybe compare their own perpective with mine. I know that there are better writers than me out there, who have paid their dues and worked hard to achieve their status, and I respect them. At the same time, I believe that, even as a volunteer member of the gaming press, I deserve a similar measure of respect and the opportunity to do the same things that they do. They don't know me. They don't know what I can bring to the table. The same goes for dozens of other writers out there who are just like me; they work full-time, have families, and yet devote hours and hours to honing their craft. 

I don't do this for the money. I do it because I love what I do and I love video games. If enthusiasm for the industry is frowned upon, as it seems to be right now, then it really is a problem with the paid gaming press and its current fraternity. 

I'm not better than many of you, but are you really better than me? Is that really how it has to be? Think about that for a while. 

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Although I'll be doing a more in-depth analysis of sales numbers over at Gaming Nexus in the next day or two, I wanted to log some quick reactions to the hardware sales numbers that I've been seeing across the web that were released recently. 

First, here are the numbers for December, as I've seen them:

1. Nintendo DS:  2,500,000 units sold
2. Nintendo Wii:  2,360,000 units sold
3. Xbox 360     :  1,860,000 units sold 
4. PlayStation 3: 1,210,000 units sold

These results fall into line with what I expected, for the most part. Microsoft admitted that supply constraints hurt them in December, which I anticipated would happen. Nintendo managed to capitalize on this and come away 500,000 units ahead. Sony, meanwhile, managed to post a decent number of PS3 sales... but was still over a million units behind the leader. 

Microsoft should be happy with its results overall. The Xbox 360 was the only console to sell more units in 2010 than in 2009, which is more impressive when you consider how much effect that lingering recessionary effects have had on the economy. It's no secret that Kinect has been huge for Microsoft in Q4, bolstered by strong marketing and word of mouth. You have to wonder what might have been possible if Microsoft hadn't run into supply issues in December. I still think that the Wii would have won out, but the final tally would have been a lot closer between the two. It's clear that, although Wii still outsold the Xbox 360 overall in 2010, momentum is on Microsoft's side heading into 2011. Without the "newness" factor for hardware like the slimmer Xbox 360 and the Kinect, Microsoft will be challenged to deliver a varied and strong software lineup to stay in the driver's seat. 

Nintendo righted the Wii ship a little with decent December in terms of sales. Comparatively speaking, however, Nintendo's victory was hollow when you notice that Wii sales were down a whopping 38% YOY. Put that number next to a 42% increase YOY for the Xbox 360 and you can argue that Nintendo wasn't a winner at all. What surprised me about Nintendo's performance is that Super Mario All-Stars didn't seem to be a factor. The best selling Wii game, which ranked 2nd overall for December, was Just Dance 2. Donkey Kong Country Returns ranked 5th, and Epic Mickey finished in a respectable 6th place, moving over 1.3 million units. January looks to be challenging for Nintendo and the Wii as there no significant software is slated for release on the platform in January. Conversely, the Xbox 360 and PlayStation 3 each have pretty big releases this month. It's not only possible for the Xbox 360 to pull back out in front this month, but the PlayStation 3 could surprise. 

Speaking of the PlayStation 3, the good news is that over 1.2 million units were sold. The bad news is that the PlayStation 3 still finished dead last in overall sales. Gran Turismo 5 did move over 550,000 units, but that number is underwhelming when you consider the time of year that the game was released. The best thing for Sony to do now is forget about 2010 and focus on the year at hand. If all of the first-party titles on Sony's slate for 2011 actually make their deadlines, this could be a bit of a comeback year. Killzone 3 and MLB 11 look good in Q1, and then Resistance 3 and Uncharted 3 should hit it big in Q4. I still believe that a price drop sometime in 2011 is going to be key for Sony to make any kind of competitive move against Microsoft and Nintendo... but we'll see if that actually comes to fruition. 

December was another great month for Call of Duty: Black Ops, which was the best-selling game of 2010 despite being available for only 52 days. With the first map pack due on February 1st, look for sales to stay steady or slightly increase this month-- especially late. Just Dance 2 and Assassin's Creed: Brotherhood also continued to sell extremely well, and I expect that trend to continue this month, although I do expect numbers to decrease at least slightly. The software sales chart had three Wii exclusives on it, which was most likely a good reason why Nintendo wound up back on top with the Wii. I think that Just Dance 2 will keep selling well, but the longevity of Donkey Kong Country Returns and Epic Mickey is far less certain. Epic Mickey's strong sales bode well, I think, for January's results as I expect one more Top 10 finish. 

Look for a full-on analysis of December's sales figures and my outlook for this month over at Gaming Nexus soon. In the meantime, feel free to react and comment below. Who do you like to be on top this month? Can Sony turn things around with Little Big Planet 2 and Mass Effect 2? Can Microsoft maintain their momentum? I'd love to hear your take. 

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Staying in line with my goals for 2011, I am excited to announce that I have accepted an invitation to join the writing staff at Gaming Nexus effective on Monday, January 17th. I'll be working on news posts as well as doing some reviews and previews, plus I'll be doing sales analysis on a monthly basis. 

This is a great opportunity for me, given that I have really wanted to jump back into the gaming press scene. After some frank discussions with the Editor-in-Chief, I believe that I'm going to get the support I need to continually improve as a writer in many facets and will be able to work and grow through some of my own mental obstacles. I know that I've stated how much I prefer writing features like reviews and opinion pieces over news reporting, but I've been presented with a unique challenge to reactively report on news instead of casual rewrites of press releases. I won't be using that approach all of the time, but it's something that I will be working on after I get my feet wet. 

What does this mean for Consoleation? 

I am not sure yet. Obviously, my commitment to Gaming Nexus will be top priority... and my sales analysis pieces will be going there first. I can see Consoleation becoming my "off the record" site to react to things in my own way, plus I will be continuing my PlayStation 2sDay series exclusively here. I'd also like to use the blog to expand on my published pieces, with postmortems after reviews are published and late reactions to already-reported events and news. I won't be abandoning the blog, especially after over 2 years of work, but content may not be posted as consistently as it's been in the past. 

I am grateful to all of you for your support as I am taking another step towards getting back to writing once again. This year is shaping up to be one of my most exciting ones ever, and if I can stay focused and find my groove, I may find myself at the Los Angeles Convention Center for the Electronics Entertainment Expo... for the first time ever. I hope that you'll read my work over at Gaming Nexus and even leave a comment or two. 

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There once was a time that I was really excited for Microsoft's Game Room project. It sure sounded like a great idea, in spite of some arguments about pricing and game selection, I figured that the combined libraries of Atari, Konami, and Activision would supply us with games for a long time. Now, less than a year later, the project is in disarray. Updates have been inconsistent. The application and leaderboards have been buggy. There have been more obscure games released than familiar ones. Microsoft has arguably distanced itself from the project with little to no word of mouth about it coming from within the Xbox community. 

In short, Game Room has been a huge disappointment... and the fact that there haven't been any updates yet in 2011 (aside from a patch) certainly doesn't give me any hope that good things lie ahead for the troubled application. What went wrong? 

For starters, the uncertainty and eventual collapse of Game Room development house Krome Studios hurt the project significantly. Without stability on the development side of the project, quality faded pretty early. There were technical issues with Game Room from the very start, as servers crashed repeatedly which denied high scores and replays from being saved and uploaded. There also didn't seem to be any quality control on the part of Microsoft Game Studios, which was surprising given the fact that the Game Room project anchored the Block Party promotion last winter. This lack of quality set the stage for the letdowns to come. 

The next problem had to do with inconsistent updates. After the initial wave of games released along with the application last March, updates dried up for weeks and users quickly lost interest in Game Room. Microsoft's inability to strike while the iron was hot cost the Game Room project valuable momentum, and gaming press sources started speculating early that the project was doomed. While updates did eventually begin rolling out with occasional consistency, there have been a few times within the first year where updates stopped altogether. This led to more speculation about the future of the project, especially once news that Krome had folded became public. There have been no updates for the past two weeks, and after Sunset Riders had been confirmed for release to the press late last year, the game still has not been posted for sale. 

When the updates have come, there simply hasn't been a good mix of familiar titles and rare gems. The titles from Konami's library have been the biggest area of offense in this aspect. It's nice to be able to play TwinBee and The Main Event, but where are Gradius and Double Dribble? We haven't (yet) seen Rush'n Attack, but we got its pesudo-sequel in Missing in Action. Why did it take so long to get Blades of Steel up for sale? The title selection has just been too weird; more familiar titles are needed to foster any kind of interest from anyone other than diehard arcade fans... and even they might not know of some of the Konami games that we've seen posted so far. 

I've also noticed that Microsoft community staff, like Larry Hryb for example, all but ignored the Game Room project when talking about Xbox LIVE Arcade after a few weeks. It's easy to get the feeling that Game Room is not at all a priority to Microsoft; consequently, why should consumers care when Microsoft obviously doesn't? Yes, I see it occasionally advertised (in a less than prominent fashion) on the Xbox LIVE Marketplace... but when's the last time you saw it mentioned on Hryb's blog or on one of his Major's Minute video shorts? It's been too long, and the lack of support from Microsoft here is inexplicable. Again... Game Room is less than one year old, yet Microsoft has all but forgotten about it or sworn it off. That's some excellent follow-through right there. 

As someone who's invested a lot of time and Microsoft Points on games for the Game Room project, I'm frankly tired of being jerked around. If the project is dead, then I would appreciate the decency of Microsoft announcing it instead of stringing along what few consumers are left who still maintain at least a passing interest. If Game Room is not dead, then Microsoft needs to be more proactive and not fix the problems that continue to plague the application... but they also need to dedicate themselves and the development team to getting the project moving again. Show some interest. Revive the Facebook page and Twitter feed and resume telling us what we can expect to see. Get back to licensing some familiar titles and make sure that the emulations are at least close... no more running games at half the frame rate or completely missing sound files (I'm looking at you, Asteroids.). 

Either way, it's time for Microsoft to show some accountability for Game Room. The lack of support for the project, combined with the decision to drop the highly successful 1 vs. 100 project, indicates to me that Full House Poker is doomed before it even arrives this spring. The trend has already been set. 

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Back in 1999, when I first got my hands on the Tony Hawk's Pro Skater demo for my PlayStation, I knew that I was in trouble. I played it for hours, trying to improve my scores and seeing what crazy combinations of tricks that I could muster. I'd never ridden a skateboard-- and I still haven't-- but games like Skate or Die on the Commodore 64, Top Skater in the arcade, and even Street Sk8er for the PlayStation put me in a position where I could actually be that cool guy on the board without breaking every bone in my body. Pro Skater had that certain something, though... it was an addictive mix of intuitive controls, easy-to-learn gameplay, and competing for high scores. After spending hours on the demo, I bought the retail game in September of 1999 and the rest was history. 

Some players hail Tony Hawk's Pro Skater 2 for the PlayStation to be the best game of the series, and I can certainly understand why it's so well-liked. Adding the manual to gameplay, which allowed for longer trick combos and higher scores, was just one of several improvements over the original. Skater abilities were now improved by finding and spending cash to buy stat points, instead of automatically upgrading after certain points in the first game. The ability to build your own skate park was pretty amazing, and players could create their own skaters for the first time, as well. I'll admit that I spent more time playing Pro Skater 2 than I did Chrono Cross, and since both games were new at the time, that was of personal significance. 

Although it was the first of many games in the series to hit the PlayStation 2, Tony Hawk's Pro Skater 3 was the perfect balance between the old and the new and remains the most accessible Tony Hawk game ever created. For my first PlayStation 2sDay column, it's time to take a look at five reasons why I consider Pro Skater 3 to be one of the best skateboarding games around:

1. Revert + Manual = Crazy Scores

The addition of the revert move in Tony Hawk's Pro Skater 3 allowed for some of the longest and highest-scoring lines ever devised. By pressing either the L2 or R2 buttons just after landing on a half-pipe, players can continue to link tricks to a chain. Add this to the manual that Pro Skater 2 introduced, and scoring combos of 100,000 points or more becomes not only possible, but likely. You're going to need to master both moves in order to meet some of the scoring goals in later stages of the game. Believe me. 

2. Not Too Easy, Not Too Hard

Tony Hawk's Pro Skater 3 was the first game in the series to have just the right level of difficulty to beat the game 100%. Sure, you could technically "beat" the first two games without getting all of the tapes or cash, but Pro Skater 3 was all about goals when it came to progression. The secret tapes weren't terribly difficult to obtain, the scoring parameters were fair (especially with the new level design that allowed for some very high scoring), and none of the goals were really frustrating to achieve. That's not to say that the game is a cakewalk by any means, but the challenge level just felt right to me and allowed for multiple playthroughs with different skaters. I also liked the decision to get rid of cash for stat upgrades and replace it with item pickups. 

3. PlayStation 2 Power

For the first time, mostly because of the PlayStation 2's more powerful hardware, we saw a Tony Hawk game cruising at 60 frames per second. This significantly raised the speed of the game, as well. Seeing all of the different tricks executed with such smooth animation was especially satisfying when the game first debuted, as we'd been accustomed to a much choppier frame rate of about 30 frames or so per second. There are other more subtle touches like lighting and blood effects that look a lot better as a result of the stronger hardware. The funny thing about the Tony Hawk games from this console generation as opposed to the PlayStation 2 generation is that the frame rate has actually dipped back to 30 after Pro Skater 3 had set the bar nearly a decade ago. 

4. Play It Again, Dudes!

One of the best things about Tony Hawk's Pro Skater 3 is that there's more to see and do after playing through the game. Multiple replays are rewarded with changes in item placement and new content. It's not the same game twice, at least in terms of collectibles and strategy, so it was worthwhile to play once through as your favorite skater, again as a created skater, and at least once more as a hidden skater. Since the game's difficulty was pretty reasonable to start with, it's fun to play through again and maybe collect a couple of those stat points that you missed last time. It's this kind of replayability that keeps Pro Skater 3 in my gameplay rotation with regularity. 

5. Don't Fix What Isn't Broken

Tony Hawk's Pro Skater 3 was the last of the games in the series that held fast to timed runs and accomplishing goals quickly, and that is the formula that has always worked best. From Pro Skater 4 and on, Neversoft took a more reactive approach and made the Tony Hawk games more open, similar to the sandbox structure in Grand Theft Auto III. This was never a good move for the franchise, and it was evident by seeing Classic Mode additions to later games which almost seemed to be letters of apology to fans who disliked the new direction. Timed runs keep the tension high and allow for quicker gameplay sessions rather than meandering around an open area and hunting down missions to undertake. Criterion took a similar approach with Burnout Paradise after a series of successive sequels and reaction was quite mixed. The bottom line here is that Pro Skater 3's success comes in no small part from adhering to the same formula that made the earlier games successful without making wholesale changes. The series has not been the same since, in terms of quality, accessibility, or fun. 

It's fitting that PlayStation 2sDays have kicked off with what is still one of my favorite games of all time, on the PlayStation 2 or otherwise. Tony Hawk's Pro Skater 3 still plays as well today as it did in late 2001. It's still satisfying to pull off huge combos and scores, and the gameplay is still as easy to learn and difficult to master as ever. You can Get Chuck Unstuck, travel the world by grinding through country flags at the Airport, and trigger a game-changing earthquake... all from your favorite gaming chair. I'd love to hear about your Tony Hawk's Pro Skater 3 experiences. What do you remember about it? Did you ever try the online play? Who were your favorite skaters? Do you still own the game today? Post your comments, memories, experiences, and other stuff below and share! 

If you have any suggestions for games that you'd like to see covered in future installments of PlayStation 2sDays, feel free to drop me a line at gameguypeter@gmail.com and I'll see if I can put it in the rotation. I'm working on building my PS2 collection this year, so if I don't have the game you're looking to see covered, I can add it to my wishlist. 

See you next 2sDay! 

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Before you read any further, I need you to read this Wall Street Journal piece. Take a few minutes to do so, if you will.

Did you read it?

Good... because it's one of the worst game-related articles that I have ever read. I've read a lot of them, too. Ultimately, the body of the article fails to make the point of the title, but that's only part of the problem. The examples are poor, there are digs at other games that are unnecessary in a piece like this, and the overall article smacks of a lack of professionalism for a periodical that's pretty well-respected. 

Let's break down the problems that I have with this piece:

For starters, it's evident that the author had bad experiences with Japanese RPGs from generations gone by when you read his blurb about Fallout: New Vegas. I personally do not recall many RPGs that used the "A button to attack" and "B button to defend" while repeating "roughly 50 million times." Is the author trying to be funny here? I didn't get humor as the intent of the article when I read the byline... did you? I also like how how Fallout: New Vegas is an "unsung hero" when the game was basically broken when it shipped. Yes, bugs happen, but go back and read about the tons of complaints about the bugs that plagued the overall New Vegas experience when it debuted. We'll get into the "unsung" argument in a bit, but using a poor JRPG stereotype to justify your pick of New Vegas as a title that, according to the byline, "delivered hours of fresh action" is nonsensical. 

Let's move on to the Dance Central portion of the piece. I only have one word: Sucktastic. Really? We're putting Bill & Ted-speak into a Wall Street Journal article? Are you kidding me? Aside from that, the rest of this blurb is pointless. No real talk about what really made Dance Central so great, or why it's "unsung"... just fluff. I don't understand what the author was going for here. Is he saying that Dance Central was great because you could make a fool of yourself in your own home as opposed to doing it out in public? Nothing about how Kinect tracks your movement or how Harmonix found a way to yet again set the bar for a music game? Nothing like that? Awful.

Next on the list is Mass Effect 2, a game that is so "unsung" that it was a candidate for Game of the Year on multiple websites. Comparing Mass Effect 2 to a daytime soap opera like All My Children is frankly insulting, and Bioware has been using quality storytelling and dialogue techniques in their games for awhile now. Perhaps the author somehow missed out on Dragon Age, the first Mass Effect title, or Knights of the Old Republic... but many others have not. This is not new. And is the author trying to say that DLC weapons prevent the game from becoming boring? If that's needed, why is Mass Effect 2 on your list? I am confused, and I'm sure that other educated readers are, too. 

Gran Turismo 5 is not Burnout. It never was. In spite of this fact, we are treated to this quote:

Most of us will never know the simple pleasures of piloting a multimillion-dollar sports car hundreds of miles per hour and crashing it in a spectacular explosion of burning petroleum and twisting metal.

I wonder if the author confused this game with Need For Speed: Hot Pursuit. It sure sounds like it. Gran Turismo 5 has been less about the visceral side of racing and more about the art and skill of racing. That doesn't involve explosions and always going hundreds of miles an hour. I'm also curious as to what happened at the end of the Gran Turismo 5 blurb; "The only thing missing is"... what? Is this a bad edit, or a symbolic dangling phrase? Are we supposed to infer that the only thing missing in Gran Turismo 5 is... nothing? Not only is that reasoning absolutely false, but using dangling phrases to make that point is neither stylish nor amusing. 

The God of War III segment is just like the Dance Central one that I mentioned above. IT SAYS NOTHING. Yeah, Kratos fights Poseidon, Ares, and Zeus in the God of War trilogy. Thank you, Wikipedia. Why is there nothing here about what makes God of War III great? There's nothing at all. Instead, we get to hear reasons why the God of War series is so awesome. Even the Santa Monica Studios PR team would be embarrassed to read this. I guess God of War III is "unsung" just because it is. Take that, clueless readers! NEXT.

It's nice of the author to not only admit to us that he nearly flunked out of college. That might explain something. Blaming it on GoldenEye and the Nintendo 64's "clunky controller" is pointless. GoldenEye introduced scores of console-only game players to the world of first-person shooters, and here's a surprise: We didn't mind the "clunky" controller. I suppose the clunkier Xbox controller made Halo less fun back in 2001. And how does the Daniel Craig v. Pierce Brosnan argument figure in to how good the game is? I wish you could have seen my literal facepalm moment when I read this. 

My last paragraph of contention-- and arguably the worst offender of all-- revolves around the author's pick of Star Wars: The Force Unleashed II for the Wii. This game is "unsung" because it:

1. Has coherent story writing (PROTIP: No, it really doesn't.)
2. Has no sign of Jar-Jar Binks (Yeah, so? Masters of Teras Kasi didn't have Jar-Jar either, and it was still awful.)
3. Flicking the Wiimote around like it's a lightsaber is the closest thing most of us will ever get to being a Jedi. (Wait. What?)

That's three points of serious contention in about 50 written words or so. How can one person be so far removed from reality? He's certainly entitled to his opinion, but it's certainly not the prevailing one nor does it make much sense-- if any. Eliminating a character or actor does not, by default, make a game better or even "unsung"... so don't include this. We can argue about his definition of "coherent" story writing, but I don't see it. The story made no sense to me, and worse, the protagonist came off to me as an angry whiner that even emo bands would laugh at derision. 

I've covered most of the games listed in the piece, and I haven't even talked about its worst flaw: The article completely misses the point that it tries to set. 

The article is supposed to mention games that "existed under the surface of hype", and yet the list of games here is a collection of extremely prominent titles. How is it even possible that Mass Effect 2 matches the byline description? There were television commercials, internet trailers, and the gaming press was fawning all over it months before release. Mentioning sequels to huge IPs like Gran Turismo, God of War, and Fallout makes no sense, either. Everyone knew that these games were coming. There was hype, even if the author lives in a vacuum and didn't see and/or notice it. Granted, most of these games are great and deserve to be in the conversation for some of the best titles of 2010... but unsung? Hardly. 

I don't know who my anger should be directed at more in this case. The author's lack of practical gaming experience and questionable writing ability are certainly factors, but the Wall Street Journal's decision to publish such a poor-quality piece is equally as frustrating. Is this what mainstream media thinks of the industry? With all of the qualified and talented writers in this field that are out there, the Wall Street Journal either doesn't care enough to find someone competent to report on the video game industry or is just ignorant and reports on it because it's still a fairly big business. 

It's articles like this which actually get published that motivates me to reach my goal of getting published myself somehow in 2011. If this "Unsung" article can get published, maybe I really do have a shot. 

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2011 has the potential to be a big year for video games. We're weeks away from seeing the 3DS hit retail, motion control technology for the PlayStation 3 and Xbox 360 will continue to mature, and there's going to be plenty of software just waiting to be bought. Before the year really gets into high gear, I'm going to log five predictions here about some events that I think will happen. These are mainly hunches that I have and none of these have been confirmed to be true or false as of this writing, so we can see at the end of the year just how right-- or how crazy-- I turn out. 

1. Nintendo will announce a new console in 2011 aside from the 3DS, and the Wii is on its way out. 

I don't care how much Reggie Fils-Aime denies it, because it's becoming more and more evident that the Wii is about to be overrun by the Xbox 360 and potentially the PlayStation 3. The console is approaching its saturation point, and worse for Nintendo, the gap in prices between the Wii and its competition isn't wide enough to keep consumers buying Wii instead of another console. Looking at the list of upcoming releases for 2011 and beyond, the Wii is looking at less than 30 games for release all year long. Compare that number with 140 for the PlayStation 3 and nearly 120 for the Xbox 360, and red flags should certainly be going up. The Wii is the best-selling console of this generation (so far), so to see such a small number of upcoming titles indicates to me that there's something going on. Sure, it could be the 3DS, but I'm betting that developers and publishers already know what Nintendo has up its sleeve... and we'll find out what this new console is at E3, if not before. 

2. The Legend of Zelda: Skyward Sword won't see release this year, and it might not even see a Wii release.

There's a definite feeling of similarity between the string of delays that we've seen for Skyward Sword and what we saw for Twilight Princess back in 2006. My gut is telling me that history could repeat itself here since the Wii is basically a lame-duck platform (much like the Gamecube was back then) and Nintendo would love to have a Zelda game as an ace in the hole for the launch of its new platform. I get the feeling that the tech issues that plagued the demo of Skyward Sword at E3 in 2010 still haunt Shigeru Miyamoto and company, and I think that there's at least some doubt as to whether the Wii is the best platform for the game. I very well could be wrong with this prediction and we could see Skyward Sword in Q4, in time to strengthen Nintendo's holiday sales outlook, but I'm not convinced that this will happen. Of course, this would mean a second dose of heartbreak for Zelda fans which just experienced this a generation ago... but wherever Zelda goes, they'll buy the hardware to play it. 

3. The PlayStation 3 will see a price drop either during or before E3. 

Not to sound like Michael Pachter here, but this prediction needs to come to fruition if Sony wants to remain competitive. Sales of PlayStation 3 hardware were not that impressive in 2010, and what momentum that Sony had during the second half of 2009 thanks to the hardware revision and lowered pricing faded when Sony was stricken with supply problems during Q1 of last year. Sony has tried other things to get things moving in the right direction, such as bundles, more hard drive space, and a strong alliance with Electronic Arts that has spawned some PS3-exclusive goodies... but stacks of unsold PS3 units remain at retailers everywhere. A price drop of at least $50 will happen in order to jumpstart sales as production costs continue to gradually decline. If this doesn't happen, it could be another long year for Sony and the PlayStation 3 here in the USA. 

4. Consumer interest in motion control technology and 3D gaming will be generally flat in 2011. 

I hate to break it to Sony and Microsoft, but the motion control fad isn't hooking as many consumers as the companies would like. Yes, Microsoft's marketing blitz for the Kinect fueled strong sales of the motion tech in November and December, but once the newness of Kinect tech dies down, I foresee most consumers just sticking with traditional controls. Sony is taking an interesting approach with its PlayStation Move tech, as they're keying on its presence in Killzone 3 (slated for a February release), but I don't see loads of people jumping on the motion bandwagon. Motion presents a different way to interact and play games, but traditional controllers and gameplay types aren't going anywhere. Same goes for 3D gaming; until 3D television costs come down significantly, I don't see much more than extreme enthusiast interest in games that utilize stereoscopic 3D... it's just not practical. Yet.

5. The PSP2 will see release this year and will retail for less than the 3DS. 

We all know that the PSP2 exists, but that's about all we know right now... so that's where predictions come into play. I believe that the platform will be ready for launch this year, supported by software from Electronic Arts and from Sony's first-party development arms, and I'm reasonably certain that the MSRP will be somewhere between $200 and $230. That will be less than the 3DS, which is likely to launch somewhere between $250 and $300 come March. What is unclear to me is the potential success of the new platform. Even if my prediction is true and the PSP2 hits for $200, Nintendo will have had a decent head start and there's no denying that the marketing machine for the 3DS will be formidable. Software will be key, as will the power and feature set of the platform. 

There you have it. Feel free to make your own predictions or leave some comments about the ones that I've made. I'm thinking that if I nail 4 out of 5 here, I'll have done all right. In the meantime, here's to a busy and successful 2011 for video games. 

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Although we're officially into 2011 now, it's not quite time to turn the page when it comes to sales numbers as figures for December 2010 should be trickling out over the coming week or two. Here's a snapshot of what I expect those numbers to indicate:

Hardware Sales:

I expect strong hardware sales numbers from both Nintendo and Microsoft. Based on supply issues for the Xbox 360 in the month of December, I am calling for Nintendo to sweep the top two spots for hardware sales in December with the DS and Wii platforms, respectively. The Nintendo DS continues to sell remarkably well, given a tame slate of software and the impending release of the Nintendo 3DS platform by the end of Q1 '11. Nintendo DS SKUs are less expensive than their console counterparts and the portability of the devices makes them hits with multiple demographics, especially pre-teen consumers. Wii sales were fueled by a one-two software punch; Just Dance 2 continued its strong sales for the holiday season and demand for the limited Super Mario All-Stars package helped to move consoles. I still believe that the Xbox 360 will wind up being the best overall sales performer for Q4 (and possibly the entire year), but the Wii should close the gap as least somewhat thanks to a strong December. 

Microsoft can thank the hype machine behind the Kinect camera for causing sellouts of Xbox 360 consoles in many locations. While sellouts certainly indicate strong demand, the associated supply woes likely will relegate the Xbox 360 to third place in December. Although Microsoft certainly talked a good game by logging some huge projections for Kinect penetration, I think that the company might not have been logistically prepared for the number of consoles that have been moving in Q4. It's interesting to note that supply replenishments did start trickling into retail channels just after December 20th, but I fear that the calvary arrived just a little too late for Microsoft to pull out a late sales victory.

Sony is expected to bring up the rear in hardware sales again with the PlayStation 3 and PSP platforms, capping a forgettable holiday hardware sales season. Gran Turismo 5 was pretty much the only draw for the PS3 for the holidays, and any hype or excitement regarding PlayStation Move was tempered by poor availability and the strong presence of Kinect. There was strong demand for standalone PlayStation Move controllers, and the item was among the hardest to find over the holiday season-- and that includes Kinect and Xbox 360 250GB units-- but PlayStation 3 console hardware was abundant and generally sat on store shelves. As for the PSP, the quick spike in sales in late November and into early December is expected to have tailed off as the month progressed as new software was scarce for the platform.

Here is the list of expected sales rankings for each platform in December 2010:

1. Nintendo DS
2. Nintendo Wii
3. Xbox 360
4. PlayStation 3
5. Sony PSP

Software Sales:

Expect to see Call of Duty: Black Ops dominate the software sales chart for a second straight month. In addition to strong word-of-mouth support and solid review scores, multiple retailers discounted the game by $10-$20 during the last two weeks of December which helped to move units. I also expect to see strong numbers from Madden NFL 11, Assassin's Creed: Brotherhood, and Super Mario All-Stars. Super Mario All-Stars likely sold through over 90% of its one-time allocation to retailers in less than one month's time, which is evidence that that consumers are not only still excited for the Mario IP-- but that a budget-conscious title (4 games for $30) is a force to be reckoned with. Just Dance 2 for the Wii should continue its hot trend, but The Michael Jackson Experience may yield disappointing results as too many games seem to be crowding the Wii dance game genre. Expect a decline for Need for Speed: Hot Pursuit in December, as the title seemed to run out of gas early with consumers and retailers. 

2010 Winners and Losers:

Since we're wrapping up 2010, it's time to look back and name a few winners and losers for the year that was. 

In hardware, your big winner is Microsoft. In a year where it looked like the PlayStation 3 could catch up to the Xbox 360, Microsoft not only outdistanced its HD competition but also pulled ahead of the Wii in successive months in Q4. The new "Slim" hardware revision invigorated sales in the second half of 2010, and the release of the Kinect motion sensor in November added to the platform's sales momentum. It will be interesting to see how close the overall hardware sales race in 2010 between the Xbox 360 and Nintendo Wii ends up. 

Your hardware loser for 2010 is Sony. Poised to make up ground on Microsoft and coming off of building momentum from a price drop in the second half of 2009, supply woes negated a strong software lineup in Q1 and Sony was never able to recover. The release of PlayStation Move looked to stem the tide, but masterful marketing of Kinect by Microsoft and a tepid slate of Move-enabled games kept Move from really being a threat in Q4. Roles seem to have reversed as we roll into 2011, however, as it's now Microsoft that's dealing with some supply issues. We'll see if this year holds a different fate for Sony. 

The big software winners for 2010 are Red Dead Redemption and Call of Duty: Black Ops. Both games showcased impressive sales numbers for their respective launch windows. Red Dead Redemption might have been a slightly more impressive performer, given that May was a significant month for software releases, but both games moved millions of units and generated tons of revenue for their respective publishers. 

The big software loser for 2010 is Electronic Arts. Sure, there was success in games like Madden NFL 11 and Mass Effect 2, but the cancellation of NBA Elite 11 and less-than-stellar sales of Tiger Woods PGA Tour Golf 11 and NBA Jam landed a black eye on EA Sports. Sales consistency needs to be a target for ERTS in 2011, and the company has reduced the number of software titles to be released in FY '11 to try and compensate for what was a down year overall for the software giant. Bioshock 2 is an honorable mention in this category, as retailers struggled to unload tons of unsold copies of a game that never came close to matching the success of its predecessor in terms of overall quality or consumer reaction. 

Look for in-depth analysis of sales data here as it becomes available in the coming days. As always, reaction and comments are welcome. 

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Some of you may view this as a cop-out, but rather than do a fairly common Game of the Year piece, I'm doing things a little differently. I'm going to run down a list of great games that I played this year. I'm not going to say that one was necessarily better than the other, but I hope this gives you some idea of the games that got me to believe that 2010 was a very good year for video game software. 

Here we go:

Bayonetta (SEGA / Platinum Games for Xbox 360): 

This may not be a popular pick, as the story is vapid and the characters can be interpreted by some as being offensive in their stereotypes, but I'll be damned if I didn't have fun playing Bayonetta this year. The game is accessible to players of all skill levels; novice players can pull off some incredible moves and combos with a little help from the AI while more seasoned players can use manual button presses and stick movement to achieve visceral grace on the screen. This is the Devil May Cry sequel that I've wanted since the first game, and although there isn't a Dante sighting anywhere, the gameplay feels like the next evolutionary step in the stylish action genre. Personally, I also enjoyed the fan service paid to SEGA games from generations gone by, such as OutRun and Space Harrier. The mixture of J-Pop music and more classical choral arrangements turned some players off, but not me. You can add Bayonetta to your collection for about $20 right now, and if you missed out on it earlier this year, I do recommend at least giving it a whirl. 

Major League Baseball 2K10 (2K Sports / Visual Concepts for Xbox 360): 

Although it can be argued that MLB 10: The Show was still the better baseball game overall this year, MLB 2K10 gets credit for making the biggest improvements. The My Player mode was more fun (and more forgiving) than MLB 10's Road To The Show for creating and developing your own prospect. The presentation in MLB 2K10 was far more polished that that of its competition, including commentary that was more energetic, observant, and timely. Pertinent stat overlays and camera cuts made casual observers feel like they were watching actual televised contests. The bugs that all but ruined last year's 2K baseball game are all but gone, and the final product feels much more polished and competitive. The game isn't perfect, as stick-based pitching still had some issues and occasional baserunning gaffes still draw frustrated gasps... but the future for 2K's baseball series once again looks bright and Sony will have to bring more to the table in 2011 than making casual changes if they wish to remain pennant winners with The Show. And, oh... pitchers and catchers report in just six weeks. 

Pinball FX2 (Zen Studios for Xbox LIVE Arcade / Xbox 360) and Marvel Pinball (Zen Studios for PlayStation Store / PS3):

Zen Studios' gradual improvement in the pinball genre rapidly accelerated in 2010 with the release of Pinball FX2 for the Xbox 360. The ball physics in Pinball FX were akin to a ping-pong ball, as there didn't seem to be much weight and the speed felt unrealistic. Combine that flaw with issues with weak early table designs, and the overall project felt like a wasted opportunity. With Pinball FX2, the table designs are much more inspired and Zen Studios has come pretty close to completely fixing the issues that I have with their ball physics engine. It doesn't quite feel as realistic as 2009's release of Pinball Hall of Fame, but many weaknesses are easy to overlook when you get into the spirit of social gaming. The introduction of metrics like Superscore and Wizard Score not only garner bragging rights, but also serve to quickly fill out empty Friends Lists. The more friends you have and the more tables that you play help to inflate your Wizard Score, which in turn unlocks Avatar Awards that aren't so easy to obtain without having some skilled friends to help you out. My Friends List increased 400% thanks to Pinball FX2. Zen Studios kept the ball rolling by releasing Marvel Pinball shortly after Pinball FX2 came out. This ongoing series of tables, based in the Marvel Comics universe, introduces new challenges and ways to bolster your scoring metrics. PlayStation 3 owners got just the Marvel tables instead of the whole Pinball FX2 experience, but also got new metrics and Trophies, as well. If you've ever played a pinball machine and enjoyed the experience in your lifetime, you really do need to buy and support these games. You won't be sorry.

Super Street Fighter IV (Capcom for PlayStation 3 and Xbox 360):

Just about everyone knows that Street Fighter IV had some pretty major balancing issues when it came to fighters. Since Sagat has been my character of choice since Street Fighter Alpha, I lucked out with him being the tour de force that he was... but that was fixed in the discounted release of Super Street Fighter IV this year, and that's just the tip of the iceberg. New characters, new game modes, the addition (or return, if you want to be technical) of bonus stages, and much better character balance added up to the best fighting game that I've played in a long time. Super Street Fighter IV comes close to knocking off Street Fighter Alpha 3 as my favorite fighting game of all time, but my Glasses of Nostagia +2 keep Alpha 3 slightly ahead. Considering that the original (yet flawed) release was $60, this new and better release for $40 earns a spot on this list. 

Split/Second (Disney Interactive / Blackrock Studios for Xbox 360 and PlayStation 3): 

Released in May of 2010, Split/Second was easy to overlook when you consider that another arcade racer (Activision's Blur) and one of the biggest-selling games of the year (Rockstar's Red Dead Redemption) were released during the same month. For those of you who glossed over it, shame on you. You missed one hell of a good time. Split/Second isn't perfect, but it does what it sets out to do in delivering a white-knuckle experience with a lot of pyrotechnics and "Holy crap!" moments. While Blur relied more on weaponry (a la Mario Kart) and social networking to succeed, Split/Second enlisted the help of explosive-dropping tractor-trailers and missile-firing assault helicopters to go along with being able to trigger some huge, track-changing explosions and events to level the racing grid. I personally wasn't a big fan of the vehicle handling at first, but as I played the game more and grew accustomed to how each vehicle drove and responded, I found a groove that I hadn't found since Burnout Revenge. This one deserved a better fate on the sales charts. 

X-Men Arcade (Konami for Xbox LIVE Arcade / Xbox 360 and PlayStation Store / PlayStation 3):

This isn't a new game, but the fact that we finally got the chance to play X-Men Arcade at home for the first time ever was a big deal. The fact that you no longer have to insert buckets of tokens to hear Magneto call you an "X-Chicken" and that there are always players able to help you out online makes this $10 deal even sweeter. In addition to the domestic version of the game, players also get the slightly different Japanese version, which had power-ups which we never saw here in the States and made for a varied experience. Whether you spent tons of hours (and tokens) in arcades playing this game, or if you're playing for the first time, X-Men Arcade is a beat-'em-up that reminds us of how things used to be. Welcome to die! 

Bioshock 2 (2K Marin / Digital Extremes for Xbox 360 and PlayStation 3):

I thought for a long time about whether or not to put this game on my list, as I've been occasionally critical of it this year... but the return trip to Rapture is one that I thought was worth taking, as long as it's judged on its own merits instead of solely being compared to the original masterpiece. There's a good story that's told here about the strength of family bonds, and seeing new areas of Rapture was a treat. Although the repetitive level structure-- Little Sister encounters followed by a Big Sister showdown-- tended to hamper the overall experience, Bioshock 2 was one of the few games that I played from start to finish this year without allowing myself to be distracted. I actually played all the way through both the Xbox 360 and PlayStation 3 versions. In addition to the main game, the release of the Minerva's Den single-player add-on was perhaps the best DLC that I've ever played. It tells its own story and the twist at the end is surprising and satisfying. For a mere $20 at retail now (and $10 additional for Minerva's Den), it's not too much of a risk to add Bioshock 2 to your collection. 

God of War III (SCEA / Santa Monica Studio for PlayStation 3):

I know that I griped recently on Twitter about how I dislike puzzles in action games, but in spite of this complaint, God of War III is amazing. Although it follows the same general MO that the previous two games in the series did (huge start, inconsistent middle, big ending), there's little argument that seeing Kratos in his visceral glory on the PlayStation 3 was one of the software highlights of 2010. The perilous and blood-pumping ascent of Mount Olympus at the beginning merely sets the stage for the crimson-stained adventure ahead. Yes, there are puzzles to be solved, but it's an acceptable price to pay for what is the best action game on the PlayStation 3 platform this year. Prices are going down on this game, so save a little bit of that gift card allowance from the holidays and give in to vengeance. You'll be glad you did. 

Need for Speed: Hot Pursuit (EA / Criterion Games for Xbox 360, PlayStation 3, and Wii):

The "cool" factor attached to this game cannot be ignored. Actual police officers have come into my store to buy this game... seriously. It's not a Burnout sequel, but it's a re-imagining of the two Hot Pursuit games with Burnout gameplay tidbits mixed in. Being the racer and avoiding the police is fun, but where Hot Pursuit really earns its stripes for me is playing as the police and shutting down racers, Chase HQ-style. Shunting law-breaking speeders and flipping them over in a display of twisted metal and shards of broken glass is a satisfying feeling that I've rarely had in a racing game. Adding to the fun here is the addition of the Autolog feature, which not only pits you against level objectives, but also the best efforts of your friends for bragging rights. Hot Pursuit looks great, plays well, and is very addictive. I can't wait to see what Criterion has in the works for its next release. 

Super Mario Galaxy 2 (Nintendo for Wii):

Yes, the Wii is getting a mention on this list... and rightfully so. Super Mario Galaxy 2 might not be as ground-breaking as its 2007 predecessor, but that doesn't diminish its value as an excellent game. Galaxy 2 gives players more of what made the original so great with imaginative level design, fair challenge, and stellar aesthetics. The addition of Yoshi figures significantly, as do some of Mario's new abilities, such as creating clouds for platforms. In a year where it can be argued that Nintendo took a few steps backwards (*ahem* Metroid: Other M *ahem*), Super Mario Galaxy 2 was Nintendo's crown jewel for the Wii in 2010 and seeing the game get little recognition from many gaming sites for end-of-year honors is disappointing and shameful. If 2011 is the last full year for the Wii before its inevitable replacement, both Super Mario Galaxy games can easily be considered among the best for Nintendo's motion-control console.

And that's the list. No numerical order here. Sure, there were arguably other great games that didn't make my list-- like Red Dead Redemption or Mass Effect 2, for example-- but that's the advantage of having your own list. My great games likely differ at least somewhat from yours, and that is more than fine. I didn't even have room for Pac-Man Championship Edition DX, which I also thought was great. That signifies to me that 2010 was a great year for games, even if the industry didn't have such a great year overall. I can't wait to see what 2011 has in store, and if I can stick true to my goals for the New Year, I will be talking even more about them.

To all of you, I wish a Happy New Year. May 2011 be our best one yet.  

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To say that 2010 was another challenging year for me on a personal level would be a gross understatement. I've had health problems, been working in an uncomfortable environment, and am in a position where I'm barely getting by financially. I know that I'm still better off than many since I'm employed-- which I am thankful for-- but adjusting to certain aspects of my new life out here in Arizona has been an adventure. 

One of the things that disappointed me the most this year was that I made lots of excuses for not being more active as a writer. I had a few opportunities to write or to take part in podcasts, but I allowed them all to fall through. Perhaps I was feeling overwhelmed or maybe I just wasn't mentally ready to follow through on the notions and ideas that I've had swirling in my head... but I didn't accomplish what I wanted to accomplish this year. I am grateful to those of you who have read what work I have put together; I'm sure that you can see that my passion for writing and for console gaming in general is still fiery and that won't change. What I have to do is get away from saying "no" or "I can't" and instead change my perspective on things. 

That happens in 2011... with a little help from my friends and colleagues, I hope. 

I have plans for Consoleation and beyond in the coming year. My goal is to contribute updates here at least 2-3 times per week. I've had ideas about themes, like PlayStation 2-sdays and at least a couple of reviews a month. Unfortunately, the PlayStation 2 just spun its last disc this past week, so that idea is on hold for now, but I'm working on other ideas. I plan to continue writing analysis posts about sales trends and infusing them with real-world observations. I can never be Michael Pachter, but I believe that I have strong opinions like he does and would love to someday have a voice somewhere as he does.

As you know, Consoleation is my own work, and while some content is graciously syndicated through my friends and colleagues at GameCritics, I'm hoping to branch out and begin writing for a gaming website. I won't be actively looking until 2011 begins and my retail shifts get a little less hectic, but I think that the time has come to get my voice out there and work with a team of editors that can work with me to mold my work into something fantastic. This will be a difficult task, given my difficulty with maintaining focus at times, but the time for excuses is over. I'm going to be 39 years old in 2011, and 2011 marks a decade since I landed my first "official" reviewing gig. Life's been hectic, and full of changes and challenges, but every year that I shy away from opportunities and possibilities is a year that I can't get back. I see so many writers out there who publish piece after piece in spite of what life may throw at them, and I know that I can be among them. I believe that I'm talented enough and have what it takes to succeed-- but I've been holding myself back for too long. 

I also want 2011 to be my first trip to E3. I've wanted to attend for years, but money, distance, and/or logistics always seemed to put up roadblocks. Now, I literally live one state to the east of California. Flights can't possibly be as expensive as they were from my home in Massachusetts. The distance seems negotiable. I need to set up lodging and actually get in the door to some events, but I really think that this could be the year that I finally break my E3 drought and attend. It could be one of the most important events of my lifetime, and it's been a dream of mine to be in the same building as so many influences and people that I genuinely look up to. I know it's a whirlwind. I know you don't sleep much and that it's a wall-to-wall assault of the senses. I know that more than a few people don't even enjoy it anymore. That's not me. Sure, I may be tired afterwards-- but to say that I actually got to go even once would be a tremendous honor in my eyes. So... attending E3 is a goal for me in 2011. 

I am excited for the next year. Every new year is like wiping the slate clean, and I am going to work my hardest to ensure that 2011 is one of the best years for me as a writer ever. My motivation comes from a few places, and those of you who have been reading Consoleation are certainly at the top of that list. We may agree or disagree on certain topics, but the fact that you take the time to click on a link and read what I have to say is something that I don't take lightly. I know that some of you who read this blog are people that inspire me personally, and that's a tremendous honor. Some of my followers on Twitter-- many of whom are writers themselves-- have been offering their support of my new-found commitment and my goals for 2011.To all of them, I offer my sincerest thanks and admiration. Without them, and the work they do, I might not have had the desire to make these decisions at all. 

I'm hoping to post at least once more before 2010 ends, if only to recap the year that was for me in gaming. I promise that I won't make Kirby's Epic Yarn a pick for Worst Game of the Year, just to get you to read. I will be giving credit where credit is due, and talking about some downloadable titles that renewed my faith in console gaming a bit... and that's only a small part of what is on my mind. I don't know if I'll be doing any Game of the Year awards here, but that decision may depend on my available time to put the piece together. 

I wish all of you and your loved ones and friends the safest and happiest of holiday seasons. May 2011 rock like no other year before it. 

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As we talk about almost every year at this time, the 2010 Video Game Awards are in the books... and I didn't watch it. After having watched the show for the last two years, and with my karaoke job coinciding with the event, I was fine trying to follow the event via Twitter. 

I didn't miss much. 

Sure, there were trailers galore... and next November was looking like a veritable gauntlet of software that nobody is going to have the money to be able to afford to run through. The awards themselves were a joke, as usual. Games won awards that weren't even at retail before they were nominated. Super Mario Galaxy 2 wins the Wii Game of the Year, but apparently isn't violent or "mature" enough to gain any consideration for the overall award. A music game wins a Best Soundtrack award, which is apparently different from a Best Score award. Halo: Reach was all but shut out, prompting conspiracy theorists to link this fact and Microsoft's decision to nix their Gears of War 3 announcement at the event. The host (naturally) wins an award for his own work despite more deserving nominees. Neil Patrick Harris goes "gamer" and shoots a bunch of dancers. Stay classy!

The Video Game Awards are little more than made-up honors for show sponsors that drain what little credibility that the video game industry has in mainstream circles and serves to enforce the "dudebro" stereotype that's been manifesting itself since the original Halo arrived nearly 9 years ago. The award nominations are allegedly finalized by a crack team of members from the gaming press corps... and we know how these people can't be bought or influenced. "Angry" Joe Vargas has the right idea; there needs to be a more diverse group that makes up the VGA panel in order to even begin to lend credibility and substance to these "awards". We need to get designers, PR people, and people from all walks of the industry to decide on nominees... not just reviewers who may or may not have an agenda or bias. 

I'm starting to think that either I've finally grown up or that the gaming industry just doesn't care about "dinosaurs" like me. Either way, the VGAs symbolize a lot of what's gone wrong with video games over the last five years. The industry thinks that it's bigger than it really is and that it's almost bulletproof, although many in the business who lost jobs during this console generation would dispute that. Rather than let consumers decide what is best for them, the industry has decided to take the reins and tell us what we want. 

Apparently:

• We don't want to play games alone and feel the need to always play with friends. 
• We just want to shoot and kill people. No blood and no death equals no sale.
• We are content to spend more for games that give us less content than a generation ago or publishers will mysteriously go broke.
• We don't want complete games or games that work properly since post-release patches fix everything. 
• We would much rather pay $5 after release for a multiplayer mode that's on the disc. Again, publishers going broke.
• We will replace our consoles that stop working after a year of normal use because, you know, stuff breaks. 
• The idea of a "girl gamer" is a myth; games are for boys. 

I can sit here and type over a thousand words about how the industry is pursuing courses of action that will forever ruin it, but nobody pays attention. After all, I'm no Michael Pachter. I don't have a business degree and I don't go around saying controversial things just because the gaming press gives me license to do so. I'm a relic who just doesn't have it in him to adapt to this "new" gaming culture. I grow tired of having to senselessly kill things just because that's what the industry thinks that we all want to play. The higher cost of gaming is taking its financial toll, even though I still work in gaming retail... and when I do buy a game, it's buggy and generally requires a patch right away. (And it's worse on the PlayStation 3 thanks to its forced installs and updates.) Gaming is about Call of Duty XIV and Final Fantasy XXVII, while new ideas are cast aside and reboots of IPs that old gamers like me find intrguing are criminally awful. (See Splatterhouse.) Thankfully there were a couple of downloadable games that came out late in Q4 this year that seemed to turn back current trends; Pinball FX2 and Pac-Man Championship Edition DX are not violent and cannot be "beaten"; anyone can play these games and they require skill, strategy, and (in Pinball FX2's case) endurance from players in order for them to succeed. Unfortunately, these games are outliers to the current trend, and I doubt that we'll be seeing a pattern shift anytime soon... even with the critical acclaim that both games have gotten. 

Perhaps I'm just old enough now to have my viewpoint clouded by how things used to be, rather than seeing things as they are without comparison. Maybe if I didn't have over three decades of history playing video games, I wouldn't know any different and would probably be a lot less vocal in my complaints. I'd see the VGAs for what they are rather than what they should be. I'd just go along with what the industry says I should do, because I wouldn't know any other way. Unfortunately, that's not reality. The reality is that there's a widening rift that separates the industry and myself over the form of entertainment that I love. I used to foolishly think that the industry cared about what I thought, even if that was just an illusion to foster loyalty and trust... but that illusion has been slowly fading, just like the industry's popularity bubble has been doing. 

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