Wings Over Scotland

[This piece was originally titled "Why Piracy Is Good" when I wrote it in August of 2004. I figured I'd make it gratuitously offensive clickbait this time, just for teh funz. If you don't understand the new title, start here.]

It's weird how the simplest games can have the longest stories. Today we're going to talk (well, I'm going to, anyway) about a couple of games (well, four games, but we'll get to that) that are about as Zen-basic as it's possible for electronic entertainment to be.

They're a pair of games which could be played by the one-armed dishwasher from Robin's Nest (one for the mums and dads, there), a duo that require all the brainpower of a starving dog pondering the best course of action to take with a pound of sausages that's just fallen out of an old lady's shopping bag right under his nose.

And yet, by the time we're done we'll have covered inspiration, plagiarism, moral flexibility, flagrant copyright infringement, public-spiritedness, cultural history, corporate pragmatism, collective short-sightedness and the proudest moment in your correspondent's career to date. Which is a lot of stuff, so let's get on or we'll be here all day.

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"Those who have been angry about all this – don’t investigate the people, investigate the system." (Robert Florence, writing on John Walker's blog last week.)

Let's see what we can do, eh?

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The quotes below come from an April 2007 piece entitled "And The Winner Is", concerning the inaugural Games Media Awards of later that year, written by Kyle Orland for GameDaily.com. The site no longer exists, but you can still read the article via the ever-handy Internet Wayback Machine.

""We actually found a lot of people in the games media don't feel well recognized by the industry they served," said Stuart Dinsey, Managing Director for Intent Media and the brains behind the awards show. "We felt this was a good way to give them some of that recognition and have a great party for everyone to get together at the same time."

"As for the all-important judging itself, Dinsey said the exact process was still being tweaked. Dinsey added that he'd like to get votes from "all the leading companies" in the games industry, probably by asking PR representatives to consult with their colleagues and place a vote to represent the company as a whole. Dinsey said the exact makeup of the judging panel will be kept secret until after the voting is done, to prevent any quid pro quo situations from developing."

But the mere specter of industry voting was enough to give some members of the press pause about the awards. "The games industry are the last people who should be voting for awards in games journalism," said British game freelancer Kieron Gillen. "It's a bit like the prisoners voting for who's their favourite prison guard." Gillen said he worries that the industry voting will make the award one "you wouldn't want to win…. because it's basically shorthand for 'Lapdog Of The Year award'.""

(Despite these comments, Gillen accepted a GMA that very year, and this month pocketed the "Games Media Legend" prize to bookend it with. He attempted to justify his instant U-turn the day after the 2007 award by saying "The awards don’t really matter. PRs are fine. They’re just people." In a fine twist of irony he now pontificates at highbrow public events about how independent games journalism is of PR, and is also a judge in the "Games Journalism Prizes" awards, along with a number of other "concerned games industry types", several of whom are also GMA winners.)

Now the owner of the PR-driven GMAs uses their power to censor journalists with legal threats for expressing honest opinions and accurately quoting people's own public comments to illustrate a valid and fair point. Now maybe we're just old and bitter (well, there's no "maybe" about it), but it seems a pretty odd way of "recognising" games journalism to us. Unless, that is, you ponder who voted on the first GMAs (and still vote on them now), and start wondering to yourself exactly which industry it was that Stuart Dinsey meant when he said "recognised by the industry they serve".

Well, that was exciting. The entire English-speaking world of videogames journalism just about convulsed itself into a coma yesterday because someone did that rarest of things in the English-speaking world of videogames journalism – spoke openly, frankly and truthfully about something. If you've been having trouble keeping up with the dizzying pace of developments, allow us to lead you gently through the most concise and accurate timeline we can manage.

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"Ooh, I fancy a game of Bombshells: Hell's Belles on my iPad today."

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…is Hell Yeah! – Wrath Of The Dead Rabbit, which is out today on Xbox 360, PS3 and Steam for PC at the bargaintastic price of around £9.99. It's a heady, super-sexy crush of Sonic The Hedgehog, Super Metroid, Bangai-O, Wario Ware, Pokemon and FIFA 13*, made by the people who brought you the splendid Pix'n Love Rush plus me. Essentially, if you don't buy it you're a complete dick and I hope you die.

Extremely selective review quotes follow.

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As regular readers will know, we've always been keen admirers of Bruce Everiss's almost-unparallelled videogames-industry knowledge and expertise. So we've been thrilled to recently see him storming back to the cutting-edge as chief of marketing for David Darling's new company Kwalee, which has hit on the genius idea of making it big in the ultra-competitive App Store market by employing a vast team of staff to come up with two-player-only knockoffs of ancient board games.

The well-documented problem with the App Store, of course, is visibility. To have a chance of getting your game noticed you need it to get lots of great reviews, and when your games are extremely mediocre and competing against hundreds and hundreds of existing clones of the same thing which DO offer single-player play as well as online, the chances of that happening are slim.

Unless you cut out the middleman and write the reviews yourself, of course.

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I was scurrying around in the WoS Archives this evening looking for something else, and I stumbled across this. It’s a piece from April 2000 for now-defunct games-industry trade paper CTW, in which I interviewed Andy Smith of Future Gamer, the email magazine that eventually evolved into GamesRadar.

Marvel through your tears, viewers at the eerily accurate foretelling of the state of games journalism that was about to unfold.

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Sometimes – okay, quite often – I'm rather jealous of my good chums over on the world-conquering PC gaming site/shopping list Rock, Papers, Hot Gun. I enviously eye their devoted millions-strong audience, weighty peer credibility and enormous paycheques, and think "If only Podgamer could have lasted more than three and a half hours without everyone stabbing each other", and other such wistful regrets.

Then I remember that if I was on RPS I'd have had to devote part of my one precious and irreplaceable life to playing Diablo 3, and everything's alright again.

A few of my favourite lines from this morning's Eurogamer coverage:

"What all the Diablo 3 Error messages mean, and what to do about them"

"UK launch video, images, Iain Lee, people in wizard costumes"

"Though the downloader may show 100%, please allow some time for it to fully complete."

"The server is full. This is likely due to high login traffic. The only solution is to keep trying to log in."

"If you're still running into this issue, there may be an error in your foreign language appdata files. Some players have found a workaround, but please be aware the steps they provide are not something we can currently support."

"Error 3004, 3006, 3007, or 300008 – There are a number of possible causes for these errors."

The future of videogaming, there, viewers. No thanks.

If they spend any amount of time browsing through Wings over Sealand, alert readers may well find themselves noticing a number of recurring themes popping up throughout its pages, and one of the commonest is a violent contempt for nearly all videogames journalism. This is because, not to put too fine a point on it, nearly all videogames journalism is a crime against humanity. (Either in the literary, ethical or sociological senses, and usually all three.)

Practiced largely by cynical-yet-incompetent careerists who regard themselves as essentially the games industry's door-to-door salesmen – rather than as a safeguard standing between the industry and the public, protecting consumers from wasting their money on terrible products – the dismally low standard of nearly all videogames journalism was and remains the reason why your correspondent felt the need to take the job on for himself, so that at least on occasion it might be done halfway-properly.

And if the 21-years-and-counting career that followed that decision isn't a reason to hate videogames journalists, then this reporter doesn't know what is.

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The 30th anniversary of the ZX Spectrum has sparked a flurry of nostalgia pieces in the games press, many of which for some reason can’t help comparing the Sinclair machine to its main American competitor. And since the games press is a dictatorship of dullards, the C64 has come out on top in most of them, invariably helped by a colossally biased selection of judges.

Eurogamer, for example, takes a big dump on the Speccy’s birthday cake by calling on Julian Rignall (editor of a C64 magazine), Steve Jarratt (editor of a C64 magazine), Gary Penn (writer on a C64 magazine), Gary Liddon (writer on a C64 magazine), Jason Page (a C64 coder) and Paul Glancey (writer on a C64 magazine) – with only some three-year-old quotes from the sadly-deceased Jonathan “Joffa” Smith holding up the Speccy’s end of the debate – to come to the startling opinion that it deems the C64 the superior machine. Last month’s Retro Gamer reached a similar conclusion for much the same set of spastic-faced reasons. (“Whine bleat SID chip wah wah wah.”)

But fuck all of them, because they’re all cunts and they can suck our dicks.

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If your fingers exert even the slightest amount of pressure on the pulse of the mobile-gaming zeitgeist, the image below is going to set your deja-vu-sense a-tingling.

If there's one thing you can't accuse App Store developers of, it's being slow to rip off a success story. In this case, the success story in question is the astonishing overnight smash-hit Draw Something, which exploded into the news so dramatically that notorious idea-pirates Zynga (the same company who shamelessly cloned Tiny Tower) actually opted to pay a rumoured $210m for the company who made it rather than just banging out their own hasty barefaced knock-off like they usually would.

The game in our picture is functionally all but identical to Draw Something, except with more features. You get extra drawing tools and lots more colours to play with, and there are extra game modes on top of the straightforward turn-based picture exchange of OMGPOP's No.1 phenomenon. (Which in fact barely qualifies as a "game" at all, but that's another feature entirely.) The funny thing, though, is that it ISN'T a knock-off.

It's a game that came out two months BEFORE Draw Something, is basically exactly the same but superior to it in almost every way, yet has conspicuously failed to earn so much money that its bewildered creators can do little but giggle all day at their insane good fortune. Why? Well, of course we can't say for absolute certain. But we'd be happy to wager a pretty substantial amount of money on the fact that some complete dogturd-brained demi-wit decided to lumber it with the name Charadium II.

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