Sunday, April 27, 2014

Diminutive Diatribes: The Power of Goodwill



            With net neutrality being an issue at the moment, I'm reminded of the simple statements of Nash Bozard who said that, without goodwill, we will abandon a company the instant we are able.  He was referring to the abysmal business practices of ISPs and how they have frustrated and abused their customers to the points where the instant they are not needed, their customers will toss them aside.  Well, it's the same with game companies.

Shouldn't game companies do the same?
            Goodwill is kind of an essential thing in this era of gaming, where prices are higher, income is lower, and the options are much larger.  In the 80s and 90s, you had only a few options for play, namely Nintendo, Sega, PC, or perhaps a third party console like the Turbo Grafx.  But now, we have dozens of digital distribution websites, 3 major consoles, 3 backlogs of consoles from the previous generations, and not to mention handhelds.  There are literally hundreds if not thousands of games being released every month, in some way shape or form.  So, with that many options, you have to hold onto your fans with as much vigor as you can muster, not push them away or squeeze them dry with shady business tactics.  Because a fan whom you have treated well will stick with you through thick and thin.  They'll forgive a few botched experiments, so long as you let them know you respect and care about their business.

The options we have here are staggering.
            A good example of this is Nintendo.  Nintendo has made several unusual choices in gaming in the last decade or so.  They released the Gamecube with a distinctly child-like/toyish design, they made motion control a core part of the Wii and the Wii U is meant to emulate tablet gaming.  These experimentations might push away core fans if not for the simple fact that 90% of the time, when you buy a Nintendo game, you know you buy quality.  Nintendo may not french kiss all their fans and they've made their share of mistakes, but in the age of buggy launches, early access, and outright scams via Kickstarter or Steam, it's refreshing to pick up a Mario or Zelda game and know that 1) it will work right out of the box, no patches necessary, 2) it will be a high quality experience, regardless of any experimentation, and 3) it will be accessible by almost anyone.  Fans love Nintendo because they continue to give them quality, even if the games themselves sometimes seem to repeat.  More than that, Nintendo has also generated a pseudo culture around itself, where it appears friendly, offering fans rewards via the Nintendo Club and basically making themselves seem approachable.

You bought a Nintendo game?  Come on up and pick your reward!
            On the other hand, let's look at Steam, of late.  Steam used to be a great example of a company that understood and generated goodwill with its customers.  They have frequent sales of their games and until about 2011-2012, the products released on Steam were of proven quality.  They could have bugs or patches, but they were still strong, enjoyable games that were well worth the money.  However, recently, Steam has started to become unstable.  They have released a glut of shovelware titles onto their marketplace, which, with this new influx of trash, has become harder to navigate to find the quality items, their early access releases have no quality control so a game can be for sale at full price that is effectively broken or released as a scam to take money, and their attempt at getting new, innovative products through Greenlight has been a rather depressing failure, with some games being inspiring, such as Octodad, Bunny Must Die, or La-Mulana, while other releases have been appalling disasters, such as Guise of the Wolf which is laughably bad in every way and Kingdom Rush, which was so bugged upon release that it was unwinnable past level 3.  Worse, when you start abusing your customers like this, policies that you've implemented that weren't a big deal before start becoming more apparent.  The sometimes intrusive, sometimes not DRM Steam uses to both protect your games, but also monitor you, the no refund policy under most circumstances, and the abusable comment and review systems are only a few.  When compared to GoG, which will offer refunds if your game does not work, which frequently gives out free, classic games, and which still uses a high level of quality control, coupled with DRM free titles, Steam starts to seem less and less reliable.  And if they continue, they may lose many of their regular customers to GoG, Desura, or Green Man Gaming.

Oh, Steam...what have you been letting into your inner circle?
            Now, let's look at one of the worst.  EA.  EA has frequently screwed over its customers with DRM through online passes, released buggy games, such as Simcity, which was unplayable offline at all and unplayable online for the first few weeks, and forced players to register with their online service Origin if they want access to EA's games.  These kinds of policies push consumers away and have been lampooned by people far wittier than me(See Yahtzee Croshaw or Jim Sterling.)  The sad truth is that EA doesn't value its customers.  Apologists might argue otherwise, but EA sees them as a way of making a quick profit and will do anything to get more money, such as including micro-transactions in a full price game, forcing DRM to try and shut out pirates, and releasing games too early in order to gain some quick profits.  They may be pretty big, but EA has also dealt with a lot of controversy.  Lawsuits over Battlefield 4, the outcry and hilarious media disaster that was Simcity, piracy STILL happening despite their best efforts to force consumers to prove their loyalty, etc.  If these continue, EA will lose customers...they've already been losing customers.  A franchise players love will only care a company so far.

Need I say more about EA?
            My point with this is to try and emphasize the obvious.  If a company abuses its customers, even if the abuse is something as minor as releasing a buggy game that lacks polish, then they are risking losing them.  You have to engender goodwill in your consumers if you want them to be loyal.  Elder Scrolls fans have cried foul of Bethesda on many occasions because of the bugs, but mostly forgive the series because of how deep, enjoyable, and moddable it is.  Elder Scrolls Online has pushed that, requiring a sixty dollar commitment, a fifteen dollar further commitment if they want to play the game at all after buying it, and the option of using real money to buy things like horses.  They have cast aside a lot of goodwill there.  Likewise, Konami and Kojima productions are risking reprisal when Metal Gear Solid 5 gets released due to their $40 demo sold under the title, Metal Gear Solid 5 Ground Zeroes.  Sales may be strong now, but the internet remembers...the internet remembers and it does not always forgive.

75 dollar entry fee...was Elder Scrolls Online worth it?  Goodwill, wasted, needlessly.
            Even companies like Nintendo need to be aware of how they COULD be engendering more goodwill.  Mother fans would bow down and welcome their new god, Nintendo, if they announced the release of Mother 3.  RPG fans the world over and nostalgia buffs would flock to the Wii U if cult hits like Rygar, Terranigma, and other titles would grace the Virtual Console.  And Nintendo isn't above mistakes either...the Retro Remix games they have released is dangling dangerously close to cash in, with links to the Virtual Console to buy the full version of the sample game that you can play.

I've got my eye on you, Nintendo...
            In the age of dwindling sales, game companies need, more than ever, to be willing to bow their heads, take a little bit of a pay cut here and there, and say to their fans, "Thank you for sticking with us."  The truth is, we don't have as much money, but we do have more games and more options for buying and playing them.  Hell, it's at the point where we don't even need to pay games, since something like Hearthstone or Loadout are free to play with no required buy in.

100% free to play.
            So, what can companies do to let gamers know they care?  Well, first, they can be straight with them.  Be honest if you're having problems.  Don't hide it and push your buggy game onto the market.  Say you need more time...say it might not be up to snuff...gamers will respect you more for being honest than for trying to pretend things are okay when they're clearly not. 

A little honesty might have made this less painful, Gearbox...
            Next, companies can talk to gamers like people.  Communicate not corporation to consumer, but gamer to gamer or developer to gamer.  One thing Kickstarter does well is it allows the creators of games to directly talk with and engage their fans in updates and comments.  It wouldn't be that hard to implement for anyone who's bought a game digitally.  No cryptic salesman bull crap, but just talk like a normal person.  Hell, even a regular podcast would do wonders for PR. 

            Another good way to engender goodwill is freebies that aren't just being held back or that aren't just shovelware.  Think about what would happen if Sega gave a Steam gift code to one of their titles on Steam, like Beyond Oasis, Vectorman, or the Sonic games, with each new purchase of a current game.  Fans might not use them...but they might.  They'd remember that a good game was given to them, even if it was old.  And what does that cost Sega?  Nothing.  It's a digital game made years ago.  There's no real overhead.  Extras in game packages that AREN'T collector's editions also work well with this.  Soundtracks, figurines, posters, anything that makes a gamer feel like they're getting more than their money's worth is smart and a good way to engender goodwill.

Still awesome years later, an easy way to earn kudos points with gamers.  Give it to them for free.
            Probably the best way to make gamers love you?  Listen to them and give them what they want.  Not in terms of game design I mean, since then we'd get more and more Call of Duty Clones, but for example, many Konami fans miss Suikoden or the Metroidvania style Castlevania games.  So, give them one.  If you can't make a new Suikoden game, for whatever reason, make the older ones more accessible.  Suikoden 2 is STILL awaiting release on the PSN...if it had been released 4 years ago, when the service was getting going, Konami would have been heaped with praise.  Now, we're just praying it doesn't get cancelled.  And these games?  Yeah, you might take a little loss on them at first, but think about all the people you will hold onto because you said, "We listen and we care."

C'mon, Konami, stop dragging your feet...
            The smaller things a game company can do to generate more goodwill is to not take advantage of the goodwill they've already got.  See, goodwill is like money in a bank.  It accrues interest the longer you have it and don't spend it.  If you keep getting goodwill, or even if you just don't abuse that goodwill, it will deliver in spades.  So, don't release buggy games if possible.  Don't force DRM.  Don't make on disc DLC.  Don't hold back content so you can release it AS DLC.  If you just release a game and put your all into it, you'll earn goodwill...and even if you don't, you won't squander it by abusing your consumers.

            I just wanted to write this up to remind people that sometimes, you need to play the long game.  Goodwill is like an investment.  You won't see an immediate return on it, but if you want to retire...it's a good thing to have.  It will keep making money even if you start to stumble or lose your way because you have respected and stood by your fans and they will, in turn, stand by you.  Companies need to take note, before it's too late.  You might make your money now, but sooner rather than later, your fans will abandon you when a new company, one that respects or at least doesn't abuse its players as much, joins the scene.  If you don't get people who will stand with you...then you'll have no one to help you when it all comes crashing down.

Not even great Galactus can do it alone...
            Woe to him that is alone when he falleth, for he hath not another to help him up.
                                                                                                - Ecclesiastes 4:10

Sunday, April 20, 2014

Creator Spotlight: Alec Holowka



            This week's topic is bittersweet for me.  You see, for a brief period of time, one team of developers had my heart, my soul, and the power to cash any check from me, which I would pay without question, provided it meant more of one game.  That team is the one that made the game Aquaria, Bit Blot.  And...then the disappointment comes.  That being said, I still respect the star of our topic today for what he's done.  Today, the design and musical genius of Alec Holowka.

So much genius...yet, it's not aimed in the direction I desire TT_TT
            Alec Holowka got his first big start in game design with the masterpiece, Aquaria.  This game is ranked in my top 10 of games, bearing in mind that I've played over 1000 titles...yeah, that's a big flippin deal.  So, let's take a journey.  It's 2010, I've got my laptop, it's moderately powerful, and me, having seen an awards show in 2009 that spotlighted a strange, but beautiful title...decide to download the demo for Aquaria.  My god...Aquaria.

From both a music and a design standpoint, Aquaria is a masterpiece.  Go out and play it now.  NOW!!!
            One part Metroid, one part Ecco the Dolphin, and one part the most bittersweet of stories, Aquaria captivated me from start to finish.  Derek Yu and Alec Holowka were the designers responsible for bringing the game to life, alongside the voice talent of JennaSharpe.  Derek Yu is worthy of a spotlight in his own right, but today, we're talking about Alec.  See, Aquaria is a PC game that focuses on exploration and combat, much like Metroid, but which takes place almost exclusively under water.  It features a song based system of auditory, color, and shape recognition for puzzles and fighting enemies that managed to be intuitive, memorable, and strangely haunting, as a way of making the music a more real part of the game.  All these design works belong to Alec.

The voice of Naija, who gave life to Alec Holowka's compositions?
That would be the amazing Jenna Sharpe.  Please, game designers, HIRE THIS WOMAN!  She is just fantastic.
            Alec Holowka is a brilliant game designer.  He's got a real knack for coding, and using the engines at his disposal to make a title memorable, intuitive, and enjoyable.  However that's not all.  Aquaria also features some of the most beautiful music I've ever heard and Alec was the first composer aside from Nobuo Uematsu to make me break down and cry from the sheer beauty and tragedy of the music alone.  Lost to the Waves and Fear the Dark from the Aquaria sound track should be all one needs to prove the sheer power of his rhythm and melody, however he manages to perfectly mix peaceful, exciting, sorrowful, and upbeat all within a few tracks.  Aquaria is a musical tour de force and while I have a bone to pick with Alec...his work in the industry after Aquaria continues to prove that he's still a genius.  It's hard to pin down what makes his music so good beyond base composition.  With Laura Shigihara, it's somewhat easy.  It's clear that her works start from the piano, coupled with her ability to listen and play by ear, which she builds upon for either vocal or symphonic additions.  Alec's work tends to have a synth base, but synth music is a dime a dozen in the world...it's hard to say what makes his special other than it just feels...right.  No matter the piece, it manages to not pull at emotions, but imbue them into others.

            Now, I've built this up enough.  Why do I have a bone to pick with Holowka?  Well, he and Derek Yu ended Aquaria on a To Be Continued that both admitted they had no plans to go back to...sigh...yeah, that's petty of me, but I feel that was petty of them too.  We didn't need that...the story was complete, so...anyway, moving on.

            Following his work on Aquaria, Holowka started up Infinite Ammo, a blog dedicated to the work on his game, Marion.  Marion was eventually scrapped.   AGGGGGHHHHH...Yes, Marion was going to be a spiritual successor to Aquaria with a wonderfully captivating premise of a puppet cutting her strings, using them as weapons, and finding a destiny of her own, free of the manipulations of others.

I can only dream of what could have been...
            Sigh...so, I'm a bit peeved with Holowka.  I can't really blame the guy, though.  He went through a rough patch, trying to find a team, dealing with a cancelled superhero mobile game, and having to rebuild much of Marion from scratch after changing it's art direction.  It's just frustrating to know there's this work of genius that's...never going to be made.

            That being said, it hasn't stopped me from loving his work.  Near the end/middle of Marion's demise, he worked on a game called Paper Moon, which was a free flash game.  It was a cute little title, with a simple, lilting melody that inspired a sort of relaxed pace, despite the game being timed and failure being heavily penalized.  Holowka made the music for this title, as well as the unique mechanic of, since the world is paper, causing the world around you to rapidly fold in or out to create a hectic, but interesting platforming experience.

Trust me...insanely addicting.  This game will eat hours out of your day like minutes.
            Now, this about covers my experience with Holowka's work, but it extends far beyond that.  He wrote music for the interesting little 16-bit throwback, Offspring Fling, featuring a bird-like creature throwing their offspring to solve puzzles, and did both coding and music on an odd title called Planet Punch where...a cloud...punches things...and it's a space based shooter...yeah, that's a weird one.  Either way, both titles showcased more of his talents.  Offspring Fling featured some unique tracks that managed to mimic the 16-bit stylings we grew up with, but with as much flair as the best of Uematsu.  Planet Punch had a different, more harsh style of music not unlike the scratches and beats of a DJ.

Really should give this game a try...
            The game most people might know Holowka for, and yet not know him for, is Towerfall Ascension.  The game where you shoot a limited number of arrows at enemies in an arena, Super Smash Brothers-esque battle for survival.  It was the killer app for the Ouya for a time before it's eventual port to PC and console.  Holowka did the music and by god, is it glorious.  It manages to remind me why I loved the man to begin with, because the tracks are so memorable and so engrossing.

Aright...it's not JUST the music that's got me interesting.
            At present, Holowka appears to be working on three separate projects.  Portico, which is described as a puzzle-trap-defense title, Skytorn, a game that appears to be Metroidvania-esque with a character exploring islands in the sky, and Night in the Woods, an odd little title featuring anthropomorphic animals in a game that seems to be part exploration, part commentary on the state of life, and part trippy as hell visual experience.

            Look, I cannot state enough how amazing Holowka is as both a designer and a composer.  Musician...well, I wouldn't go that far, but he's able to do amazing things with both lines of code and notes on a sheet of paper.  I may have my personal issues with the guy, but check out his work.  All of his games are highly memorable and even if you're not into games, his music is soul rending and soul soothing, all at once.

            Thankfully, Holowka himself has set up links to all his projects, past and present, at his blog, here.  Also, check out his band camp and support him, here.  Aquaria gets its own special mention.  Find it here.

Shine on, Naija.  I miss you.  Maybe someday, we'll get that Aquaria 2.  Eh?  Mr. Holowka...?
            I started off calling him Alec and ended with Holowka because I felt like the man I admired betrayed me, just a little bit.  It's not his fault, really...he doesn't know me and I don't know him.  But still...the man made me feel, with his game and his music.  That's both terrible...and wonderful.  No matter what I may say after, Alec Holowka is one of four composers to make me cry...an honor he shares with the legendary Nobuo Uematsu and the charming Laura Shigihara.  Nothing he does can take that away from him.

            You may frustrate me, but I salute you, Mr. Holowka.

Sunday, April 13, 2014

Diminutive Diatribes: Hardware Laments and The Future of Old Games...



Guys, gonna be honest, I am just dead this weekend.  I've worked myself too hard, taken a huge exam on Saturday, and been going through a lot of stress and emotional whosits and whatsits.  So...sadly, no creator spotlight this week.  I did write up a little something for you all though, so enjoy.  Fingers crossed we get back to our regularly scheduled program next week.


Diminutive Diatribes: Hardware Laments and The Future of Old Games...

            It's fair to say that nostalgia is a big thing in video gaming.  The resurgence of the 16-bit and 8-bit pixel art style in video games, chiptunes, emulation, virtual console, everything points to the fact that we have an infatuation with games from our past.  And this can be for various reasons.  Sometimes it's purely rose tinted glasses, where a bad game felt good because we played it when we were younger and needed it as an outlet.  Sometimes it really was very polished, because with the limited memory of the 8 and 16-bit eras, you had to have a focused, polished game, because there were no patches and you wanted to build brand loyalty.  However, I've often asked the question, what happens to our old games as time goes on?

What happens to our old games when there is no one to play or love them?
            Now, since nostalgia is popular, software itself is not necessarily something to be afraid of losing.  Clone consoles of the NES or SNES are available, right now, to play original or reproduction copies of old games.  Software that was originally only built to run on DOS is being retooled by GOG so that even a Windows 7 machine can run Math Blaster or King's Quest.  We have an almost infinite number of roms for emulation software available, ostensibly, for free on the internet.  So, that part of old gaming will actually never die.  It will be around in some form or another for as long as our digital age lasts.  However, there are some things that...concern me.

They save as many games as they can, but even GOG can't do everything.
            Has anyone ever watched the Angry Video Game Nerd and seen him have to fiddle with the Atari 2600 or the Magnavox Odyssey or the Action Max?  Those games have hardware components that make them nearly impossible to play on a traditional LCD flat screen television.  The display is off and the games with them seldom work properly...you need an old CRT television, which is what the machines were originally designed to work on.  These games are, for all intents and purposes, doomed to fall prey to the march of progress, where sooner or later the components that are necessary for them to work will simply no longer exist.  CRTs will be phased out or replacement parts, like the cable box for the Odyssey, will no longer be made.  For me...that's kind of scary.  And not just because of old gaming either.

When the Angry Video Game Nerd reviewed Pong Consoles, the game was the machine...so if the machine was broken, you were flat out of luck.  That's what scares me about our modern games...
            In the modern era, hardware has become a big seller of games, not just on graphical prowess, but on the promise of a new experience.  The Wii, Playstation Move, and Microsoft's Kinect all act upon the idea of motion controls.  While we're in the present era, few people have given any thought to whether or not these games, good or bad, will ever be unplayable because we will be unable to find the component parts needed to make them work or properly emulate said component parts on another platform, like a PC.  However, this is a very real concern that people need to be aware of.

A huge misstep, in my opinion.
            With the axing of backwards compatibility in the Playstation 4 and Xbox One era of gaming, this leaves a number of games in limbo.  For example, many early games on the PS3 used the sixaxis motion controls of the proprietary Playstation controllers to create key features in their games, such as Ratchet and Clank Future's tornado weapon, which was controlled by tilting the controller, Lair's dragon flying which functioned in the same way, or a personal favorite of mine, Folklore, which used the tilting of the controller to rip souls out of enemies.  Tell me, what happens when the PS3 becomes an antique in say, 20 years, and all the sixaxis controllers are broken?  Folklore would be left in the dust bin, unplayable because we lack the proprietary software.

To pull out the soul, you must tilt it into the proper alignment with the sixaxis controller in Folklore.  What happens when there are no more sixaxis controllers?
            So, I want people to take a minute and think about all the hardware gimmicks being pushed down our throats.  We bemoan many of them but at the same time, if we have any games amongst those that we like, we could be out of luck when the hardware stops working.  Think about how difficult it is for an emulation program to run a rom.  It basically copies the hardware settings on a PC that existed for the said console and maps the controls to the keyboard or a USB controller.  Relatively simple.  However, how can you tell a PC to handle gyroscopic motion controls?  How can you tell a PC to recognize a slash or a swipe with the controller for Dragon Quest Swords?  How do you tell a PC to tilt this way or that in a game?  This is harder, because the only real way to simulate it, at present, is with hardware, either the proprietary hardware or a similar cloned version.  Even if we don't like some of the hardware tricks, like the 3DS's 3d...this may be the only generation which gets to experience them.  I'd say treasure the unique experiences and try to preserve them, because for lots of gaming, the future is hardware failure and abandonment, avoiding complete oblivion only through the graces of youtube and wikipedia.

Don't take it for granted.  When it's gone, it might never come back.
            I don't have an answer for this problem other than be aware and try to preserve so that if we ever need to make a clone console or whatever, we can, but I also don't want to end this on such a downer.  The idea that swathes of games could be lost to the future because they are tied to a special piece of hardware that no one makes anymore is terribly sad...however, some savy gamers are trying to find ways around it.

            Software is a versatile thing and many hackers and programmers try to work around issues that the hardware had.  This can be shown through the creation of clone consoles and the like, but also with certain special projects online.  The BS Legend of Zelda project is an excellent example of this.  The BS Legend of Zelda games were three titles, technically four but let's not get into that, released only in Japan for the Satellaview, an add-on to the Super Famicom.  The Satellaview was a great example of a hardware system that we couldn't carry into the future, because it relied on satellite broadcasts for the games to work.  Orchestral music, game data, and live voices would be transmitted via the satellites and arrive at your console.  However, when service for the Satellaview cancelled and the satellites stopped transmitting, many games on it were thought either lost to time or to the few savy collectors who made back ups on blank cartridges.  Some savy hackers, however, managed to find the code for the Legend of Zelda games on Satellaview and repair the missing code, putting in a soundtrack for the music and adding cues to make up for the voices.  It's now available, online, right here.  And BS Zelda wasn't the only one.  Other games, like the fantastic Radical Dreamers were also saved through the use of the internet.

On the left, we have the NES Zelda, on the right the BS Legend of Zelda from Satellaview.  So glad this was saved ^_^
            Hope isn't dead yet for old games that rely on hardware.  As we advance into the future, some hackers or programmers realize the value of certain control schemes and can create mods or whole programs to simulate them.  The Logitech USB controller, for example, has a special program which not only lets you customize controls for PC games, even ones without controllers support, but can also simulate mouse movement with the analogue sticks.  If that is possible, perhaps even motion control could one day be simulated in our USB controllers.  Perhaps...

A miracle worker.  I've even played point and click games on this...
            While the thought of Folklore vanishing forever makes me sad, hope isn't lost.  If enough people remember and like a game and there are those who like it enough to try and fix it for the future, like the BS Zelda crew, then even hardware failures might not be the death of certain games.  We can keep them alive.

            However, the future isn't written.  We don't know if any of these hypothetical hackers will make it so we can emulate motion controls or make clone consoles of the Wii or 360 years and years down the line...and even if they could, will they?  Will they care?  So, I say take pleasure in the new experiences offered by new hardware...cause they won't be here forever.  Remember them.  Treasure them.  And try to keep their legacy alive, because I don't want us, as gamers, to lose any part of our history.  It's all valuable, even the bad parts.

What he said.
            The future isn't hopeless.  It's waiting for us to create...so we should try and create one worth living in.  A future where hardware laments don't exist, and old games are just as new as the day they were released, 30-50 years previously.

Saturday, April 5, 2014

Mind Games: The Good and the Bad of Psychological Warfare in Gaming



            Okay, so last week, while I was writing up my discussion on the goods, bads, and confusing elements of Dark Souls 2, I touched a little bit on my belief that the game was actually trying to engage in some psychological warfare.  I intend to go into that here, because, for what the game is trying to do, I think this type of mind game is actually pretty amazing.  Before we do, though, there are probably a few questions people might have about psychological warfare with games that need to be addressed first.

Yep, we're gonna be talkin about you today, Hearthstone...you and your MIIIIIIIND GAMEEEEESSSS
            Psychological warfare in a video game does not mean a psychological thriller, necessarily, like Silent Hill 2.  While there can be elements of psych warfare in that type of game, Silent Hill 2 and many games with a psychological bend are more interested on looking at the character they've given to the player and exploring their development in a nonlinear manner, showing their strengths, weaknesses, and growth through their actions and the world around them.  No, when I talk psych warfare, I am referring to when games perform something that does not affect story or the world they are in, but which elicit a particular response from a player that is contrary to what they know or believe the way things should be done.
Psychological thrillers and psychological torment is not the same as psychological warfare.
             Free to play games are probably the ones people might know best for psych warfare.  Free to play games operate under the idea that, a player goes into the game knowing full well that they DO NOT want to pay for it.  They want to get the maximum enjoyment out of the game as possible without having to spend a dime.  However, the way the game is built, it makes the game easier and ultimately more enjoyable if you will actually pay.  The game gives you the option to do what you believe is correct, but ultimately is trying to drive you towards something you don't want to do.  Hearthstone is a good example of this because it is subtle...it's not in your face about it.  It puts a 100 gold win cap per day on individual players, so they can't win more than 100 gold from matches per day, and gives them quests every day to win gold, which they can use to buy new cards or participate in the game's arena mode, for free.  However, 100 gold a day buys you one, count them, ONE pack of cards.  The Hearthstone store allows you to buy up to 40 at once...provided you are willing to pay real world money.  So, for a starting out player, who gets trounced by the guys wielding expensive cards...this is a real temptation.  It defines pay to win and wants to goad the players into spending, even though in their mind, they know that's not what they want to do.  This is psychological warfare.  It is trying to elicit an action from players contrary to what they might do in normal circumstances.  It aims to mess with your mind.

Behold the Hearthstone Store.  Funny how all the boosters above one cost real world money, huh?
            Now, free to play games are inherently at war with a player and that is our choice, if we agree to play them.  I deal with Hearthstone's frustrations and the psychological warfare because I like it and that is my choice.  However, like any great power, psych warfare can be easily abused.  Jim Sterling coined the term "fee to play" where a player pays a fee to buy a game, sometimes as much as 60 dollars, and then have the option of performing microtransactions and paying the game to give them more content that is behind a pay wall right off the bat.  This style of game tends to harass players into spending money rather than giving them the option.  It can never force them to, but it teases them, while still requiring them to pay, and this type of psychological warfare is pretty devious, because it tries to squeeze as much money from a single player as possible without enhancing the experience.  In truth, fee to play games are the worst kind of psych warfare because while free to play allow a richer experience if you are willing to put down a little money, fee to play negates much of your hard work, because you are paying to make a game you've already paid for easier and shorter.

Paying to make a game that you've already paid for easier and shorter...just seems kinda counter intuitive, doesn't it?  Or is that just me?
            With that outline on the basics and the negatives of how psych warfare works in gaming, let me move onto the meat of this discussion.  How psych warfare in a video game can actually be used to enhance the experience.  I'll start with a baseline example, then move into Dark Souls 2, as I think it's pretty amazing what they've done there. 

            I find that most old school JRPGs invoke just a little bit of psych warfare, so let's start with them.  Final Fantasy 5 has an area called Gil Turtle's cave, where you fight an INSANELY tough monster called Gil Turtle every few steps in a long, straight, one square corridor that there's no way to go around.  Now, you don't have to do this.  The area is completely optional.  However, what's interesting about it is that the game keeps the camera pulled just far enough back that you can't see the end of the corridor from the overhead view.  You don't know if there's treasure in there, or if there's nothing at all.  However, there's this compulsion to know, since this cave is right next to one of the big cities we've been using as a base for the last few hours.  More than that, in JRPGs there's this knowledge that if you fight a boss, you will ultimately get a powerful reward.  So, players might waste time dying against the Gil Turtle monster or spend a lot of money trying to get equipment specially made to beat it or devote time to leveling up skills they think might help.  Even though in the back of their mind, they know they ought to either move on and come back later, or just ignore it, since they're not strong enough or what have you.  The game teases you with possibilities of what is hidden and so we persevere and find...nothing but money.  And not even that much money to begin with.  Frustrating, perhaps, but we did this to ourselves.  Final Fantasy 5 goaded us into the cave and into fighting Gil Turtle, sometimes as many as a dozen times for the very unlucky, just for money, but we're ultimately the ones who gave into it.  However, let's look at this from the other perspective.  I just gave you an example of how good psych warfare makes a game frustrating, but from a separate perspective, it can also force players to get better and start thinking more strategically.  For example, some players discovered that Gil Turtle was an undead and took damage from the bard spell requiem and holy magic, making the battle much easier if you have those who can cast it.  Also it was discovered that Gil Turtle largely uses physical attacks, so if you have a knight protecting players, or a spell that gives them evasion, it's doable without much risk.  However, no matter which perspective you take, you have to admit that your experience was drastically changed by the game's use of psych warfare.  Maybe it made you a better player, maybe it gave you a feeling of accomplishment for beating a hard boss...maybe it just taught you not to be so obsessed with treasure that you risk your own life...either way, it created a unique experience for you.

Get used to this screen...it's gonna happen A LOT.
            That, I believe is the power of psychological warfare in gaming.  It can alter how we decide to play games and give us a unique experience.  Heroes of Might and Magic does this in a very simplistic way, putting a large stack of enemies in between a player and great riches.  They know they probably won't beat the enemies at their current level, so they focus on building an army to get the riches...only to have their opponents take them apart because they were focusing on the monsters guarding the treasure instead of their true enemies.  It's a way of messing with the player, and possibly teaching them a few harsh lessons.  Either way, it alters the way we play games based on our own weaknesses as humans(greed makes us want treasure, curiosity makes us explore areas we shouldn't just yet, impatience makes us play sloppy, etc.) and ultimately changes how we experience a game.

That demon is guarding sooo much treasure...if only I had a dimension door...
            Now, I want everyone to understand that what I am about to say is purely speculation on the part of Dark Souls 2.  I don't know if this is the case, but I believe it to be so based on the game design.  Alright.  Now, in Dark Souls 2, you have a hub town.  This is where you level up, this is where you strengthen your recovery items, this is where you upgrade and buy items and weapons, this is where you are safe.  Problem.  You have to warp back to it for any of this, and that takes you out of combat, breaks the flow of the game, and puts you behind a loading screen.  I heard many players during the beta talking about how it was an issue for them.  About how the original Dark Souls allowed them to repair items at a bonfire, level up at a bonfire, improve recovery items at a bonfire, all taking only a minute or so and just like that, they were back in combat.  This new system seemed frustrating and baffling and I felt the same way...at first.  However, I realized after several painful deaths involving the loss of over a hundred thousand souls(the in game currency and experience points), that the game was messing with me.  You see, all those benefits to the hub town?  They're supposed to be inconvenient to get back to.  Not so inconvenient as to make the game frustrating, but juuuuuuussssttttt inconvenient enough that you don't want to go back to them from the middle of battle, even though you KNOW you should.  This is where the psychological warfare comes in.

Quaint little town, isn't it...it's a trick!
            In the original Dark Souls, one of the rules of gameplay was to spend your souls as soon as you got them, level up often, never wait, because death was right around the corner.  However, that mantra changes a little bit when you're taken out of combat and put behind load screens, short as they may be, because it's no longer easy to spend souls quickly and efficiently.  You  have to warp back to your home town of Majula, talk to the Emerald Herald NPC, talk to others to see if they have new wares in or to fix items, it completely takes you out of the "YEAH, I AM KICKING ASS" mentality for players doing well or the "MUST GET SOULS BACK/MUST GET REVENGE" mentality of players doing poorly.  And most players don't want to lose that mentality.  They're having fun, so they don't want to stop, even though, in their mind, they know they really should, because they're carrying a lot of souls they could use to level up or buy/improve items.  And this...this is where the game gets diabolical.  I believe that the hub town and the NPC who you have to level up with were all intentional.  The developers were trying to wage psychological war with players to try and get them to act recklessly, because everything in Dark Souls 2 is surmountable if you are careful or if you're open to experimentation.  However, neither of those is conducive to the fast pace of an action game or the impatience of many players.  So, they get sloppy and die.  And when they die, they lose A LOT of souls.  Why?  Because it was just a little too inconvenient to go back to Majula and spend them. 

You'll stay by our side until hope withers, eh?  We shouldn't take your words lightly, Emerald Herald.
            In many ways, this is a better difficulty scaler than anything.  You see, the game is only hard if you're reckless.  If you don't spend souls as soon as you know you have enough.  Because you'll lose them.  Samuel Vimes in Terry Pratchet's "Night Watch" once said, "I have to get lucky all the time.  They only have to get lucky once," in regards to people trying to assassinate him.  The same mentality applies here.  You have to keep being lucky, because no matter how skilled a player, eventually there will be a mistake.  The enemies only have to get lucky once...and that's devious, because it lets you know the status quo...that all your assets are in this hub town...but then encourages you to ignore it at your own peril.

You're wise beyond your years, Sir Samuel.
            Even the rewards for the game encourage this to an extent that is rather shocking.  There are two items in Dark Souls 2 that are based around this same principal of making the players go against what they know is proper.  Illusory Ring of the Conqueror is awarded to players who beat the game without dying.  Illusory Ring of the Exalted is awarded to players who beat the game without using a bonfire.  Now, dying to experiment with different play styles or strategies and using the bonfire to heal and warp are cornerstones of Dark Souls 2...and encouraging players to get these rings by ignoring them is playing a bit of mind games with them.  You can only get these rings if you go against the game design and against convenience, as the inability to use a bonfire, for example, means you cannot warp or repair items and have to walk everywhere and deal with broken weapons at a regular basis.  It also means you cannot easily get rid of your souls via leveling up.  Yet, the game encourages players to try this...it is setting them up for failure, but it is a failure that they themselves could easily stop if they just did what they knew was the right choice.  And these rings?  They only make the item you're holding in each hand invisible.  Useful for PvP perhaps, but hardly worth the effort.  Yet some players are already working towards them.  This is what leads me to believe the game is messing with players.  It is more difficult than the original Dark Souls, but only if you let it get to you.  Let it get into your head and ignore the warnings.  This is psychological warfare.

I hope the ring was worth all the psychological warfare you subjected yourself to.
            Now, there are plenty of examples of varying degrees of psych warfare at play in the games industry.  I've only scratched the surface.  There are plenty of ways to mess with someone's mind.  Conditioning, for example.  In Pandora's Tower, you grow closer to Elena because the game conditions you to, with the relationship meter and the fact that she will do things for the player if they talk with her.  She can improve your items, give you buffs or healing tools, or many other things.  However, if you just want to play the game, she's a bit of a barrier, as you need to talk with her regularly...however the game is trying to convince you she is not a barrier and condition you to like her.  This happens, A LOT with games.  Some do it well, and I do believe Pandora's Tower does it well, others, like Final Fantasy 13, do it poorly and just make the character an annoying anchor around your neck.  However, ultimately, that brings me to an interesting question I asked myself while playing Dark Souls 2.  Is psychological warfare in a game beneficial to the player?  Is it "good?"

What can I say?  I'm a softie for Elena...
            Now, that's not an easy question to answer.  Some of it is clearly ripe for abuse, such as in free to play games.  Dungeon Keeper on mobile platforms abuses it's psychological warfare to try and bully, harass, and goad the players into spending real world money.  The NPC guide of Dungeon Keeper mobile actually says, "Who says money can't buy time?"  Now, with this level of abuse, especially in the fee to play games that Jim Sterling has outlined like Dead Space 3, psychological warfare is a bad thing.  It is meant to squeeze money out of players.  It does not serve the game, it serves the publisher.  In this case, I'd say psychological warfare is something to be wary of and try to be aware of as soon as possible and avoid.

This is psychological warfare in gaming at its absolute worst.  Manipulating the players for the profit of the publisher.
            Along that same note, I want to say that I consider psychological warfare to be completely different from brain washing.  Many games, some with political messages, some with ideological messages, or what have you, will try to brainwash its players into thinking a certain way.  This isn't warfare, it is programming...and that's just despicable, in my opinion.  Good players will agree or disagree or make their own decisions about how a game's views and agendas play out.  You can like or dislike the extreme racist views of Columbia in Bioshock Infinite because it doesn't necessarily play them out as good or bad, just a product of the times.  However a game made specifically to convince a player that their beliefs are wrong or invalid and that the beliefs of the game designer are right and thusly they need to change how they think?  That's not a game.  That's a piece of trash.  Most of the time, you don't see games like this sold commercially, because no one will pay money to be talked down to and have their beliefs belittled, but it is something to keep in mind for certain freeware games or for game design in the future.

Racist and insane as it may be, at least Columbia isn't trying to brainwash you into believing it's right...or if it is, it's doing a damn crappy job of it.
            HOWEVER...when a game doesn't try to brainwash or belittle a player?  When it doesn't have microtransactions?  When it is actively trying to make the player experience the world in a different way?  I actually think these types of mind games enhance the titles more than hinder them.  I freely admit to allowing myself to be taken in by the conditioning of Pandora's Tower and really growing attached to Elena and...that made the game better for me.  Playing Final Fantasy 5 and getting stuck in Gil Turtle's cave actually gave me some perspective onto how brutal some of the secret bosses could be and helped me work through strategies on how best to defeat other secret bosses, like Omega and Shinryu, which I did.  And in Dark Souls 2...I have to admit, it made me be a bit more aware of my actions.  I knew that the risk I was taking was stupid, sometimes, but it enhanced the thrill of the game when I did it...and it also made me feel smart when I chose not to, spent my souls in Majula, and died moments after going back to battle.  It taught me how to better play the game.

I praise the sun for this victory!
            Thing is, it takes work to put psychological warfare into a video game without microtransactions.  It takes work to design Gilgame's cave to make it so difficult to pass through but so easy to avoid.  It takes work to try and condition players to like characters, even if it fails, like with Vanille in Final Fantasy 13.  It took work to make Dark Souls 2 function the way it does, with an NPC to level you up and a hub town behind a loading screen to spend your souls at.  And why do all this work if not for the benefit of the players and the experience?  I know that some people might get a little iffy about being played or having their mind messed with, but in most games, psychological warfare is actually meant to enhance the experience.  Recognizing it actually kind of changes the game too, because you can choose to be taken in by it or to play it without being messed with, further enhancing a game's replayability or it's value.

            Psychological warfare in games isn't meant to program you to think a certain way, even though conditioning can make you look at characters more fondly...the point of it is to enhance the experience for the player so that they will buy the sequel or recommend the game to others.  If a game tries to overstep that bound and doesn't serve the player, that's when we have a problem.  That's why I have such disdain for games like Dungeon Keeper mobile or other fee to play games.  Because they don't want to enhance the game for the player...they are there to serve the publisher or some other party.

            Let me close out by saying that you don't need to recognize psych warfare to enjoy a game or to be swayed by it into playing it differently.  In fact, if done well, it should be very hard to recognize indeed.  However, it is a very interesting little look at how some game designers go out of their way to make a game better by trying to understand how a player will think and then work against them or with them(in some cases) to try and make the experience more unique and fulfilling.