Outlets that have solicited my expert opinion.

The weekly gaming talk show talked to me about the death of Crispy Gamer (interview starts at 2:08)

(View on YouTube)

In this episode, former Crispy Gamer editor Kyle Orland and ex-Blizzard tastemaker/game entrepreneur Keith Lee join Bitmob co-founders Demian Linn and Dan Hsu.

The eclectic group discusses augmented reality games, Xbox Live achievements, Blizzard’s formula for constant success, the future prospects of rhythm games, and more.

(Download MP3 — 54.7 MB 59:42)
(More info on BitMob.com)

This week famed game journalist Kyle Orland joins Lara, Julian and Cory to discuss the dissolving of Crispy Gamer, the state of freelance journalism and more!

(Download MP3 — 47MB, 1:22:11)
(More info on GamersWithJobs.com)

Kyle talks about the year’s best gaming cinematography and animation in advance of the popular Machinima.com series’ annual awards show.

(View on YouTube)

Personally, I find gaming podcasts compelling because they’re the only type of game journalism you can consume WHILE playing a game. In a world where every second spent reading about a game is a second you could be PLAYING a game, this is just efficient time usage. In fact, why are you reading this? Go play a game or something!

On the downside, listening to podcasts while gaming means you can’t listen to the in-game music/sound effects. On the plus side, most game music and sound effects are pretty bad!

(full article)

Biggest Surprise: Tie between Little Big Planet and Mirror’s Edge

Biggest Disappointment: Guitar Hero: World Tour’s loud-ass drums

2008 Game I’ll Play in 2009: Left 4 Dead

2008 in a Sentence: Build-your-own co-operative indie first-person rhythm action-shooter platformer (with mini-games!)

(full article)

No game this year made me feel as much raw emotion as Left 4 Dead. Surely the game’s itself was part of it — the atmospheric sounds of groaning zombies and the excellently run-down locales definitely helped — but most of it came from simply playing with real people.

L4D’s multiplayer design, especially the versus mode, finds a perfect balance between the every-man-for-himself twitchiness of most deathmatch games and the stick-together camaraderie of co-operative play without missing a beat. There’s a real tension to the survivor portions and a real feeling of vindictive glee during the zombie attacks, feelings that are exacerbated because you know the people behind those screams of joy and anguish in your ear are feeling the same things.

The true sign that I was getting way too into this game was when I stopped a lengthy play session and realized that my throat was bone dry from screaming commands and strategies at my teammates. Not since Karaoke Revolution has a sore throat been such a sure sign of a good time.

(full article)

The trouble with game of the year awards
by Blake Snow

“It’s important to remember that game of the year awards are being given by individual outlets, not the industry as a whole,” says Kyle Orland, the unofficial media watchdog of video games. “It’s not the Oscars or the Emmys or even the Golden Globes. It’s just a subjective ranking of important games by an editorial staff.”

(full article)

Even Alton Brown hinted at such doubts, although he said his 9-year-old daughter, Zoe, couldn’t put down the DS version of Iron Chef. “If you had told me a few years ago we’d be talking about food video games, I’d have thought you were crazy,” he said. “Why would you stand in front of your TV and pretend to chop an onion when you can go into the kitchen and chop a real onion?”Excellent question, and one for which Kyle Orland, author of “Wii for Dummies,” had an immediate answer. “Put me in front of a real onion, and I’ll make a mess of it,” he said. “But in Cooking Mama, I can chop it perfectly every time.”

(full article)

The video-game-centric podcast talks to me about E3 2008.


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