Consumer control over titles coming to Steam?

In hindsight, this was to come. Developer named Love in Space has stated that Valve has halted their title’s submission in order to overhaul Steam to give more control to the consumer on what they see. This isn’t the standard Family friendly control centre Steam currently has, but something more robust.

This seems to indicate two things. First, Valve is taking their hands off as they’ve mentioned previously and accept pretty much anything legal on Steam. This would mean the end developers have to indicate elements in their software whilst submitting to Valve. This would tie directly into the second element, which is the user driven control.

How do you implement it? is the  question.The best, quickest way would probably be to use the pre-existing tags Steam already uses for its titles, but whether or not these would be fitting is an open question. Sometimes, how a tag works for a title is rather obscure, referring to some element that’s not a major part in the title. Then you have the occasional tag that has nothing to do with the title. There would be a need for a far more stricter set of rules in order have a properly functioning control device. While possible that they’ll just use these tags, it’s also probable that something completely new will be used, as the aforementioned developer mentions that there is going to be completely new features that their title requires before Valve accepts it for Steam.

Was there a reason for a system like this? As Steam functions as a sales platform as much as it is a digital console, there is a need to split adult-only material from the more kid-friendly content. The split is similar how kids’ magazines are in one section in store, while all the rest are moved on the side or above the their stand. Another example would be how family movies and adult movies had different sections on a VHS rental store. Wasn’t the Family View already like this? Apparently not, as it seems to only limit what games are shown in the Library section rather in Store.

Seeing how the Internet really likes to rile people up and enjoy the outrage culture for better or worse, these last few years (or rather, last decade or so) has seen movements to accuse games, game developers and consumers for pretty much anything from sexism and racism to political agendas and lack of them. Valve has seen a lot of shit flung at them concerning their new policy, to the point of Kotaku labeling Valve irresponsible for allowing free market to decide on products.

This new feature that is being worked on is a solution that allows the user to censor their own Store page. This all fine and dandy, as this means people should be able to see what they want, ignoring the rest of the marketplace they might deem less of worth or somehow damaging for them or their family. As long as system does not force limitation to anyone else, or even suggest that certain content might be considered inappropriate, it should be passable.

However, it would seem this is a solution coming along way down, as Sekai Project mentioned some of their titles need to be re-submitted, and that they need to fill-in additional information for already passed software once the system has been implemented. Considering Valve has stopped accepting some titles like this for the time being, I’d guess they’re in a bit of a hurry with the system before publishers like Sekai find new avenues to move into. Valve wanting to put accepting software on hold for the time being until they’ve finished the system may be understandable, but it’s not the best approach concerning the publishers and developers who have their titles in this limbo state.

You will hear that this won’t solve any problems. Games that sites like Kotaku considers problematic won’t go away and will be developed and published. However, this is as good as any mediating solution, as the upcoming feature should allow these people can ignore their hated titles as much as they wish.

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Music of the Month; Metal Squad

You should go play some Thunderforce

If you’ve noticed the weird scheduling with these post as of late, it’s because I’ve been ill for the last few weeks, trying to push through work and other stuff all the while trying to keep myself on time with writing and all. Not that really matters in the end, though that did keep me from doing anything any reviews or robot related stuff this month, outside the Asimov Mega Man post.

Speaking of health, the game industry might be having yet another moral panic in its hands in the future, as the World Health Organisation has now officially released a diagnosis for what they call “gaming disorder.” I’ve discussed the ICD-11 previously, and the points still hold water. As Chris Ferguson says in his The Hill article, this is the first time WHO has marked a hobby as a disease. The most largest problem with the diagnosis is that it lacks clinical values and research itself was in poor science. When you have a diagnosis with no basis to it, you risk everyone’s health. Gaming addiction is a symptom of underlying problems, but it’s always easier to remove the tools rather than the root cause. A diagnosis like this will cause harm, especially to people who have found games as a hobby to cope with their mental issues. Sometimes, a good hobby is all it takes to keep a man straight.

As Ferguson mentions that WHO has been under pressure from Asian countries to solidify this diagnosis. Even without Ferguson’s examples, we can make an educated guess how China and South-Korea have been the spearheads in this.

While this isn’t the first time a medical diagnosis has been made public based on quackery and politics, it hurts three different fields at the same time. First, it makes WHO a laughable organisation that can’t keep with proper science or standards. They’re discrediting themselves and what they stand for with this. Secondly, it reduces the further confidence in psychology overall. Psychology has always been under fire about its science. It’s not rare to see people argue that psychology is not a science, outside the hard evidence biological psychology can yield. With this, psychology as a field can be ridiculed even further and puts mental illness classifications under question even more. Thirdly, WHO has damaged a hobby and has opened the door for further quacks to prey on patients, not to mention how hobbyists can now be treated as mentally addicted.

This is absolutely pathetic from WHO, and really puts them in a bad light. The topic really requires more writing on the subject, so we may return to video game addiction at a later date. May is a strong word here.

E3 also came and went earlier, and outside few interesting bits and bobs it was the usual show of ads for the audience. Devil May Cry 5 was probably the jawdropper of the show in overall terms. While expected, seeing it on the stage itself was bliss to the fans. However, like with any event like this, it’s good to remind ourselves that E3 is ultimately just a huge advertisement showcase. All the companies involved there are not for the benefit of the audience, but for the PR and fame. Self-evident for sure, maybe even a bit cynical, but it has become a sort of cornerstone in game marketing, where the biggest and best titles are revealed for the most effect possible. You can’t beat the PR you get from a stage show millions of people are watching at the same time around the globe, unhindered.

The relationship between the providers and consumers is pretty weird compared to other industries, as the general view seems to be that the developers and publishers are doing games for the consumer as some sort of favour, sacrificing themselves for the good of the game, when in reality it’s about the profit. Certainly, some developers have put themselves on a pedestal over things and do consider themselves as some sort of gift to the industry. I guess that’s human nature for you.

Human nature is also to be stupid, as EU is being with the upcoming Internet legislation. If you’re living inside the European Union, is do strongly hope you’ll check this site with some time and scribble an email for your MEPs to prevent widespread censorship. Hell, even this blog would go down if the legislation passes, and I like doing this shit.

Capcom to push forwards with online multiplayer

The title of this post is really self-evident, but sometimes its good to check some other invest relations information outside Nintendo. For whatever reason, I always go for Capcom’s. Too bad their latest Shareholders Q&A summary is very short, but there are points on interest.

The current state of Capcom is rather hard to estimate. Originally, they went from an arcade game provider to console game developer, with healthy licensing of their games to PC markets. For example, Ghost ‘n Goblins exist on pretty much every platform of its era, from Amstrad CPC to C64. Capcom has dropped the arcade side almost altogether due to their niche nature. They’re more or less the posterboy of a generic electronic games company at the moment, developing and publishing games across the platforms. This has been their modus operandi for some twenty years now, roughly speaking. However, it must be emphasized that Capcom still considers arcades as one of their main line of business, it being the first thing mentioned in their Company profile video, though for Japan only in form of Plaza Capcom arcade centers.

Fun fact; Capcom still producers PCBs for multiple companies to use in arcade games, pachinko and pachislot machines.

Again, all this is self-evident, as is Capcom’s lip-service that functionality and specifications of each platform differs. Nowadays only Nintendo platform/s have any special specification to it. Modern platforms can be counted with one hand anyway. It’s first a strange answer to a question how will Capcom think the ratio of sales per platform, but it’s not all that different from all other third party companies; one title, multiple platforms. Nothing new on this front, but is also means specialisation per platforms will be nil. Effectively, Capcom’s playing it safe.

Street Fighter will continue as Capcom esports flagship title in the future, for better or worse. They don’t specify Street Fighter V but the series in general. This rarely means anything special, but understanding how SFV has not been the most popular piece, there might be some motion to push the sixth entry into the series at some point SFV has run out of its steam. While SFIV was run in iterations, SFV was split into seasons and updates came to one title. This has cut costs, though it did backfire harshly, with the initial release extremely bare bones and online multiplayer was effectively the only thing going for it. An arcade mode for a game like this, which is effectively bred and born in the arcade halls, really needs to be closer to those roots in all respects than PC or console market demands. This approach has proven to make sales, and continues to make sales.

Capcom mentioning Monster Hunter specifically in the same breath gives a strong hint that the inside-view of the what esports can be split into two; the tournament community and online multiplayer. Effectively, SFV’s esport scene outside tournaments exists on the online multiplayer, and its by all means the same as any other multiplayer. Pointing this out seems like something self-evident again, but stopping for a moment and pondering that esports is effectively a step away from any sort of multiplayer must be made. Before the concept of esports, competitive playing was more than enough to encompass the same thing. However, for whatever reason competitive playing wasn’t enough and a more marketable term was coined. Esports, after all, is about the money it can generate rather than the competition itself. Just like sports in general.

This idea continues with the Switch question. The investors clearly would like to see more games on the Switch due to its sales, while Capcom itself would like to push for more esports, ie. competitive multiplayer games.

It is clear that Capcom wants to push Monster Hunter here, despite it being rather poor example for competitive gaming. However, its sales and the amount of players it has online exceeds pretty much everything similar Capcom has done, effectively making the example Capcom wants to push. Of course, it doesn’t fit the bill all that well, but it fits well enough when you consider the meaning behind either competitive or esports; the multiplayer aspect. People have a skill to make anything into a competition, and even co-op game like Monster Hunter is viewed in this light with hunting times, style and such. Competitive Monster Hunter wouldn’t be in the spirit of the franchise, though an asymmetric gameplay mode, where one of the players would control a major monster, would be an interesting idea, but in practice would probably yield less than optimum game session.

Effectively, Capcom’s future aim seems to be more online multiplayer, be it disguised as esports or not. Without a doubt this means social game on mobile devices and expanding on the online multiplayer aspects wherever possible. Online multiplayer is an old concept by now, but considering how many Capcom games ultimately lack one, it just might be that they find themselves designing more games towards dedicated multiplayer than one-player titles.

However, Capcom does seem to have enough sense to choose their battles properly and not force titles like Mega Man 11 have such modes. Please, don’t come up with some sort of forced multiplayer aspect in MM11.

It should be noted that Capcom’s stock has been a steady rise since Q2 of 2017. It has its usual dips and rises, though midway March it had it had a slight downwards trend. It would seem that Monster Hunter and multiple other titles that consumers seem to be keen on has raised their margin. Their analyst section also recommends buying stocks at a neutral range, outside Credit Suisse Securities JP ltd. considers Capcom to underperforming, and in terms of expanded electronics industries they probably are right. However, Capcom is in a spot where they are rather leveled out.

Remember when we checked Capcom’s sales data last time few years back? It hasn’t changed much since then, though it has an addition of Dragon’s Dogma. Resident Evil still reigns supreme, followed by Monster Hunter and Street Fighter. It’s still heartwarming to see some of their older, classic titles listed, despite them effectively being dead, like Commando and 1942. Wouldn’t seeing those revived as well, in a modern form or another.

New faces of Mega Man

In an interview with Venture Beat, the producer of Mega Man 11 Kazuhiro Tsuchiya tells that the reason why there was no new Mega Man game for such a long time was because there was nobody to helm the ship. As much as Keiji Inafune gets shit flung at him because of Mighty Number 9, he was the force that made Mega Man happen for solid decades. Despite that, he was but one man, and games at this scale are never a single man effort.

Tsuchiya’s assertion that the atmosphere within the company wasn’t right, that nobody wanted to tackle the challenge to make a new Mega Man. It is without a doubt partially because Inafune’s rank that held the series in place, but just as much corporation’s own politics played in the mix. We’ve seen from Capcom’s own titles they’ve released that their library’s style has changed little by little this past decade.

For Koji Oda, the director of the game, it was the Casshern situation; if he’s not going to do it, then who will? Oda’s right in that social media and fans overall have been pining for a new game in the series.

However, would Capcom allow a new game just like that? Highly doubtful. Mega Man‘s 30th anniversary celebrations probably was the largest reason why the Mega Man 11 got greenlit, especially after the reception all the leaks and trailers the Man of Action Mega Man cartoon have been less than favourable overall. Banking on the core fans going balls deep into anything carrying a franchise’s name is not the best idea, not even for Star Wars or Metal Gear.

There is one quote from Oda that must be given a high emphasize;

Inafune’s departure was a big part of it. His leaving Capcom left a void, and people were hesitant to step in and become the new “Mega Man guy.

This, dear reader, is the power a face has. Inafune, by all means, was father of Mega Man, the carrying force of the franchise, someone who would drive it onward, someone the consumer can latch unto and associate with. An inanimate product in itself needs some sort of association with something positive, be it a good time with a friend and a bottle of Coke, a friendly dentist recommending an Oral-B electric toothbrush or some representative from a corporation talking about something you love.

These two have been largely unknown to the public in terms of being a face. Tsuchiya was a programmer on Mega Man 7,  but as usual, nobody gets glory as a programmer despite being one of the most important roles in game development. Perhaps his most known title is Asura’s Wrath, where he was the producer. Oda’s worked largely on Resident Evil titles, mainly as director with remakes. He was system planner on the original and got Special thanks in Street Fighter Alpha 2, but Shinji Mikami always took the spot as the face of Resident Evil in every regards when he was still with Capcom.

Because these two are now heading Mega Man, there is a marketable face again. They don’t come from scratch, there’s already something we can associate them with. If Mega Man 11 ends up being a massive success, and the fan expectations for it are massive, one of them or both will end up the successor to Inafune’s place as the face of the franchise, someone the consumer can reflect upon.

However, just as I said that Inafune leaving was just part of the equation, so are the sales, if not even more so. Oda saying that the sales figures for Mega Man Legacy Collection were the driving force behind Mega Man 11 being put into development jives with what I’ve been commenting on for these years; data matters extremely so for Japanese game developers. When there is established data and form, it is easier to get through the execs to get something done. A simple thing like having a name’s localisation into a correct form from may take numerous already existing sources to assure executive powers that its worth it. A single name. To assure Capcom’s higher rank of being allowed to put a new Mega Man title into production has required more than solid sales numbers. It has required fan feedback of all kinds being collected and presented in proper form.

Mega Man as a franchise didn’t go kaput only because Inafune left, but because its sales potential had been waning most of the 00’s. The consumer is a fickle thing, first claiming that Capcom is just rehashing franchises by making a title after a title to satisfy market wants, but then is being criticised for not having new titles for the franchise. I doubt its just the sales data of Legacy Collection that was presented for the execs, but also the data of sales from previous digital releases. After all, Capcom’s a corporation that must make profit. Making games that would have meager sales is not exactly in their favour. They’re not here to make art, but cold hard cash through commercially viable products.

I would argue that Mega Man‘s absence has done it good. Call it the Godzilla effect if you will, where an absence of a product for number of years will allow the market view reset a little bit and most of the baggage previous movies have delivered have managed to level out. It’s much easier to make a new entry after some time have passed with rejuvenated interest. However, there are times when something can get so hyped and becomes so expected that it simply can’t meet the expectations for whatever reasons. Star Wars Episode I is probably the example of this. Disney really screwed up by making Star Wars mundane, but that’s another topic.

Will Mega Man 11 deliver? At this moment, it looks like something that can probably excel decently. It’s not exactly what could be described a pretty game, some of the animations still look janky and the Double Gear system seems rather generic way to try forcing a gimmick into the game. It’s not something the franchise hasn’t done before, but can they make it work with the standard formula? Will the stage designs be excellent? Will the music be up to the standard?

And of course, there’s how Capcom is releasing the product. They intend to make most of it, but if you’re European and want the game for the Switch, you’re out of luck. There is a petition up that asks Capcom to release the game in physical format, but seems like the interest isn’t there. This isn’t the first time Capcom of Europe makes less than ideal decision.

Inspirational changes, Dead or Alive

Seems like every time we get a new Dead or Alive, something about it gets a rise from people to whatever direction.  For better or worse, DoA gets decent amount of press whenever a new entry gets announced, but mostly always for the wrong reasons. DoA Extreme 3 got marred in the press for both having cheesecake and for not being published in the Western regions, making it the best selling title Play-Asia ever had.

With the announcement of DoA6, you’d think things would’e been gone as usual. Well, in a way they did, with part of the consumers wondering what the hell was going on, and part celebrating titillation getting toned down significantly.  Because of eSports, of course.

Yohei Shimbori of Tecmo had an interview, where he states that the new DoA was inspired by American comics and movies. He wants people who play the game feel proud, as he puts it, while playing the game. Sidestepping the issue why should people feel proud while playing a game, the reason why things are changing in the first place is because during EVO tournament 2017 some of the DoA fans felt embarrassed. Whether or not these fans were the players or not is not mentioned.

The issue, of course, is how sexy the characters are. These fans they interviewed wanted the game to be cooler. The problem of course is, the game already looks cool.

Shimbori’s logic and source is sound. American mainstream cape comics certainly have moved away from showcasing the human physique in demigod form in favour of more realistic depictions and detailed suits, though at the same time the sales of these comics have tanked thanks to low quality of the comics themselves in general. Shimbori wanting to take inspiration from these comics, following similar path seems to be the right way, emphasizing on the suit fashion. While Shimbori emphasises on female characters, this is true across the board, especially with Marvel comics.

A major attraction for Dead or Alive has been its visuals and fun factor not found anywhere else. Taking that visual side away and replacing, for example, Kasumi’s now iconic outfit with an extremely generic blue-black full-body outfit looks lazy, detracts from her unique look in the gaming market and clashes with her intended original design. The cherry blossom petals and other moves don’t fit the character anymore, now that she’s wearing a supposedly more combat-sensible suit.  Let’s make a look at her DoA5 and DoA6 versions.

Wait, they gave DoA6 outfit high heeled sandals? While I may be talking about her iconic outfit, it was not her initial default outfit. It’s from completely different design perspective from the DoA6 design, and a direct comparison would be like apples and oranges. The iconic design doesn’t exactly render well in the modern style DoA is going for, as its intention originally was to be semi-cartoony to begin with. It clashes with the semi-realistic take. It would have been better to update that design rather than going completely away with it, as now we’re getting what’s supposed to be cool. Funny enough, if DoA6 is supposed to be less about the curvatures of a woman’s body shape, they failed. With skintight leather, it’s all about the curves. It may not be as sexy, but you might as well have her fight in black and blue body paint. It’s not exactly cool either in the sense Shimbori’s intention are.

Furthermore, majority of the DoA fans like the series’ aesthetics. DoA5 had a slight backlash against its style and take, but the dev team took this to their heart and tweaked things a little. Character models have been an issue with fighting games recently anyway, from banana hair and punched face Ken in Street Fighter V to pretty much everyone in Marvel VS Capcom Infinite, especially potato faced Chun-Li. However, DoA has always aimed follow the Virtua Fighter route with simple yet striking design, with their own flavour of fan service and certain level of risque that’s unique to it. In essence, one of DoA‘s winning elements has been its visual design that gives just enough glimpses with rather anything more. The sheer amount of outfits in previous titles has kept the players busy unlocking stuff as well.

The end problem of course is that DoA‘s fame and money has been made with Japanese influences, something the fans and core audience are attracted towards to. The loss of Soft Engine, an element that was part of the visual nature of Dead or Alive, feels cheap at best. Dev team’s emphasize on trying to make sweat and damage to be more a thing sounds more what you’d expect from a Mortal Kombat title. The audience that is there doesn’t want the game to look brutal, but to look beautiful. I doubt many Japanese fans want to see Kasumi’s face pummeled into mush, outside ryona fans.

There’s also the magical words of making the game more accessible, as mentioned in this IGN Live E3, with one-button combos to be a thing. DoA and VF controls have been the simplest out of all mainline fighting games, and simplifying them to this point seems like gimping it. Devs can claim that it simply adds a layer to the game, but that’s never been the case. It’s just to make one or two combos a constant.

This seems like a major step away from the series roots and nature. All this is ultimately to attract the expanded audience, or the audiene that considers the series problematic, sexist or otherwise offensive in content. The idea of expanding market is all good and fine, but not at the expense of the brand and franchise itself. At this rate, they should’ve rebranded the franchise altogether, or even better, start another fighting game franchise to run along Dead or Alive, much like how Tekken has Soul Calibur.

In the end, the devs are going to do whatever they want, eSports interviews and all. Perhaps the end battle of DoA5, where tacticafully black clad Kasumi fights her iconically clothed clone was a prelude to come. Forget exciting and interesting new design, we’re in an age of homogeneous coolness.

They could do better, but in the end, they’re bucking on already past trends.

Open the Valves, full Steam ahead

Sometimes, Valve manages to surprise the cynic in me. Just as I mentioned that they should open the doors for free market, it seems that’s exactly what Valve did. Of course, it was received with both positive and negative press, with negative pretty much calling out Valve for allowing games that could have offensive content. Kotaku, for example, takes their usual stance all about wanting to keep games with gross content, as they put it, out of Steam. Furthermore, Kotaku’s beef with Valve being a reactionary corporation when it comes to controversies is old song by this point. Most corporations may go their way to appease sections of the consumers, but in this day and age where practically everything can cause an uproar and everything is offensive to someone in some myriad way, corporations can’t exactly be but reactionary.

This whole deal is interesting and dumbfounding, to say the least. For number of years, gaming snobs have wanted the electronic games industry to grow and mature. No medium is free of the growing pains of vast, endless multiple points of views and political leanings. For a rough comparison, banned games equate to banned books. This is especially important if we are to take games as an art, as simply banning or removing art because the subject is something you dislike or disagree with infringes the free expression of the artist.

Of course, the opposition of Valve’s new policies take the business view on things whenever it pleases them. Steam having games with content other developers don’t like shouldn’t matter to them. If their product is superior, they should be at ease of mind. The free market will tell what’s more demanded. Of course, it could always turn out that doing politically or otherwise controversial topically charged games might not sell well in overall terms. If the developer and/or publisher wishes to move their games off the platform because Valve has allowed games with offensive content in their mind, they can always move away to GOG.

After all, censorship and limited freedom of speech is something that can be easily expanded to serve only one master.

This is a damned if you do, damned if you don’t. Brands, such as Steam, should not partake in politics of any sorts. Valve’s stance of keeping trolling titles (how in the fuck would you even define that properly in hard-down legal form) and illegal content off their service is enough. The market will handle the rest. Simply because content exist for consumption does not mean one has to go their way and consume it.

Is it immoral to allow content that might be considered offensive on Steam, politically or otherwise? The question is No, considering Steam already has games with content that does offense someone. Valve’s Weik Johnson has the right stance; they’re not the one to decide what developers make. If we are to promote equal treatment of all, it is required to mean equal treatment in all terms, including games that have offensive content of any kind. It is up to you as the consumer to decide whether or not it is consumed, not by a committee, a busybody soccer mom or another developer.

Another criticism Valve has got is that this means they do not stand up to values, or more accurately, the values of the critics have set up. Just as morals, values are up to each person. Cultural values and morals set up by the society are ultimately what matter the most, not the ones sections of the Internet want to be upheld. In effect, it is equally morally reprehensible to allow one offensive content but not the other. Valve’s ultimate morals lay in what makes the most profit, and free market is the best way to make a buck.

Whether or not Valve is finished with underestimating their consumers with this is an open question. It can be expected them to flip flop on the matter in the future, especially when take into notion how vague their new stance is. What is illegal changes country by country, and there is always the remote possibility they’ll simplify things and use all of them. Somewhat unlikely, seeing Valve has always tried to stick with the US legislation and have a history of arguing against foreign laws to an extent. What is acceptable varies wildly, especially in places like China.

Secondly, trolling, as mentioned above, doesn’t exactly hold water. It is extremely subjective and sounds like a scapegoat wording that they can enact on a title whenever they find it applicable. Titles like Hatred may get hated out of the platform due to its content, as it was removed from Steam Greenlight. It took Gabe to get it back. The title’s developer certainly did use trolling as part of the marketing campaign, yet the title is nothing short of fully fledged isometric shooter.

For better or worse, Valve’s announcement on the subject does touch upon this. To quote the post; we decide are illegal, or straight up trolling. While this could be viewed as slightly concerning, this sort of extension of corporation’s own decision making is expected. This allows Valve to cover their asses whenever its applicable while supporting the freedom of game development and publishing, as weird as it sounds, considering anyone could do that outside Steam on PC already.

In the end, all of Valve’s announcement ends up being PR speech. It’s not exactly virtue signaling either as much as itch.io’s Leaf’s tweet on the matter. How things will go down in practice will probably be a very different story, though only time will tell. Claiming that Valve has dropped any responsibility or the like is childish bitching, as the responsibility has always been with the developers and publishers, and even then to the extent of the law.

The consumers within the market will make their voice heard on the matter, and that is ultimately what matters, despite what different sociopolitical factions like to think. Let capitalism function as intended.

Then there’s the point that none of that matter jack shit if the gameplay is not up to the level. That is what matters the most after all.

Valve’s wake-up call for visual novel enthusiast and others

With Valve taking steps to remove numerous titles from Steam due to T&A, Mangagamer has decided to bring their titles to GOG. The last sentence in their post also mentions how Sekai Project, the infamous VN publisher, is joining them in this move.

Mangagamer questions Steam a retail platform for visual novels, and that has been an extremely good question from the start. Steam as a digital console has the exact same limitations as vast majority of other game consoles have had throughout the years when it has come to sexually mature content. The last console that allowed some sort of clothes-off action was the Sega Saturn with its R-18 rated gambling titles, though even then the titles were cleaned up from their arcade and PC counterparts. Whether or not it really is better to have violence than sex in media has always been brought to question, but that’s slightly outside the scope here.

The PR director for Mangagamer, John Picket, knows how to word this opening salvo towards GOG. There has been some friction why these titles have not appeared on GOG, mostly due to GOG having different set of guidelines than Valve, but calling this an opportunity rather than an option forced on them is standard marketing speech. Considering Steam has always been an unreliable publishing platform due to how Valve exercises their control over titles, developers, publishers and users, this movement should not have come out as a surprise to anyone. Valve’s customer support is legendarily terrible, and their ~30% cut of all sales, which yields less and less revenue to publishers down the line, especially when most users simply purchase everything from sales. In previous post about VN bans on Steam I mentioned how their policies went against EU legislation when it came to purchasing, resale and refunding titles, but what I didn’t mention was that Valve put in bit in their EULA before purchase where the consumer would waver their freedom for 14-day return period. Similarly, when Valve was in court in Australia over similar matter between 2014 and 2016, they stopped providing their financial information, which ended the judge giving them a middle finger in legalise form. All legal cases that they knew they couldn’t sensibly win has been elongated for PR reasons and to create proper backup whenever the inevitable end result comes to.

While EA is considered to be the Satan of game corporations, credit must be given where credit is due, and their did have refunding program as according to EU legislation two years prior to Valve, and even then Valve’s refunding program was in Steam credits, meaning they still keep your money. Valve’s policies get changed from time to time to reflect the pressure they’re under from outside forces, all to cover their own assets and revenues. That is ultimately the end goal of all corporations, after all.

Valve has the control over the PC side of game market like no other to the point of publishers and developers considering any other route a detriment to their product. After a company has partnered with Valve to get their titles to Steam, everything else gets so muddled down. Why would you want to publish games on other platforms when Steam has essentially become the Windows in terms of digital games publishing? We’re at a point where an anti-trust case about their monopoly could be made, but that won’t happen. Too many consumers and companies are tied to Steam both in terms of money and emotions. Only something that would break the glass would make them consider twice on Steam. Something like taking down titles for them having bare chests.

But Aalt, aren’t you the one always championing game exclusivity? Yes, with consoles. The PC is a different market than consoles and is based on user-end freedom, something that has been constantly eroding through the use programs like Steam, taking Operating System control away from the user and evermore increasing activity tracking to the point of end-user having no privacy. If consoles are tightly controlled platforms for single purpose only, the PC was its free counterpart, where everything from your hardware choice to how you modified your software was completely up to you. Now, if you modify software linked with Steam to any extent unsavory for them, you’re going to be banned.

Valve has no competition. GOG is a good second, but far behind Steam in terms of dedicated users, despite GOG always being the objectively better option for software. Japan has DLSite and DMM for both pornographic materials and normal titles, something that Nutaku reflects in the West. There are numerous smaller publishing platforms that do not tie the user to themselves, but due to lack of publishers on these platforms they’ve never reached the surface awareness.

There is a distinct lack of diverse competition on the PC currently and it is not because of exclusives. This has been case for a good decade now, with even vast majority of the small amount of physical titles needing to be connected to a service as a form of DRM. This had lead Valve to had an effective control over PC software when it comes to gaming and their like titles, like visual novels. It should come to no surprise to anyone when Valve decides to exert their control on anything that might be seen as unsavory for their own benefits.