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What’s the Difference Between ‘Splatoon’ & ‘Splatoon 2?’

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Splatoon 2 has been something of a runaway success in its first week on the market. The sequel is currently sitting at an 84 on Metacritic and reportedly sold 670,955 physical copies in its first three days in Japan alone. Comparatively, the original Splatoon only sold 156,610 copies in its first four days on the market in Japan. But has the series improved by more than just sales numbers? Let’s have an in-depth breakdown of the differences between the two titles.

Visuals Boosts

Splatoon 2’s visual upgrade is perhaps the most immediate and striking difference from its predecessor. From the moment you boot the game up and see the character customization screen, it’s clear that there have been loads of little visual bumps that have come together to create something that truly impresses. The hub is now Inkopolis Square, and it’s rendered in glorious full 1080p when docked. Though the rest of the game dynamically scales, there are clear graphical updates everywhere including sharper textures, better lighting effects, and more vibrant colors.

Speaking of vibrant colors, the ink itself looks much more like actual ink than it did in Splatoon, shimmering off the sunlight and absolutely popping off the screen. Character models in the Square and shops look noticeably more detailed and boast slicker animations. This is most obvious during the opening broadcast with Pearl and Marina, who are much better animated than Callie and Marie were in the original. From their variety of facial expressions to more subtle visual flourishes, Pearl and Marina feel way more like living, breathing characters. It’s an entirely welcome upgrade that I only imagine will result in even more players getting invested in the idols (if that’s even possible).

Of course, Splatoon 2 can also be played in handheld mode. The first game was rendered in 720p, and seeing Splatoon 2 shrunk down to the small screen of the Switch with that same resolution is absolutely gorgeous. It looks vibrant and runs flawlessly, joining the ranks of Zelda: Breath of the Wild and Mario Kart 8 Deluxe in really showing off the quality that the Switch’s screen is capable of. It’s easily one of the best-looking handheld games I’ve ever seen.

Gameplay Tweaks

For the most part, Splatoon’s core mechanics remain almost completely untouched in Splatoon 2. However, you won’t be able to just jump right back in and handle your favorite weapons with the same results. There’ve been several subtle changes and adjustments to the game you’ll need to get used to.

Perhaps the most obvious change is the lack of a second screen to glance down at (though that didn’t stop me from looking down at my Joy Con for the first 20-30 matches). Instead, you’ll have to pull the map up with the X button. This ends up feeling like a serviceable solution, especially since you can pull it up and continue to play the game running in the background. However, I’ve noticed that it’s had the side effect of causing me to look at the map much less often than I used to. Pressing a button just isn’t as instinctual as glancing down at your controller. A static, translucent mini-map in a corner of the screen (with a directional button mapped to each player for super-jumping) might’ve been the better option.

Other changes come in the form of ability tweaks. Shockingly, Damage Up and Defense Up no longer exist. The loss of Damage Up means that weaker weapons like the Aerospray and Tri-Slosher have little-to-no use in competitive play, which is a bit of a shame. On the other hand, it also means that snipers can no longer increase the hit box of their shots by stacking it. The loss of Defense Up means that building a tank player is no longer possible; for better or worse, everyone has the same splat rate. New abilities like Thermal Ink, Object Shredder and Drop Roller allow you to see enemies you’ve shot through walls, destroy non-player objects faster and roll away after super-jumping, respectively. There have also been tweaks to returning abilities, most noticeably that Stealth Jump only works if you land a certain distance away from an enemy.

One final note on gameplay: This is the first time that players have been given the chance to play Splatoon portably, a dream many have had since the first game came out two years ago. So, how does it stack up in handheld mode? Well, using gyro worked for the most part, but there were definitely some issues with getting the perfect viewing angle. I’d recommend playing in tabletop mode over handheld, but it’s a fun experience either way.

Mode Differences

Aside from a brand new single player campaign dubbed Hero Mode, the new modes found in Splatoon 2 are The Shoal, League Battle and Salmon Run. While The Shoal essentially replaces Battle Dojo as the local multiplayer hub, it’s an absolute upgrade in every way. Instead of offering a lackluster balloon popping split-screen diversion, The Shoal basically lets players set up local Private Battles and Salmon Run sessions. Players have all the same options they’d have in Private to customize the games, including a customizable version of Salmon Run not found anywhere else.

League Battle is basically Splatoon 2’s version of Squad Battle from the original. Players have to be at least rank B- in one of the Ranked modes to join a League Battle in any of them. Teams of two get grouped with other pairs so the battles are always 4v4, a departure from how Squads worked in Splatoon. One welcome change to the formula is that your individual rank isn’t affected when your team wins or loses, making losing streaks with friends much less devastating. League Battle also awards medals at the end of every two hour cycle that stay on your profile, giving the mode a much more competitive feel.

Salmon Run is the only entirely new mode introduced in Splatoon 2. This stands out for being the first PvE mode in the franchise, as well as the first co-op only mode available. The variety of enemy types coupled with a myriad of random environmental effects goes a long way in keeping each bout unique and entertaining. The daily super bonus is a really smart way to keep players coming back, offering everything from money to EXP-boosting food tickets for earning enough points in runs. All in all, Salmon Run is some of the most fun I’ve ever had with Splatoon. My only gripes are that it can’t be played whenever you want, and it doesn’t support split-screen multiplayer. That aside, it’s easily one of the most attractive reasons to pick up Splatoon 2.

If it hasn’t become apparent yet, Splatoon 2 has a good deal of tweaks, improvements and changes that separate it from the first entry. This isn’t simply a new coat of paint (though it’s that, too), it’s a calculated step forward for the series. Splatoon 2 almost feels like a second birth for the franchise. Millions of gamers who never owned a Wii U are finally getting turned on to the game with the Switch. You can tell in-game by how much more competitive Turf War is now that players are really digging into the game and taking it more seriously as a shooter. Now it’s just up to Nintendo to keep that momentum and excitement for the game going as long as possible.

Brent became infatuated with manga and anime after randomly stumbling upon Vol. 3 of Yu Yu Hakusho on a childhood roadtrip. Today he has a soft spot for colorful JRPGs, cozy anime, and both games and shows that indulge his innate love of adventure. Find him (im)patiently waiting for Animal Crossing: New Horizons and incredibly fulfilled by Fire Emblem: Three Houses @CreamBasics.

8 Comments

8 Comments

  1. Marty Allen

    August 2, 2017 at 1:56 pm

    Great piece, Brent, you really covered all the differences. In ink! But seriously, you did a great job here. Related note: I can’t stop playing Splatoon 2.

    • Brent Middleton

      August 4, 2017 at 12:51 am

      Hey, thanks man! Splatoon is seriously one of my favorite games ever, so writing this piece made a lot of sense. I can’t put it down either! They really knocked it out of the park with this one.

  2. Ryou

    October 2, 2018 at 11:30 pm

    By any chance is the way to get new clothes and stuff the same as in Splatoon 1? where you have to do online things to increase rank and all that?

    • Brent Middleton

      October 4, 2018 at 7:37 am

      Hey Ryou! So you get new weapons by increasing rank, but the shops constantly rotate out new gear no matter what. There is special gear that you get at certain milestones, but otherwise it’s all pretty accessible (again, besides the weapons).

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Game Reviews

‘Shovel Knight: King of Cards’ and ‘Showdown’ Review: Really Spoiling Us

It’s a Yacht Club Games overdose this holiday, as the Kings of Kickstarter are back with two new entries in the Shovel Knight franchise.

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It’s a Yacht Club Games overdose this holiday season, as the Kings of Kickstarter are back with, not just one, but two new entries in the Shovel Knight franchise. Not content with just releasing another new character’s twist on the original formula, Yacht Club have also developed their own fighting game in the Shovel Knight universe. It’s to the developer’s credit that two simultaneous releases can be of this quality, but valid questions can also be asked as to whether the original formula has gotten stale, and whether Showdown’s new concept does the series justice. Fear not, for both questions will be answered in this bumper, two-for-one review!

Shovel Knight: King of Cards

King of Cards is the latest re-tread of Shovel Knight, and this time the emperor’s new clothes are the regal duds of King Knight, who is on a quest to become the greatest player in the kingdom of the card game Joustus… without really having to beat that many people at it. After the stoically heroic Shovel Knight, the dastardly cunning Plague Knight, and the broodingly enigmatic Spectre Knight, King of Cards’ protagonist embodies an enjoyable dose of pompous entitlement. His quest isn’t all that noble, and he really can’t be bothered to do a lot of hard graft to reach his goal. Thanks to the typically witty script, King Knight shines as a loathsome oik who doesn’t pay attention to any advice he’s given, and would rather have a fight, or cheat, than actually get better at Joustus.

Shovel Knight
This a late-game bout of Joustus, which shows how complex it can get.

Joustus might not really be all that important to King Knight, but it adds an entirely new element to the traditional Shovel Kinght gameplay. Those players who are a sucker for a built-in card games (myself included) will find a lot to enjoy when stepping away from all the platforming and fighting to engage in a round of Joustus. The game is played by placing cards, one at a time, onto a grid with the goal of having more of your cards placed on top of gems than your opponent.

All cards contain abilities and can be used to shove opposing cards out of the way (and off the gems), with advanced cards used to blow up, slam or recruit those of the other player. It all starts off simple enough, but can get really brain-taxing as the story progresses, and grows to be a real highlight of the game – and one of the better card-games-within-a-game I’ve played. Cheat cards can be bought to give you a leg up for trickier opponents, especially as the winner of each game gets to take one (or three if you control all gems at the end of the round) card from the loser.  

Shovel Knight
Platforming at its satisfying best. Y’know, without actually touching the platforms.

Outside of Joustus, King of Cards will feel pleasingly familiar to fans of the series. As in previous entries, the levels all share the same look and gimmicks as the original Shovel Knight, but are reshaped to adapt to the new abilities of King Knight. He has a shoulder barge attack that launches him forward, across gaps if need be, and will send him into a spin on contact with enemies or certain types of walls and blocks. This spin move acts very much in the same way as Shovel Knight’s shovel pogo attack, and allows King Knight to bounce around levels with impressive finesse. Anyone who’s played Shovel Knight before knows the drill now – try and clear every screen by chaining together as many bounce attacks as you can. It’s the law.

Shovel Knight
Familiar foes return, but the way you deal with them is the same!

It also wouldn’t be a Shovel Knight game if there weren’t a ton of unlockable moves and buffs. Amongst the best unlocks for King Knight are a Tazmanian Devil-esque tornado spin that allows him to climb walls and smash up enemies, a hammer that produce hearts with each wallop for precious HP, throwable suicide bomber mice, and the ability to stand still and have a big ol’ cry to regain HP. Something we can all relate to.

The world map returns, and is in its best guise in King of Cards. Levels are now a lot shorter than you’d expect – there’s typically only one checkpoint in the non-boss levels – but there are a lot more of them, and a large number have secret exits to find. They’re interspersed with the multiple opportunities to play Joustus, and with the seemingly random appearances of traditional Shovel Knight bosses who show up, Hammer Bros. style, on the map to block your progress. It makes for a really tight campaign that’s filled with a ton of variety.

The floor is literally lava!

It seems almost arbitrary to say, but if you like Shovel Knight and you’re not tired of the standard gameplay, there’s so much to enjoy with King of Cards. He’s probably not the most fun character to play as (for me, that’d be Spectre Knight), but his game is easily the most diverse. He’s just such an enjoyably unlikeable idiot that you’ll constantly be playing with a smile on your face, bopping along to the classic Shovel Knight chiptunes, pogoing around levels and pausing for the occasional game of cards. Who could ask for more?

Shovel Knight Showdown

Who likes Shovel Knight boss fights? Everyone does, right? How about fighting three of them at once in an amalgamation of Smash Bros. and Towerfall? It’s as chaotic as you’re imagining, and seems like a total no-brainer as a second genre for Yacht Club to transpose their blue, spade-loving hero into.

What seemed like an obviously smart move doesn’t necessarily play out in an ideal way. The one-on-one fights in Showdown are as tightly-contested and entertaining as ever, but the multi-man rumbles are absolute mayhem. There are a few different stipulations applied to fights, and these typically involve simply whittling down your opponents’ lives, or depleting their health bar to briefly kill them off and steal any gems they’ve collected from around the level, with the winner being the first to an assigned number.

Shovel Knight
I found it best to just try to escape in every multi-man level.

Standard fights are more enjoyable, as the simplicity of smacking seven shades of snot out of the competitors keeps things manageable amongst the cacophony of onscreen visual noise. The gem-collecting levels, especially with multiple opponents, are frankly a bit of a mess that I rarely found enjoyable.

Perhaps I’m just not very good at Shovel Knight boss fights, but the game felt overly difficult even on the normal setting. Playing story mode often sees your chosen character up against three opponents on the same team, and when it comes to collecting gems from around the level, they’ve got way more of the space covered and you barely get a chance to breathe with them swarming you from the word go. It’s basically an exercise in getting wailed on while you try to run away and scramble for gems, and it’s just not that fun.

If the whole game were 1v1 I’d have more fun, but it’d be a bit pointless and unsubstantial.

What does add a layer of fun to the game is the chance to play as the complete ‘Knight’ roster of Shovel Knight characters, and the best part of Showdown is learning new moves and trying to find your ‘main’. Perhaps, with more time to sit down and learn the move sets in the practice mode, the game would feel more rewarding than if you just jump in and try to slog through the chaotic story mode like I did.

With a four-player battle mode as the only other gameplay option, Showdown was clearly never meant to be anything other than a brief little curio to give fans of the series’ boss fights an overdose of what they love, but as a complete experience I found it lacking in both modes and reasons to keep plugging away at the arcade fighter-style story mode. It turns out that the boss fights in Shovel Knight are more fun at the end of a platforming level rather than in the middle of enclosed space filled with flashing lights, random effects, environmental hazards, and three bastards all chasing you down. If you can handle all that stress, you’ll have a much better time than I did.

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Game Reviews

‘Disco Elysium’: A Thought-Provoking Mystery

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Disco Elysium Review

For the most part, the majority of games are easy to classify, but from time to time a game is released that defies conventional rules and resists simple categorization. Disco Elysium is just such a game. On the surface of it, it’s a topdown, isometric RPG of the oldest of old schools. It draws upon long-established systems, structures, and mechanics that make it comfortably familiar. However, beneath that patina of tradition lies something completely unexpected and utterly unique.

Developed by the small, independent studio ZA/UM, with a story penned by Estonian novelist, Robert Kurvitz, and a painstakingly detailed world crafted by artist Aleksander Rostov, Disco Elysium stands apart from most RPGs in that it is startlingly realistic whilst simultaneously being grimly fantastical. Set on an isolated archipelago in the wake of a failed communist revolution, the game casts players as a detective sent to solve the murder of a man found hanging in the backyard of a rundown boarding house/cafe. It’s a simple setup made all the more complex by the fact that the player character is suffering from a severe bout of alcohol and drug-induced amnesia. The mystery that needs to be solved concerns piecing together exactly who the player character is, as much as it involves reconstructing the chain of events that resulted in a brutal death.

Arriving at conclusions to both conundrums requires navigating complex webs of social and political intrigue. Along the way, players will encounter union bosses, disgruntled workers, war veterans, and all manner of extraordinary and mundane citizens just trying to go about their daily lives in a place that seems designed to thwart their ambitions at every turn. More than that though, players will be required to engage in continuous internal dialogues that involve the protagonist gradually putting themselves back together. The result is character customization in a quite literal sense of the word. Rather than the standard array of physical options that most games of this type present players with, the options are entirely psychological. Player actions and choices determine the overall structure of the internal workings of their character. Whether they decide to be a high-minded idealist trying to better themselves and the world around them in whatever way they can or opt to descend into anarchic, hedonistic self-obliteration such choices determine exactly who and what their version of the character is.

The foundation of stats and skills that are usually inert background components that all RPGs are based on is firmly in place. However, rather than being a numerical bedrock upon which all gameplay is based, Disco Elysium takes those sets of modifiers and statistics and makes them an active part of character progression and world development. As you progress through the game, skills points can be used for a variety of purposes. They can be used to upgrade core character stats, of which there a total of twenty-four covering a whole range of mental, physical, and social attributes, that govern player’s ability to immediately interact with the game world. However, they can also be used to learn or forget particular thoughts These thoughts develop depending on how players decide to approach situations and solve problems and can unlock semi-permanent bonuses and even penalties.

Disco Elysium Review

Much as in reality, the things the character is capable of are largely dependent on their frame of mind. If players opt to make a character that is brash and uncouth then they will find it difficult to subtly manipulate interactions to their benefit or arrive at unobtrusive solutions to various situations. On the other hand, if they elect to play a character that is more thoughtful and introspective, or cunning rather than crass, then they will find it difficult to emerge unscathed from more physical challenges. It’s an interpretation of character development and player progress that feels much more organic than in any other game of this sort. This is probably where Disco Elysium does the most to stand out from other such titles. Such a flexible approach to progress is hopefully something that other companies will emulate going forward, as it allows the character to develop a true personality that goes a step beyond the mathematically-oriented, incremental statistical increases that are usually the norm.

Disco Elysium Review

The ways in which player action, character interaction, and game reaction combine together is probably the closest it is possible to get to a truly curated dungeon master-guided play experience in an RPG. There is such a wide and unpredictable variety of moment-to-moment options that players can never be certain what exactly is going to happen next. This sense of improvisational unpredictability is a quintessential element of any RPG, but it is often lost in translation from tabletop rules to computer game mechanics. This pitfall is avoided thanks to the fact that the world of Disco Elysium was conceptualized as a tabletop game but doesn’t actually exist as one yet. As such the developers were able to implement systems without the expectation of adhering to pre-existing mechanics. This expectation has often been the downfall of many such games in the past, such as the much-maligned Sword Coast Legends which was lambasted for its apparent butchery of the 5th edition Dungeons and Dragons ruleset. It will be interesting to see if Larian Studios can avoid similar problems with Baldur’s Gate 3.

Disco Elysium Review

As intriguing and unconventional as Disco Elysium is, and no matter how deserving it is of the accolades it won at 2019’s Game Awards, it’s hard to recommend it as something to play if you’re looking for fun. It’s relentlessly grim even when it’s trying to be funny, and its stream of consciousness style makes even the most basic of interactions a minefield of potential disturbing possibilities. With its biting combination of continental existentialist ennui, pseudo-Lovecraftian undercurrents, and socio-political critique it isn’t a game that you play for the sheer joy of it, but rather for the esoteric and unusual experience that it offers. That being said, in a market that’s full to bursting point with crowd-pleasing blockbusters and oftentimes strictly by-the-book sequels or carbon copy titles, it can be incredibly rewarding to delve into a game as intricate and nuanced as Disco Elysium.

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Games

Interview with John Staats, First-Level Designer for ‘World of Warcraft’

We recently had the opportunity to sit down with John Staats, first-level designer for the launch version of World of Warcraft.

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The first iteration of World of Warcraft, often called “Vanilla WoW,” has a strong pull of nostalgia for many fans. From inspiring countless other MMOs, to imbuing an entire generation of players with memories that they will never forget, to inspiring Blizzard to re-release it earlier this year, Vanilla’s footprint is undeniable.

Recently, I had the chance to talk to John Staats, a first-level designer on World of Warcraft‘s initial launch, to discuss his recent book, The Wow Diary: A Journal of Computer Game Development, which chronicles his own personal experience with developing WoW‘s initial release.

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In a lot of ways, The WoW Diary reminds me of Blood, Sweat, and Pixels by Kotaku’s Jason Schreier. Both books address the challenges of game development, including the incredible amount of hours that game developers work and the dreaded “crunch” when a project has to be delivered on time. Your section on how your colleagues described their work on StarCraft was particularly interesting. What do you think is the public’s biggest misconception about how developers work?

The biggest misconception is how expensive developers are! Most publishers and studio heads are always portrayed as the bad guys, but the truth is there’s so much risk in game development, it’s just insane. If a company is upfront about long hours, then I see no problem with longer hours to some point. Unfortunately, the law isn’t so flexible. After WoW shipped, we dropped to capped 40-hour weeks (mandatory) and it sucked. Everything was so schedule-conscious that we stopped experimenting.

Studios are all different. Some people asked if unions were the answer, and they might help in some cases, but they would make other situations worse. There would certainly be fewer games out there without crunches. I dunno. I’m from Akron, Ohio. I’m just happy to have worked in the entertainment industry!

As a developer, even at somewhere like Blizzard, fan feedback seems like it’s able to affect team morale. In the book, you mention a few cases of this. What was it like to work under the pressure of fan expectations?

World of Warcraft feedback wasn’t nearly as bad as Warcraft III, because the company was too quick to promote their first 3D title. Making a 3D game has such a sharp, painful learning curve that engine re-writes caused long delays. The fans were unfamiliar with the long waits associated in making 3D games, so they were especially angry.

The class designers definitely had it bad on World of Warcraft. People never post when they’re happy, the forums are usually very negative. And there’s strange “voodoo” where people report glitches or errors that aren’t really there. There’s a LOT of voodoo reports that designers need to verify, and that eats up their schedule.

Kevin Jordan once joked that he was going to claim to be a character artist at the launch party signing table, just to avoid being drawn into discussions about rogues versus shaman duels. For the most part, WoW was so much better looking, better playing, better running than the competition, we had it easy. Still, we put pressure on ourselves: for the most part, the fans were pretty cool.

World of Warcraft

You state in the book that you got your start in modding computer games on the PC. Did you have any prior experience with other game systems, or was your only experience with the PC?

PC only. I was actually a Macintosh user exclusively because I was in advertising in NYC. I bought my first PC in the mid-1990s. As a Mac person, there weren’t many games available (thank you, Steve Jobs), so I only played a few titles on my roommate’s machines. They always had to kick me off whenever they came home.  When I got my own, I relentlessly played FPS and strategy games.

One of the more interesting comments that you make in the book, and one that I was curious about while reading, was the following: “Writing stories is so easy it seems nearly half the people in the industry want to do it[…] it’s unreasonable to expect players to follow a storyline, detailed or subtle.” Do you think games are ever capable of delivering complex and subtle stories, or is it beyond the medium’s scope?

I honestly doubt stories will become more subtle for most genres. Most games pull the player’s attention to non-story elements like socialization, user interface, goals, and combat tactics. Looking for things is rarely fun. It’s just too hard to expect the average player to follow nuanced stories… and you never want to risk players becoming confused with your plot.

You use the phrase “computer games” throughout the book instead of the more commonly used “games.” Was there a semantic reason for this?

Ranchers and farmers are in the agricultural industry, they have a completely different set of concerns.

There’s a huge difference in developing computer games versus console games. It’s so much easier to make games for a console. They’re far more predictable, and optimized for specific types of games. Developers are influenced by all kinds of games; pen-and-paper RPGs, tabletop board games, card games, handheld devices… and all of them are very different to produce. I didn’t want to lump everything into the “games industry.”

You mention early on that you’ve suffered “a neurological problem in [your] hands that hinders [you] from using a computer for significant lengths of time.” Given the increasingly interconnected nature of modern society and how much time you spent on computers during your career in the games industry, how hard was it to adjust?

I played FPS games before I became a level designer. I played up to 14-16 hours a day when I had the time. That’s without stopping, BTW. I would eat leftovers between matches. I was nuts.

John Staats World of Warcraft

Blizzard and Nintendo have always seemed like analogous companies to the outside public. Both spend large amounts of time and money crafting games that have long-standing appeal and excellent quality. Both don’t worry about winning the public relations war and, instead, depend on the endemic quality of their games to do the talking for them. Did anyone ever make that comparison inside of Blizzard?

It was a very conscious effort to avoid distractions. There’s so much temptation for some people to jump into every conversation, there was a company-wide mandate to keep your mouth shut. We had Bill Roper for our spokesperson, and if the public thought he personally made all our games, that was fine with the developers (he wasn’t even a dev!). This lets every member of the company, as a whole, take credit for the collective products. Other industry developers will weigh in on every conversation, and journalists will seek out the same developers for opinions. On top of the risk of crossing wires with the company’s official opinion, so much exposure could create jealousy.

At one point in the book, you mention that an acquaintance of yours, Scott Hartin, had worked making console games in Japan and hated it. Was this a common complaint among those who had worked in Japan?

He’s the only person I know who’s worked there, and it was something he said in passing. I thought it such an interested idea, that different cultures tend to work in different ways. Who knows? Perhaps it might have just been the studio he was in, that made them work that way.  

Ragnaros and the Molten Core raid have emerged as a large part of the lore surrounding the vanilla release of World of Warcraft. It’s also something that you mention receiving compliments from fans about. What part of Molten Core are you the most proud of?

I’m proud that we ninja’d it into the shipping game without the producers having it on our to-do list! It was a passion project Jeff Kaplan rallied people around. I’m glad he did. We were working on so many bugs after we shipped, there’s no telling how long it would have taken to update the live servers with a content update like MC.

As a historian, having an oral history of one of gaming’s largest and most influential games is an incredible resource. In the beginning of the book, you say that you struggled with compiling your development diary because, to a large degree, you were afraid of underrepresenting some of your hardest co-workers. In the end, why do you think more oral histories, such as your book, aren’t published?

I can absolutely tell you it’s because the author needs to take notes. I can’t do a sequel to The WoW Diary because I stopped taking notes after we shipped. There’s just no way, I’d get everything wrong, or release a bland, broad-strokes version of how things went down. That’s where my book stands out, the details make the story vivid.

 

World of Warcraft

Blizzard released WoW Classic back in August. What are your thoughts on it?

I’m surprised they did. No one has ever done something like this before. Redoing someone else’s work doesn’t sound like a fun project for developers, who are in nature, creative people. It just isn’t fun to walk in someone else’s footsteps. I’m also keenly interested to see how it plays out. Do they relaunch expansions? Does it affect the retail version? I honestly don’t know, but my popcorn is ready!

Blizzard has been criticized recently for their communication with players. How different does it feel when you are on the corporate side of that relationship?

No one is criticized when your games stink. LOL! Seriously though, complaints never stop, so it’s never a big deal. Whether it’s about lawsuits or controversy, Blizzard usually takes the high road, and disengages from distractions; it lets them focus on what they want to be known for… making good games. I’m glad to see they’re still doing this.

Final question. As something of a hardware nerd, I’ve got to ask, how did developers handle the rapidly progressing technology of the late 90s and early 2000s, when Moore’s Law was in full effect? 

Blizzard games sell well because they target low-end systems. Most studios weren’t, and aren’t, smart enough to realize this. Most studios want to be the first kid on the block to have a shiny new feature. While the industry chased after expensive features that narrowed their audience to customers who had top-end computers, the savvy companies focused on the low-end machines. To answer your question, Blizzard avoided the Moore’s Law trap.

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A big thank you to John Laats for agreeing to be interviewed and providing us with a review copy of his book. If you’re interesting in learning more about John Laats, his work, you can find him at his website.

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