Pitchford, speaking to Official PlayStation Magazine, called Valve's posture toward Sony - specifically as expressed by Doug Lombardi - similar to that of fanboys'.

"Doug Lombardi had to take a swipe at the PS3 again, and I thought it was foolish," Pitchford told OPM, according to AnalogHype.

I read it the same way I read fanboys," he added. "Like there's a guy who bought the Sony platform and he's a Sony guy, so he decides he's going to spend a certain percentage of his time bashing Microsoft. And there's a guy on Microsoft doing the same thing. Those guys are childish and narrow minded; It's the same kind of thing.

Pitchford wasn't done there. He also spoke of an "underlying sleaziness" in how Valve has treated the PS3 version of The Orange Box, relative to its support for the Xbox 360 version of Team Fortress 2.

I'm actually kind of mad at Doug because with the Orange Box, he said the 360 and PC versions are the good ones and the PS3 version is like the stepchild because some other developer made it. Well you Valve don't really think that, because look what you've done on the PC side. You've supported that, you've added all this content to Team Fortress 2, and you've left us hanging. It's hard to accept that genuinely, because I know the business, I know you guys make half the money on the PS3 version because you've got other fingers in the pie, and other developers getting a cut. It benefits you if nobody buys that, and only buys the PC version, because you make the most money. There's this underlying sleaziness.

Not that this settles anything but, there you go, equal time for PS3, albeit from a surrogate, in a great three-way Valve/Gearbox/Sony pissing contest.

For the record, we have inquiries into Gearbox regarding the accuracy of these quotes, and any clarification the studio might want to make.

President of Gearbox Questions Valve's Lack of PS3 Support [AnalogHype via Destructoid]

He doesn't complain about the differences in developing for one console, or PC, over another, but does say the PS3 versions of Valve products have been inferior to the original releases, and so the company's not interested in doing anything on that console again unless and until they can put something out that gives Sony players the same experience as PC and 360 users.

We look at it as if we were customers of this product, how would we want to be treated and what sort of product would we want out of it?

We've run a couple of experiments over the years of PlayStation in general; we did Half-Life on PS2 with an outside company and then we did Orange Box PS3 with an outside company. We weren't able to deliver the same type of product on PS3 and PS2 for that matter that we were on the 360 and PC.

[...]

Until we have the ability to get a PS3 team together, until we find the people who want to come to Valve or who are at Valve who want to work on that, I don't really see us moving to that platform.

We've kind of learned a lesson in that again, if we were customers of that product on PlayStation, we'd feel like we sort of got the stepchild version of the product while the guys on the PC and the 360 got the sweet version of it.

Translated, what it really means is there is no one inside Valve with any interest in PS3 development, and the company on the whole isn't interested in outsourcing any more ports after the experience with The Orange Box on PS3, which suffered some bad load times and framerate issues.

Still No PS3 Interest From Valve [CVG via TheSavePoints, thanks Meredith B.]

We're certainly sad with the results for Flagship and what's happened with Hellgate, because at the time we signed it, we were trying to get involved in a very complicated relationship between Namco and Flagship. We were coming late to the party, and trying to do whatever we could to sprinkle the game magic on the project and get it headed in the right direction.

I think that's an example where all three parties had the best interest of the game in mind, and sometimes the game doesn't work out. Hellgate is still an incredible concept. The guys who worked on it spent thousands of hours trying to make that concept work, and sometimes we just don't see something. Sometimes, we just didn't take enough time. Sometimes, things don't work out the way you expect.

It's kind of like a film with all big stars — on the script, it should be successful, but the movie doesn't turn out as good as everybody hoped. That's why EAP takes a portfolio approach with its games. You have to place a lot of bets, and hope for a lot of hits.

Certainly worth a read through — I always enjoy reading interviews that cover a lot of ground, and this certainly satisfies in that respect.

David DeMartini on the Renaissance of EA Partners [Gamasutra]

Exactly why most teammates are polite, patient, and helpful in a game that is violent and wildly popular is not easily answered, but I have some good ideas. The players seem older, and this may be because of its predecessor, Team Fortress Classic, which predates TF 2 by 10 years. Someone who is 24 may remember TFC, but someone who is 15 will not. I’m not saying it’s devoid of teenagers—but there are a lot more people in their 20s and there are a lot more women on voice chat online as well, signs of a more mature audience and community.

Or maybe it's the medic class. Or the critical hits? Or the team atmosphere ....

Steve at PlayNoEvil had an interesting take on the article, pulling out the critical issue as "the topic of griefing and how Valve's Team Fortress 2 seems to have less 'annoying griefing' because the game provides structured 'official griefing'."

Since a lot of griefing and abuse on Xbox Live and elsewhere comes from the rather inarticulate swearing of teenagers, perhaps the simple fact of giving players powerful, fun, but non-obscene, racially insensitive, or other insults makes the need to swear ... less.

Perhaps there's something to the idea. Hopefully there will be more interesting 'anthropological' explorations of games from this relatively new column in the future.

The Game Anthropologist: Team Fortress 2: Radical Departures [GameSetWatch via PlayNoEvil]

Team Fortress 2 Update Released [Steam]

For the last few years, the buzzword for game engine design has been physics, but most games didn't use it for anything more than the most basic eye-candy. HL2 showed that the model itself could actually be fun and interesting as part of the gameplay. I like to imagine doing the same thing for other fields - chemistry, for example, which has never been one of my strong subjects but would almost certainly make for amazing puzzles a la MacGyver. To some degree, this progression is already taking place; what's Spore but an expansive biology toy?

A fun and thought provoking read, even for those of us who run screaming from labs of any kind. Give me musty library stacks any day.

Anomalous Materials [The Escapist]

ACADEMY AWARDS TOP HONORS TO CALL OF DUTY 4, BIOSHOCK, THE ORANGE BOX AT 11TH ANNUAL INTERACTIVE ACHIEVEMENT AWARDS

The Academy of Interactive Arts & Sciences Inducts Mike Morhaime Into Hall of Fame and Bestows Lifetime Achievement Award Upon Ken Kutaragi

LAS VEGAS - February 8, 2008 - And the winners are ... Call of Duty 4: Modern Warfare (Activision), BioShock (2K Games) and The Orange Box (Electronic Arts and Valve Software); each picked up four statues at the 11th Annual Interactive Achievement Awards® last night. The award ceremony was hosted by comedian and avid video game player Jay Mohr at the Red Rock Resort in Las Vegas.

The Academy of Interactive Arts & Sciences also honored two industry icons for their tremendous contributions. Mike Morhaime, president, CEO and co-founder of Blizzard Entertainment®, was inducted as the 11th member of the prestigious AIAS Hall of Fame and Ken Kutaragi, former president and CEO, Sony Computer Entertainment Inc., received the highly coveted Lifetime Achievement Award.

"The Interactive Achievement Awards is the forum for the industry's best game makers to evaluate the merits of more than 160 titles submitted for consideration and honor the best in technical innovation and gameplay experience," said Joseph Olin, president of the AIAS. "This year's winners truly represent the best cross section of interactive entertainment, demonstrating the power of next-generation platforms that have come of age."

These peer-based awards recognize the outstanding products, talented individuals and development teams that have contributed to the advancement of the multi-billion dollar worldwide entertainment software industry.

The winners in each category are as follows:

Overall Game of the Year:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Producer: Mark Rubin
* Game Director: Jason West
* Creative Director: Vince Zampella

Console Game of the Year:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Producer: Mark Rubin
* Game Director: Jason West
* Creative Director: Vince Zampella

Computer Game of the Year:
The Orange Box

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Producer: Gabe Newell

Outstanding Innovation in Gaming:
Rock Band

* Publisher: MTV Games
* Developer: Harmonix
* Producer: Robert Jerauld
* Game Director: Bob Settles
* Creative Director: Jonas Norberg

Handheld Game of the Year:
The Legend of Zelda: Phantom Hourglass

* Publisher: Nintendo of America
* Developer: Nintendo
* Producer: Shigeru Miyamoto
* Director: Eiji Aonuma Massively

Multiplayer Game of the Year:
World of Warcraft: The Burning Crusade

* Publisher: Vivendi Games
* Developer: Blizzard Entertainment
* Producer: Frank Pearce
* Game Director: Rob Pardo
* Creative Director: Chris Metzen

Cellular Game of the Year:
skate.
Publisher: Electronic Arts

* Developer: EA Mobile
* Producer: David Manriquez
* Game Director: David Manriquez
* Creative Director: Derek Zakaib

Role-Playing Game of the Year:
Mass Effect

* Publisher: Microsoft Game Studios
* Developer: BioWare
* Producer: Casey Hudson
* Lead Designer: Preston Watamaniuk
* Art Director: Derek Watts

Racing Game of the Year:
Motorstorm

* Publisher: Sony Computer Entertainment America
* Developer: Evolution Studios
* Producer: Simon Benson
* Creative Director: Paul Hollywood

Outstanding Achievement in Game Design:
The Orange Box: Portal

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Lead Game Designer: Robin Walker
* Game Director: Kim Swift
* Creative Director: David Speyrer

Adventure Game of the Year:
Super Mario Galaxy

* Publisher: Nintendo of America
* Developer: Nintendo
* Producer: Takao Shimizu
* Game Director: Yoshiaki Koizumi
* Creative Director: Shigeru Miyamoto

Sports Game of the Year:
skate.

* Publisher: Electronic Arts
* Developer: EA Black Box
* Executive Producer: Scott Blackwood

Strategy/Simulation Game of the Year:
Command and Conquer 3: Tiberium Wars

* Publisher: Electronic Arts
* Developer: EA Los Angeles
* Producer: Mike Verdu
* Creative Director: Matt Britton

Action Game of the Year:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Producer: Mark Rubin
* Game Director: Jason West
* Creative Director: Vince Zampella

Family Game of the Year:
Rock Band

* Publisher: MTV Games
* Developer: Harmonix
* Producer: Tracy Rosenthal-Newson
* Game Director: Greg LoPiccolo
* Creative Director: Josh Randall

Outstanding Achievement in Animation:
Assassin's Creed

* Publisher: Ubisoft
* Developer: Ubisoft Montreal
* Animation Director: Alex Drouin
* Lead Animators: Elspeth Tory, Sylvain Bernard

Outstanding Achievement in Art Direction:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Visual Art Director: Scott Sinclair
* Technical Art Directors: Hogarth De La Plante, Andrew James, Jay Kyburz, Nate Wells

Outstanding Achievement in Visual Engineering:
Crysis

* Publisher: Electronic Arts
* Developer: Crytek
* Director of R&D: Douglas Binks

Outstanding Character Performance:
The Orange Box: Portal

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Writer: Erik Wolpaw
* Voice Actor: Ellen McLaw
* Character Name: GLADos

Outstanding Achievement in Story Development:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Writer: Ken Levine
* Character Designer: Rob Waters

Outstanding Achievement in Game Play Engineering:
The Orange Box: Portal

* Publisher: Electronic Arts, Valve Software
* Developer: Valve Software
* Lead Game Designer: Robin Walker
* UI Designer: Alden Kroll
* AI Designer: Tom Leonard

Outstanding Achievement in Online Game Play:
Call of Duty 4: Modern Warfare

* Publisher: Activision
* Developer: Infinity Ward
* Lead Online Designer: Todd Alerman
* Lead Online Programmer: Richard Baker

Downloadable Game of the Year:
Puzzle Quest: Challenge of the Warlords

* Publisher: D3 Publisher or America
* Developer: Infinite Interactive, 1st Playable Productions
* Producers: Arthur Kawamoto, Steve Baldoni
* Game Directors: Steve Fawkner, Janeen Fawkner

Outstanding Achievement in Original Music Composition:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Composer: Garry Schyman

Outstanding Achievement in Soundtrack:
Rock Band

* Publisher: MTV Games
* Developer: Harmonix
* Music Supervisors: Paul DeGooyer, Eric Brosius

Outstanding Achievement in Sound Design:
BioShock

* Publisher: 2K Games
* Developer: 2K Boston, 2K Australia
* Sound Designers: Emily Ridgway, Patrick Balthrop, Justin Mullins
* Audio Lead: Eric Brosius

Since 1996, the Interactive Achievement Awards have recognized outstanding games, individuals and development teams that have contributed to the advancement of the multi-billion dollar worldwide entertainment software industry. More than 160 titles were played and evaluated by members of the Academy's Peer Panels. The panels are comprised of the game industry's most experienced and talented men and women. Each panel is responsible for evaluating one award category. Interactive Achievement Award recipients are determined by a vote of qualified Academy members. Award voting is confidential, conducted online and supervised and certified by VoteNet Solutions, Inc. The integrity of the system, coupled with a broad-based voting population of AIAS members, makes the Interactive Achievement Awards the most credible, respected and recognized awards for interactive entertainment software.

Our conspiracy theory about this second clip: Nintendo, facing crazy Wii demand during the Christmas holiday, decided that the only way to quell Christmas shoppers was...well, you'll see.

Thanks Michael!

This week she takes on Portal. For anyone who hasn't finished it or Bioshock yet, there are spoilers ahead. But the comparison she makes between player choice in each game...just read it:

The moment wherein Chell is riding a platform straight into a fire is, oddly, resemblant of the moment in BioShock when the player confronts Andrew Ryan - a protagonist you know nothing about is confronted with a crucial turning point in their self-concept, a person who has been a tool up to this moment has the chance to influence their destiny. But wherein BioShock drew strength from the player's total lack of choice, Portal is illuminated by the sudden ability to make a choice - to use the Portal gun and flee the test course. And just about all of us probably experienced at least a brief moment, on that platform, where we would have ridden straight into that fire because we as gamers have not been trained to feel we have choices, and the sudden advent of realization that you can escape is one of the most exciting, empowering things I've ever felt in a game. in one swift coup you feel sure of yourself, and relinquish all doubt that you are in danger from GLaDOS, and you go from being a computer's favorite toy to being human.

COLUMN: 'The Aberrant Gamer': HUGE SUCCESS_ [gamesetwatch]

The Spike TV Videogame Awards are coming up on December 9. Over at Spike.com they've posted the list of this year's nominees, decided on by a panel that includes Kotaku's own Brian Crecente and this week's guest editor Geoff Keighley. For Game of the Year, the nominees are Orange Box, Mass Effect, BioShock and Halo 3. Check out all the other nominees over on the official site.

VGA Nominees Announced [Spike.com]

If the industry wants to upsell us with special limited editions, why not look beyond the Master Chief helmets and DVD documentaries? The same goes for DLC. Why limit the imagination to strategical tactics and bonus missions when content can be offered to enhance a gamer's appreciation of what they already have...requiring less of an investment on everyone's part?

So studios, if you are listening, we want more commentaries. Let us know what geniuses you are, the impetus behind every little spec of bloom lighting. Because while the 10-minute documentaries are nice, why not exploit the interactive model that you already do so well?

• Reduced network bandwidth usage in multiplayer.
• Improved overall game performance.
• Arranged search results to favor preferred host conditions.
• Improved searching for ranked games.
• Addressed a possible false report of too little storage space on larger hard drives.

And there you are. Updated to the teeth for your playing pleasure. Now, go forth and give your Team Fortress 2 a (apparently) much needed overhaul. The Engineer awaits!

We've met the engineers, scoped the beautiful graphics and heard about the 9 character balance to no end. Now we're left with one thing: actually playing the game. So hit the jump for our Frankenreview on Team Fortress 2: all the value you see in The Orange Box, squeezed into review form with way more disappointing content.

PCGamer
[A] Pixar comparison isn't fair. TF2's gurning murderers look better...It sounds like a small thing, to be able to tell what class someone is as surely and as clearly as you can...But stuff like this has an intensifying effect on your moment-to-moment experience: you feel, see and comprehend the game world in Technicolor. It makes all the relationships instantly clear and the importance of your actions explicit. In short, it makes everything you do 300% cooler.
1UP
Valve's rebalancing and outright revamping of key classes works; each actor in TF2's cast of nine owns his role with less overlap than ever. The football-like match flow is intact, too — Heavies and Soldiers wrestle at congested lines of scrimmage; now and then Scouts and Spies slither through for Hail Marys (expressive in-game taunts substitute high steps)

IGN
If nobody wins the game at the end of a round, TF2 transitions to an overtime round where teams are no longer allowed to respawn, health pickups disappear, and resupply cabinets no longer give out health. You need to instead rely on medics and dispensers to heal any damage. Strangely, if nobody wins in overtime or wipes out the other team, the round ends in a draw. Sort of defeats the purpose of overtime, doesn't it?

Eurogamer
The game also does a lovely job of framing your relationship with other players and nurturing them. If someone is dominating you, the game says so, and revenge is sweeter. The scoring system, of course, helps reflect this - if someone is dominating you, they get more points for continuing to do so. Valve also includes a range of Achievements...that - rather like celebrated Geometry Wars 360 achievement "Pacifism" - push you in the direction of new ideas as much as they celebrate or laugh along with your accomplishments.

Shacknews
So are there imperfections? Of course...There could be a few more maps. Of the included six, only a few truly capitalize on the subtle mechanics of the game, the rest often devolving into futile, tug-of-war stalemates or crushing defeats. The classic 2Fort map now feels somewhat stale, antiquated. Default respawn times seem a little high. The classes will never be perfectly balanced—such is the nature of class-based combat...[but] to sit and complain about such minor quibbles is tantamount to taking a magnifying glass to a great painting.
I'm picking this game up...as soon as we kick Gizmodo's whiny ass in Halo 3. Then I'm picking this game up.

Meet the Demoman [GameStop]

So what's better? A few bitchy achievements that give you a boatload of points? Or a million little achievements that are each worth nothing on their own? I prefer a multitude of achievements leading me like breadcrumbs through the game. Because that little Xbox beep signaling another achievement unlocking makes me salivate with the best of Pavlov's dogs. And it also gives me a craving for hydrogenated cheese.

The Orange Box - 99 Achievements! [DaKing240]

That's why Orange Box PS3 is going to come out a few weeks late. Now you know.

Valve explains PS3 Orange Box delay [eurogamer] [image]

"We had to ban Bioshock from our offices," Valve boss Gabe Newell told us. "Nobody gets to play it until Orange Box is done - that's our reward to ourselves as a company; everyone gets a copy of Bioshock."

Valve bans Bioshock from the office [CVG]

Valve Confirms Episode Two, Team Fortress 2 Launch Date