Bunch of Bull Shizm if you ask me.

[ME BIGGD01]

I just read an article regarding Crytek complaining that they lost out due to piracy with their Crisis game. Go here http://www.tomshardware.com/crytek-crysis-piracy,video-276.html


Now I have to say F them and their mothers. These companies rip off people all the time and when does it matter that the consumer get treated fairly. Regardless, if a company puts out anything they are sure tolose some of it to theft but the question is did you make money. So from what I see Crisis sold 1 million copies and the price of the game probably cost 50 bucks at the least. Are they saying that at that price 50 million dollars was made and they lost out? Do these games really deserve the price for whatthey are charging? Don't they charge more now because of piracy? It's just disgusting thatthese companies have the balls to cry about it.

Now I pay for my games and have slowed down with purchases over the past year. I have been screwed more over than I have screwed back. EA is on my hit list and I promised myself I would not buy their shit agian. Stupid me went out and bought last years madden because it's something my cousin and myself have played for many years together and have a great time. EA did the same thing they did 2 years ago by not releasing a patch or roster update until the end of december. The teams had many players that were wrong and I kicked myself for wasting my money once again. I was robbed once again from EA. The worst company ever and this time it was my fault because I should of downloaded the damn game like I did the previous year when they robbed me the first time. Now EA can do what they want, they can cry I downloaded their crap and robbed them. The truth is they robbed me who was their paying customer. I vow to never pay for an EA game ever again even if I hit lotto 2 times in a row.

These companies need to realize people have no problems paying for a game. I know I don't and budget close to 500 a year for pc and Wii games. I do not though want to be ripped off and f'd when I spent my hard earned money for something that is broken. It just aint going to happen and be forgiven. I can't live letting someone/anyone getting over on me therefore I will always do what I feel justifiable to get my money's worth.

Piracy is 10% of the problem that they already make up by over charging for the product. Their tears will never fool me and while these companies think there will be no Piracy on a console they are mistaken as it will be worst because atleast on the PC there are ways such as steam to prevent it. EA will not get away from what I see is a few more titles I wont pay for. There are ways on consoles as much as there are for the pc. If I ever pirate it's because I was ripped off first point blank. I almost want to download Crysis just because this was their excuse.

[ME BIGGD01]

I also want to just say theonlt thing I ever heard about Crysis is that you need an extremely powerful system to play the game as it was intended. While I find that pathetic as far as the market goes I would also blame sales being down on all games due to the OS issues. Yes this would/should be blamed on the Redmond company who F'd up the entire industry with that piece of shit called Vista.

Honestly, if you calculate the percentage of people using this over XP I would think it would be no more than 25%. The majority of people are using it probably because it came as the only option when they purchased their pc. The hardware requirements alone just for the OS has screwed the industry to where people won't upgrade to get something that runs slower regardless of how pretty it is.

Ok my rant is over:mad:

[PJ'l_Master]

EA recently acknowledged that they've pretty much killed all the companies they've boughten out in the past few years and stated they're trying to bring back the actual quality in their games, as opposed to churning out pieces of crap they'll stop supporting 36 seconds after release.

the article

By SETH SCHIESEL
Published: February 19, 2008

The great purveyors of modern mass entertainment — Walt Disney, Sumner Redstone, Ahmet Ertegun, Rupert Murdoch — have all known about the push-me, pull-you relationship between art and commerce. Give artists too free a rein, and they will come up with critically acclaimed statements that no one outside the Upper West Side or Laurel Canyon will buy. Hand over creative control to the bean counters and you end up with tepid, overly focus-tested disasters like “Waterworld.”

As the video game industry cricks its neck and stretches through the growing pains of what is now an $18 billion pop culture behemoth, it is now facing many of the same questions that confronted Hollywood, Burbank and Motown in decades past: how to enable and foster creative talent while also building a seriously big business.

In recent years bellwethers like Electronic Arts have come to treat the process of game making as a virtual factory: X dollars invested in graphics technology combined with Y dollars in marketing resources should yield Z return on investment. At Electronic Arts creative talent has recently been reduced to a mere ingredient in an M.B.A.’s financial soup.

It hasn’t worked. Electronic Arts, once known for its bold vision, has stagnated both creatively and financially, reduced to churning out an uninspiring litany of sports sequels and run-and-shoot knockoffs. As the annual Game Developers Conference convenes in San Francisco this week, it beholds a diminished Electronic Arts, which has been surpassed as the industry leader by Activision, a company that has grown by acquiring and empowering decentralized creative teams like those making the hit Guitar Hero and Call of Duty series. Activision is in the process of merging with Blizzard Entertainment, the brilliant force behind the globe-spanning Diablo, StarCraft and Warcraft franchises.

But now Electronic Arts is finally coming to its senses. In a (pardon the expression) game-changing speech at the Design, Innovate, Create, Entertain conference in Las Vegas this month, John Riccitiello, the chief executive of Electronic Arts, fell on his virtual sword and admitted that his company had squandered its leadership by trying to reduce the creative process to a cell on a spreadsheet. He said his company had lost its way by trying to homogenize and manage its creative process much like the consumer products companies (Haagen-Dazs, PepsiCo, Clorox) he used to work for. In an extraordinary mea culpa, he promised to change.

“I think that the idea that you’re going to have a top-down process that uses a lot of centralized tools to try and build a common brand with a lot of centralized creative calls is just not a good idea,” Mr. Riccitiello said in a telephone interview last week. “It could certainly make for a great case study at Harvard if it worked, but I just don’t think it works.”

Mr. Riccitiello pressed his argument in a meeting with financial analysts last week. Electronic Arts has spent hundreds of millions of dollars acquiring acclaimed development studios like Westwood (the Command & Conquer series), Bullfrog Productions (Populous) and Origin Systems (Ultima), and then essentially running them into the ground because the corporate mothership did not allow those studios to maintain their creative independence.

“There is no question that Origin and Westwood and Bullfrog don’t exist today, and you don’t generally buy things in order to close them,” Mr. Riccitiello said. “Those deals obviously didn’t work the way we anticipated. The leaders in those organizations got set up where they thought we were bringing in a bureaucracy. We were bringing in centralized tools and technology that homogenized the output and slowed them down. They weren’t listened to.”

With his new outlook, Mr. Riccitiello echoed the film director Gore Verbinski, who gave the keynote address at the Design, Innovate, Create, Entertain conference. Mr. Verbinski hammered on a point that is often obvious to consumers of popular entertainment but is lost on the corporate overseers of mass media: a company’s main asset is not a brand or a marketing tie-in, but people. Intuitive, idiosyncratic and sometimes maddening, the writers, artists and designers at the core of the creative process are those who drive the business of intellectual property.

“In order to be fiscally responsible, you must operate outside the data,” Mr. Verbinski said. “In my industry, instinct is nearing extinction.”

As for the way forward, Mr. Riccitiello is promising a new path. Recently Electronic Arts agreed to acquire BioWare and Pandemic, two of the most respected game studios, for more than $800 million. Mr. Riccitiello is promising a new corporate humility that will allow those studios to flourish in their own ways.

“Frankly, the core of our business, like in any creative business, are the guys and women who are actually making the product,” Mr. Riccitiello said. “You can’t just buy people and attempt to apply some business-school synergy to them. It just doesn’t work. The companies that succeed are those that provide a stage for their best people and let them do what they do best, and it’s taken us some time to understand that. In our business the accountant, the guy in the green eyeshade, is like the guy in the alien movie that eventually gets eaten. If you let him run your business, it is neither inspiring or effective.”

[ME BIGGD01]

EA is pushing toward the console market more now. They ar enot even going to release Madden or any of the other sports games. What pisses me off is they ar ethe only one that has the NFL rights.