The design and business of gaming from the perspective of an experienced developer

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Top Board Games of the Decade (2010-2019)

Normally, I do a ‘top 100 games of all time’ on an annual basis on Twitter, but frankly, that list was getting stale – moving around 90 of the same games as last year. But using the decade framing forced me to narrow my focus and give more room for the lesser games to breathe.

When evaluating, I used a very crude criteria, roughly categorized as:
*

  • 25% Historical Impact. Was this game important, or part of something important/
  • 25% Groovy Game Mechanics. I’m a game designer. I like designs that try interesting things, even if they don’t always work out.
  • 50% Personal taste. It’s my list, so suck it, haters.

100. Nemesis (2018) The closest you can get to Aliens the Board Game without the designers being hit by a cease & desist by Fox. This semi-coop gives each players different goals that tend to emerge at the worst time – usually when the not-quite-aliens are hatching.

99. Doughnut Drive-Thru (2015) A simple worker (er, doughnut) placement game, players can either place a doughnut or claim all the doughnuts on a location. This simple mechanic can get rather cutthroat, as it becomes possible to finagle your opponent into having dead turns.

98. Fleet: The Dice Game (2018) Roll and writes were a thing late in the decade. Most of them washed off me, but one that still hits my table is this fishing-themed one, where you’ll try to build the biggest fleet of crab trawlers to supply your personal Joe’s Crab Shack.

97. Bora Bora (2013) A dense Stefan Feld Euro that tragically takes as long to teach as to play. The central mechanic is sweet, though, using dice to claim action space. You can only place dice of lower value, but higher value dice provide stronger actions.

96. Las Vegas (2012) Roll dice, then commit all of one number to that number’s casino, hoping that no one bids more dice than you do. This dice-rolling game is so simple you can build it with index cards, but it’s still a compelling play that’s extremely easy to teach.

95. Detective: City of Angels (2019) Detective-based games were a thing late in the decade, and this gumshoe-themed one was the best I played. A DM keeps the story on the rails, while each detective searches for clues & competes to solve the case first.

94. Battle of the Bards (2019) A dice-based deckbuilder where you end up rolling fistfuls of dice and trying to build the optimal medieval travelling quartet. This is a sleeper – no one talks about it, but its hit the table a lot since my kickstarter came in.

93. Porta Nigra (2015) In this game, you’ll try to build the tallest towers in the land, by… er, being the best brick purchaser in Porta Nigra. A couple of odd rules quirks, but this is a game with a fantastic table presence when you’re done.

92. Village Pillage (2019) What happens if you try to turn rock-paper-scissors into a more substantial game. Players will choose one villager to play to face off against the player to their left, and to their right, and whoever wins the RPS gets the rewards.

91. Underwater Cities (2018) A tableau builder where you form a network of domed cities, and advance them to farm resources and connect them to metropolises. Some say it’s the next Terraforming Mars – it’s not THAT good but definitely has a more streamlined midgame state.

90. Escape Plan (2019) A long, thinky eurogame from the designer of Kanban. Each player is a criminal attempting to blow town after a big heist, and along the way they’ll be raiding safe houses, grabbing the cash, and possibly turning on their friends.

89. Firefly (2013) This long, sprawling game is an unparalleled space sandbox, allowing players to traverse the galaxy, running jobs and avoiding Reavers & the law. This game is a true love letter to the Firefly license, dripping with glorious browncoat flavor.

88. QueenDomino (2017) A simple domino-based game where players build kingdoms, trying to build contiguous terrain to maximize scoring. Very similar to KingDomino, but it has a couple of additional features which adds some much needed complexity to the formula.

87. Mysterium (2015) One player plays a spirit, passing picture clues to gumshoes without speaking, and they need to work together to use these clues to figure out the details of murder cases they are solving.

86. Wingspan (2019) This relatively lightweight tableau builder revolves around your ability to build a collection of birds with special powers. The theme is not for everyone, but if you like yourself a good Sibley’s Field Guide, this game may be for you

85. The Gallerist (2015) A complex but beautiful Euro, this game has you as an art gallery owner, managing shows and recruiting up and coming artists. The worker placement game has a neat twist allowing for free turns if someone activates a space your assistant is on.

84. Blueprints (2013) Other dice drafting games have since supplanted it, but this is among the first. Players draft dice, and stack them, attempting to build simple buildings out of optimal materials. Great, quick game with slightly wonky scoring.

83. Cacao (2015) A tile laying game similar to Carcassonne, this has you as a chocolate farmer in the jungle. I like this game because it’s highly interactive – choices you make will be giving free resources & scoring to your opponents.

82. Defenders of the Realm (2010) Pandemic with a garish Ameritrash fantasy coat of paint. Players will work together, traversing the kingdom, completing quests, finding artifacts and beating back orc and dragonkin hordes before rampaging boss creatures can take the capital.

81. Scythe (2016) Rebuild a society in the wake of the Russian Revolution, if said revolution was post-apocalyptic and involved Mechs. Great action selection mechanic, FANTASTIC art. Worst part of the game is that it looks like a wargame but its not.

80. Nothing Personal (2013) A pure social heirarchy game where players will politic, scheme and deal in order to get to the top of the mob scene, where you can force other players to kiss your ring. A well-executed game in the tradition of Kremlin and Chicken Caesar.

79. Elder Sign (2011) The great ones once again threaten the world in this Lovecraftian dice-based coop game, and the only way to defeat them is to fight the forces of evil in the museum gift shop.

78. Keyflower (2012) An economic village building game that hinges upon a strange auction mechanic based upon meeple color. Look, this game is deep, intricate, wonky and very good but there’s no way to explain it in the length of a tweet.

77. Love Letter (2012) Hey, you remember when Love Letter was a thing briefly? Remember that? They made a whole bunch of variants, including a friggin’ Batman one, if that makes any sense. Anyway, this is still a pretty solid little filler social deduction-like game.

76. Fuse (2015) The only real-time game I can really stand. Players roll dice and then try to use those dice to defuse bombs — as quickly as possible. A very light, often funny coop game.

75. Dominant Species (2010) You play a class of animals (mammals, insects, etc), and your goal in this worker placement game is to breed, migrate, and fight your way across the continent before the ice age comes. Incredibly chaotic, swingy fun.

74. The Reckoners (2018) The dice-based coop gameplay shines, but honestly this is one game where the theme is king: you and your friends are fighting back in a world where the superheroes went bad and now rule the earth.

73. Tiny Epic Galaxies (2015) A simple, relatively quick 4X game that fits in your pocket. Ironically, the thing I don’t like about TEG is it’s size – your marketing gimmick gets less cute as my eyes get shittier with age, guys.

72. My Little Scythe (2017) A cute, half-hour long variant of the hard Euro Scythe, designed in part by a six-year-old (really) who wanted to play it with dad. Her design made the game center upon pie fights and chasing friendship hearts by sharing. Yes, it’s higher than Scythe.

71. Black Orchestra (2016) A tense coop game that will probably involve you escaping from a nazi prison repeatedly, Black Orchestra harkens back to a simpler, nobler time when everyone agreed that punching Nazis and killing Hitler was generally a good idea.

70. Tyrants of the Underdark (2016) This is effectively a dudes-on-a-map strategy game with a deckbuilder engine. Also, be sure to dig out your old Hot Topic gear, as it’s set in the gothiest of D&D’s settings, Drow Central.

69. Everdell (2018) It’s the tree that grabs your attention, an attractive yet useless bit of table presence. But behind that, there’s a clever furry-themed tableau builder that should appeal to fans of Imperial Settlers or Terraforming Mars.

68. Yedo (2012) It’s Lords of Waterdeep with ninjas. A worker placement game complicated by a Night Watchmen who will block off entire city blocks of placement locations – and one whose patrol can be manipulated to bedevil your opponents.

67. Teotihuacan: City of Gods (2018) Players will move workers – represented as dice – around the board. As they do so, the dice will increment, giving their actions more power. Centerpiece of the game is the great pyramid players are working to assemble.

66. Castles of Mad King Ludwig (2014) I could talk about the interesting auction system but honestly the appeal of this game is building crazy castles and having frank discussions as to why your king has attached a sex dungeon to the butter room.

65. Roll For The Galaxy (2014) For a while, dice versions of popular games were all the rage, and this is one of the good ones. Roll takes the iconography and core action selection from Race for the Galaxy and, frankly, it all works better in this more streamlined game.

64. Museum (2019) An attractive set collection game where you work as the curator of a museum, trying to assemble the best grand collection.

63. Splendor (2014) Acquire chips, trade chips for cards which may make better cards cheaper. This simple engine-building game kicked off a craze, and while it’s been surpassed, it still remains the best game of the genre to introduce to people new to the hobby.

62. Star Realms (2014) Star Realms (and its fantasy-based brother Hero Realms) are both small, delightful deckbuilding games. In this one, you’ll build the best possible fleet and use this to engage in fleet battles against your opponent.

61. Imperial Settlers (2014) An engine-building assymetric card game, this game centers upon a core ‘three ways to play a card’ mechanic which leaves you with plenty of options on your turn. I haven’t gotten to the followup Empires of the North yet.

60. Gloomhaven (2017) It’s not ‘best board game of all time’ good, but it’s still plenty good: a legacy deckbuilding tactical dungeon diver, all packed in a mammoth box containing a gazillion figurines and a large enough campaign to last most groups years.

59. Snowdonia (2012) Building the railroad’s going to take time and cooperation, as players work to clear rubble & lay track to towns on the way to Snowdonia. I like the weather system, which makes it easier or harder for players to progress the game based on luck.

58. Paladins of the West Kingdom (2019) An interesting take on worker placement, where a player’s workers are color-coded and different worker color combinations are required to activate a space. This one will probably move up as I play it more.

57. Dead of Winter (2014) I’m sick of zombie games, too, but Dead of Winter takes the familiar ‘actually the humans suck’ motif of the genre and spices it up with competing motives and a unique storytelling event system that makes this a TOLERABLE zombie game.

56. Tokaido (2012) There’s almost a zen-like nature to this one, a Japanese-themed game that challenges you to take the best walk, find the best views, and soak in the best hot tubs. It’s aesthetically gorgeous, incredibly simple and yet surprisingly vicious.

55. Walk the Plank (2013) You and your fellow players are the most disgraceful pirates on the ship, and in this game you’ll jockey position to try to avoid becoming fish food. A cute filler game with a fun premise.

54. Sheriff of Nottingham (2014) The best ‘customs official simulator’ on the market. You’ll give goods to the sheriff, declare the contents, and then hope desperately you can either con or bribe him to get your illicit contraband past him.

53. Yamatai (2017) An abstract game with an island trade coat of paint, you’ll distribute boats to enable you to build houses & temples. The turn order mechanism (players choose their turn order along with a resource grant for next turn) is a standout game mechanic here.

52. Between Two Cities (2015) In this game, you build two cities, one on your left & one on your right, each with the neighboring player. Innovative and a great intro game, as experienced players are encouraged to help newbies succeed. Great at high player counts too.

51. Fields of Arle (2014) Everything that is good from Agricola – the upgrades, the agriculture, the farming and trade – and none of the bad, all in a package tightly balanced for two players. I particularly like the spring/fall game mechanic in this one.

50. King of Tokyo (2011) Basically Godzilla Yachtzee. Players roll their dice three times, hoping to get enough matching dice to be able to attack their enemies, activate their powers, and terrorize Tokyo. Relatively easy for kids to grok too.

49. Space Base (2018) There were similar games before it – Machi Koro & Valeria Card Kingdoms – but Space Base was the one that finally put all the pieces together in the ‘build a tableau of dice targets’ genre that was fun, interesting and balanced. This one’s got legs, folks.

48. Forbidden Desert (2013) The best of the Forbidden series, this cooperative game was inspired by Pandemic, but the classic formula is subverted with the Windstorm game mechanic, which will hide valuable treasures and rearrange the game board, confounding your escape.

47. Five Tribes (2014) Innovative take on mancala gameplay, players will empty a square and move a number of squares away equal to the tribesmen they picked up, and gain bonuses for where they placed as well as the last tribesman to be placed. Great, but prone to Turn Paralysis.

46. Raiders of the North Sea (2015) A clean, relatively quick viking-themed worker placement. The core mechanic has you picking up one worker to take its action, and dropping another to take a second, which creates more interactivity than normally seen in worker placement games.

45. Aeon’s End (2016) Merges the deckbuilding of a Dominion with cooperative play, you’re a team of mages trying to banish Very Bad Things from the Realm. The mechanic I like is the way decks are flipped, not shuffled, which gives you more control over what you draw.

44. Mombasa (2015) An intricate Pfister Eurogame that has you colonizing and trading in 17th century Africa. The handbuilding mechanic in this game is the real gem: players play cards in rows but pick up columns, forcing them to balance short-term needs & long-term planning.

43. Bunny Kingdom (2017) A Richard Garfield production, this game mixes a grid-based Territorial Control mechanic similar to Acquire with a card drafting game, and adds in dozens of adorable rabbit meeples.

42. Anachrony (2017) A time travel based worker placement game where you will literally go into the future and steal resources from yourself, and then cause paradoxes if you fail to repay them. Beautiful, haunting and yet silly at the same time.

41. Argent The Consortium (2015) Otherwise known as the “The Succession Plan of Dumbledore, Only Without The License” game, this wizard-school worker placement game gives each worker powers, resulting in the meanest, most chaotic worker placement game I’ve ever seen.

40. Francis Drake (2013) A eurogame broken into two phases, and unlike most two-phased games, both are actually pretty interesting. Phase one has you competing for resources, and phase two has you play mind games to be the first to grab the Caribbean’s treasures.

39. Arkham Horror The Card Game (2016) It’s like Arkham Horror only it’s card-based and has some semblance of balance. At this point, it’s got a million expansions and I confess being way behind on them.

38. Kanban (2014) A deep, complex, thinky point salad that perfectly captures the feeling of being a middle manager working at a car factory, complete with game mechanics around hiding from your boss because you don’t have your shit together yet.

37. Millenium Blades (2016) Perhaps the most meta game on the list, it’s a board game where you are a CCG player, opening boosters, building decks and competing in CCG tournaments. Only, you know, it’s a board game. God, describing this game makes my head hurt.

36. Captain Sonar (2016) In this 6 or 8 player game, you’ll divide into two teams, both of whom choose a captain who will proceed to lead their subs into battle, until it all devolves into a hilarious shouting spree because Captain Jackass doesn’t know west from east.

35. Stockpile (2015) An easy to grok, quick to play stock trading game based upon imperfect insider information, bluffing, and a ‘friendly’ auction system that helps keep the game competitive.

34. Grand Austria Hotel (2015) As far as I’m concerned, this is absolutely the best strudel-based hotel management game on the market. The dice drafting mechanic is underrated for how deviously interesting it can be.

33. Merlin (2017) A Stefan Feld game with production values! Merlin is a rondell movement game, and its very, very good, but I moved it down because luck pays too large a role – not so much in the dice you roll as much as the quests you draw off the top of the deck.

32. Concordia (2013) A trading and expansion game set in the Roman empire, Concordia will have players compete for economic dominance. The star of this game is the hand management/deckbuilding system, which determine the strength of their actions.

31. Arboretum (2015) A deceptively elegant hand management & tableau-building game, where players must build a beautiful park and then keep the right cards in their hands to defend the right to score it. Simple, attractive, and deeper than it first seems.

30. Alien Frontiers (2010) Players will compete to colonize a planet in this dice placement game with shades of Kingsburg, but both streamlined and with a more aggressive edge. One of Kickstarter’s first board game success stories.

29. Mystic Vale (2016) Deckbuilding is old and busted – CARD building is where it’s at. Mystic Vale is a dominion-like where players assemble their cards from transparent plastic sheets to, er, build the most mystic of vales or something.

28. 7 Wonders (2010) The simple design, simultaneous gameplay, popular theme and ability to scale to 7 players gracefully made this the default ‘shit, too many people showed up for game night’ game of the decade.

27. Dinosaur Island (2017) In this theme park simulator eurogame, you will attempt to determine what number of guests can acceptably be fed to your exhibits to maximize profitability. The art style takes the 80s Miami Vice Neon knob and yanks it all the way to 11.

26. Sagrada (2017) This dice drafting game is the best stained glass window construction game on the market, and unlike the last time I made this joke, this year there’s actually some competition in the field.

25. The Castles of Burgundy (2011) Stefan Feld’s most popular game (but not his best) is somewhat drab but compelling, as players roll dice to draft tiles in order to flesh out their little chateau. Plays great at all player counts, and quickly once you know what you’re doing.

24. Red7 (2014) One card in the middle dictates the rules. On your turn, you can add a card to your tableau, and/or replace that rule card, changing the game’s win condition. But- you must be winning at the end of your turn or you’re out. Quick, tight pocket timefiller.

23. Orleans (2014) A bag-building game – as you advance your trade empire across France, you’ll add new workers to your pool that helps you further expand. I still haven’t played it’s llama-based sister game Altiplano yet, I should get around to that.

22. Blood Rage (2015) Ragnarok has fallen upon the land, and you and your fellow vikings fight to achieve ultimate glory before everyone dies. This game mixes card drafting, truly awesome minis and tightly balanced gameplay for one of Eric Lang’s best designs.

21. Azul (2017) This short, thinky filler game is the best ‘building a bathroom floor’ simulator you’re going to find on the market, with WAY more ‘fuck you’ to it than you initially would have guessed.

20. Gugong (2019) A really weird ‘worker placement’ game using cards instead of workers. Lots of games have core mechanics where you can screw your opponents over. The brilliance of this game is the high frequency when you will screw your opponents over by ACCIDENT.

19. Eclipse (2011) Part Space 4X game, part economic builder, the beauty of this design is the way they model how huge empires become inefficient and difficult to maintain.

18. Tzolkin: The Mayan Calendar (2012) It’s hard to escape the allure of the bigass wheel in the middle of this thing, a game component with huge visual appeal as well as adding a weird time-based component to the worker placement genre that breaks your brain in wonderful ways.

17. Century Golem Edition (2017) The engine-building genre was huge near the last half of the decade, and Century Spice Road was the best, with a simple core loop that still provided great depth. But if you get it, splurge for the Golem edition – the only difference is the art.

16. Caverna (2013) Agricola was not a very good game. However, it had several very good ideas, most of which found their way into Caverna, a deep game about building your farm, breeding animals, making babies, and sending them to adventure in the dungeons.

15. Lords of Waterdeep (2012) Little Timmy’s first worker placement game, this paints a surprisingly tight and simple Eurogame in an Ameritrash coat of paint where you effectively play the questgiving NPC in a D&D setting. The expansion’s corruption mechanic is great, too.

14. Quacks of Quedlinburg (2018) A bag-building, press-your-luck game, where you and your opponents will throw potion ingredients into their mystical brews and hope not to blow themselves up. Plays best with a rowdy table.

13. A Few Acres of Snow (2011) A two-person deckbuilding wargame set in the French & Indian war, this is a great game if you can overlook the colonialist tones of hiring indians to go beat up on the other guys’ indians. Hard to get now, but well worth it if you can.

12. Dominion (2008) Not released in this decade, but ultimately too important to leave off. Dominion’s core deckbuilding mechanic showed up in hundreds of games in the teens, being perhaps the most influential game of the decade. And it still holds up on its own right.

11. Architects of the West Kingdom (2018) It’s hard to say what’s better: that this is a worker placement game where you start off with a small horde of workers who amplify the effects of each other, or the fact that throwing your opponent’s workers in jail is a core mechanic.

10. Trajan (2011) A mancala manipulation eurogame about gaining power and influence in the Roman empire. It’s not pretty, but it’s deep and thinky, and it’s my favorite game from my favorite designer. It will break your brain if you play while drunk, though.

9. Great Western Trail (2016) A hand management/rondell traversal game centering upon your desperate attempt to upgrade shitty cows into better cows before you reach Kansas City. @AlexxPfister had a great decade, and I think this was his high point.

8. Star Wars Rebellion (2016) Often described as Star Wars in a box, this is asymetric gaming excellence at two players, with one playing an Empire drowning in resources and starving for information, and a Rebellion just hoping to scrabble around long enough to survive.

7. Terraforming Mars (2016) A tableau building game that ultimately centers on who can throw asteroids at the planets’ surface the best, this game can sometimes get a little long and yet few people seem to care or notice. An odd hardcore game that casuals will be okay playing.

6. Bang! The Dice Game (2013) Social deduction games were ‘a thing’ in the teens, and honestly I’m antisocial enough to shrug off most of them. The dice variant of Bang! was always an exception, being fast, fun, boisterous and random in all the best and worst ways.

5. Magic the Gathering: Commander (2011) MTG is the undisputed king of self-reinvention- watching them do so is a game design clinic. Several great expansions, but Commander stole the show, providing a great multiplayer experience designed to let the WEIRD cards hit the table.

4. Yokohama (2016) In this Economic Worker Placement game, you will walk on the backs of your assistants to drop fish off at church. Often described as ‘Istanbul on crack’. Don’t be intimidated by the table presence, this is a masterpiece of surprising depth

3. Champions of Midgard (2015) An Ameritrash worker placement game about vikings, adventure, and trying to con your neighbor into taking care of the annoying troll so you don’t have to. Valhalla expansion adds new life to the game by… making you root for the death of your squad

2. Clank! (2016) The magical thing about this deckbuilder-with-a-board is that the core clank mechanic is so novel and interesting that the end of every game is gripping and hilarious, as you desperately try to crawl out of the dungeon before the dragon goes supernova.

1. Pandemic Legacy Season One (2015) You knew a Pandemic had to be on the list. It’s tight, it’s epic, it’s hilarious, it’s depressing, and it is perhaps the best of 2 hot trends in 2010s gaming: Legacy and coop gameplay. Pandemic Legacy is my game of the decade.

‘The Rise of Skywalker’ is a Beautiful, Incomprehensible Mess

WARNING: SPOILERS

About midway through The Rise of Skywalker, our heroes find a dagger. On that dagger, are the secrets to find a McGuffin – but those secrets are written in the language of the Sith. C3P0 is forbidden to translate them – but they can find a hacker who can erase those blocks. The catch is that C3P0’s memories will be erased in the process. C3P0 gives a long tearful goodbye to his friends. At the last second, he has another idea – but the gang immediately unplugs him before listening to it. Fifteen minutes of screen time later, his memory is fully restored when Artoo backs him up from the cloud.

This half-assed writing and plot development is endemic in The Rise of Skywalker, a film that is gorgeous to look at but utterly soulless and baffling to watch. The plot moves forward at a breakneck pace, and there’s never any gravity to anything and so it never feels like the stakes are real. And most amazingly, the film manages to simultaneously be incomprehensible yet thoroughly predictable at all times.

Fun topics of debate about this film:

  1. What the fuck WAS the Emperor’s plan? First, it was to kill Rey. But then it was to have Rey kill him? And then it was to get the two lovebirds together? This is incoherent. Nothing regarding what happens in the first two films or first half of this movie makes sense in regards to Palpatine is orchestrating things.
  2. If you’re going to make the central plot of the new trilogy a love story between Kylo and Rey (good!), why are you going to keep Finn pining pathetically after him? The triangle is never a plot point, Rey and Finn have no chemistry, and Finn has literally chemistry with every other young actor that comes in his orbit.
  3. Are you really going to tell me that the planet busting technology that previously required a death star or planet to power now can be miniaturized on any star destroyer?
  4. You do realize that Ben Solo never did anything to actually earn his redemption, right? After his resurrection he…. fought his way to Rey, nearly helped give the Emperor ultimate power, and then was thrown in a ditch where he was pretty much completely irrelevant to the final showdown.
  5. In TLJ, the Rebellion sent out a distress call and literally NO ONE came. In this movie, EVERYONE did. Why? Is Lando really that charming?
  6. Also, everyone who says that the space chase in TLJ was too short for Finn and Rose to go to Canto Blight, how long do you think it takes to crew and assemble the largest frickin’ civilian fleet in the history of space?
  7. Has there ever been a ‘twist’ as preposterous and undersold as Hux’s flip? Also, wasn’t his death a little out of the blue for someone who was a major Big Bad in Episode VII? Y’all really couldn’t do something more interesting with that?
  8. You morons are really going to enter the hangar on the star destroyer guns blazing?
  9. Chewbacca’s captured, mostly offscreen! Now he’s dead! Now he’s not! It must have been that other shuttle we never saw!
  10. The Knights of Ren sure ended up being unimpressive, huh?
  11. Everytime Rey left the gang to go out on her own into an incredibly dangerous situation, only for Finn to follow her like a puppy dog, I wanted to throw something at the screen.
  12. Why, exactly, was Finn mad that Rey wasn’t out in space with the gang? “You’re our best fighter!” Well, sure, but that mission needs the best PILOT.
  13. Was Princess Leia’s final act really to kill her son? I realize JJ had to cobble together stuff with found footage, but that feels like you done her dirty.
  14. The Lightspeed Skipping made me actively angry. Suddenly, not only can everyone jump to hyperspace from a planet’s orbit, that’s likely where hyperspace will land you! Also, apparently every TIE fighter now has light speed capability as well as the technology to follow people through hyperspeed. One person on Twitter said this was ‘Star Tours: the Movie’ and I agree.

There are things I liked about the film.

  1. I liked that they built upon the Force Bond of TLJ, making Ben & Rey capable of fighting and transferring weapons. Some really slick moments came out of that.
  2. Many of the new characters were great, especially the conehead droid, Jannah and Babu Frik. They were awesome.
  3. Some absolutely beautiful shots. This was a movie designed via storyboards first. I just wish each moment had flowed better to the next.
  4. The actors that played Rey and Kylo Ren did a fantastic job. I’d love to see more Rey in the future.
  5. Poe and Finn’s bromance was awesome. Their patter was almost uniformly excellent.
  6. I loved the mountain town planet (Kijimi). You know, the one the empire destroyed.

Overall, this was ‘meh’. I’d put this somewhere between Aquaman and Revenge of the Sith. And the more I read other people trying to defend the film, the more I think I’m right.

As a final thought, remember when I said this film was beautiful? It is. Enormous spectacle. Clearly this was put together via storyboard. And yet, a day later I can remember very few visuals from it that weren’t in a commercial. Compare that to The Last Jedi (a film I love) and the great shots in those: Luke finding the kids force touching, Yoda destroying the tree, Holdo’s Charge, Luke’s last stand, Luke fading away. There’s just no comparison. And that’s because Rian knew not just how to compose a beautiful shot, but how to make it pay off as well.

A Nuanced Parable Of The Steam/Epic Debate

Imagine you’re a sex toy manufacturer.

Imagine you make some of the best vibrators the world has ever seen. You’re one of the best at it in the whole world. Your marital aids have won major awards. Your best work has routinely sold out faster than you can make them. Jenna Jameson has enthusiastically endorsed your work and your company – and uploaded personal demonstrations to Pornhub. Your lead dildo designer has been referred to as the ‘Michaelangelo of Personal Massagers’.

And your next creation is gonna be amazing. It’s got 6 speeds. It’s got several attachments that look like they came straight out of a Hentai. It’s dishwasher safe. It’s got wifi so you can pleasure your girlfriend from 500 miles away. It automatically pulses in time with whatever’s playing on Spotify. It transforms into a robot, and its got a built-in cappacino machine for when you’re done.

Everybody is eagerly awaiting your newest vibrator. Your new toy was the most discussed topic at the latest DildoCon. Sex toy aficionados are buzzing about your joy buzzer all over Reddit. You’ve been making magic wands for a long time, and everyone expects great things.

Now then, for years and years, you’ve sold your selfie sticks primarily at Dildo-Mart. And they give you the same deal you’ve gotten for years: we’ll give you $39 dollars for every orgasmatron you manage to sell. This deal has been good for a long time. It’s tempting.

But a new upstart has come along. Vibrators R’ Us wants to sell your new lady sticks too, and they’ll give you $53 per vibrator they sell – even though they’ll still sell it at exactly the same price. That’s… a lot.

But wait, says Dildo-Mart. We’re the biggest sex toy shop in the world. Everyone in America is within 10 minutes of one of our fine, upstanding family stores. Also, if you sell a whole BUNCH of dildos, we’ll improve your take to $45 per dildo.

And Vibrators R’Us responds, well, $53 is still substantially more than $45. Also, while we’re not quite as close to everywhere as Dildo-Mart, everyone in America is within 15 minutes of one of our stores.

Dildo-Mart says ‘but wait! We have forums! We have trading cards of dildos! We have ratings on our web site!’

And Vibrators R’ Us responds “We’re going to add all that, but how relevant is that, really, once you’ve turned the vibrator on?” Then they pause and say, “$53. Dollars. Per. Vibrator.”

If you were a generic, crappy sex toy manufacturer, you might be crazy to take that deal. After all, most people go to the store that’s closest to them. But you’re not. You know that people have been waiting years for this sex toy. They’re planning on taking time off work the day it comes out.

So why on earth would you sell your new toy at Dildo-Mart? If you are fairly sure that everyone is going to actively seek out your amazing new creation, you know that they’ll drive the extra five minutes to get it. Making it available at DM is costing you $8-13 bucks per vibratogachi sold. And almost everyone will choose to buy it there, because it’s just easier to do so.

Sure, Vibrators R’ Us may offer you something in exchange for an Exclusivity deal just to be sure you don’t switch if offered a better job but at those numbers, you don’t NEED it. Your customers are still paying exactly the same price. It’s availability to pretty much exactly the same set of customers. You get somewhere between 17-36% more money for every vibrator you make. In exchange, your customers are minorly inconvenienced. After which, they get an amazing new crotch rocket.


The disconnect between developers and gamers around the Steam/Epic store split centers upon a basic mental disconnect: gamers don’t realize that Epic isn’t competing for their business. Epic is competing for Gearbox’ business.

Game developers and publishers work with partners all the time. It may be contract art for the game, or purchasing rights to a graphics engine, or help marketing the game, managing communities, performing user testing, or even printing CDs. Most of these choices are invisible to the player – so much so that if, say, we do a crappy job printing CDs, you’ll likely blame us rather than whoever we hired to do it for us. And that’s fine.

Before recently, there was really no choice for developers in terms of partners to sell and distribute your newly released PC game: you could either roll your own solution (as Blizzard did) or use Steam. Yeah, yeah, there are options like GOG and Humble Bundle, but these retailers specialize with selling older games (which is part of the reason Steam is willing to work with them).

Epic is trying to build a new store, one which offers developers a new option for selling their game that is more attractive to developers. But they have a big problem: steam is so much the ‘normal’ way to game on your PC that getting players to switch to the Epic Games store is really, really hard. Especially since you can’t really use consumer price to compete.

Gamers want Epic to compete with Steam, but Epic can’t until they build a customer base, and the only way to do that, really, is exclusive content. And the only way to do THAT is to make developers a deal they can’t refuse. Gamers looking at Epic ‘trying to build a monopoly’ have it backwards, actually. They are trying to break what is effectively an entrenched monopoly, and to do that they need to combat a decade plus of habit and inertia.

If Epic succeeds, then Steam will forced to get better. If that happens, everyone wins. Game developers will have better choices of where to sell their games. Gamers will have better tools for launching games and discovering new product. Price wars AFTER the initial launch window become likely.

But this only works if customers have compelling reasons to open a second launcher.

The Epic/Steam War is Here And Game Devs are All For It

It is possible to both think that Steam has been a remarkable and amazing part of the gaming ecosphere, and still be excited that they’re no longer getting a free ride.
I’m not kidding.  Steam is great.  It’s the first thing I install on any new computer I acquire. It’s intuitive at what it does, full featured, and run by a generally responsible organization.  It probably single-handedly saved PC gaming, definitely has been the engine that drives indie gaming for the last decade, and will be a pillar of the industry for years to come.

That being said, I’m super excited by the Epic Store as a developer, and I hope they get more exclusives.  I summarized my theories in this thread – this blogpost expands that thread.

Let’s back up.  This week, it was announced that Gearbox and their publisher would release the PC version of Borderlands 3 on the Epic Store as a six month exclusive.  This prompted the easily excited outrage monkey portion of the video games audience to lose their shit — I mean, really stupid shit.  So let’s break this down a bit.

The economics of the games industry are dumb.  AAA games have cost $60 bucks for a long time.  It’s a weird purgatory – the price hasn’t increased with inflation, largely because the beancounters think that if you go higher than $60, a game is more expensive that something that Grandma will want to buy little Timmy for Christmas.   On the flip side, and I swear this is true, gamers are so used to $60 price tags for games that they immediately suspect that any game with a lower price tag is automatically lower quality.  So AAA games have stuck at $60 as the default price for a while.

You ever wonder, when you spend $60 bucks for a AAA game, where it goes?  Here’s one breakdown.  If you buy the game at Best Buy, less than half of that ($27) goes to the developer/publisher. If the developer and the publisher aren’t the same entity, the developer gets a small portion of that – 20% maybe.  So call it $5 bucks, and the developer doesn’t see a cent until the development costs of the game are recouped.

Eagle eye observers will note that a lot of these costs just don’t APPLY to Steam.  Steam games (and all box PC games) don’t pay platform royalties.  They don’t have to print CDs.  The costs of handling unsold inventory are unnecessary.   So while Steam demands a slightly higher percentage (30%) than Best Buy (25%), the lack of other costs meant that Steam was a better deal for developers.  Put another way, Activision makes about $27 selling a Playstation Call of Duty at GameStop, and about $42 selling a PC CoD to you on Steam.  That’s… pretty awesome!  Developers vastly preferred it if you bought their games on Steam, because we like paying our mortgages. Yay Steam!

In late 2018, Steam improved that number dramatically for AAA developers (because screw indies, amirite?) so that once you sell more than $10M, their cut drops to 25%.  Sell more than $50M, their cut drops to 20%. Suddenly a megahit like Call of Duty is earning $48 per copy (once they sell a few hundred thousand copies).  Outstanding!  And you also get Steam features like Cloud Saving.

But then Epic upset the apple cart.

The Epic Store deal is really good. Epic is undercutting this deal significantly, taking only 12% of a cut. Suddenly, devs/publishers are splitting nearly $53 per box.  You don’t have to meet any kind of minimum threshold to get this.  This is really good.  REALLY good.  Yay Epic!

But it’s more than that.  Sales on the Epic Store also wave the licensing cost of the Unreal engine if that’s your engine of choice.  I believe that Borderlands 3 is using the Unreal engine. If that’s the case, that’s another 5% in their pocket that they don’t lose if you buy on steam.  Put another way, Take 2/Gearbox puts $52.80 cents in their pocket for every copy they sell on the Epic Store, and only $39-$45 for every copy you buy on Steam. 

According to Steamspy, Borderlands 2 sold 5-10 million copies on Steam.  Now then, not all of those copies were actually sold on Steam and certainly some of those copies were sold at discount prices during Steam Sales and the like.  Still let’s do some back of the envelope math here and pretend that B3 ‘fails’ by only reaching the lowest number there (5 million)

  • If 5M people bought the game on Steam, Gearbox/2K would enjoy a royalty rate of 30-20%, and they’d have to pay a 5% engine licensing fee to Epic anyway.  They’d get $222 Million, or $44.4 bucks per copy
  • If 5M people bought the game on Epic, no engine licensing fees, and a 12% cut, gets them $264 Million, or $52.8 bucks per copy.  

So in the worst case scenario, Borderlands stands to make $42 Million more dollars for 2k/Gearbox.  That’s a LOT of enchiladas.  I don’t know if Epic paid Gearbox/2K for the right to exclusively launch on the Epic store but they didn’t really NEED to – If Epic launched on both, they’d lose about 9 bucks per copy of Borderlands 3 sold on Steam.

The very nature of the Steam Revenue split encourages exclusives. Look at the revenue split for AAA again.  You only get the GOOD revenue split if you hit $50M in revenue.  My back of the napkin math means that you need to sell 834K copies before you start getting that number — on all copies AFTER that.  What this means is that, if you’re on Steam, every copy you sell on Epic Games or Discord or whatever is a copy that’s not pushing you to that threshold.  

The guys who came up with it probably thought they were encouraging developers to choose between one platform or the other.  They were probably right.  They’re probably just surprised as to which direction developers (especially those around the Metro-Borderlands size) are going to decide is the logical direction to go.

Exclusives are how platforms are sold. People keep saying ‘Epic should compete on its own merits, and not have to depend on exclusive content’ but, um, exclusive content has always sold new platforms – and that’s definitely what this is.  It’s a cornerstone of console gaming, for example, with great exclusives like God of War, Horizon Dawn and Spiderman being a cornerstone of why Playstation is kicking XBox’s butt this generation.  Console developers do this by buying studios entirely usually. But yeah, paying for the privilege of exclusive content is NORMAL.

And unlike exclusives for PC, there is a $400 price tag on the console if you want to play Horizon on top of the cost of the disc.

It’s not just games.  Exclusive content is the cornerstone of the business model of HBO and Netflix for example.  And let’s face it, Steam has thousands of de facto exclusive games, because that’s the only place those games can be played. 

In the absence of exclusive content, players will typically choose the platform that has the most inertia.  And to repeat, every copy of Borderlands 3 that is sold on Steam costs Gearbox/2K about 9 dollars.

Gamers should want more of the money they DO spend to go to game developers and publishers.  Games are expensive to make, and they get more expensive every year, as salaries rise, technical complexity increases and the costs of making content go up.  And yet, the box price of games has stayed constant. 

If more of this box price goes to the people who design, art, engineer and market these games, it reduces the need for us to have to resort to sell sparkle ponies and loot boxes or to increase the costs of the games in order to cover those increased costs. 

 People who think that the Epic Store means significantly fewer sales than Steam are probably deluding themselves.  First off, Borderlands is a huge, well-respected and beloved IP.  People will seek it out.  Selling your small, funky indie title on the Epic Storefront may not be a great idea because the store doesn’t yet have a critical mass – it’s not a place people go to shop for games yet.  But if you have a big, well-anticipated game like Borderlands (Borderlands 2 is still in the top 10 for daily plays on Steam), players will go and seek it out.  Being a seperate launcher didn’t hurt Starcraft, or Destiny, or the Sims.  Players will find Borderlands 3, wherever it lives.

And where it lives is pretty good.  Epic has the ability to drop an ad for Borderlands 3 in front of 250 Million Fortnite players with over 78 Million Monthly Active Users.  This is actually greater than Steam’s 67 MAU, although Steam still has a higher daily concurrency and everyone who opens steam is coming to shop, not play Fortnite.  Still, the people who think Devs selling on the Epic store think it will have a much smaller reach are probably in for a disappointment.

But still, the proof is in the pudding. And we have one test case so far, where Epic’s first exclusive (Metro Exodus) did 2.5 better on the Epic store than its predecessor did on Steam. And to some extent, you have to wonder if the relative sparseness of the Epic Store is helping.  Epic’s store is currently a highly curated experience of high quality titles.  In Steam, Metro was competing against dozens of similar titles, some years old.

Yes, this is capitalism — and the audiences are what’s being sold.  A lot of gamers are saying things like Epic is trying to be ‘monopolistic’ or that this isn’t capitalistic.  That’s because they’re mistaken about which customers are what are being fought over here.  

This is an EXTREMELY capitalistic, EXTREMELY competitive dance happening. But the customers being courted are developers/publishers like Gearbox/2K and 4A Games. What is being sold is the playerbases. YOU’RE the product.

Steam’s sales pitch is a 30%-20% revenue split, with the strongest PC customer base in the world and a robust, full featured back end and well-integrated payment systems that work with almost any payment system on planet earth.

Epic’s sales pitch is a 12% revenue split, with an audience that is as large (but unproven spenders), a free engine license and a much more curated store. And did I mention just a 12% revenue split? Did I mention that Borderlands is looking at somewhere around 40 MILLION DOLLARS in additional revenue that goes to game creators and publishers instead of the store?

Valve could end this quickly if they REALLY wanted to.  Their install base is hugely attractive.  If their revenue split were suddenly match Epic’s – or even get close – choosing Epic would be a very hard choice.  But doing so would mean losing a HUGE amount of revenue.  Valve is, I believe, taking a ‘wait and see’ approach to see if Epic congeals into a serious threat to their bottom line.

Anyway, if Red Dead Redemption also goes the Epic route, things are going to get heated very quickly.

I don’t want Epic to ‘win’ this war.  That would be just as bad as Steam keeping a monopoly on the marketplace.  I don’t want any one store to have a monopoly everything.  I want competition.  I want these guys competing for games to publish.  I want these guys to compete for customer eyeballs. 

Competition is GOOD. I’m happy that we may end up in a situation where there are two stores competing to make lives easier for game devs. I’m happy that Steam will be forced to clean up it’s act, and that Epic is hungry to offer innovations. And I’m disappointed that gamers are pissed off about it, and that some observers are milking this outrage for clicks and views.

I’m Still Skeptical about VR

The interesting thing about GDC was the fact that interest in VR is everywhere.  Monday and Tuesday had a VR summit, and lines were so long they have to use overflow rooms, and ultimately rearrange the conference to make room for it.  It reminded me a lot of GDC in 1996-1997, when the MMO talks and roundtables were being packed, despite the fact that no one knew anything about the field (the pre-EQ, pre-AC days where even I was considered an expert).

Back then, I had the benefit of being the subject matter in the thick of things – hell, the sheer lack of MMO designers at the time made me a world-class expert on the field.  Now, I’m just a cranky old man observer.  Still, I have a lot of hesitation – not so much about whether VR will conquer the world, but also about WHEN that might happen.  The issues are myriad, but only a couple do I see mentioned frequently:

  1. The vomiting issue.  The struggle is real and is well-known.  People have been telling me that it’s an urgent issue to solve for two years now, and I don’t know if anyone’s closer to it.  Most people that I’ve talked to say that this can be reduced by simply having games that have no movement in them.  Yay, Deer Hunter!
  2. The social virality issue.  The games with peripherals that do the best are highly social games that demo well at parties – think Rock Band or the Wii.  Both were compelling experiences that made observers immediately want to rush home and buy their own.  VR, on the other hand, makes you look like an idiot to observers.
  3. The cost issue & market consolidation.  Right now, we have 3-4 major players, vying to be the major player.  And getting into the space is expensive – matching or exceeding the cost of a modern console, but with vastly less utility.  This choice will end up causing market paralysis -players are going to wait until one emerges as a clear leader.
  4. The Harassment issue.  I’ll probably write about this issue in a seperate post, but this will be a much worse problem for connected VR games than it ever was for MMOs and LoL.  This isn’t going to be a huge issue in single-player and shared-space VR issues for a while tough.
  5. The Setup Issue.  Millions of people have hardware peripherals they’ve played once, and then put on the shelf and never touched again.  That even extends to things like 3D television, which requires the incredible simple setup of… finding the glasses.  3D requires even more setup for a simple session – putting on a lunky piece of hardware, positioning yourself in a place you won’t trip over the coffee table, etc.

This is not to say that I think that all VR games are bad – I’m quite fond of several experiences, especially puzzly games like SuperHyperCube that don’t try to be realistic.  But I do think there’s going to be a lot more resistance to these experiences leaving the realm of early adopters to become truly mass market.  Trying to guess which one will win is a fun exercise – if I had to guess, I’d bet on Sony’s Playstation VR.

  1. They have gravity from all the PS4’s that already are out there in living rooms.
  2. The fact that they are in living rooms means they are more likely to make a good living room social experience that can go viral.
  3. They have experience making kid-proof hardware, and are priced competitively for the field.

Note that none of this has much to do with the games or the hardware itself.  That being said, the single most significant thing that the VR companies can do is find an experience that sells as much hardware as Soul Caliber did in the 90s.

But then again, I’m probably being a cranky old man.  But at any rate, I’m much more entranced with HoloLens and Magic Leap.  So maybe I’m just looking slightly further down the road to Augmented Reality, and putting my undue enthusiasm there.

Donald Trump Wins Endorsement from Bus Aficionado and Inethical Journalist

It’s so amusing when my two favorite train wrecks – GamerGate and the Republican Primary – manage to find a way to collide.  This week, Donald Trump earned a key endorsement.  Not, Sarah Palin –although that one is comedy gold.  This one:

That’s right, Mark Kern – a former game developer turned GamerGate zealot with a history of  noxious idiotic activity came out in support Donald Trump.  Because, you guessed it – Political Correctness!

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The Ongoing Star Citizen Silliness

Derek Smart vs. Chris Roberts.  Who will win?  I’m guessing popcorn salesmen.

I recently wrote about Derek Smart’s ongoing crusade against Star Citizen, You may remember, for example, this piece, where Derek Smart asks politely for Chris Roberts and his wife to resign the company.

Give backers the opportunity to hire an independent forensics accountant, and an executive producer, to audit the company records, and give an accurate picture of the financial health of the company, and it’s ability to complete, and deliver this project in a timely fashion. I hereby offer to foot the entire costs of this effort. And I will put up to $1m of my own money, in an escrow account of an attorney’s choosing, to be used as-needed for this exercise. [Emphasis ours.] I will pay this price to prove that I had every right to seek these answers. So this money can either go toward a good cause (righting this ship), or to attorneys who are most likely to burn it all down anyway.

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Reviewing the Review of the Reviews of Mad Max

Today, Total Biscuit released a video titled ‘I will now talk about negative Mad Max reviews for just over 40 minutes‘, and whatever the hell else you can say about it, it is an accurate assessment of what he has to say.  It is also quite silly (although to be fair, I agree with much of the last 15 minutes of him rant), but still there’s a lot in this that made me quite cranky.  Here are my thoughts: 

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Dungeon Boss

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Last Tuesday, I launched a game.  It’s doing quite well.

Boss Fight Entertainment released Dungeon Boss in a worldwide release on Tuesday in partnership with our publisher, Big Fish Games.  This marks my first foray into mobile gaming, and indeed my first serious work on a published title that was not an MMO of some sort.  So it was quite a novel experience for me, and quite frankly one that I needed.

The game has been doing exceedingly well so far.  Google featured it on their store on Wednesday, and Apple returned the favor and added on an Editor’s Choice award (and a really nice review) on Thursday, which has just resulted in our numbers shooting into the stratosphere.  It’s currently sitting as the #1 most downloaded RPG and the #2 most downloaded Free-to-Play game on the Apple store behind Happy Wheels .  Our revenue position still has a ways to go, but this publically available list here claims that we’re number 30, and we’ve been rising steadily as our population gets deeper into and more invested in the game.

According to AppAnnie, we’ve reached the #1 RPG spot for 70 different countries.  However, we’ve only taken the #1 game spot in one country – Latvia, oddly enough – though we’ve hit top 5 in 24.  While this is all incredibly heady stuff and the chart-watching makes for a pleasant way to spend the holiday weekend, when we get back it will be entirely about how to make the game even better, as well as holding our breath to see if the metric patterns we see extrapolate moving forward like they did in beta.  If so, Dungeon Boss is well positioned to be a huge part of the App Store landscape for years to come, and I’m very proud to have been a part of it.

Hugo Voters Reject Sad, Rabid Puppies

It’s not every day that you wake up to find that the asshole brigade on the internet has been utterly humiliated beyond all expectations, but that appears to be what we have today.  Last night, the voters of the Hugo Awards utterly rejected the attempts by a conservative reactionary mob led by one of the single most influential racist, misogynistic assholes on the internet to game the nominating process of their awards, opting instead to give the awards to nobody rather than their handpicked slate.  In doing so, the Hugos maintained what integrity they could, and also proved what people like me have been saying about similar controversies like #GamerGate – they claim to speak for a silent majority, when in fact they speak for a loud minority – albeit a loud minority who leverages outrage to mobilize better than any other group.

Tons of good coverage of this, including at Wired, Yes! NPR and BoingBoing (and GRRM has been covering it closely since it all started).   Short summary is that earlier this year, two groups of people (the Sad Puppies and the Rabid Puppies) figured out they could game the nominating process for the Hugo Awards, long considered one of the most prestigious awards in speculative fiction, in order to fight against what they percieve as the scourge of ‘SJW’-themed novels that have continued to win of late.  They succeeded in the nomination process, but in the final ballot, voters blew their slates out of the water with an unprecedented five ‘no awards’ in these categories.  This is an institutional repudiation on par to the mocking that #Gamergate took at GDC’s awards dinner this year.

Over at KotakuInAction (which is really more about anti-SJW hysteria than games at this point), they’re trying weakly to spin it into a positive, or alternatlvely trying to find a way to be outraged about the utter collapse of the anti-SJW effort.  Million_dollar Bus Aficionado Mark Kern compared the results to book burning,  Ian Miles Cheong nonsensically claimed the results ‘prove’ that the awards were rigged and Milo Yiannopoulos tried to blame the ‘SJWs’ on tearing down the awards rather than, you know, the assholes who tore down the awards.  This is a weak sauce argument – the ‘No Award’ vote totals clearly included not just far lefties but moderates as well, which suggests that many people were offended and opposed to the naked attempt to manipulate via brigading one of the most storied awards in Sci-Fi.  It was appalling enough that even some of the authors who were nominated by the Puppies to back out rather than be associated with the effort and even the ones who didn’t rejected the tactics.

All of these #gamerGate diehards, by the way, seem utterly unconcerned that the founders of the Puppies movements were enthusiastically pushing their friends, or that Vox Day gamed the rules in order to push himself and his magazine’s contributors to the top of the nominations.  Apparently, ethics are only important when SJWs are involved.

All this being said, this is not as rosy as it appears, as legitimately good art was forced off the ballot by the Sad Puppies brigading, or felt compelled to reject their nominations to distance themselves from Vox Day.  The Hugos have a real problem to solve in figuring out how to keep this from happening next year.  Looking forward, here’s a proposal for improving the voting process, so it can’t be gamed again next year.

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