With my daily helping of all things TechCrunch, GigaOM, VentureBeat and what have you I pretty much can’t go a day without hearing about yet another up and coming start-up that’s poised to take the world by storm. Whilst I was developing Lobaco these kinds of stories were the inspiration fuel that kept me going as it seemed like even the most wacky ideas were securing funding and it was my fervent belief that should I follow in their footsteps that I’d then also reach some level of success. Of course 1 year and 1 failed Y-Combinator application later taught me that the road to success isn’t always paved in the same way for you as it is for others.
Indeed I vented my frustrations with all these positive stories, likening it to inspiration fatigue.
After coming to that realization I started trying to seek out the stories of failure, stories of people who were in situations like mine and what caused their idea to fail. Such stories would provide me with a framework of what to avoid and what I should be doing that I’m not doing now giving me a much better shot at achieving success. Trying to find such information amongst my feed reader proved to be quite fruitless except for the tales of large companies that were in the long downward spiral of decline. This is to be expected however as a failing start-up that’s only received seed or series A level funding doesn’t seem like much of a story since 90% of them fail anyway.
The Startup Genome project then was exactly what I was looking for as when I first read about them they were looking to gather information from both sides of the table. I’ll be honest though I was sceptical that they’d ever come up with anything, figuring they were just another think tank that would use metrics that no one could be reasonably expected to apply to the real world. That all changed when I read their first report, especially their insights on premature scaling:
Since February we’ve amassed a dataset of over 3200 high growth technology startups. Our latest research found that the primary cause of failure is premature scaling, an affliction that 70% of startups in our dataset possess.The difference in performance between startups that scale prematurely and startups that scale properly is pretty striking. We found that:– No startup that scaled prematurely passed the 100,000 user mark.– 93% of startups that scale prematurely never break the $100k revenue per month threshold.– Startups that scale properly grow about 20 times faster than startups that scale prematurely.
The past year of releases has really changed my perception on what sand box style games could achieve. I must admit the only thing I enjoyed about sand box games was the fact that once I got bored with the main story line I could unleash hell for another 15 minutes or so before I quit the game without saving. Red Dead Redemption and Minecraft were two examples of games where my inner jerk stayed in his cave for the vast majority of the game and so when I started seeing seeing some of the screens from Rockstar’s newest game L.A. Noire I figured that it would be yet another step away from their traditional Grand Theft Auto style sand box, and thus very worthy of my attention. What followed was an incredibly interesting experience on multiple levels, both for its accomplishments and its faults.
You play as Cole Phelps, a veteran of the second world war who’s come back to being a cop in downtown Los Angeles. L.A. Noire wastes no time in getting you into the action, setting up Phelps as a man with an incorruptible dedication to seeing a case through to the very end. You start out knowing very little about the man himself at the start but as the story progresses bits of his past, retold in flashback scenes and with dialog with other characters, come to light. It can be a little frustrating not understanding your character’s motivation for certain actions, especially when he’s prone to reacting wildly to certain things. I can understand the reason for keeping much of his past hidden for the majority of the game, however even a few more bits of insight into his past would’ve made his character a whole bunch more believable.
There are several distinct categories of game play within L.A. Noire. The first is the investigation mode where you look around a crime scene for clues, where upon your controller shakes when you stumble upon something potentially interesting. Not everything will relate to the case however, so you might find yourself spending an inordinate amount of time picking up cigarettes and empty bottles. Thankfully they’re kind enough to alert you when you’ve found all the clues so you don’t spend hours going around in circles looking for a potentially missed bit of evidence. These clues will then lead you onto people of interest who you can then interview to get a better idea of the details of the crime.
The next core game play mechanic, the interviews, relies heavily on the extremely lifelike motion capture technology that L.A. Noire uses. You have a list of questions which you can ask the person of interest and based on how they respond you have to choose whether you believe they’re telling the truth, lying but you have no evidence (doubt) or if they’re outright lying for which you’ll have to provide proof. I’ll be honest and tell you that this mechanic frustrated me to no end as whilst the truth and lie were relatively easy to tell the doubt option was a tad ambiguous. It’s explained exactly as I said before to you in the game however the option can also mean “They’re telling the truth but not everything” or “This guy isn’t going to give you anything useful no matter what you say”. It’s also confounded by the problem that Phelps seem to fly into a rage whenever you choose the doubt option so whilst you might think that there’s more to the story (and there always is) Phelps’ behavior seems to make the more softer targets shut down completely. You do get better at picking it towards the end but it can still lead to some incredibly frustrating times.
It’s made somewhat easier by the introduction of “intuition points” which are gained by leveling up your character in the game. These points let you either remove one wrong answer (which isn’t as helpful as it could be) or ask the community which shows you the percentages of how everyone else answered those questions. You can store a max of five and there’s only 20 levels in the game, with a few of those levels giving outfits and not intuition, so they’re best used sparingly.
Additionally whilst the facial capture is down right amazing in how realistic it appears it’s rather comically strapped to good old fashioned motion capture bodies that were filmed independently of the voice actors. What this means is that whilst from the neck up they appear quite lively everywhere else is your usual rigid clothes and rather awkward flailing about, especially when interacting with other objects. Whilst it’s not noticeable most of the time there are a number of occasions when it looks like the character’s head is trying to move independently of its body. Hopefully the technology they used to capture the stunning facial features will soon trickle down to doing full body motion capture and we won’t have this strange world of bodies with alien head syndrome.
During your investigations you’ll be alerted to street crime that’s happening in Los Angeles. Should you respond to it you’ll be pointed in the right direction and receive a short cut scene when you arrive detailing the situation. These little side quests can be anything from chasing down wife beaters to full blown car chases that end up with a shoot out with dozens of individuals. Primarily they’re there to break up the monotony of driving and give you a little break from the case you’re working on (which can stretch for over an hour). They also serve to help you level up your character as it’d be nigh on impossible to reach the level cap otherwise.
The same sort of action scenes that are played out as street crime also form part of the investigations themselves. It would seem that everyone’s gut reaction when confronted by the police in Los Angeles is for them to run for the hills which whilst fun get’s a little repetitive after the 20th time it happens. This isn’t helped by the fact that your case is judged not only by how many clues you found and questions got right but also by how much damage you do to your car, people on the street and the city itself. Since these action scenes tend to be rather reckless you’re more than likely going to rack up a large bill chasing down all these scoundrels. It really doesn’t mean that much overall, but when the game actively encourages you to do it (like your partner telling you to ram someone off the road) and then punishes you for it does leave you feeling a bit mixed up.
Like any Rockstar sandbox game the city in which you play L.A. Noire feels very alive when you’re playing through it. However it’s probably more appropriate to equate it to a movie set: it’s made to look that way. In this game’s predecessors like Red Dead Redemption and GTA IV you could engage with the NPCs in varying ways (playing cards, buying clothes, visiting clubs and what have you) there is simply none of that in L.A. Noire at all. You’re more than welcome to drive around Los Angeles whilst you’re on your way to the mission but there’s no intermission where you’re free to do as you will. You really have no choice but to pursue the cases constantly as sometimes no matter how long you drive around for you just won’t get a street crime to go and solve. So whilst L.A. Noire has the feel of a sand box game it’s really nothing like that at all.
But just like a movie set the pieces that you’re meant to see are set out extremely well. I was a bit disappointed when I saw that it implemented the same cover based shooting style that’s present in nearly every game these days but unlike shooters where the combat areas are obvious they blended in quite well in L.A. Noire. The camera work, music and use of the environment is also done quite well, setting the mood almost perfectly throughout the game.
I also found the story to be quite enthralling as did my wife who sat by my side and watched me play almost the entirety of the game. Whilst the story line suffered initially from the lack of an overarching plot line, just like Dragon Age 2 did before it, the unveiling of Phelps’ back story slowly begins to tie everything together with the ending wrapping it all up. If I’m honest though I felt the ending was slightly hollow with some of the events happening right at the very end serving only to try and make one last emotional impact on the player, rather than adding anything else to the overall plot. Still I must commend them for going with an ending that didn’t scream “SEQUEL SEQUEL”, a downright rarity these days.
L.A. Noire feels like yet another step towards gaming become a mature medium, becoming more of a medium to tell a story rather than just a distraction for kids. It’s also a technological step forward as well with the facial capture they did for it being nothing short of jaw dropping and I’m sure it’s not going to be long before we see that kind of realism extended to other aspects of the game. Whilst it might not stay true to the sandbox roots from which it was born L.A. Noire delivers a solid game experience that I’d have no trouble recommending to anyone, especially for those who enjoy their games more on the cerebral side.
L.A. Noire is available for both Xbox 360 and PlayStation 3 right now for $89 and $89 respectively. Game was wholly played on the PlayStation 3 with a total of 22 hours played with approximately 75% total game completion according to the in game stats recorder.
As an IT contractor I’m really just another faceless item in the meat market of IT skill sets. Every 6 months or so I’m usually in the midst of a couple of hundred other contractors all of whom are looking to either extend their current contracts or are dutifully lining up for each new job that comes along so that our prospective employers can look us over and select the best one of the lot to throw to their various project wolves. We’re still treated like real employees for the most part but we trade off things like on the job training and annual leave for the almighty dollar, usually in the hopes of coming out better off overall at the end. Consequently we’re slaves to the market as for every person that’s charging X to get Y done there’s a slew of them who will do it for a fraction less and coupled with the Gershon report there’s every chance you’ll be usurped by one of them before you know it.
Market value is the key metric by which us contractors define what rate we charge our employers. It’s a rather complicated metric to define as there’s no definitive source of contractor rates (although contracting agencies do have some on their own contractors) so for the most part it’s done on secondhand information, industry rumors and a whole swath of guesswork. Still for any given position you can come up with a reasonably good figure for how much someone in that position would be charging give or take about 10%. Of course budgets play a big part in what people are willing to pay for certain types of work meaning in places like Canberra when the end of financial year comes around we’d start to see an upward trend in rates as all the government departments spend all the leftover dollars they have.
However the term market rate doesn’t seem to apply if you’re looking to extend your contract. Now I’ve been through a few of these myself and every single time when I’ve asked for a rate increase I’ve been knocked back. I can lay a fair amount of the blame squarely at the Gershon report for that as it was responsible for devastating the contractor market initially and continues to keep our rates in check. That’s not a particularly bad thing as for a long time departments were hiding large staff costs by using contractors (our cash comes from another bucket) and the Gershon report forced them to come clean on the matter. Still when you get someone in a position and they’re doing the job aptly it makes sense to keep them at their market rate, lest they start eying off positions elsewhere. Contractors by definition are not bound to any employer and are more than happy to wear the risk of being unemployed if they feel a better deal is to be had elsewhere.
You could write that off by saying that my market rate was what they were paying me in the first place but unfortunately after leaving a previous contract and gaining the rate rise I had originally requested I knew this not to be the case. Granted at the time they had told me that they wouldn’t extend me (I had completed all the work they needed me for and I saw this coming months out) but after landing the new position they asked to retain me at the same rate, fully knowing I had already sourced employment elsewhere. My last request for a rate rise was also rejected purely on the basis of the Gershon report. I was willing to wear that one though as I’d only been there for 6 months.
I can understand the reasoning behind wanting to keep costs low as any department caught spending big on contractors doesn’t look particularly good. Still research shows that replacing an employee will cost you about 1.5 times their current salary meaning that the paltry increases that they may be asking for above CPI are mere peanuts. I have yet to find any organisation that understands this as most, whilst disappointed to lose good staff, have never made a concerted effort to retain me. Many would argue that my now long list of past employers would be a detriment to finding future work, but they’ve been saying that since I started job 3.
Maybe I’m just bitter about having to jump jobs every year because my current employers never want to give me a raise, but talking with my other contractor buddies it doesn’t seem to be isolated to just me. I turned to contracting over 2 years ago as it suited my style of work and with the hopes that my employers would then recognize the value I was providing. More and more it seems though that I’m just another employee paid from another bucket of money and if I believe that I’m worth more than what they’re paying me for my best bet to realize that is to continue the ship jumping I’ve been doing for the past 6 years. It’s quite possible that I’m just one greedy son of a bitch but my long list of satisfied customers would appear to say that I just severely underestimate my own self worth.
Yet another reason on the towering pile to get into business for myself, then I only have myself to blame if I don’t get paid enough. 😉