I recently had a conversation with a friend about picking up Tera, an MMO from En Masse that was making its way to the States. Tera’s big sell is a combat revamp from the typical MMO. Gone are the days of tab-targetting. Tera requires that you actually be facing your target in order to land your skills. It’s a nice concept, and it plays fairly well, but I still can’t justify buying the game. In a world of free-to-play, microtransaction games, the box cost just doesn’t play anymore.

Gaming is a zero-sum hobby at this point. If I want to pick up a game like Tera, it means subbing one of the games I’m currently enjoying out of rotation. Strangely enough, it hasn’t always been this way. Ten years ago, there just weren’t as many high quality games. With the proliferation of quality indie titles and the accessibility of those free-to-play games, though, I have plenty of titles to play. So why pick up a game like Tera?

This may seem a little clinical, but it’s the best system I’ve been able to devise. When I’m considering a new game, I basically break down the game’s entry cost. It’s not just the monetary cost. I also consider the amount of time I need to invest learning the game before I can really enjoy it (for some games this is a fair amount of time). For Tera, it looks a little something like this:

$50 box cost
$15 monthly fee
5+ intro hours

Is that really worth it? When I consider it against another game I’ve been playing lately, it becomes pretty clear. For Tribes Ascend, the cost looks more like this:

1 intro hours

And even that is a little aggressive. I was having fun with Tribes in the first 30 minutes, but if you haven’t played any of the previous titles you might take a little more time. Now granted, Tribes and Tera aren’t exactly analogous titles, but the list of top quality games with low entry costs continues to grow. And that says nothing of the changing face of the MMO. Players aren’t as dedicated to single titles, so does it really make sense to charge a box cost and a sub? Not to me.

I realize publishers want to recoup some of their investment with an initial return, but the box cost is actually keeping me from buying the game at all. I’d gladly throw $15 at the first month of a game, but $50 on top? I don’t think so.

As more games embrace MMO-style play without MMO subscriptions, the box + sub model just won’t be sustainable. Take a look at Diablo 3 – Blizzard could easily ask a sub for that game, but it’s box cost only. They aren’t even working in a microtransaction model (granted, they’re looking to get a cut of the real money auction house). It’s not just top-tier publishers; even the alpha-funding model upstages Tera-style pricing. I can pay as little as $10 to fund the development of an indie title and receive the full thing on release.

As the quality of games continues to improve, publishers are going to have to consider more flexible pricing structures. Like I said, gaming is a zero-sum hobby. I only have so much time to dedicate to games. When the low-cost games are outperforming the high-cost, you can guess what I’ll be playing.

The makers of Captain Morgan Original Spiced Rum are setting sail on a brand new adventure, and this time, it involves a mobile device instead of a shot glass. The first of its kind for a spirits brand, “Captain’s Conquest” is a mobile social game that rewards players for real-life exploration, adventure and social influence by transforming cities into the open seas and encouraging players to navigate Captain Henry Morgan’s world.

The goal of the game is to rise through the ranks – from a Stowaway to the Captain of your own powerful fleet – ruling the high seas and reaping rewards through skilled digital gameplay and adventurous behavior in the real world. Players will earn points and gain status by mastering the in-game battle mode, conquering territory by checking in at real world locations and using the scope to scan Captain Morgan bottles.

At the onset of the game, players are given command of a ship, the initial size of which is determined by their influence on social platforms such as Facebook, Foursquare and Twitter. In the Captain’s world, size matters, as the magnitude of a player’s ship and the adornments acquired during their adventures influence their success in battle, and ultimately their rank. Using GPS and location-based technologies, the game populates the map screen with visual representations of other players’ ships in the area. Players have the option to interact with those around them by challenging enemy ships to battle.

The game is available for free in both Android Market and the Apple App Store.

The Red Bull LAN Gaming event kicked off this week at Full Sail University in Orlando and will feature three of North America’s top performing “Halo: Reach” players and over a dozen of the world’s best “Starcraft II: Wings of Liberty” competitors all teaming up to practice and prepare for the 2012 tournament season.

The Red Bull LAN at Full Sail University in Orlando offers Bachelor’s and Master’s degree programs that teach the art and technology of software development and design for games, making this the perfect location to kick start the Red Bull LAN circuit as it continues through 2012 with events in Austin, Seattle, Boston and Chicago.

You can watch the event live each day starting at 6 PM through 12 AM EST at the official Red Bull LAN website.

Neil Strauss may have had pop culture street-cred for his work as a journalist for Rolling Stone and The New York Times, but it wasn’t until he wrote The Game: Penetrating the Secret Society of Pickup Artists, that he became perceived as a “guy’s guy” journalist…for better or worse. Now, with the help of collaborator Adam Kornblum, The Game has been turned into a game itself. Strauss talked with Bullz-Eye about the unique entity that is Who’s Got Game? while taking additional time to discuss some of his other literary endeavors as well.

Bullz-Eye: So The Game is now officially a game.

Neil Strauss: Yes. In a matter of speaking. [Laughs.]

How weird was that? Was it an idea that you came up with, or did someone else pitch it to you?

Yeah, I don’t think I ever would’ve come up with that on my own. [Laughs.] But now I’m really into it. Now I really love it. There’s two elements. One, it’s really fun – Adam (Kornblum) made a game, and I made it into more of a game that I’d want to play with my friends – and, two, it’s just kind of fun to have a game. It’s kind of a childhood dream. It’s not just Monopoly or Sorry! or Mousetrap or Chutes and Ladders or…there’s this game 221B Baker Street, which is, like, a better Clue. [Laughs.] But all those games…I’d always wanted to do a game, but what I think really motivated me to want to do it was that Adam contacted me, and…I didn’t know him at all, but sometimes in the deluge there’s a compelling email where we sit around and think, “Maybe we should contact this guy.” And he had done a game for Hasbro, so he had some credibility there. He said he had made a game based on the books I’d done already that he’d been, like, taking out to bars and playing there just to meet women. So I thought, okay, this guy’s field-tested his idea, he’s not just writing about an idea that he’s come up with while he’s sitting in front of his email. I guess he’s now engaged, so obviously it worked to some degree. [Laughs.] Anyway, I thought, “Okay, let’s kind of entertain this and take it seriously.” And he sent it over, and I kept just playing it with different friends and then adding tweaks and changing it and adding new types of cards. Like, I really wanted the game to be something that you play in bars but, like, for example, when I’d go out, I’d end up bringing people back to my house and I’d be, like, “Fuck, now what do I do with them?” And the game’s kind of like social lubrication, a way to get to know people and having everybody having fun and laughing and bonding without any awkwardness.

You said Adam got the ball rolling, but when someone’s playing the game of The Game, what’s something that you personally added to the game?

I think a couple of my favorite things are the Neg cards, where, like, whoever has the worst driver’s license picture or the most wrinkled shirt loses points. [Laughs.] It’s, like, I thought, what’s fun is people laughing at themselves and their own foibles in a non-malicious way, where you’re teasing someone like they’re friends might tease them. Another favorite is the Secret cards, which are basically…it’s a secret social mission to pull off over the course of the game. For example, if you make up something conversationally and someone else in the group believes it’s true, you get two points. So all through the game there are these two layers: the game itself, and the social mission. And it’s a fun layer. It’s a fun form of manipulation, because you’re, like, “How can I get everyone to believe this and get my points?” The social dynamics part is something that, as far as I know, hasn’t been seen in a game yet. There are games with fun challenges, tests, points giving and taking, but where you’re actually trying to execute a social mission within the group…? That’s where it becomes unique.

It definitely seems that you don’t have to be single or on the market, as it were, to enjoy the game.

Oh, definitely not. In fact, we had a dinner party a few nights ago, it was about 12 people, and I’d say about eight of them were couples in serious relationships. So, no, it doesn’t matter at all. Either it’s good to get to know someone or it’s just fun to play with friends. But, I mean, my girlfriend and I play it all the time. It’s fun to go to a party and bring your own game. By the way, you only do that at parties with really good friends who are proud of you and can appreciate that you have your own game, and not with casual acquaintances who are, like, “Why is this asshole bringing his game to our party?” [Laughs.]

Having brought up the fact that you have a girlfriend begs a question about the original book: how quickly did you admit to her that you were the guy behind The Game? Or did she know from the get-go?

Uh, yeah, at this point, I think I’m kind of screwed. I kind of have to say it up front, because if I don’t, one of these things happens: they know the book already, their friends are going to tell them, or they’re going to Google me and find out. Better that I be the bearer of the news. [Laughs.] It can definitely make it more difficult as far as getting people to trust anything you’re saying. I think my only recourse is to be as sincere as possible, because everything is tainted with suspicion.

So what was the original impetus for writing The Game? You’d written in the medium of pop culture quite a bit prior to that, certainly, but…

I think the initial impetus was being a rock critic at Rolling Stone and The New York Times and going to all these shows, which are carnivals of flesh and sexuality, really. But that’s rock ‘n’ roll. [Laughs.] And I’m just the lonely guy with the notepad watching everybody else have all the fun, hoping that maybe some girl’s going to come up and talk to me because I’m writing something in my notepad. And then I’d say, “Oh, yeah, I’m going to this show next week and these other shows the following week, if you want to come with me,” and I assumed that was going to be a date, and…I remember once I met this girl at one, and she ended up making out with the guy sitting next to me. And I was, like, “What the fuck…? What’s wrong with me?” So it really came not from a desire to go underground and assume an identity and be an investigative journalist or even to write a book but, rather, to help get over my own problems with women. [Laughs.]

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