Yes folks, id Software’s Quake Live, the 100% free (advertising paid) and browser based edition of Quake III Arena, released in open beta February 24th. Forget all of your preconceptions of beta testing games as the title runs without nearly any hitches. Well, at least hitches affecting core game play mechanics, but we’ll get into that later.

The game retains everything you hardcore Quake fans out there love about the first-person shooter (FPS) on steroids and Muscle Milk. The ridiculously explosive weapons, the goofy man-grunts, and intoxicating trance tunes are all included for your late night (or early morning) binges of blink-less fragging. Find more details after the break.

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Aaaand we’re back folks. Though we claimed the week of interviews to be over last Friday with Philip Kollar’s (somewhat inflammatory) thoughts on emerging media and the monetization thereof, we’re here for a special ‘bonus round’ interview today with Joystiq.com’s Justin McElroy. Known for his eloquent vocal stylings on the Joystiq Podcast — not to mention his burgeoning career as lead singer of Robin and the Stiqers — Justin has been entertaining millions for quite some time now. Today, he’s here to entertain/educate entertainicate you, fellow Geekadelphian.

The question for you readers is, after a week of reading these interviews, how do you think we are going to monetize these emerging forms of media? What’s going to allow for this stuff to not just survive but to thrive? Please let us know how you feel in the comments sections below!

(GEEK): As host/creator of the Joystiq Podcast, could you explain why you think podcasting is an important approach for journalistic coverage, and more specifically, games journalism?

I think that the most valuable service is that it forces journalists and critics to defend their opinions.  I find that my opinions aren’t nearly as well defined when I don’t have to defend them to Chris and Ludwig. I think there’s also value in getting opinions that are completely unfettered by writing or a lot of ponderous thoughts. There are also so many discussions to be had about games that don’t fit in the context of a review, preview or feature. Those are important conversations to have, and I think podcasts are a good place for them.

(GEEK): In your time as a games journalist/games enthusiast, you’ve seen games writers laid off or resign for other ventures (be they game-related or otherwise). It could be said that the cutbacks we’ve seen budget-wise in games journalism are symptomatic of changing business models that are effecting journalism on the whole. In that regard, do you believe Joystiq or, maybe more importantly, all publishing entities in the games journalism industry are adequately adapting to changing business models?

I don’t think I could possibly be less qualified to answer this question, Ben…

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(Philip Kollar is not the pickle, just so you know.)

Is it Friday already? And we had just started shaking this “Text Tree” for all it’s worth! (Yes, we’re a bit ashamed of that joke as well.) Rounding out our week of interviews on new media is Philip Kollar, ex-1UP.com News staffer, current freelancer and Eat-Sleep-Game writer. You may know him as one half of the 1UP FM Podcast team, you may know him as occasional star of the recently departed “1UP Show”, you may know him from his work at Evil Avatar — we just know him as that dude in the front of the line at the Capcom Press Conference. And even though he’s assuredly scrambling at the moment to keep his rent coming in on time, he was happy to tackle the last day in our interview series. To check out more from Phil, head over to Eat-Sleep-Game.com and subscribe to their new podcast, unironically titled, “Rebel FM.”

Without further rumination, the Geekadelph presents the final day of “Text Tree.”

(with a special bonus round on Monday for all you McElroy-ites out there)

(GEEK): In your time at 1UP, you not only spearheaded one of their most popular new podcasts but also regularly starred on “The 1UP Show” video podcast where members of the 1UP and EGM crews discussed games. Could you explain why you think new forms of content delivery (podcasting and other multimedia) are important in journalistic coverage?

I think new media is an important part of all Internet coverage, whether you’re talking journalism, entertainment, criticism, or anything else. We’ve quickly reached a point where, yes, people still read text, but they also expect video and audio content alongside text for virtually any subject they’re reading about online. iTunes and YouTube have given people new ways to take in content about their hobbies and the things they love, so it would be foolish to not try to reach your audience through those new mediums. Beyond that, video and audio allow for different kinds of coverage than straight text. They’re better-suited for having a dialogue about a game, for example, rather than a simple text review. They also provide further opportunities to involve the community in the discussion, which is an essential piece of success for a website in a democratized online world.

(GEEK): In the light of the recent events with Ziff-Davis and 1UP/UGO, it could be said that the cutbacks we’ve seen budget-wise in games journalism are symptomatic of changing business models, due to the internet, that are effecting journalism on the whole. In that regard, do you believe that publishing houses in the games journalism industry are adequately adapting to changing business models?

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As if in an attempt to one-up Wesley Johnson’s “Text Tree” interview picture from yesterday in hilarious caption-ability, our featured writer today is a unicorn Griffin McElroy of AOL-owned Joystiq.com. His most recent achievement was taking the Playstation Network by storm with a meme of diabolical proportions (we can’t speak of it here without offending you, dearest reader) and he was kind enough to respond to our Twitter plea for game writers to answer a few questions on new forms of content delivery. Even if we don’t agree with his crazy/ludicrous feelings about Fable 2′s ending, we do find what he has to say about podcasting quite interesting. Hopefully you will too! And if you’re enjoying these interviews, please let us know! (Maybe enough comments will force a response out of N’Gai Croal — a boy can hope, can’t he?)

(GEEK): As an occasional host on the Joystiq Podcast and a seasoned writer on Joystiq.com, could you explain why you think podcasting is an important approach for journalistic coverage, and more specifically, games journalism?

I think this answer could best be given through the insight of my father, who has worked in radio his entire adult life. He’s seen the industry change over 30-some odd years, from a legitimate, popular source for music and news to a collection of sanitized, corporate entities in decline. He got a Zune for Christmas, his first digital media player, and I quickly introduced him to the world of podcasts. I realized how much our tech-savvy generation takes for granted — my father was bewildered at the prospect of free (to consume and produce) old-school radio roundtables regarding virtually any topic he could ever want to listen to two or three people prattle on about for an hour.

Podcasting is important because it’s opening up the audio broadcast medium to a wider audience than ever before — much like blogging opened up the printed word to the masses in a… Gutenbergian manner (Johannes, not Steve). The more people contribute to the landscape, the more widely accepted the medium becomes. I don’t think it’s too outrageous to claim that within a year, every sizable gaming blog will have a regularly updated podcast, just to stay competitive. The channels of reporting news on the internet are evolving rapidly, and outlets that fail to adapt to said changes will be eaten alive.

That all came off far too dour — I also believe that podcasting is fun. This could just be because my cohorts are genuinely hilarious dudes, but I can’t really think of a better way to spend an hour and a half than to chat about Witch-shooting in Left 4 Dead or the awful ending to Fable 2 with the guys I work with. Not only is it a blast, but it’s helped strengthen the Joystiq community. There’s a Facebook group some 2,100 members strong called the “Joystiq Podcast Appreciation Group” who, in addition to submitting frequently disturbing photoshops of our Podcasters, record their own podcast (the “Joystiq Podcast Appreciation Group Podcast”), which in turn has its own appreciation group. Their fervor is both humbling and terrifying.

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How many licks does it take to get to the Tootsie Roll center of a Tootsie Roll Pop, Wes? That’s incorrect, I’m sorry — from what we hear, it takes ‘thuree.’ Okay, sorry, we couldn’t help ourselves. The gentleman you see above getting ready to grab you by the face is Wesley Johnson, owner/proprietor/grand poobah/etc. of Insulin Funk. What is Insulin Funk you ask? Well, it’s the depression that sets in from insulin withdrawals when you have diabetes and are jonesin’ for some shots. No! It’s a website dedicated to film, comics, videogames and assorted other media. Aside from his ‘grand poobah’-related responsiblities, Wes is also one of the two main hosts of the JPAGcast, a ‘podcast based on a Facebook group based on a podcast’ that I may or may not have guested on myself a couple of times. His take on new forms of content delivery in game coverage is from the side of a passionate enthusiast — a lot like us. As always, please feel free to share your thoughts in the comments

(GEEK): As a freelance journalist and having hosted/been a part of a variety of gaming podcasts, could you explain why you think podcasting is an important approach for games coverage, and more specifically, games journalism?

Gaming news sites are often pigeonholed as enthusiast press, right? Well, enthusiasm can only be reflected so much in the written word. Hearing an “enthusiast” express his or her enthusiasm audibly is often more entertaining than reading their words. That’s not to say podcasting is more valuable than print, though. That’s not true at all. A good podcast will assist your readers in getting to know you which will in turn make them value your writing more.

(GEEK): In your time as a games journalist/games enthusiast, you’ve seen games writers laid off or resign for other ventures (be they game-related or otherwise). It could be said that the cutbacks we’ve seen budget-wise in games journalism are symptomatic of changing business models that are affecting journalism on the whole. In that regard, do you believe publishing entities in games writing are adequately adapting to changing business models?

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Yes, yes, it’s a little late in the day to be posting a feature (nearly four in the afternoon may as well be midnight on the interweb) but you must understand: those chocolates needed to be eaten while watching daytime television. They’d have gone bad otherwise! Come on, interweb! Either way, we’re making up for it with an interview in our ongoing “Text Tree” series featuring none other than Joystiq’s Editor-in-Chief Chris Grant. He explained the reasoning behind getting into podcasting for him and how we (as, ‘the media’) are trying — and sometimes failing –  at making new forms of content delivery work. He also gives a shoutout to Stephen Totilo ’cause hey, why not?

Phillyfied Chris Grant fact: Dude lives in Philly! Massive, colossus-sized blog’s Editor-in-Chief lives and works out of Philadelphia. Suck on that, San Francisco! And now, the interview.

(GEEK): As a host/creator of the Joystiq Podcast, could you explain why you think podcasting is an important approach for journalistic coverage, and more specifically, games writing/journalism?

The logic behind starting up the podcast was specifically to present a more casual, laid-back approach to delivering the news. I know what you’re thinking: “But Chris, Joystiq is a blog! You guys had a Star Wars-themed day where you secretly snuck in references all day! Even more casual than that?”

Sounds crazy, right! Here’s the deal: At Joystiq, we write with the editorial “we” and though the more astute readers may parse a personality from each post, most don’t. They visit the site to gather the news and, in turn, we take that responsibility very seriously. On the other hand, we know there are readers who do want a more personal – and more in-depth – take on the news. And thus, the Joystiq Podcast was born from that desire.

Why is it important? Well, I don’t know if I’d say it’s “important” at all – but I would argue it’s valuable. It helps us reach our audience more directly; it helps our audience put personalities to the names they read every day on the site; and, conceptually, it satisfies a need so we can focus on delivering the news in as entertaining a way as possible so readers can study up on, say, the latest first-person shooter instead of parsing who’s who from a dozen different first-person singular pronouns.

Also, people can exercise while listening to them. (Hey, Stephen!)

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Photo by Christopher Anderson/The Gazette

As you may or may not remember, last Friday we began a series of interviews titled “Text Tree” where we asked WhatTheyPlay’s John Davison and MTV Multiplayer blog’s Stephen Totilo a few questions regarding the role that new forms of content delivery are playing and how changing business models are affecting the way we cover the game industry. We’re kicking off this week with Crispy Gamer’s own Kyle Orland. Hey, didn’t that dude also write a book? Yeah, he totally did (“Wii for Dummies“)! Anyway, he was kind enough to take some time out of his schedule for us and what he said (specifically about changing business models) might surprise you.

(GEEK): As a freelance journalist and having hosted/been a part of a variety of gaming podcasts, could you explain why you think podcasting is an important approach for games coverage, and more specifically, games journalism?

Personally, I find gaming podcasts compelling because they’re the only type of game journalism you can consume WHILE playing a game. In a world where every second spent reading about a game is a second you could be PLAYING a game, this is just efficient time usage. In fact, why are you reading this? Go play a game or something!

On the downside, listening to podcasts while gaming means you can’t listen to the in-game music/sound effects. On the plus side, most game music and sound effects are pretty bad!

(GEEK): In your time as a games journalist/games enthusiast, you’ve seen games writers laid off or resign for other ventures (be they game-related or otherwise). It could be said that the cutbacks we’ve seen budget-wise in games journalism are symptomatic of changing business models that are effecting journalism on the whole. In that regard, do you believe Crispy Gamer or, maybe more importantly, all publishing entities in the games writing are adequately adapting to changing business models?

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To finish out today’s installment of our seven part interview series “Text Tree” we’ve got an interview with MTV Multiplayer blog Editor Stephen Totilo (seen above pulverizing/being pulverized by Soulja Boy Tell ‘Em). The interview touches on a few specifically pertinent aspects of games coverage and Stephen sums up why podcasts are king (even though they have yet to become truly monetized) in an era of “But I want my information noooooow, Daddy!”

(GEEK): As MTV Multiplayer’s head writer and a guest on a variety of well known gaming podcasts, could you explain why you think podcasting is an important approach for games coverage, and more specifically, games journalism?

You picked a good week to ask this question, as the purchase by UGO of 1UP has put fans of some of the most popular gaming media podcasts in deep distress. What I think podcasts do so well is provide voice and allow nuance. The voice point is obvious, but the nuance one might be a little less so. Gaming media, like a lot of media, thrives on the short and the quick. Any reporter who strives to present an article that has some depth and length to it faces the challenge of getting their readers to engage in those pieces in full. That’s hard online, which is where most gaming media exists these days. People have a tendency to skim or to be satisfied with a snappy headline and intro paragraph. I’ve found that those same readerrs have a greater tolerance for long podcasts. They’ll listen to someone talk about a game or interview for 10 minutes via a podcast but may not have the patience or time to consume the 1,000-word or 4,000-word story that would have been needed to present the same volume of information. Get people listening to your podcast and you’ll get them listening to a lot more of the details in a way that more easily fits into their lives.

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Need help easing back into work after the recent holiday weekend? Here’s your answer.

Thanks to Kongregate (who also host the awesome physics based Tetris game I love so much), you can play ID Software’s ground-breaking first person shooter Doom for free, in browser, using Flash 10. Awesome.

Remember using IDKFA? It works here. Enjoy, but please, don’t come to Geekadelphia asking for a job when you get fired.

Doom In-Browser Flash Game @ Kongregate via Big Download & Digg

Wow, that one is harsh!

Head on over to Must Wash Hands, a neat blog focused solely on Employees Must Wash Hands signs from dining establishments around the world.

There’s only one from Philadelphia. Let’s send some over.

Must Wash Hands via Neatorama

I keep having this reoccurring dream where my future-self rides in on a badass bright red fire-unicorn and tells me how awesome I am. – November 2nd, Cliffy B

Really, it isn’t every day you get to listen to the rumblings of an influential video game director… unless you happen to use Twitter. We here at Geekadelphia have a Twitter account, and though it is often neglected, we like to Tweet out the occasional fun link that we don’t have time to post up.

Cliffy B, the man behind Jazz Jackrabbit, Gears of War, and Gears of War II, also happens to rock Twitter, sending out witty and often ridiculous updates…

Sure, he’s making himself into something of a character, but I don’t care. (I do. CliffyB gets no dice. -bg)  I’ve got to thank Ben for sending me a link to Cliff’s Twitter account, because Cliffy B is a lot more fun to listen to than Rittenhouse Square.

Cliffy B @ Twitter

You know what we’re tired of? Dozens of invites for petitions and groups flooding our Facebook inbox. Petition Against the New Facebook! Bring Back Old Facebook! 5,000,000 Strong For Original Facebook! You know what? Shut up. We’re actually fans of the new Facebook layout, and we’ll tell you why.

1. Less Crap on the Wall: We all have them. Friends of ours who pile on the applications. Quizzes, Movie Picks, Book Clubs, and oh, how can we forget Mob / Zombie Wars? Finally, with all those applications placed in a separate tab, we no longer have to browse through a dozen stupid LOLcats to get to the wall or friend info.

Why are people so up in arms about this? Is the Arrested Development trivia box and Little Green Patch application keeping people from reading your info and realizing what a loser you actually are, despite how much you might know about the Bluths or how large your virtual plant is? Stop whining. If people really care, they can click on “Boxes”. Chances are, they don’t.

The wall filter function is another fantastic addition. Smack on the front page, you can narrow down the news with a quick click. It’s great. Learn to love it.

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