Challenge Accepted: How games challenge you

Sometimes it’s just challenging to keep your feet underneath you.
Consider a simple game for a moment. Your objective is to tap a key as fast as you possibly can, let’s say the letter X. Every time you hit the key, your score goes up by one. If you stop hitting the key for five seconds, your game ends. Now let’s consider another equivalent game with a different end condition: if you don’t alternate between X and C, your game ends, although you can take as long as you like between presses.
Both games are functional, both offer a challenge, and both could be dressed up to provide a sense of opposition. (Although sometimes all we need is a Flash interface telling us to hammer on the X key to waste two hours of an idle afternoon.) But this isn’t the same game repeated. There’s a different challenge in both versions. In one, it’s all about speed; in the other, it’s memorization. If you’re going to think about challenge, you have to think about more than just the existence of same and more of the types that can be faced.
Expanding beyond Titanfall’s server limitations

A game about giant robots can now be played almost entirely with robots.
Last week, Titanfall set up what I think is a very fair penalty system. If you are caught cheating, you are not banned, you’re simply banished to a server where everyone else is also a damn cheater. So you will be more than able to enjoy the game, if what genuinely makes the game fun for you is playing amidst a field of cheating bastards.
Incidentally, that was the original title for Sting’s “Fields of Gold,” I believe.
I feel this is an excellent first step, but by no means the final one. This is a brilliant concept that is almost infinitely expandable, allowing companies to ensure that players get to live with the people what will nurture and understand them. Or at least understand them. All right, that’s not really what I’m concerned about so much. There are toxic and vile people on the internet who seem to enjoy spreading vile toxicity into the games that we love, and perhaps we could use this same methodology to deal with people best surrounded by one another in the hopes that they may realize “wow, I am extremely annoying.”
Hard Projects: Star Trek

It’s the reviews, sir, and they’re not happy!
There’s no way I could convince anyone reading this that I don’t love Star Trek Online. I wrote a whole piece about it. And it’s all true, Your Honor, I think it’s a great game that comes as close as any game has to capturing the spirit of the series. In fact, it might even seem unfair to list Star Trek here at all, seeing as we’ve been nearly buried under a variety of Star Trek games with varying critical reception. Some are seen as particularly good, some are seen as middling, but very few houses get the license and turn out something execrable.
Yet it’s always a tricky prospect. Star Trek Online languished in development hell for an extended period of time, killing the first studio working on it. Many of the games languish in that impermanent hell toward the bottom of the “acceptable” scale when they hit review time, many of them sliding below that. And nearly every single one faces criticism about its use of the license, with people hand-wringing and asking whether or not the game really fits in with the ethos of Star Trek as a whole.
So what makes this so hard to adapt?
