You already know that the Crispy Gamer Game Trust knows its stuff when it comes to gaming. But where are the writers really coming from? What are their favorite games? Their defining gaming moments? Their best dance moves?

To answer these questions, and many more, we present our "Ask the Game Trust" feature. Every week we'll ask and answer a different question about our collective experiences, opinions and thoughts on videogames and life in general. Feel free to open a similar window into yourself in the comments thread.

This week's question: If you ruled the world, what one thing would you change about videogames (or the game industry)?

Kyle Orland: Unskippable tutorials

Why is it a problem? Nothing sucks the fun out of the beginning of a game than being force-fed an explanation of the controls and in-game interactions in the form of a boring, slow-paced, playable recitation. I know games are getting more complex these days, but whatever happened to the fun of figuring things out for yourself? Either make the tutorial an optional starter level or space the instructions out through some sort of easy-to-ignore signage.


What are the chances it will actually get fixed? Pretty good. More and more games offer the option of skipping tutorials these days, and even those that don't often make an effort to make the tutorials interesting, which is almost as good.

David Thomas: Women in the game business

Why is it a problem? Despite the growing number of women who make and play games, the fact is, this business is still a boys' club. As a boy, I usually enjoy the lowbrow laughs and cheap thrills I have come to love and expect from my games. There is some reptilian part of my amygdala that actually enjoyed playing 50 Cent: Blood on the Sand. But realistically, innovation of any real dimension is going to require more women. I know I wouldn't get as much done if weren't for the girls in my life. Thanks, Mom!


What are the chances it will actually get fixed? That's a tough one. If we keep telling ourselves what a good job we are doing of getting women into the development ranks, and gloating about all those grandmas playing online bridge, then we are doomed. Sooner or later the ladies will just give up caring (and that's how we ended up with Spike TV). On the other hand, if this medium really has a future, I am sure that the women will demand some say in what goes in games, and they will fix the problem. This may or may not happen before we get a woman president.

John Teti: Game preservation efforts


Why is it a problem? In the early 1900s, the Library of Congress required filmmakers to print out every frame of their works onto paper to apply for copyright protection, as copyright law didn't yet cover movies on film stock. Because celluloid dissolves over time, the Library's incredible "paper-print archive" is the only record of thousands of early American films, and it wouldn't even exist if it weren't for a bureaucratic fluke. Rather than hope for its own fluke, the gaming world needs to start taking preservation seriously. Wide swaths of the medium's young history are already inaccessible, either because the software has vanished or the equipment is scarce. And it's getting worse. Proprietary media, DRM that has to "phone home" and digital distribution are all making life difficult for the future players and scholars who will want to experience our games. Ten years from now, will anybody even be able to play Spore?


What are the chances it will actually get fixed? Low. The retro revival has made game publishers aware that their old titles still have value, which is a good thing on its surface. But because there's money to be made, it has also made industry lawyers more aggressive in shutting down unofficial "abandonware" archives and emulator sites. That's a net loss, because amateur enthusiasts are the only ones likely to take the long view on this issue. Game companies are, reasonably enough, beholden to their shareholders, so they'll only try to preserve the medium when it fits their short-term financial interest.

Dave Long: The perception that games should be like movies

Why is it a problem? It goes against the best definition of the word "game": "A competitive activity involving skill, chance or endurance on the part of two or more persons who play according to a set of rules, usually for their own amusement or for that of spectators."


There is no game if you're simply pushing buttons to see the next cut scene. You're merely a monkey being led by the nose through a story written by a screenwriter incapable of making it in Hollywood, or worse ? a game designer who thinks he's the next George Lucas. It also leads to games being treated as second-class entertainment, because they emulate summer blockbusters, but only for an audience weaned specifically upon their designs. Everyone else doesn't get it. Thirty years ago, people came to the video arcades to compete. Strategy and skill created discussion, and led to industry success. Now the Wii has completely flummoxed modern third-party game companies because it brought that kind of game back to the home.


What are the chances it will actually get fixed? Chances are, some skill-based games will break through on the high-definition machines. Games like The Club, designed specifically to appeal to people like me who love the competition of gaming, are roundly criticized because they expect players to actually practice and become good at playing it. On the other hand, Street Fighter IV is a glimmer of hope, and obviously the online first-person shooter genre fits the bill. But all too often, the games trumpeted from on high aren't truly games, just the next thrill ride you pay $60 to watch as you twiddle your thumbs toward an inevitable conclusion.

Steve Steinberg: The perception of all things videogame

Why is it a problem? While it's cool to write something and have one of your colleagues say something like, "Nice job on that Summer Heat Beach Volleyball review. You really nailed it," how much cooler would this scenario be: You're sitting in some casual yet funky bar, just minding your own business, when a stunningly attractive woman approaches you and whispers, "I really dug what you had to say about Spyro: Attack of the Rhynocs." Then she starts twirling her hair with her fingers and coyly adds, "It must be so exciting to have a debug unit and be able to play games that are only 60-percent completed."


What are the chances it will actually get fixed? It will happen in our lifetime.

Troy S. Goodfellow: Translations

Why is it a problem? Few things take me out of a world or setting as much as a butchered translation, whether it be from Russian or Japanese or French. I'm sure non-English speakers have this same problem when an American or British game is adapted. Whether I'm trying to save the world or conquer it, fractured sentences and unclear instructions break whatever immersion or flow-state the game has going on. And this leads to critics wasting 50 valuable words on how LOL-tastic the writing is. You would think a global economy could handle this sort of thing better.


What are the chances it will actually get fixed? Unless we all wake up to a world of Esperanto, pretty slim. Most game developers barely pay for good writing; why would they pay for good translation?

Harold Goldberg: Awful storylines


Why is it a problem? More than nine times out of 10, the writing in videogames is abysmal, stench-emitting dreck that's cliché, has no dramatic arc, is poorly plotted, drips with inane dialogue and is utterly one-dimensional. And don't get me started on grammar and spelling. I would make games with deeper, far better-written stories. Even kids' games should be well written.


What are the chances it will actually get fixed? Ken Levine and the Houser Brothers are doing something about it, but otherwise, I don't see this changing anytime soon -- at least, not until game developers begin to care about story as much as game design. Maybe they could read novels in addition to watching movies for inspiration. That would be a fine start.


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Gus Mastrapa: The narrow view of reviews

Why is it a problem? Videogame criticism has been stunted by the notion that a review must be this all-encompassing, final judgment upon a game. In reality, a review is just a snapshot in time -- one person's opinion trapped in amber. We've elevated review scores way beyond their worth and we're stuck examining videogames as electronic gizmos and not experiences, artistic expressions or anything remotely related to fun.

Because we've allowed game reviews to take a single, fairly rigid, form for so long, readers have become entrenched in a certain way of thinking. Many have the wrong-headed notion that reviews should be objective. Others think that there is one correct review score or opinion, and that any deviation from that implies some kind of fault with the critic, be it bias, poor gaming skills or even dishonesty. The worst part is that it's our fault that they think this way. Our addiction to bullet points, review scores and other shortcuts has undermined the potency of the one thing we're supposed to be doing best -- the writing.


What are the chances it will actually get fixed? I see a light at the end of the tunnel. Change is coming, but it's coming slowly. I think video will help transform what people expect out of reviews -- guys like Yahtzee are doing lots of work to challenge notions about what shape and form a review can take. I think reviews can take any shape and form. They can be ultra-short like a single Twitter post, or longer than the longest IGN review, encompassing two, three or maybe an entire genre of games. I'd like to see more editors allow for experimentation and throw out the stifling categories of "review" and "preview."

The sooner we shake off all the bullet points and other tacked-on bits of data that cling onto our stories, the sooner we can get down to the business of creating world-class criticism like the kind we read every week in The New Yorker. Videogames deserve the same thoughtful, readable approach. Of course that also means that we, as writers, have to step up our game and start writing at that level. I have faith that when we reach that bar, there will be readers there waiting for us.

Evan Narcisse: The ethnic, gender and cultural diversity amongst game characters and the people making games

Why is it a problem? As in any field of pop culture, I think game audiences want to feel like they have connections to the characters, the story and the sensibilities in the entertainment they consume. Any game that mirrors parts of a person's experience or opens a window to another worldview has a chance to be more than the sum of its parts. You need people from all walks of life to make this kind of stuff happen.


What are the chances it will actually get fixed? Fair to middling. Lots of universities are starting to offer videogame degree-granting programs. I'm sure many of the major companies at least offer lip service to the idea of commitment to diversity. What's needed are scholarships, recruitment drives and more transparency about how to break into the games business.

John Keefer: Lavish PR events

Why is it a problem? For any journalist worth their weight, these events do nothing to sway thinking about a game. Publishers should use the money they're spending on wining and dining the press at a lavish event to make a better game! When I go to events at fancy restaurants or posh hotels, eating food I can't pronounce (let alone would ever order in a restaurant) and receiving bags of junk that some marketing guy thought was clever, it's all for the sake of a demo of a game that tells me little of what the final product will be. In this economy, that is a enormous waste of cash.


What are the chances it will actually get fixed? Probably not any time soon. Publishers need to promote their game, but they need to realize that most of us aren't wowed by bells and whistles. Get us a game that works and plays well. I'll settle for a burger and build of a great game over pomp and circumstance any day.

William Abner: Annualized sports game sequels


Why is it a problem? Sports games are, without question, the biggest rip-off in the entire gaming industry. Publishers charge $60, full price, for a game that that is anything but new. This isn't the developers' fault; in fact, in many instances, as much is packed into these "new" games as possible given a nine- to 10-month dev cycle. But more often than not, you're buying a new game with tweaks to the established formula -- and paying 60 bones for the pleasure.


Can you imagine any other genre trying to get away with this? "Hey, look! Saints Row 2 now allows four-player co-op, some "enhanced" textures, and the AI is said to be 'better' ? and whoa, they now have Ice Cube on the cover!" That'll be $59.99 plus tax, please. In The Land of Abner, yearly sports game releases are banned. A new, fully priced sports game may ship every two years. In "off" years, a roster file will be made available so those who need to play with the current teams can -- and so will any patch attempts from the publisher. Charge $20 if you want.


What are the chances it will actually get fixed? Sports games sell, and sports gamers are eternal optimists. "This year they'll fix Problem X that has plagued Game Y since the PS2." We walk around with a carrot tied to a string wrapped around our heads. We're suckers. But we still buy the damn things every year, and until that changes, pubs will keep cranking out those $60 updates and walking to the bank to fund really bad Wii games.


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Scott Jones: All game store employees

Why is it a problem? Game store employees are, for 90 percent of consumers, the very face of the medium. It's a pimply face that's typically decorated with pieces of donut. But it's still a face. What gives me red ass is overhearing the self-satisfied, terrible advice they dole out to confused parents and/or new gamers. I've stepped into a few of these situations, trying to prevent some sap from wasting money on Fusion Frenzy 49. And every time I've done this, I've gotten the same reaction from the employee: 1. fold arms, 2. raise eyebrows, 3. make condescending snorting sound in my direction.


What are the chances it will actually get fixed? With the advent of services like Steam, these guys are already an endangered species. So, within 10 years, they'll have some other careers, either as Arby's managers or working as prison guards. Yay for them.

Marc Saltzman: Pricey videogames

Why is it a problem? The economy. Videogames shouldn't be $60 today -- or up to $90 for special-edition games (Resident Evil 5, anyone?). Yes, I know an average game takes years and millions of dollars to develop, and that time and money has to be recouped, but if publishers want to sell more units in a down economy, they should drop the sticker price to something more reasonable, like $30 or $40. I laugh when I read about companies who sell in-game advertising, saying the savings can be passed down to the consumer. Publishers aren't dropping the cost per game at all! Game journalists would probably raise this issue more if we all didn't get these games for free...


What are the chances it will actually get fixed? Not likely anytime soon, but perhaps if publishers increasingly consider digital distribution for games it could help offset the costs for the gamer.

Steven L. Kent: Inaccessible classic games

Why is it a problem? You can't find the old classics anywhere! I mean, what if I want to play a nice classic game of Pac-Man or Space Invaders? I'll bet every gamer over the age of 20 is just itching for a chance to play Super Mario Bros. 2 or the original Sonic the Hedgehog, but can you find them anywhere? Why won't Nintendo and Namco and Taito and Midway and Sega re-release these great old games?


What are the chances it will actually get fixed? Well, what do you know? It appears that this problem has already been fixed ad nauseum.


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Ryan Kuo: Credits at the start of a game

Why is it a problem? It's annoying to sit through an unskippable series of animated developer, publisher, graphics engine or production studio logos each time I start a game. The game can and should speak for itself. I'd play games more often if, load times aside, I could jump instantly into gameplay. The credits could show up when you quit the game, just like in the movies (for a recent example, see "The Dark Knight").


What are the chances it will actually get fixed? Minuscule.

James Fudge: The use of digital rights management on games


Why is it a problem? Because, quite simply, it can be a pain in the ass for the end user.


What are the chances it will actually get fixed? A lot of digital distribution networks like Steam, Impulse and Good Old Games are either DRM-free or use a solution that is unobtrusive or invisible to users. There seems to be a movement toward not using DRM at all in this space, which is what customers want. Traditional retail releases, on the other hand, will continue to use DRM until a better solution comes along that protects an IP and doesn't drive us all crazy.