Jaz Rignall conducts a long interview at US Gamer with part of the original LucasArts team. They reminisce over the golden years of the studio, where Monkey Island, Maniac Mansion and many others were produced. A must read if you grew up playing any 80s and 90s adventure games.
Speaking of gaming and diversity, Kotaku’s editor-in-chief wrote a smart piece on the subject recently as well:
The old game-length question stopped perpetually leading to outrage once it had been asked a lot. It only stopped creating blazing headlines once all the true or half-true or false answers had been tried and once we’d all played enough of the games about which it had been asked.
Today, you’ll see the occasional game developer get in trouble with releasing too short a game, but the scandal of game length has mostly settled into the steady-pulsed understanding that some games are long, some games are short, some games are good, some games are bad, not always respectively.
We’re not quite at the same level of understanding of diversity in games, and I wouldn’t expect us to be. The length of a game may involve issues of value and aesthetic quality. Diversity is far more important, and much more complicated. It can affect aesthetics, yes, but it can also affect the people who play games and how we think about the work we’ve expected to entertain or engage us.
Succinctly, Steven argues it’s going to be a messy issue to sort through, but the more we probe on this issue, the stronger gaming will be as an overall industry.
Rowan Kaiser, writing for Indiewire:
The problem faced by woman and minority-starring video games is largely the same as the problem facing traditionally underrepresented groups across all forms of representation: their failures are treated as definitive, and their successes are ignored. Dozens of white man-starring video games have underperformed, but their failures are treated as specific to that game. Every woman-starring game, though, has to bear an unfair burden, just like “Bridesmaids” was treated as a referendum on the very idea of woman-centered ensembles in theaters.
Kill Screen’s Jamin Warren compares the usage of the term “indie” in gaming versus other forms of media. Overall he finds the concept dated and little more than a marketing term at this point. I can’t agree 100 percent; it’s clear that “indie” suffers from overexposure. But there’s a world of difference between the development size of a game like Skyrim compared to a title like Rogue Legacy. The latter, with its tiny budget and development team and independence from big structure, feels absolutely fair to distinguish as “indie”.
A game that falls in the middle – something like Titanfall – by an team of under 100 employees working independently but through a mega-publisher like EA? That’s debatable. But it doesn’t mean the term loses validation entirely.
Game journalist Maddy Myers:
I have no idea how anybody else survives in games journalism. Well, actually, I do know now. It’s that other people just get day jobs. They do what I’ve done. If they’re lucky enough to find one that they can do in addition to journalism without wanting to die all the time. Maybe they just give up and get a full-time job that has nothing to do with journalism at all.
Eventually, if enough people tell you that your work isn’t valuable, you start to believe them. No matter how many high-minded ideals you have about writing having intrinsic value or journalistic ethics or whatever … continuing to hustle while you’re also hungry and depressed is basically impossible. I tried to do it. I failed.
It’s very disheartening reading posts like this. It’s another reminder journalism in almost any entertainment media (film, gaming, tv) is a dying full time occupation, in the process leading to a serious drop in quality and enthusiasm. Just as importantly, it’s a reminder of the amount of harassment and discrimination women often endure in this field, be it as journalists, developers, or even enthusiasts.
Kotaku’s Kirk Hamilton:
Six months in, the Xbox One still raises as many questions as it answers. What is Microsoft’s vision for this thing? Is it about the cloud, or online gaming, or is it about Kinect? Is it for watching TV, or as the company’s more recent messaging seems to suggest, is it now all about gamers and games?
It’s only natural that some unanswered questions remain, of course—no game console achieves its every goal in the first six months. All the same, Microsoft has yet to put forth a coherent vision for the Xbox One, nor have they clearly articulated why it’s worth spending hundreds of dollars to own one.
As I wrote about back in 2013 before the Xbox One and PS4 were released, vision was the biggest concern I had about Microsoft’s offering. This piece was written slightly before E3, where Microsoft standing by keeping its focus squarely on games. But many questions remain unanswered.
I rarely make a direct pitch for game downloads, but this one deserves an exception. Towerfall Ascension is a competitive platformer with up to four archers taking shots at each other. Its simple gameplay makes it a near perfect couch multiplayer game. And if you’re someone who games mostly solo (e.g. me) the Quest and Trials modes are still a blast. More than anything, there’s a level of polish to this title, from the great music to the incredibly tight controls. It’s one of my favorite titles released on the PS4 so far, and for PS Plus members it’s free for the month of July.
If there’s one trusted source for hard-core analysis of game performance, it’s Eurogamer’s Digital Foundry unit. This post breaks down the pros and cons of locked 30 frames per second versus an unlocked, variable frame rate. If that sounds technical, it is, but writer John Linneman does a solid job of introducing the basics:
So the question is, should console titles be allowed to operate at their absolute fastest? Or should performance be capped in order to enforce the kind of consistency that [Driveclub producer] Paul Rustchynsky talks about?
The short response is that there is no definitive answer. Different games target different experiences with different priorities, and gamers themselves have their own personal opinions on what works best. However, by looking at key titles, we can build up a picture of what works for us, which perhaps puts some of our tech analysis pieces on specific games into context.
I’ve said it before and will say it again here: Giant Bomb knocks out some of the smartest, funniest, and well edited coverage of E3 around. If you’re interested in the expo and have a half hour to spare (especially if you haven’t been heavily following news coverage like I have) it’s a wonderful recap on what’s happened so far. I’d expect a few more recap videos to hit the site later as well.
The “day zero” E3 press conferences by the big two console manufacturers feel like a relic of the pre-digital era: largely predictable, bloated, expensive, and with a lot more emphasis on style and spectacle over details. Yet they’re still important to set the tone and general focus of the Xbox One and PS4 platforms over the next year. In that regard, both Microsoft and Sony had solid, if unspectacular, B grade efforts. Microsoft played it safe but remained extremely polished and focused in the process. Sony had some more interesting, diverse announcements but were marred by some poor pacing and presentation.
Judged strictly by presentation alone, Microsoft handily trumped Sony this year. To answer criticism from last year, they stayed laser focused on games. Though their briefing lasted over 90 minutes, it rarely dragged, with well-crafted transitions and trailers between the larger titles. Xbox head Phil Spencer was clearly on a mission to woo core gamers back to Xbox, and it did so by playing to traditional Xbox boilerplate: racing games, first person shooters, and fantasy medieval combat.
Yet even with a solid effort, Xbox’s exclusives felt underwhelming and almost completely unsurprising. Forza Horizon 2, Crackdown, Fable Legends and The Master Chief Collection are sequels or reboots on existing IP. They’ll likely be fun, but it felt like safe genre territory Microsoft has heavily covered in the past. Also, as more third party publishers go multi-platform, we’ll see Microsoft’s genre reboots overlapping with other publishers (e.g. Ubisoft’s The Crew in the same space as Forza Horizon 2, Bungee’s Destiny competing with Halo 5). Die hard Xbox 360 fans now have stronger reasons to make the jump to the Xbox One now versus last year. But without a clear exclusives victory on sheer numbers or originality, I don’t expect Microsoft to sway those on the fence between the Xbox One and PS4.
In contrast to Microsoft’s showing, Sony, at least on paper, presented a more interesting set of games. Their exclusives were fewer but packed serious punch: Grim Fandango is a classic, cult adventure game from famed designer Tim Schafer and was potentially the biggest surprise of the day. No Man’s Sky is a very unique, indie sci-fi darling and potentially more ambitious than any game shown at E3. Then there’s Bloodborne, a gory RPG from the creators of Demon’s Souls. Round that out with a few anticipated indie exclusives for 2014, most notably Hotline Miami 2, and Sony showed off an exclusive (albeit occasionally timed or console only) roster that was more diverse and daring than Microsoft. And Sony was able to go toe to toe with Microsoft on their own set of exclusive betas and DLC for a few big name AAA games—likely a reflection of Sony’s stronger momentum and sales heading into E3.
Almost all those news was revealed in the first hour. Then came a lackluster middle section that dragged with a scattershot focus and left viewers with more questions than answers. They hawked a graphic-novel TV series with only concept art to show; its ten minutes on stage killed the presser’s momentum. A firm date was set for an “open beta” for the Playstation Now streaming service but few details on games and pricing were offered. The Project Morpheus VR platform was glanced over while Sony’s Andrew House punched down at the Xbox’s Kinect. The PS Vita was mostly ignored; no bundle with the PS4, no price drop, and few standout games.
Overall, Sony’s presentation felt like a slightly larger missed opportunity compared to Microsoft, but neither side was particularly earth-shattering. One factor this E3 has made clear is that many hyped games have been pushed back well into 2015, so it’s unlikely Sony or Microsoft will have a big system seller on its hands this year. There are two notable exceptions: Destiny (a strong performance could overshadow the Halo series and thus help Sony) and The Master Chief Collection (which, if Halo fanatics show up in droves for, could help Microsoft close the gap.) Either way, it’s going to be fascinating to see how each company positions their consoles this holiday season. It’s smaller, intangible factors that could now make a deciding difference among those that haven’t jumped in this console generation.