03.17.14 |
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The Last of Us was an amazing game that really pushed the adventure genre forward. So it bummed me out after finishing it that I didn’t buy the collector’s edition that contained this 85 minute making of documentary. Fortunately for all of us it’s available now for free streaming on Amazon.
There’s a few moments that feel a bit too effusive (it’s clearly an “authorized” doc) but largely it’s excellent, an excellent watch for almost anyone who likes narrative-driven gaming. There’s a lot of interviews with the cast, developers, sound engineers, raw footage from the mo-cap studio and much more.
03.12.14 |
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Major props to Giant Bomb’s Jeff Gerstmann for keeping the hype meter in check and not giving a final review of an entirely online-only game yet. And if there’s any commentary that stands out about one of the most anticipated games of this year, it’s this:
Titanfall doesn’t have time for that nonsense; it’s way too focused on being a great multiplayer shooter for people who already enjoy them. That leads to an interesting conundrum and a package that manages to be laser-focused on a specific type of gameplay, which can make it also feel a little too small. It all comes down to how much you already enjoy these games and how badly you want something that updates the Call of Duty formula in some new, exciting ways.
That’s a great summary. A significant evolution of the traditional first person shooter genre but it’s not necessarily going to convert the unconverted.
03.07.14 |
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Mike Barthel, writing for The Awl:
These are the lines on which the critical battle-lines have been drawn: narrative-heavy AAA games get pushed to a mainstream audience as breathtaking advances in realism and size; critics respond by championing the difficult and the handmade. Each side represents a competing argument about how games can justify themselves as art. AAA games, and consumer game reviewers, use the logic of Hollywood blockbusters: big budgets, big successes, big names, big pictures…
…Indie games, on the other hand, are justified in the same terms as mid-century modernist art, especially poetry. They are not for the masses, but for a discerning elite. They are intentionally out of step with current trends. They are by single creators, generally, and those creators are lauded as heroic…
…Both of these approaches feel incomplete.
Great, thoughtful piece.
02.27.14 |
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Excellent opinion piece from Wired’s Chris Kohler on the indie game resurgence in quality and risk taking:
The question used to be, could independently produced games compete with the big studios? Now I think the question should be, can the big-studio model continue to exist? Right now, indie games are serving niche audiences that were left behind by big studios. What happens when small teams start to make shooters that can pull audiences away from Titanfall? Football games that are more fun than Madden?
For players, it really doesn’t matter where the great game experiences are coming from, as long as they’re coming from somewhere.
02.25.14 |
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Like many others who grew up hanging out in arcades in the 90s, Street Fighter 2 was a fixture, a game you agonized, fought, and obsessed over. I’ve got an indelible teenage memory of finally beating the game with E. Honda in the arcades. So naturally I can’t help but highly recommend this Polygon long read compiled by Matt Leone. Some really incredible, revealing interviews charting the game’s history.
And for web designers/developers there’s a special treat with that intro. It’s not only a clever recreation of the SF2 title screen, but there’s some smart HTML5 canvas and CSS treatment as well.
02.21.14 |
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Superannuation over at Kotaku compiles data on what the realistic costs of a AAA game, which is almost never publicly discussed. The results are pretty shocking: $27 million for Beyond: Two Souls, $68 million for Watch Dogs, five to ten million for just the marketing on Dead Space 2. No wonder we’re seeing such a small budget indie resurgence lately; there’s no way to compete with budgets this high.
02.11.14 |
Gaming |
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Gamers have focused on better graphics and game scale to mark what defines “next generation” console gaming. However, it’s disappointing that artificial intelligence hasn’t been given the same scrutiny; strong AI makes a game more unpredictable, challenging and immersive. Assassin’s Creed 4, Ubisoft’s latest adventure epic, needs work in the AI department.
It’s a shame because AC4 otherwise exemplifies what I expected out of a next-gen launch title. There’s a much larger world in AC4 than earlier Assassin’s Creed games with huge amounts of ship combat, treasure hunting, and exploration apart from the game’s main storyline. Graphics are stunning and run at a fluid 1080p resolution on the PS4. Water and facial animations are especially impressive compared to games I’ve played on “current-gen” consoles.
Unfortunately enemy AI is poor, seemingly unchanged in quality from the now four year old Assassin’s Creed 2. For example, when a group of enemy soldiers surround you in hand to hand combat, only one or two attack at a time. Also when you’re spotted, enemies run blindly at you. There’s no attempt at a sneak attack, flanking or a defensive position. In addition, AC4 has a lot of fighting on rooftops and ship decks where enemy AI is easily confused. Soldiers tend to cluster precariously near deck or rooftop edges where a quick attack can knock them off to their deaths.
AC4’s solution to this inept AI in later stages of the game is to either overwhelm you with sheer numbers of enemies, hoping you’ll make a mistake, or ramp up AI speed, making sword or gun combos more difficult to execute. But these feel like riffs on the same difficulty adaptations that we’ve relied on since 1980s arcade shooters. With next generation console hardware, I expected better.
I’ve considered an alternative reality where AC4 has its explorable world and mission count slashed in half. The subsequent millions in development savings are invested into smarter enemy AI, AI that strategizes and retreats from fights when they are overwhelmed for backup. I’d also add in a GTA-style “wanted” level on land that ensures you could be ambushed any time (to the game’s credit, this already exists for ship combat on sea) as well as some extra consequences to dying.
These gameplay changes could have huge upsides for users: repetitive gameplay (and thus boredom) decreases significantly. Hand to hand combat is more difficult and varied. Because enemies can flank and ambush you at any time, there’s a undercurrent of tension to otherwise mundane in-game tasks. And as enemy AI gets smarter, players will be forced to rely more on stealth and “hit and run” assassinations, even when artificially set mission objectives don’t explicitly require it.
Sadly, I doubt Ubisoft is listening to my suggestions; there’s a perception among AAA studios that better graphics and long, safe single player campaigns keep sales high. That attitude has to change for AI to be prioritized, but given the millions at stake for large studios that’s unlikely. So I’m hopeful smaller indies will keep iterating on AI. With their strong showing from 2013 (e.g. Brothers, Gone Home, Gunpoint) and increased presence on powerful next-gen hardware, here’s hoping it’s just a matter of time before game AI dazzles us.
02.07.14 |
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This Eurogamer article on the trouble launch of the Wii U has been passed around for a few weeks in gaming communities. But especially in light of Nintendo’s poor financial results and their need to shake up their business, it’s worth revisiting. This particular passage was flat out shocking:
This was surprising to hear, as we would have thought that they had plenty of time to work on these features as it had been announced months before, so we probed a little deeper and asked how certain scenarios might work with the Mii friends and networking, all the time referencing how Xbox Live and PSN achieve the same thing. At some point in this conversation we were informed that it was no good referencing Live and PSN as nobody in their development teams used those systems (!) so could we provide more detailed explanations for them? My only thought after this call was that they were struggling – badly – with the networking side as it was far more complicated than they anticipated. They were trying to play catch-up with the rival systems, but without the years of experience to back it up.
01.29.14 |
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Graphic designer Sean Haas examines how the iconic PlayStation logo was designed in the mid 90s. He looks over many early prototypes and influences from both the time period and competitors like Nintendo. (via Patrick Klepek)
01.28.14 |
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Tested’s Will Smith gave the Xbox One a second chance as a universal remote after a negative run last month:
As far as I can tell, Microsoft hasn’t changed anything with the way the TV functionality works since the Xbox One’s launch, but my behavior has changed. I use the TiVo remote to navigate to whatever I want to watch, but if I need to pause, play, or even fast forward whlie I’m watching something I use the basic voice commands. “Xbox Pause” and “Xbox Play” are reliable and work well, even though using the voice commands for more complex tasks remains maddening.
But it looks like there’s some serious power concerns that may keep him from using the setup over the long run.