01.23.14 |
Gaming |
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Microsoft promotes the Xbox One as an all-in-one solution for your living room needs: gaming, film, cable TV, even home exercise. But the Xbox One leans on convergence to a fault. It’s a console whose overstuffed feature set, for now, has left it vulnerable on both price and its user interface. While core gamers kept sales strong over the holidays I’m concerned that the console will have a rough future with a mainstream audience.
Its convergence problems start with its $500 price tag. Devices that already carry the same feature set of core streaming services (e.g. Netflix, Hulu Plus) as the Xbox One are $100 or less. Granted, the Xbox One adds on high end gaming, voice and gesture UI integration along with limited cable TV control, but those additions for $400 are a hard sell for everyday consumers. And I doubt we’ll see a price drop anytime soon; the console requires high-end expensive gaming hardware to compete with Sony’s PS4 over next gen gaming. The Kinect, one of the Xbox’s purported main innovations, drives the price higher. Microsoft tacks on additional fees as well: a $60/year Xbox Live subscription is required for most functionality, a policy unheard of on competing tech devices like the PS4 or Roku.
Convergence across diverse activities also adds complexity to the Xbox One’s UI, an extra hurdle for mainstream adoption. Just compare the console’s preferred interaction method – voice – against interaction on competing media and tech devices. From my own testing, Xbox One voice commands largely work. But it still feels like a feature trying to find its footing; about 20% of the time I have to repeat myself or a command takes me in an unwanted direction.
80% reliability is a good start, but that’s 15% short of what it should be given the competition’s astounding performance. Consider the 1 to 1 touch interaction on a modern iOS or stock Android smartphone or tablet. Or the tried and true keyboard and mouse inputs on a desktop or laptop. Even buttons on a remote control for the cable box. These aforementioned devices “just work.” Granted, Microsoft’s voice technology is new and will improve, and there’s a game controller for backup navigation. But historically users outside a tech or gaming enthusiast base show little patience for new input technologies that work unreliably.
Then there’s added Xbox One functionality that’s puzzling. Things like:
- “Snapping” an application like a web page or Skype alongside the right side of the screen seems like it would be used in a rare scenario.
- Minority Report style Kinect gestures to move around the UI that are slow and awkward.
- A Windows 8-like interface that’s visually striking, but occasionally confusing with a menu of very similarly sized and colored boxes doing different things.
Microsoft would argue that ambition takes time and that the Xbox One’s rough patches will be smoothed over soon. And I want the Xbox One to succeed; strong competition from Microsoft’s console leads to better technology from Sony, Nintendo, Apple and Google. However, other living room tech isn’t standing still. Rumors suggest the next Apple TV iteration will be ambitious. Sony’s PS4 runs select multi-platform games at higher resolutions with a more straightforward, gaming focused UI, which could appeal to the core gaming market. Drive can only take a console so far; with Microsoft’s missteps on price and UI, it’s unclear if the company can deliver on its promise.
01.15.14 |
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Emanuel Maiberg over at Kill Screen talks to Ubisoft about their commitment to “companion apps” for smart devices on their big AAA games like Assassin’s Creed 4. I came into the whole concept pretty skeptical, but admittedly seeing a full, real time AC4 map on my iPad as I’m gaming on the PS4 is pretty cool. Far from revolutionary, but it’s a nice touch. Looks like Ubisoft is in it for the long haul:
In fact, Early said Ubisoft’s so committed to the companion app concept that any game being pitched today within the company has to describe its companion app before it’s greenlit.
12.31.13 |
∞
Kotaku’s Kirk Hamilton:
The Last of Us didn’t fall short. It accomplished precisely what its creators set out to accomplish. It was about love and companionship in the face of a world-turned-nightmare. It was about the horror of survival, and about the gnawing fear that accompanies scarcity. It was about loss and coping, about why we choose to continue living when all hope is lost. It will remain a noteworthy accomplishment for years to come, not because any one of its accomplishments was all that remarkable on its own, but because together they made it seem possible that blockbuster games this good might one day become regular—though never ordinary—occurrences.
Well said. The Last of Us was a AAA phenomenon who’s story still resonates with me months after its release. It was my favorite game of 2013, and I was glad to see Kotaku shared the same assessment. (Giant Bomb ranked it number one as well.)
12.27.13 |
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Noah Horowitz over at the NRDC:
The Natural Resources Defense Council has just completed rigorous measurements of the power use of the newly released U.S. versions of the Sony PlayStation 4 (PS4) and Microsoft Xbox One. We found that the new models have made substantial progress on energy efficiency compared to their predecessors, the PS3 and Xbox 360. But despite these power-saving advances, the new consoles’ higher performance and new features result in up to three times higher annual energy consumption than the most recent models of their predecessors.
What’s most telling about their research is for most common streaming usage – watching HD movies on Netflix or TV on Hulu – devices like the Apple TV and Roku use less than 5 ways. That’s 15 times lower than the PS4 or XBox One. It’s minor, but between that and the ability to easily navigate with a remote control, I tend to switch to my Roku or Apple TV for movies vs. my new PS4.
12.25.13 |
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Yes, it’s arguably a lot of PR boilerplate over at this PlayStation Blog post. But I’m linking to game studio Housemarque’s holiday card because they are behind Resogun, a legitimately great launch PS4 game. These guys are the embodiment of almost everything I wanted from the PS4 on day one; a simple fun showcase for the PS4 graphics with addictive gameplay. It’s perfect for a short break away from my day job. If you do have a PS4 over break and haven’t given Resogun a try, do so. It’s free on PS+ (which you should have for at least 30 days as part of your new console) and even a la carte at $15 it’s well worth its entry price.
12.20.13 |
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I’ve usually come away very impressed with Polygon’s long form writing, and this article by Tracey Lien is a great example. Very solid reporting, smart illustrations, it’s the full package. Best of all, you don’t have to be hard core gamer to appreciate the content. If you’re vaguely interesting in marketing, even basic human psychology, there’s a lot of good stuff here.
12.12.13 |
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There’s been a lot written regarding the PS4 post paunch, but a lot, especially the much hyped (and scored) review over at Polygon was far too premature. We’re just too early to know how these consoles will shake out. But Dan Solberg over at Kill Screen Daily has the right balance. There’s a few soft statements on what clearly stands out (e.g. the PS4’s focus on gaming, sharing, the inconspicuousness of the hardware) and a great analogy: buying a PS4 today is like “sitting in a waiting room”:
To purchase the console at launch is to subscribe to a patient stakeout with the promise of payout sometime down the line. A new Uncharted game has been announced, and both The Witness and the new Infamous game show tremendous potential, but you can’t play them this year. It’s no wonder that devotees are whipped up in a religious fervor about the new “console war” when they’ve chosen sides based mostly on faith.
11.18.13 |
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Kris Naudus, writing for gdgt:
Granted, if Nintendo started making games for mobile it’d still be making games, which isn’t a huge momentous change. But it does mean giving up on their commitment to hardware. And that leads us to the other reason it doesn’t make the switch:
Control.
10.30.13 |
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Game critic Tevis Thompson, writing a very long rant on how broken the state of video game criticism is:
The very outlandishness of my numbers points to how ingrained our pitiful review scale remains. It speaks to how easily we submit to the tyranny of the perceived majority. It’s the same kind of thinking that leads to the many ridiculous sacrosanct positions held by the gaming community. To say you consider Ocarina of Time not a great Zelda or find Half-Life 2 overrated or prefer Metroid to Super Metroid, as I do, demands an explanation. It invites skepticism of not only your opinions but of your very motives. What’s your deal? You’re just trolling for clicks. And why should I listen to you anyway? You didn’t design the game. You don’t represent the average gamer. You’re just some vocal minority.
Overall I can’t say I agree with Tevis. If anything, when I read criticism from Giant Bomb to Polygon and Tom Bissell on Grantland, we’re getting better criticism recently, not worse. You just have to know where to read. It doesn’t help either that Tevis uses inflammatory language frequently (e.g. “thin-skinned boys”, “straight middle class white gamer”).
But there are some good points made, especially with regard to the general uniformity in game scores for select AAA games (including Bioshock Infinite). If you dig gaming, read reviews, and especially if games journalism matters to you, it’s worth your time.
10.18.13 |
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Jason Schreier, writing for Kotaku about the final years at famed gaming studio LucasArts:
“It never felt like people at the top cared about making great games,” said another person connected to LucasArts. “A lot of awesome projects never went anywhere because, ‘it’s not gonna make enough money.’”
Take the case of “Star Wars GTA,” for example. During the early days of the 1313 project, some top staff at LucasArts wanted it to be an open-world, Grand Theft Auto-style Star Wars game set on Coruscant, according to two people familiar with that project. It was a fantasy for many on the team, and the thought is enticing—who wouldn’t want to explore and cause mayhem in a world full of seedy bounty hunters and Star Wars crime families?
Looking at their contemporaries at Rockstar and Ubisoft, LucasArts staffers plotted out how many people it would take to build a game like that—hundreds—and how much money it’d cost—millions. That was too much of a risk for the executives at LucasFilm, sources say.
“Of course there was no appetite to make that kind of investment,” said one person familiar with goings-on at LucasArts. “That idea kinda came and went literally within the span of two months.”
Pretty tragic. At least we have the legacy of some amazing games like the Monkey Island series, Grim Fandango, and Tie Fighter. In a way, the best of the indie revolution we’re seeing today reminds me a lot about stellar studios like LucasArts. They take often dormant, forgotten genres and reinvent them in a way that makes them critical and fan favorites (e.g. Spelunky, FTL).