08.09.12 |
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Gamer Pete Davison argues PC gaming is strong:
There is no other platform on which you can have such diverse experiences as the PC. iOS certainly has a good go, but as days go on it’s abundantly clear that the mobile market is shifting very much in favour of “freemium” social games rather than truly inventive experiences. On the PC, meanwhile, the fact that it is such a free market out there — and easy to develop for (relatively speaking) — means that if you can imagine an experience you want to have, you can probably do so on PC.
Pete’s makes a strong point here against consoles. As I pointed out on last week’s post on Mass Effect 3, there’s a void in terms of indie releases and originality in current-gen consoles; just compare what’s out on Steam versus the XBox Live Marketplace or PSN. Yet I think he short changes the iOS and mobile market. There’s a lot of crap, but there are some great ideas out there, and its price and distribution constitute a threat to the PC market.
Don’t count consoles out either; we’ve got a good year before Microsoft and Sony unveil their next generation devices. With the right approach, they could really bounce back against mobile and PC competition.
08.03.12 |
Gaming |
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Lately I’ve been playing the popular sci-fi action/RPG Mass Effect 3 on my PS3. Overall it’s a blast, yet the game feels rushed, even a bit played out. It makes me wary of AAA console gaming for the next console generation. But is it the game? Or a reflection of a gamer in his 30s who’s been console gaming too long?
The best parts of ME3 hit me early. The core gameplay formula – a balance of straightforward combat and dialogue heavy cut scenes – remains intact. The graphics got a nice bump compared to the previous Mass Effect, especially in the facial animations. The extra fidelity adds a lot of depth to chats your character encounters on his journey. And the Mass Effect setting gives a better sense of space and presence than virtually any gaming series.
However, cracks in the ME3 facade emerge around the ten hour mark. The game has the budget of your average summer blockbuster and sadly, about as much care went into the writing. You get your obligatory sequel fan service of poorly written, coincidental bump ins with old teammates (“Grunt? What you doing here?”), halfhearted attempts at real emotion (Shepard has interactive, slo-mo flashbacks of a child lost in an early attack on Earth) and well worn, cliched lines between fighters (“It doesn’t get any better, does it?”).
Then there’s that sense that I’ve been down this road far too many times. Combat is sped up and adds grenades (thanks, Call of Duty sales!) but in the process, it becomes harder to distinguish from other third person shooters. Walks through larger non combat areas can stretch on for too long. Your combat partners still act fairly stupid; they often march straight into gunfire.
In short, there’s a general lack of evolution here, something I’ve also noticed in most AAA games I’ve played this year. In many ways, big budget console gaming parallels the Hollywood studio machine during the summer: repetitive genre works with proven plot lines aimed at a progressively younger audience.
Luckily, summer flicks have exceptions to the rule: strong counter programming (e.g. Magic Mike, Killer Joe) and blockbusters that exceed critical expectations (The Avengers). This happens in console gaming as well, but I’d argue we’re seeing those gaming exceptions further and further apart as current-gen consoles trudge on.
Nevertheless, when I contrast this with recent experiences on other platforms, I’ve got a lot of hope for gaming overall. I played the indie puzzle games Braid and Limbo on my Mac back-to-back, and it was, without exaggeration, a total joy. My iPhone also has been a nice match for casual gaming on the subway. Admittedly most iOS games are pretty poor, but a few times a year there is a game comes along that hooks me.
So where does that leave consoles? Digital distribution, combined with a thriving indie game scene, is key. I want a console that’s the home equivalent of the film scene in New York or LA: a blend of both big budget heavyweights and little indies, both readily available.
07.31.12 |
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From a $60 game, $9 – fifteen percent – goes to the developer. That’s less than both the publisher and console maker.
07.24.12 |
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Ars Technica’s Kyle Orland:
Not only does going through Microsoft Studios mean keeping your game exclusive to Xbox Live Arcade for a certain period of time after launch, but the outfit also takes an additional percentage of a game’s revenues on top of the standard cut taken for all Xbox Live Arcade titles, Carmel said. “That’s why we see savvy console developers like Supergiant [Bastion] and Klei [Shank] go through third-party publishers—those publishers get better terms from XBLA (directly) than a small developer could get from Microsoft Studios, and they can launch the game simultaneously on multiple platforms.”
Steam and iOS are clearly leading the pack here. Will the traditional consoles have a better solution for more open game distribution when the PS4/Xbox 720 are released next year? I hope so, but I have my doubts.
07.13.12 |
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Author Rowan Kaiser, writing for Gameranx, breaks down the plot holes and inconsistencies of Blizzard’s flagship game. I agree; the dialog is often atrocious. That said, complaining about plot in Diablo 3 is pretty well beside the point; it’s still an extremely polished, addictive loot game.
(As an aside, if you’re into gaming news you should be following Rowan on Twitter. Good source.)
07.12.12 |
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Joseph Lawrence, sound designer for Diablo 3, interviewed by Kill Screen Daily, talking about the recording process:
Yeah, just moving it [bowl of peanuts, yogurt, spaghetti] around, squishing it with your hands, hitting it with something else. You experiment until you find something that’s really interesting. Usually we’ll have two people in a room, because once your hands get completely covered in goo then you don’t want to be touching a recorder. So we have one guy running the recorder and the other one doing the goo-mangling. You’ve got to always be open to experimentation, because there’s really no book you can open that says: “How to manipulate yogurt to make interesting sounds.”
Having played Diablo 3 for a few weeks now and now reading this interview, I can see how smart sound design plays off. As Lawrence points out himself, given the repetitive hack-and-slash nature of the game, varied, distinctive sound design really enhances the experience.
07.11.12 |
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Peter Suciu, Fortune contributer:
According to industry analyst NPD Group, sales of video-game hardware — a.k.a consoles — software and even accessories fell for a sixth consecutive month in May, tumbling 28% from a year earlier to $517 million. And with the release of Blizzard’s (ATVI) Diablo III, May also saw the first time since July 2010 that the top-selling game was a PC-only title. That boosted PC video games sales up year-over-year to 230% or $80 million.
A bit premature wishful thinking here. The “hard core” traditional PC gaming market will remain niche. It’s simple economics; to play the latest games requires graphic card upgrades, each of which can easily clear the cost of an entire console system.
However, games like Diablo 3, not to mention the many smaller indie games (many of which I’m playing now on my Mac) that can scale on older hardware is seeing quite a resurgence. Valve’s Steam network is leading the way, and so far as a Mac gaming newbie I’m impressed with its organization and growth.
07.10.12 |
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Really interesting account from The Verge of how the two founders of Sierra’s adventure classic Space Quest series spent their careers. It’s a must read for any gamer like me who spent a lot of time on their computer in the early 90s blasting through a lot of Sierra games.
07.09.12 |
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Rob Fahey, Gamesindustry International:
Zynga is no different – but it thought it was, and some investors believed it. Zynga is a games company. It’s important for it to keep its back catalogue healthy and thriving, but ultimately, if it wants to grow, it has to generate hits. Farmville is back catalogue – a comfortable set of laurels to rest on, and nothing other. Zynga, like any other media company, is only as good as its last release, and only as bankable as the strength of its forward release schedule. There is a sense that the company and its investors thought that the social graph and F2P business could change that reality, but they were utterly deluded in this.
I wouldn’t be too saddened about these guys taking a fall.
07.07.12 |
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I’ve recently been diving into Steam games on the latest Humble Indie Bundle. But early on I had a big problem with control input via the standard Mac keyboard. Especially in games that rely on quick, arcade-like movements (e.g. Super Meat Boy), the keyboard isn’t precise enough and ill equipped to handle the bangs and keypresses of an average gaming run.
Enter the Mac app Joystick Mapper. For $5 on the Mac App Store I plugged in a PS3 Dualshock 3 controller via USB, mapped several buttons and directions to some keyboard and mouse commands, and I was ready to go. It makes a huge difference. Highly recommended.