08.20.12 |
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Film Crit Hulk on the the ending to Mass Effect 3 (game spoilers will follow):
To be honest, hulk thought it was one of the best video game endings that Hulk has ever seen. It went for a brief, beautiful articulation of everything it ever needed to say about its central, driving theme. But even if it didn’t do it for you in that same emotional way as it did for hulk, there is no denying that the ending is a single, economic thought and pure expression of the creators.
Hulk argues well here. It’s probably the best defense of Bioware’s original intention I’ve read. Yet like many (most?) of those that have finished the game, I remain disappointed by Mass Effect 3‘s ending. It fails on several levels – it’s length (there were early side mission cut scenes that ran longer) and its failure to account for decisions made earlier in the game, a hallmark of the Mass Effect series. Yet for me the biggest shortcoming was less plot and more user interface; that “walk to one of three options” final choice on the Crucible was flat out confusing.
08.13.12 |
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Gamer Hazzen on Ouya, the red hot Kickstarter funded gaming console:
I could go on and look at the other realities of this project, but I won’t. I don’t even care if the thing succeeds or not. I’m just sick of the breathless enthusiasm for a complete unknown in an exceedingly difficult industry.
Agreed. Hazzen goes on to rip apart the economics of this new gaming platform. Be it for big releases or even indie hits, the financial implications don’t seem sound. I don’t see this taking off. I’d expect a more integrated Mac/PC/iOS to TV gaming solution as a much more viable option.
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.