GamerGate stories have significantly died down in recent weeks, but it’s worth revisiting the topic with tech writer Watts Martin on why the movement is so troubling:
GamerGate’s proponents believe they’re somehow saving video games, as if one too many positive mentions of Depression Quest will cause the next Call of Duty game to spontaneously transform itself into a My Little Pony MMO. This is roughly akin to believing that Michael Bay will start making Jane Austen adaptations instead of three-hour Dolby Atmos test reels if his Rotten Tomatoes average drops another five points.
The real risk to gaming isn’t that GamerGate will fail, but that it won’t fail. No matter what happens, the gaming world will stay safe for the next Grand Theft Auto installment, and it will be as thrilling and wild and morally questionable as ever. But it might not be so safe for the next Gone Home or Revolution 60. Maybe not even for the next Journey or Braid or Papers Please.
The PS4 has ridden a wave of goodwill since its launch a year ago. Its “games first” PR, strong indie support and hardware have translated into a strong console lead. But lately Sony has faltered. There’s been a lack of feedback to users, until recently a lack of UI updates, and Driveclub, one of Sony’s only holiday PS4 exclusives, has had a disastrous release. Meanwhile, Microsoft is going all in this holiday with aggressive price drops, game bundles, and well reviewed exclusives. It’s time for Sony to shake up its approach.
Problem: Losing on AAA exclusives
Lukewarm reviews withstanding, Driveclub is an accessible racer that shows off the PS4’s graphical performance. Its promised free-to-play PS+ version had potential to gain significant word of mouth among millions of PS4 subscribers with little advertising. But even a month since Driveclub was on sale, its online performance is spotty if not unplayable. The PS+ edition is delayed “until further notice.”
Contrast that with Microsoft. By raw numbers, the Xbox One’s AAA exclusives are limited in number, but reviewed well and appeal to a wide scope of popular AAA genres: racing (Forza Horizon 2), shooting (Halo: The Master Chief Collection), and third-person action/adventure (Sunset Overdrive). For holiday buyers deciding between the Xbox One and PS4, Microsoft has a clear advantage on first party titles. Games, more than any other factor, move consoles.
Response: Tote indies and variety
A lack of first party exclusives does not equate with a lack of games; Sony is lucky that after a slow summer we’ve seen big third party releases that cover almost every traditional genre. November has releases from already popular franchises (Call of Duty, Far Cry) and interesting new IPs (The Crew). Marquee sports releases (NBA 2K15) and massively hyped MMO-like shooters (Destiny) launched earlier this fall. So it’s no surprise that Sony has stuck to marketing these titles.
But Sony rarely advertises the PS4’s indie offerings where they have a huge advantage over Xbox on quality and quantity. Granted, many indies have content that’s hard to market as “next gen” to consumers, especially when said offerings are available on PC, the PS3 or Vita. But by leaning on indies, Sony can tout a larger, more diverse game package than Microsoft. And indies do more than bump release counts; many have gorgeous, unique art direction and genres that don’t align with traditional action/shooter/sports AAA franchises. That uniqueness can appeal to a growing market that doesn’t fit into a “core gamer” demographic. Resogun, Transistor and Velocity 2X are all strong examples.
Problem: More expensive price
A PS4 that sells for $100 cheaper than an Xbox One has been a key factor in its success. There’s a compelling narrative at play: pay less for a more powerful, straightforward device that can make the third party titles that dominate 2014 look slightly better. Even when Microsoft matched the PS4’s price by unbundling the Kinect this year, Sony’s momentum was still strong enough for it to outpace Xbox One sales every month. But this holiday season, Microsoft is out for blood: there’s several Xbox bundles widely available for $50 less than the console-only PS4.
Solution: Bundle a quality AAA game
A PS4 price match is unnecessary, even unwise given Sony’s weak financial shape. But there’s more than pricing at stake, it’s Microsoft including either Sunset Overdrive, Assassin’s Creed, Call of Duty or Forza – the final three with big brand awareness – in the box. That’s too much of a differential for Sony to ignore; they should respond with a strong game bundle at the $400 base price. An obvious option would be a well praised first party title like The Last of Us: Remastered. Sony could alternatively make a more aggressive (and more expensive) move by bundling in a hyped new third party release like Destiny or GTA V.
Extras: Play up 2015, tout the hardware advantage
As noted earlier, Microsoft has a clear advantage regarding big releases this holiday. But for now Sony’s got a more interesting first party offering for early 2015. RPG/action Bloodborne and The Order: 1886 are released in February. Later in the year we’ll see cult PC hit Day Z, Let it Die and No Man’s Sky. There’s console-exclusive indie titles too: Hotline Miami 2, The Witness, and potentially Helldivers and Galak-Z if their release dates are bumped past 2014.
It’s also time for Sony to directly market their superior hardware. For the past year we’ve seen better graphics on the PS4 over the Xbox One on third party titles, usually in the form of higher resolutions or otherwise enhanced texture details. Granted, small graphical differences rarely affect a game’s quality. And like we’ve seen in a debates on other platforms – Blu-ray versus Netflix streams, vinyl versus low-bit Pandora mp3s – many won’t notice or care about the difference. Yet if a potential console buyer finds the exclusives and interface on either side a wash, better graphics on the PS4 can be a weighing factor.
Overall, I’m not expecting a bloodbath by either side this holiday. Microsoft will likely beat Sony in U.S. sales, but that’s a short term win which Sony can recover from given it’s large overall lead. Yet console battles are about momentum and perception. Without any action by Sony this holiday, combined with some recent stumbles, Sony might be forced to take actions in 2015 from a position of weakness, not strength.
iOS gaming generally isn’t for me. I prefer deeper gameplay on the PS4 and on the go, between Pocket, Twitter and Reddit, I’m almost always preoccupied with reading material on my iPhone. But I have a few game standbys that serve me well, especially when I’m in San Francisco on business. Solebon for iOS is a perfect example. It blows away the hundreds of poor solitaire apps I see elsewhere. You get solid graphics, animation and gameplay, 50 solitaire varieties, full rulebooks, deck customization and more. Best of all, it’s updated for iOS 8 and the iPhone 6 display, the rare case of a game publisher sticking with a title for years. It’s well worth the $2 entry fee.
Giant Bomb’s Patrick Klepek writes a fascinating post on the intersection between gaming and film with regard to a game’s aspect ratio:
For the sake of argument, let’s say that’s not true, and Mikami chose 2.35:1 because it’s part of his vision. Given he’s deployed similar aesthetic choices in the past, it’s not unreasonable. The man enjoys blending Hollywood and games. If Mikami wants The Evil Within to be played with this aspect ratio, which frames the game through a particular lens, perhaps players should show that decision respect, despite other options.
Or maybe not! By being interactive, perhaps games invite players to subvert the designer’s will and aspect ratios are merely an act of interpretation. World builders can set up an experience a certain way, but the free will of a player means the creator gives up the right to be upset over what they do with the game, even when it comes to tinkering with technical specifications.
The truth, of course, is probably somewhere in-between.
Words to consider by Giant Bomb’s Patrick Klepek, especially in light of the very splashy Destiny release:
Now, we may be seeing the rise of games that ditch single player entirely. It’s not a great PR message. Many are going to be reluctant to actually pull the trigger. But that may be a disservice to everyone involved. Players go into the game thinking they can get something they can’t, and developers are forced to compromise a gameplay experience, knowing it’s not what they’re truly building. That’s a lose-lose.
Ars Technica’s Kyle Orland writes on the state of the PS4, Xbox One and Wii U now that we’ve seen some system updates, lots of game releases and had some long term impressions. As he concludes:
The choice between the Xbox One and PS4 remains an especially tough one. Microsoft has the edge in big-name exclusives, and it no longer costs 25 percent more than the competition. Sony has enough interesting indie titles to stand out itself, and its console boasts the best technical performance on a number of cross-platform games. You can make a good case for either system over the other on those differences. But if you’re going to choose, all we can really recommend is that you take a look at which of those exclusive games, including those coming in the future, best appeals to your tastes.
I’ll likely touch on this subject as part of my retrospective of owning the PS4 in an upcoming post.
Gaming writer and Gamasutra editor Leigh Alexander covers a wide range of concerns we should have about the gaming industry: abhorrent labor policies, questionable review practices and much more. I won’t spoil the conclusion, but it’s wonderful.
When Call of Duty: Modern Warfare multiplayer took off, the copycats were endless. It wasn’t just that every shooter started aping Infinity Ward’s leveling system, but games that never would have otherwise included multiplayer suddenly had new teams assigned to building it. The thinking was that single player brought people to the table but multiplayer kept them sitting down (read: not selling their copy).
Now, we may be seeing the rise of games that ditch single player entirely. It’s not a great PR message. Many are going to be reluctant to actually pull the trigger. But that may be a disservice to everyone involved. Players go into the game thinking they can get something they can’t, and developers are forced to compromise a gameplay experience, knowing it’s not what they’re truly building. That’s a lose-lose.
It’s clear the PS4 is an unqualified sales success. It’s sold around ten million units, roughly 2 to 1 against the Xbox One. Those are impressive enough sales to be a key factor in Sony’s profitability for Q1 2014 after years of losses.
But even hit consoles need work; almost a year into its lifecycle, the PS4 needs to improve its user interface. As I’ve argued previously, the UI gets the job done as a quick, no-frills game launcher. Yet its “horizontal ribbon” layout, with every app (in this post, ‘app’ is a loose interpretation encompassing both games and entertainment apps like Netflix) on the system ordered in strict reverse chronological order, is hampered by its lack of customization (note the upcoming major UI update, as of this writing, doesn’t alter the app layout at all.)
Customization matters
Core gamers, often with large game libraries, have the most immediate demand for a more organization-friendly UI. Yet it’s not just a traditional fan base that may juggle between many apps. Popular premium subscription services like PS Plus, Xbox Live Gold and the recently announced EA Access offer new “free” game downloads at regular intervals as long as you’re a member. And casual gamers that only buy a few $60 AAA titles may buy more games as inexpensive and free-to-play indie titles proliferate on the PSN store.
Also, in 2014, customization isn’t just a nice to have, it’s essential to the DNA of most modern tech gear. Every smartphone, tablet, or laptop allows you to organize apps into folders or across multiple home screens. If I’m paying the same price for a dedicated gaming console as I am for the next iPhone, I expect basic levels of customization to define it as my own.
There’s a philosophical argument as well: gaming is going through the same pattern as all media post-internet, splintering into fragmented, niche genres. With so many on the same base console but able to purse much more individualistic tastes, some basic UI customization helps distinguish my PS4 from somebody else’s.
A multi ribbon interface
With such a large install base, major UI changes can be tricky. Thankfully, the UI doesn’t need a redesign from the ground up, just evolutionary growth into a multi ribbon system. Users create as many additional ribbons as they want and move apps to any ribbon they choose. To keep things straightforward, like with iOS, there are no extra “shortcuts” or “aliases” of app icons, only a single canonical icon within a set of ribbons.
The original, single horizontal ribbon remains unchanged by default. Navigation and controls are identical to before, retaining the three row structure: settings, notifications and trophies are in the top row, apps in the middle, and details on an individual app or game at the bottom (figure A). Only one ribbon appears at a time.
Figure A: Start state of the proposed UI
Users tap the DualShock controller triggers (L2, R2) or speak voice commands to cycle through their ribbons. As each ribbon appears, the scrolling text region in the screen’s top left briefly displays the ribbon name (figure B).
Figure B: user jumps to a new ribbon
Reordering games and editing ribbons
To reorder apps in a single ribbon or move an app to another ribbon, users enter a special “app reorder mode” by holding both DualShock bumpers (L1 and R1) down for a few seconds. This is a nod to the “hold an icon until it wiggles to edit” paradigm in most mobile OSes.
The UI’s look in this mode changes significantly: the top and bottom rows are removed and the app icon the cursor is selecting no longer enlarges the icon. In addition, new text labels are added around the ribbon to clarify the name of the active ribbon and its order (Figure C).
Figure C: app reorder mode
A new, simplified control scheme applies in this mode:
Controller bumpers cycle through the current ribbon’s order options: chronological (default), alphabetical, and manual.
X selects an individual app for movement.
Options opens up a menu to change the current ribbon’s name. Upon creation, all ribbons have an automatic, sequential ordering naming convention like “Games 4” and “Games 5”. But for users with a lot of content or who want a particular organization, custom labels are helpful.
The D-pad and analog sticks navigate between ribbons (up/down) and individual apps on a ribbon (left/right).
Square exits app reorder mode.
Once an icon is selected, a visual change (e.g. change in selected icon border color or thickness, icon appears to hover) indicates it’s available to move. Up and down always shuffles the app between ribbons. To keep things simple, the ribbons cycle with a definitive beginning and end; the first is at the top, the last is at the bottom and there’s no looping. This way, to create a new ribbon, all it takes is moving ‘down’ from the last occupied ribbon (figure D, E). Conversely, to remove a ribbon the user removes all icons from it.
Figure D: Game 20 is selected, ready for movement.
Figure E: Moving Game 20 "down" once auto creates a new ribbon.
Small change, big impact
Adding smarter organization isn’t going to move the needle for PS4 sales. Nor is it likely to affect Sony’s ongoing battle against the Xbox One, a fight centered on game selection, exclusives, and raw performance. Instead, a stronger UI makes users happier while improving their attachment to the device. For a dedicated gaming console in an increasingly mobile-centric world, that’s an underrated, compelling factor in the long run.
I can see how this model would appeal to a developer. Without the popularity contests that fuel the top charts, the content gets more of a chance to speak for itself. I game earns a purchase by having a good trailer, screenshots, and maybe a demo instead of “I’m #1 in the store, so you should buy me like everyone else.”
Basically Matt argues the over reliance on top download lists are a main problem on other app stores like iOS. In their absence on places like PSN, you’re forced to browse the store and buy apps that appeal to you more on a personal level versus “falling in line behind the million people who have already gotten the same thing.”
That’s a strong thesis, but even with 100% curation, the PSN store has some serious shortcomings, both in its puzzling range of information density and constant pushes for you to upgrade to a PS Plus subscription when you’re already a paid subscriber.
