09.03.14 |
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Matt Birchler on the 100% curated Sony PSN store:
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.
08.22.14 |
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Jaz Rignall conducts a long interview at US Gamer with part of the original LucasArts team. They reminisce over the golden years of the studio, where Monkey Island, Maniac Mansion and many others were produced. A must read if you grew up playing any 80s and 90s adventure games.
08.14.14 |
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Speaking of gaming and diversity, Kotaku’s editor-in-chief wrote a smart piece on the subject recently as well:
The old game-length question stopped perpetually leading to outrage once it had been asked a lot. It only stopped creating blazing headlines once all the true or half-true or false answers had been tried and once we’d all played enough of the games about which it had been asked.
Today, you’ll see the occasional game developer get in trouble with releasing too short a game, but the scandal of game length has mostly settled into the steady-pulsed understanding that some games are long, some games are short, some games are good, some games are bad, not always respectively.
We’re not quite at the same level of understanding of diversity in games, and I wouldn’t expect us to be. The length of a game may involve issues of value and aesthetic quality. Diversity is far more important, and much more complicated. It can affect aesthetics, yes, but it can also affect the people who play games and how we think about the work we’ve expected to entertain or engage us.
Succinctly, Steven argues it’s going to be a messy issue to sort through, but the more we probe on this issue, the stronger gaming will be as an overall industry.
08.13.14 |
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Rowan Kaiser, writing for Indiewire:
The problem faced by woman and minority-starring video games is largely the same as the problem facing traditionally underrepresented groups across all forms of representation: their failures are treated as definitive, and their successes are ignored. Dozens of white man-starring video games have underperformed, but their failures are treated as specific to that game. Every woman-starring game, though, has to bear an unfair burden, just like “Bridesmaids” was treated as a referendum on the very idea of woman-centered ensembles in theaters.
08.07.14 |
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Kill Screen’s Jamin Warren compares the usage of the term “indie” in gaming versus other forms of media. Overall he finds the concept dated and little more than a marketing term at this point. I can’t agree 100 percent; it’s clear that “indie” suffers from overexposure. But there’s a world of difference between the development size of a game like Skyrim compared to a title like Rogue Legacy. The latter, with its tiny budget and development team and independence from big structure, feels absolutely fair to distinguish as “indie”.
A game that falls in the middle – something like Titanfall – by an team of under 100 employees working independently but through a mega-publisher like EA? That’s debatable. But it doesn’t mean the term loses validation entirely.
08.06.14 |
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Game journalist Maddy Myers:
I have no idea how anybody else survives in games journalism. Well, actually, I do know now. It’s that other people just get day jobs. They do what I’ve done. If they’re lucky enough to find one that they can do in addition to journalism without wanting to die all the time. Maybe they just give up and get a full-time job that has nothing to do with journalism at all.
Eventually, if enough people tell you that your work isn’t valuable, you start to believe them. No matter how many high-minded ideals you have about writing having intrinsic value or journalistic ethics or whatever … continuing to hustle while you’re also hungry and depressed is basically impossible. I tried to do it. I failed.
It’s very disheartening reading posts like this. It’s another reminder journalism in almost any entertainment media (film, gaming, tv) is a dying full time occupation, in the process leading to a serious drop in quality and enthusiasm. Just as importantly, it’s a reminder of the amount of harassment and discrimination women often endure in this field, be it as journalists, developers, or even enthusiasts.
07.22.14 |
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Kotaku’s Kirk Hamilton:
Six months in, the Xbox One still raises as many questions as it answers. What is Microsoft’s vision for this thing? Is it about the cloud, or online gaming, or is it about Kinect? Is it for watching TV, or as the company’s more recent messaging seems to suggest, is it now all about gamers and games?
It’s only natural that some unanswered questions remain, of course—no game console achieves its every goal in the first six months. All the same, Microsoft has yet to put forth a coherent vision for the Xbox One, nor have they clearly articulated why it’s worth spending hundreds of dollars to own one.
As I wrote about back in 2013 before the Xbox One and PS4 were released, vision was the biggest concern I had about Microsoft’s offering. This piece was written slightly before E3, where Microsoft standing by keeping its focus squarely on games. But many questions remain unanswered.
07.01.14 |
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I rarely make a direct pitch for game downloads, but this one deserves an exception. Towerfall Ascension is a competitive platformer with up to four archers taking shots at each other. Its simple gameplay makes it a near perfect couch multiplayer game. And if you’re someone who games mostly solo (e.g. me) the Quest and Trials modes are still a blast. More than anything, there’s a level of polish to this title, from the great music to the incredibly tight controls. It’s one of my favorite titles released on the PS4 so far, and for PS Plus members it’s free for the month of July.
06.13.14 |
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If there’s one trusted source for hard-core analysis of game performance, it’s Eurogamer’s Digital Foundry unit. This post breaks down the pros and cons of locked 30 frames per second versus an unlocked, variable frame rate. If that sounds technical, it is, but writer John Linneman does a solid job of introducing the basics:
So the question is, should console titles be allowed to operate at their absolute fastest? Or should performance be capped in order to enforce the kind of consistency that [Driveclub producer] Paul Rustchynsky talks about?
The short response is that there is no definitive answer. Different games target different experiences with different priorities, and gamers themselves have their own personal opinions on what works best. However, by looking at key titles, we can build up a picture of what works for us, which perhaps puts some of our tech analysis pieces on specific games into context.
06.12.14 |
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I’ve said it before and will say it again here: Giant Bomb knocks out some of the smartest, funniest, and well edited coverage of E3 around. If you’re interested in the expo and have a half hour to spare (especially if you haven’t been heavily following news coverage like I have) it’s a wonderful recap on what’s happened so far. I’d expect a few more recap videos to hit the site later as well.