10.18.13 |
∞
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).
10.11.13 |
∞
Grantland gaming writer Tom Bissell penned a really interesting and memorable Grand Theft Auto V review a few weeks ago. Bissell clearly enjoyed his playthough but had a mixed experience overall. I don’t know if I agree with him based on what I’ve played, but even at an early stage I completely agreed with Bissell on this point:
I understand the basic sense of fatigue with which people are approaching it. Once upon a time, playing a GTA game was like sitting next to your offensive Republican uncle at Christmas dinner. He was definitely a dick but also smart and interesting, and his heart was fundamentally in the right place. These days Uncle GTA is a billionaire with an unchanged shtick, and he seems a hell of a lot more mean-spirited than before.
10.07.13 |
∞
Having had a few hours to play through the opening third of GTA V, it’s the acting and voices of the three lead protagonists that propel the story forward. That’s exactly why this extended talk with the three game actors really is interesting. Here’s Steven Ogg, a.k.a. Trevor, on his work in GTA:
This was not me sitting in my underwear in a booth watching some character that was like Trevor and saying my lines. No. That was me up there in my motion capture suit with the camera directly in my face and the light in my eyes. It’s a huge thing. It’s not just voice acting. You put three years of your life into something like this and you certainly, if nothing else, want the recognition of what you’ve done—it is an entire performance that has been “captured”—your body, your face, and your voice. It wasn’t just three years of talking into a microphone. It was three years of shooting a movie that was motion captured.
09.27.13 |
∞
Mark Serrels writing for Kotaku:
And make no mistake, a device like Kinect — the device Microsoft is hellbent on shoehorning into our living space — must be seamless if the Xbox One is to capture the mainstream audience Microsoft is lusting after. In short: I have very little confidence in Kinect’s ability to respond quickly, efficiently or consistently and that’s an issue.
But the major issue is this: if you want to purchase an Xbox One, Kinect is being forced upon you. You are paying extra for a device that, two months from launch, feels like a rough, unfinished product. You don’t have a choice and that’s problematic.
I don’t want Kinect to be dropped; it’s got incredible potential. But from all accounts it seems like Kinect is half baked, tech not taken seriously by most gaming developers. What launch XBox One games are even using a fraction of the Kinect’s potential? Without that extra level of polish it feels rushed, rough and something I don’t want to pay extra for. Another reason my preorder is still for the PS4.
09.20.13 |
∞
I’ve written here earlier on how amazing the PS3 game The Last of Us is, on both a narrative and cinematic level. So there’s a sense of validation when Art of the Title, which usually focuses on classic film openers, highlights the game’s title sequence. It’s a bit nuts to hear what the creative directors went through to get what’s basically a time lapsed fungal growth captured on film. In the words of title sequence director Kevin Joelson:
So I found some slime mould stuff and some YouTube videos and hacked something together. Within three days we had our foundation…I ended up taking it to my house and growing some there with my wife watching the cameras. We shot everything camera raw so that we had the most to work with. By the end of those two weeks I had a pretty severe cold, I think from all the spores and slime moulds, but it had to get done.
09.17.13 |
∞
This guest post by free-to-play consultant Ethan Levy on Kotaku was interesting, but I’ve flip flopped on my feelings on it. I planned to first link to it pointing out some of Levy’s strong arguments, but at rereading it a few times he comes off harsh and defensive with his audience.
Levy makes a fair point about changing economics and tastes of the audience, and how a free-to-play model can lower the risks for developers:
On the development side, a free-to-play game lowers the risk involved in making a game. A developer is able to release a high quality game that represents a fraction of the total vision, and if players think it is fun and justify it by spending money, the developer can continue to improve the game for months or years on end.
But at the same time, there’s a “business first” tone in the article; a lack of financial support for traditional games forces studios to jump to free-to-play. But I think there is a lot of support for more traditional gaming, especially on mid budget indie releases. Furthermore, many genres of games, especially those with a longer, single player narrative (e.g. The Last of Us) just can’t adapt to free-to-play. We need a strong market for these games as well. If gaming markets sees dollars only around free-to-play, we could lose a lot of gaming diversity. We’re seeing these problems already seep heavily into EA’s latest game releases along with mobile gaming.
09.13.13 |
∞
John Siracusa:
If the time of the game console is not yet at an end (handheld or otherwise), then Nintendo has a lot of work to do. It needs to get better at all of the game-related things that iOS is good at. It needs to produce software that clearly demonstrates the value of its hardware—or, if that’s not possible, then it needs to make new hardware…
…Nintendo needs to do what Nintendo does best: create amazing combinations of hardware and software. That’s what has saved the company in the past, and it’s the only thing that will ensure its future.
I agree with Siracusa; Daring Fireball’s John Gruber and others that disagree I think are missing the potential of the current market. We may be clearly moving in the direction of multi functional platforms that can do more than play games. But, as Siracusa points out, as long as there’s a strong market for dedicated gaming devices that offer a richer, more immersive experience (I think next-gen console sales will reflect this), Nintendo still has a shot with its hardware and software combination.
09.09.13 |
∞
Capcom just released this documentary free on YouTube. It’s gotten a lot of praise online with its extremely high production values (as expected from the production studio Area 5.) Anyone who’s into gaming, especially Street Fighter fans, should watch this.
09.05.13 |
∞
Longtime video game journalist and designer Jeff Green, discussing his issues with more complex multiplayer games like DOTA 2:
The problem of course, was and still is the barrier to entry. If all the players in a particular game are skilled and experienced, then it just makes it that much harder for a new player to find his or her footing, to gain any experience or confidence. And there is little to no tolerance by a lot (but not all) experienced players to put up with noobs on the team. Especially in games where everyone takes it totally seriously and winning is everything.
Gaming has changed for me in two ways over the past few years. First, as work and other life commitments take more time, there’s just less time for gaming. And as part of that, I’ve got far less patience for complex or twitch based multiplayer. I want to have fun and relax, not get stressed out every time I start a match of Call of Duty.
08.28.13 |
Gaming |
∞
I’ve been racing through the PS3 horror survival game The Last of Us at a blistering pace over the last few weeks. Unlike almost every other console game I’ve played, I’m doing so because of the game’s great storyline, not its gameplay.
Joel and Ellie, the two protagonists of The Last of Us, propel the narrative forward. Both characters are morally flawed and have depth; they grow and evolve significantly throughout gameplay. It’s a progression that’s more impressive than a lot of what I see on TV today, especially when you factor in the relatively short in-game cutscene time. We’re not talking Mad Men levels of development here, but for a video game this is a huge accomplishment. Overall, I feel invested in these characters and can’t wait to find out what happens to them next.
There are other ways that the The Last of Us’ narrative has similarities to a great TV or movie screenplay. There’s no excess exposition; characters rarely talk about how they feel or unnecessarily recall earlier events to fill in the audience (e.g. no character says “tell me again about…”). Instead, nuanced actions convey emotion. Elle slightly changes her stance when she gets agitated. Joel glances at his broken watch to recall a tragic backstory.
In addition, The Last of Us doesn’t front-load the story with clumsy, overly direct details such as intro voiceovers, a common mistake among action games. Instead, the game fills in the blanks on its post-apocalyptical setting along the way, mostly in the action’s periphery: two characters have a throwaway conversation about a summer barbecue before the infection spread. Loudspeakers shout ominous warnings from FEDRA, the militaristic remnants of the U.S. government.
Unlike a lot of games, gameplay violence has serious consequences that aren’t glorified or fetishized. Gun fights are short and deadly. Enemies (and their victims) are dispatched in brutal, realistic ways. Joel and Ellie obviously rack up an unrealistically high body count (it’s still an action game), but are far from unstoppable super heroes. Thanks to excellent sound design and motion capture, both characters are often weak, scared and tired during battle. With all these factors in play, “fun” combat ironically ranges between feeling uncomfortable to flat out dreadful. Consequently, extended gaming sessions are hard to handle. But I think the game developers would argue that’s exactly the point.
Overall, The Last of Us shows a real maturity in its narrative, an evolution past what we normally see in gaming. It’s fitting that the game is one of the PS3’s last tentpole releases. Here’s hoping the next generation of gaming, from the XBox One and PS4 to the iPhones and PCs of tomorrow, will push their respective stories to even higher levels.