Rock, Paper, Shotgun - All News
Sunday - June 29, 2014
Rock, Paper, Shotgun - Areal - Stalker Spiritual Successor
Areal's based upon a novel of the same name by Sergey Tarmashev, where civilization's fallen apart thanks to a corrupting meteorite material named Metamorphite turning everything wonky. Unlike S.T.A.L.K.E.R., this makes things a little colourful too, with things like weird overgrown forests and blue warped wolves. Put S.T.A.L.K.E.R. in that world and bish bosh wallop you've got Areal.
Source: Rock, Paper, Shotgun
Saturday - February 15, 2014
Rock, Paper, Shotgun - Warren Spector Interview
Rock, Paper, Shotgun has another interview with Warren Spector.
RPS: Games have changed and evolved by an incredible amount even since you released Epic Mickey 2. Crowdfunding, Early Access, virtual reality, etc, etc, etc. What are you most inspired by these days? Where do you go next?
Spector: I’m certainly inspired by a lot of indie games. That’s where most of my interest is right now. Just as a developer, if I were to make another game right now, it would not be a big triple-A console title with 800 people working on it. I hope I’m done with that. I hope I never do that again. You know, we’ll talk again in a year and see where I am, but that’s the hope.
But just the idea that you can get together with some friends, make a small game, and find an audience for it, that’s like being back where I started. Where everything is a frontier. Nobody knows what games are again. So mobile and PC, I’m there. I’m your guy.
RPS: When you go back into making games, do you think you’ll take a more open approach to development? Would you try and get the community involved by way of, say, crowdfunding or Early Access? Or do you think your games are too story-focused and that you’d risk spoiling everything?
Spector: I’m a story guy. I’m a story game guy. I want to keep exploring that. And so right now I’m thinking a lot about how we tell a story but really empower players more than we have in the past. Every game I’ve worked on – whether anybody else sees it or not – has been a progression toward empowering players more and more and more. That’s an unsolved problem. How do we let players really be the heroes of their own story?
So I’d like to play around with that. A lot more procedural stuff, a lot more simulation. I’d still be pursuing that, just on a different scale. Maybe not crazy 3D amazing over-the-top graphics. There’s a lot of opportunity to do cool stuff without having to pay the price for graphics and sound and everything else in the triple-A space.
Saturday - January 25, 2014
Rock, Paper, Shotgun - The Ignorance Of Crowds
Rock, Paper, Shotgun takes another look at open game development. Now I hope this is satire, or I foresee many angry replies.
People like to think they’re pretty special. And people do tend to have a habit of thinking what they think is right, and those who disagree are wrong. In my case it’s actually true, but unfortunately that’s not always the case for others. And really, honestly, the very last thing I want is other wrong people to be influencing the games I’m going to play. Developers have to stop asking other people how to make their games.
Kickstarter is making this so much worse. This ghastly expectation backers now have that they should have some influence over the game itself: NO. NO NO NO. You’re a wallet, and that’s it. Hand over your money, accept the sheer unbridled stupidity of developers then showing all their promotional materials only to the people who already bought the game, and keep your mouths shut. If you’ve got some incredibly brilliant ideas for making a video game, then here’s an idea: go make a video game. But you don’t – you’re just going to loudly crap on about how important it is that there’s crafting. So shut it.
Developers! Stop listening! And damned well stop asking! I have no idea what started this colossal crisis of confidence amongst the development world, but good gracious, could everyone get a hold of themselves? You’re the CREATORS, so get on with CREATING. Have some bloody convictions! You want to make a great game, so go ahead and make it, and stop thinking you have to pander to loud-mouths back-seat-developing your game for you. LISTEN ONLY TO ME.
Thursday - November 21, 2013
Rock, Paper, Shotgun - Warren Spector Interview
Rock, Paper, Shotgun interviews Warren Spector about his fears, legacies, and his desire to develop for the PC once again. They also have a second interview were he talks about cartoons, cyberpunk and failure.
During our all-too-brief meeting, Spector is never as animated as when he’s talking about the people he’s worked with. I ask if he thinks about his legacy, aware that it’s a slightly preposterous question to ask somebody who has been so careful to avoid taking too much personal credit for its work.
He sighs, smiling. “Oh God. Yeah, I do, I do. It’s a little embarrassing to admit though. I think a lot about the word ‘legacy’. I think it’s a function, at heart, of being the oldest guy in game development. (laughs) It’s funny because I used to always be the youngest guy in every circle I was part of and now I’m always the oldest.
“When you start getting older you stop caring about a lot of the things that you cared about when you were a kid, and you start thinking about leaving something behind. I don’t have kids, so I’m not leaving my DNA behind, but I hope the DNA of the games I’ve worked on lives on. When I see things like Deus Ex: Human Revolution, I realise I was part of a team that created something that’s bigger than us and that’s really cool.
“The fact that our kinds of games are making a resurgence is great. They never went away completely but there was a period where it was the hot thing and then it kind of cooled off. There was a period where it was just me, and maybe Bethesda and Peter Molyneux a little bit, and then it kind of died off. And then out of the blue, it’s back – I think you’d have to look to Bioware picking up on these things with KOTR and Mass Effect, and I think Skyrim taught people some stuff.
“And then there’s the GTA guys. Rockstar just kept going and going with open world games. That all made a difference. The biggest change – and I don’t know why this happened – but people are interested in story again. I came from a tradition of storytelling but I’ll never forget – and this is a quote by the way – I was at a product meeting at Eidos and I was told, “Warren, you’re not allowed to say the word ‘story’ ever again.
“It blew my mind. Now, nobody’s saying that. Everyone wants narrative games and it’s a question of asking how we tell interactive stories. And we have the gamut now, everything from Telltale with The Walking Dead and The Wolf Among Us, and Beyond and Heavy Rain from David Cage at one extreme of storytelling, and somewhere in the middle Bioshock Infinite and the stuff that Valve does, and then at the other end the kind of games that Bethesda’s making and that I like to make. It’s the other extreme in terms of player empowerment. We have every extreme of narrative experience out there, which is great for gamers.”
Wednesday - June 12, 2013
Rock, Paper, Shotgun - Maybe Games Just Arenít For Telling Great Stories?
Rock, Paper, Shotgun has a new article examining if games are capable of telling great stories.
The temptation at this point is to get all sneery and superior, looking down on those inferior lot who enjoy manshooters. Two problems. Manshooters are often great, and haughtily refusing to enjoy the good ones is stupid. And what exactly is it we’re holding aloft as an example of storytelling done right?
For years I’ve lamented this, decried the failure of this medium to mature to a point where it can match literature and cinema in terms of intelligence in design. (And to be clearly, yes, most books and movies are terrible – we’re talking about comparing the very best.) When is gaming, I would ask, going to find its great stories? I believe I was wrong to ask.
Gaming isn’t going to. It’s had plenty of time to prove that. And I don’t think it’s necessarily a failure of developers at all. Maybe games just aren’t the right place for it? That’s practical: authors can take years to write their novels – something that wouldn’t be possible in game development cycles. And it’s perhaps pragmatic: the nature of interaction simply prevents great storytelling, and we should all accept this.
This isn’t to say we shouldn’t demand better. It is still right and proper to lament the dreadful writing that appears in so many games, the cavalcades of clichés that plague us, the generic grunting tedium that most creators seem to think will do. But perhaps we should be setting our sights lower, reducing our expectations, and letting games get on with being a medium that simply isn’t going to provide us with wonderful story.
Wednesday - January 04, 2012
Rock, Paper, Shotgun - An Exciting List of Games for 2012
Rock, Paper, Shotgun has An Exciting List of PC Games For 2012, scientifically derived as they explain:
PLEASE NOTE: THIS LIST IS ORDERED BY APPROXIMATE EXCITINGNESS DIVIDED BY LIKELIHOOD OF ACTUALLY BEING RELEASED IN 2012. EXCITINGNESS IS MEASURED INDEPENDENTLY BY SWISS SCIENTISTS.
Essesntially, this is a list of every PC game they could think of that shows some form of promise. There are a good smattering of RPGs - all of which you should know - but perhaps some you might have forgotten.
Thanks to jhwisner for also sending this in.
Thursday - December 15, 2011
Rock, Paper, Shotgun - Potions and Pitfalls: Roguelikes
Rock, Paper, Shotgun looks back at the year in roguelikes, discussing the likes of Dredmor, Brogue, ADOM, JADE, Incursion, IVAN, Stone Soup and more:
I’ll talk about some of those wizened old gents later but first, a shout out to Brogue, which is my favourite discovery of the year in the field of traditional Roguelikes. In many ways, it’s a simpler take, and therefore another good way to introduce people to the genre. However, the simplicity is, in many ways, a paring back of clutter. Instead of having hundreds of monsters, Brogue has just a few but each one feels unique, with tricks and habits that mark it out. The dungeons also feel more varied and alive, with different types of terrain, randomly generated quest rooms and traps, and clever use of water. If you’ve never played a Roguelike at all, or only Dredmor, this could be the place to start.
Thursday - October 13, 2011
Rock, Paper, Shotgun - Memories and Maps
Not specifically RPG-related but I have no doubt Fantastic Cartography: Memories and Maps at Rock, Paper, Shotgun will evoke emotions in many of our readers. Adam Smith reminisces about the collectibles you (used to) get with games and his particular passion - maps:
There’s one physical object that came to define the area around my computer desk though. Not tiny figurines, as with many of my friends. They’ve never interested me particularly because they have an opposite effect to the Lurking Horror’s student ID card. Figurines highlight the imaginary nature of the world. If I am holding a statuette of the player character, no matter how finely crafted, it serves to emphasise that the people of that world are collectible objects in the real world. It places me, as the player and collector, in a different relationship with the game world and it’s an entirely different sort of buzz to owning things that appear to be from that game world.
So, no figurines for me. The items that dominated my childhood gamespace were maps.
Wednesday - March 02, 2011
Scrolls - New Game Revealed by Minecraft Developers
Screeg sends in news of the next game from Minecraft developers Mojang, titled Scrolls. It's a mix of card-collecting-game, boardgame and has "RPG elements". I went past it yesterday because it appeared to be multiplayer-only but after re-reading, I see they are looking at the "possibility" of single-player. From the Rock, Paper, Shotgun article:
“At the core it’s a collectable card game, but it’s also a board game,” says Jacob. “It’s combining the two. As you place your units or your buildings, or your siege weapons, you place it on the game board to play against your opponent. It’s not only about designing a proper collection of scrolls [cards], and the tactical aspect of that deck, but it’s also about the tactical sense of how to place your units on the game board.”
Players will buy the game, and with that will come a randomised starter deck of scrolls. Should they want more, they can buy additional card packs, as with any other CCG, and of course not know what new cards they’ll receive. And they have many other plans for adding to your deck. “Obviously it’s going to be a multiplayer game,” continues Jacob. “We have a lot of fun ideas for the community. We’re going to let you place your Scrolls in an auction house, trading with other players, and a lot of different multiplayer templates. Ranging from a friendly game, testing out your latest deck, or you may enter a more long-term league, where you get ranked. That can go on for a couple of months. We also plan on having a lot of tournaments. Small ones, and large, like a world championship. We’re talking to some great partners about that.”
Monday - February 21, 2011
Rock, Paper, Shotgun - The 122 Best PC Games of the Last 22 Years
After their individual Best lists, Rock, Paper, Shotgun has put the writers together to produce a Top 122 spread over 22 years ('89-'11). There are a bunch of RPGs in the fairly lengthy list, so head on over to argue it out.
Thursday - February 17, 2011
Rock, Paper, Shotgun - Very Important List of PC Games #4
Alec Meer has posted his Very Important list and there's a veritable plethora of RPGs compared to his comrades. Deus Ex, Diablo II, Fallout, Fallout 2, Freelancer, King's Bounty, Mass Effect 2, Planescape Torment, Morrowind and Ultima VII make the list.
Wednesday - February 16, 2011
Rock, Paper, Shotgun - Very Important List of PC Games #3
Quinton Smith manages to squeeze in Baldur's Gate I and II as well as, interestingly, Anachronox in his Very Important List of PC Games.
Tuesday - February 15, 2011
Rock, Paper, Shotgun - Very Important List of PC Games #2
John Walker kicks up his list of Very Important PC Games at Rock, Paper, Shotgun and this one is much more to my taste, with less shooters and more adventure games and so on. It's still weak on RPGs, though, with only Dragon Age and KotOR getting the call up.
Monday - February 14, 2011
Rock, Paper, Shotgun - The Very Important List of PC Games #1
The various writers at RPS are presenting their individual Very Important PC Games lists, starting with Jim Rossignol. His is very shooter-oriented but a couple (literally only a couple) of RPGs made it, hence this post. Jim thinks Vampire: Bloodlines is of "moderate" importance in the PC gaming landscape and NWN is "fairly low".
Thursday - April 08, 2010
Rock, Paper, Shotgun - Against "Real" Role-playing Games
Keiron Gillen has penned an editorial at RPS titled Just Die: Against "Real" Role-playing Games. In short, Keiron argues that arguments about the validity of the term "RPG" for computer/video games are a waste of time and Pen'n'Paper terms of reference are irrelevant and invalid. Here's the intro:
Point: If only computer RPGs could match up to Pen and Papers RPGs. You know – real RPGs.
Counterpoint: Piss-right off.
You still hear this attitude a lot. Hell, back in the day, I suspect I expressed it a bit. But I was 13 years old, and an idiot. That it’s persisting over two decades is getting increasingly embarrassing. The implicit elitism and defensiveness does a lot to explain why Pen & Paper (P&P) still gets eye-raises even in otherwise all-accepting geeky circles. Nothing makes someone more willing to dismiss your opinion than you sneering at something they love.
If you ignore anything else I say in this column, here’s one reason to stop using the phrase: That it’s self defeating conservative ghettoism. You either see that as a problem or you are the problem.
Thursday - January 07, 2010
Rock, Paper, Shotgun - 10 Commandments of DLC
Inspired by forum debate over Dragon Age: The Awakening, Rock, Paper, Shotgun's Alec Meer has posted their 10 Commandments of DLC. A sample:
1. Thou shalt not undermine the host game – that which we’ve achieved should still mean something, not seem lesser in the face of or be undone by what follows.
2. Thou shalt not leave the host game with a cliffhanger that you intend to resolve via later DLC. We’ve paid for a story, not a chapter.
3. Thou shalt not attach a pricetag to small things that a free mini-mod does or could very easily provide. Earn that pricetag rather than fobbing us off with fancily-packed tweaks, or make ‘em free.
Wednesday - September 02, 2009
Rock, Paper, Shotgun - The Big Quest(ion)
John Walker has been thinking about RPG quests over at Rock, Paper, Shotgun, writing a piece called The Big Quest(ion). At the heart of his thoughts is the static nature of most content - once the quest is finished, those NPCs essentially stop. Here's a snip:
I think the problem is, too often, that your choice is reduced to a binary switch, and whichever way you flick it, nothing changes. Return to the island/planet/space station, and the consequences of your actions are sat there, lifeless, whether they’re a corpse or a reunited mother and son. Talk to them and they might say, “Thank you so much for your help! Without my child would have died!” Return weeks later and they might say, “Thank you so much for your help! Without my child would have died!” The moment I was finished with them, they ceased to live. Their moment of reuniting happiness becomes something of a grotesque parody. Trapped in that instance, unable to move on with their lives, I might just as well have killed them both and robbed from their cupboards.
...and Jay Barnson follows up with his thoughts at The Rampant Coyote.
Wednesday - July 15, 2009
Rock, Paper, Shotgun - Gaming Made Me: Brian Mitsoda, Annie Carlson
Brian Mitsoda (ex Troika, Obsidian) and Annie Carlson (ex Obsidian) join a sizeable panel for Rock, Paper, Shotgun's final Gaming Made Me. From Brian Mitsoda:
So, Fallout wasn’t a revolution or the most popular game ever when it was released, but it had a profound impact on me, as it directly contributed to my career in the game industry. It’s not the first RPG I played by any stretch, but it was the first one that made the main character feel like a normal person rather than the activation switch in a predestined, very linear path. Not only was it wide open as far as play-styles went, but it was stunningly written with people over the age of twelve in mind. The combination of lax narrative and open world design made me reconsider a career in movies or TV and made me think gaming was going to be where it was at as far as developing new ways of creating and experiencing story.
At the time of its release, I was working on the fringe of the movie industry in Los Angeles. Looking up Interplay, I found out it was close enough (Orange County) to give it a shot, and they were hiring for testers at the time. I applied, got the job, and was on my way to becoming a designer of many cancelled titles and one that actually got out – well enough received for you to be reading this today, how ‘bout that? Perhaps if not for Fallout, I would have never thought my love of games, design, and writing could be combined and instead I’d be getting into the head of the Monopoly thimble, trying to figure out its motivation in the script while attempting to drink myself to death.
Monday - July 13, 2009
Rock, Paper, Shotgun - Gaming Made Me: Ken Levine
Rock, Paper, Shotgun's "Gaming Made Me" column where writers discuss the games that made them identify as "gamers" gets a mention here, because Kevin Levine lists Ultima Underworld as one of his inspirations:
I always remember one of the first true immersive experiences I had as a gamer; I was being chased by some goblins, and of course the world was really crude, but I was seeing these bit mapped goblins chasing me down a corridor and I was low on health so I was fleeing them and I turned this corner thinking “I got away from them!”. I turned the corner to find this giant spider and all of a sudden I was in a scenario that the designers probably never contemplated.
The designers trusted their system enough to know all they needed to do was put a goblin down in one place and they put a spider further down the hall. The game (and the gamer!) would handle the rest.
Tuesday - January 06, 2009
Rock, Paper, Shotgun - Gaming in the Russian Cosmos
This is stretching our mandate a long way but Russian games have some profile in this genre and King's Bounty gets a brief mention or two. Gaming in the Russian Cosmos Part 1 is an updated piece at Rock, Paper, Shotgun (the original version goes all the way back to May 2008) with Jim Rossignol relating his experiences from a trip to the KRI gaming event. On the effect of logistics in Russia:
Just 142 million people have 17 million square kilometres to live in. (Compare that to 60 million of us in the UK sharing just 245,000 square kilometres). It’s an eight-day train journey from Moscow to Vladivostok, where the the King’s Bounty team reside. They couldn’t make it to KRI for that very reason. What’s more it’s a place where publishers need to battle with the problems of distribution and rampant retail piracy. We might get upset about torrent sites and online theft, but up until a few years ago most games sold in Russia were pirate copies sold as packaged products on the street. The cost of broadband meant, for the larger part, it was cheaper to buy pirate product from a vendor. The problem was so bad that pirate companies were reportedly approaching publishers to offer to distribute their games. This has been quite fiercely stamped out by the Russian authorities.
Saturday - December 27, 2008
Rock, Paper, Shotgun - Top Ten Things that Made People Mad in @ 2008
Yes, folks, it's a slow news day out there, and almost every site you go to has some list of the Top Whatever of 2008. This one at RPS is a bit off the beaten track, and covers the gaming fiascos of 2008 that stirred up various degrees of internet outrage. Here's a bit of the lead-in, and #10:
Has it really been a year with more flashpoints than usual, or is this just an unfortunate side-effect of the rise...of internet discussion, and the Angry Internet Men that inevitably come with it? At any rate- here’s the PC gaming scandals, scandalletes and total non-events that most angered the Angries this year, compiled at random by an idiot (i.e. me). Some uprisings were justified, others less so - but the debate around them always fell prey to MAXIMUM RAGE.
10. Diablo 3 has colours shocker
About the most ridiculous protest of the year, and one that makes me fear for developers’ perceptions of PC gamers. Oh no - long-awaited RPG is slightly more colourful than its predecessors. STOP WHINING. Fair play to Blizzard for actually responding to the irate fans with their reasoning for the change, though were I in their shoes I would, I suspect, refuse to stoop to that level.
And a Bioshock flashback:
4. Bioshock Ate My Children
By rights, this should have been 2007’s problem. Unfortunately, it remained (remains?) an open wound for a certain breed of gamer. Many had treated it as the last, best hope of intelligent shooters, and when it turned out to be a stylised corridor-pounder that stopped making sense two thirds of the way through and climaxed with one of the more embarrassing boss fights of recent times, a lot of folk felt betrayed. It’s hard to deny...that Levine & chums’ shooter pulled far too many punches, but the irrational (pun entirely intended) rage of so many people at the mere mention of its name, even months later, totally overshadowed what it did do very well, in terms of atmosphere, setting, horror and early narrative cleverness. ...Oh - and that it was one of the first games to employ limited-installation DRM horror was a slap in the face that hasn’t yet stopped stinging. The game dodged 0-day piracy because of it, and it’s more than likely it’s thus one of the main precedents for all the Securom punishments of this year’s games.
Thursday - December 04, 2008
Rock, Paper, Shotgun - 12 Days of Christmas, Day 2: Mass Effect
Rock Paper Shotgun has a 12 Days of Christmas blog going featuring a game a day. Day number 2 discusses Bioware's Mass Effect [Spoiler Warning--lots of very plot-specific comments in the article which I've tried to avoid here]:
If there was one aspect I’d like to have seen explored more – and in fairness, it was explored quite a lot – it would be Humanity’s fledgling role in the universe. Obviously we join the story after the most momentous events, when Humans discovered Mass Effect capabilities and learned they were not alone in the universe. This is such an interesting time as Humans shift from top predator to bottom of the pile, and the game prods at it, most notably with the pursuit of a seat on the Council, but I’d love to have seen it take it further. Human arrogance is talked about, and as a species they’re already not liked by other “minor” races for even being considered for a Council position so soon. But I’d have liked to feel the effects of this a bit more. See what consequences it had had on Earth’s politics, what extremist fractions had occurred (beyond experiencing racism), whether it had dramatically affected the Human psyche.
Thursday - July 17, 2008
Rock, Paper, Shotgun - Atari E3 Visit
This should probably get filed separately under The Witcher and NWN2: The Storm of Zehir but the impressions are so short, it isn't worth it. Rock, Paper, Shotgun went along to see Atari and looked at the two mentioned titles. Nothing here for us, I'm afraid:
Otherwise, Atari also had Neverwinter Nights 2: Storm of Zehir on show. Now, I have absolutely no experience with NWN2, so my impression of the expansion pack – that it seems kind of good – might not really mean anything, but the title does feature some interesting features, from a party system that gives you four main characters (in any situation, such as conversations, you can pick the one which will do the best job) and an intentional effort to make the skills from Dungeons and Dragons that no one ever uses useful (so you can “craft” items from debris found at your shipwreck, or use “spot” to find hidden items).
Tuesday - July 08, 2008
Rock, Paper, Shotgun - Annoyed About Action-RPG Inventories
Alec Meer's periodic rant piece on Rock, Paper, Shotgun today focuses on action/RPG inventories. It doesn't really draw any conclusions but he does get across his annoyance:
I’d slaughtered my way through a good seven or eight hours’ worth of beastmen and harpies before I had one of those catch-yourself-in-the-mirror moments. What was I doing? Theoretically, I was killing an awful lot of monsters, big ol’ hero that I was. Actually, I was obsessively picking up shiny things from the ground until a number of small squares on my inventory screen were full up, teleporting back to town to sell said shinies, then repeating the process. This was not, I realised, making me a better person. I’ll stress that I’m fine with a few hours of mindless hacking, slashing and looting (though I’ll tire of it before too long), so my objection is not to the basic nature of these games. It’s an objection to the fact my hacking, slashing and looting is so regularly interrupted by thankless commuting. And lo, I became annoyed enough with both myself and the game(s) to make some sweeping generalisations. Not novel ones I’ll admit, but as we’re in digs-at-gaming-clichés mode today anyway… Whee!
Wednesday - June 04, 2008
Rock, Paper, Shotgun - Ramble on Rambling
Jim Rossignol is musing on exploration in games with a piece called Ramble on Rambling at Rock, Paper, Shotgun. It's ostensibly about re-discovering his love of Oblivion but goes on to discuss his love of open-exploration games, something I think many RPG fans embrace. Here's a snip:
Anyway, my return to Oblivion, mixed both nostalgia for the excellent couple of weeks in which I’d originally played it (including an 3am, rather intoxicated, first plunge into the Oblivion realm which was remarkably intense), with a sense that I might not like the game all that much this time. I wasn’t expecting much – my recollections of Oblivion were faded and dulled. I expected it to have aged and recalled my eventual boredom with it the first time around. In some ways, it seems, my memory had been playing tricks on me. Discussion since Oblivion seemed to have dwelt on its failings: dodgy character development mechanisms, the lack of Morrowind’s weird-ass world design, and so on. It was as if this had overwritten what I actually felt about the game.
The truth, of course, was that I love Oblivion far more than I remembered. Even while just running across its wondrous open vistas, stopping to marvel at the sheer scale of its visual accomplishment (vegetation-drenched wooded valleys, walled cities visible from the horizon), it only took moments to spot something that I’ve lauded some other games for: something irrelevant going on in the world. A priestess of some kind was hunting and using magic to kill deer. I could ignore it, or go up to her and talk. The choice was mine. It didn’t matter, but it was still there. It was then that I got the same kind flash of freedom that Tom had done on coming out of the sewers. It’s a game that charms you with its breadth from those earliest minutes in its open world.
Thursday - May 22, 2008
Rock, Paper, Shotgun - Idle Thoughts on Demos
Demos are a subject we've discussed recently, so this isn't an original topic but Rock, Paper, Shotgun is always worth a read:
It needs to convince you that this is what you want to spend 10, 20, 100, infinite hours playing. It’s got to be fun, it’s got to be challenging, it’s got to be aesthetically impressive. It’s got to make you want to spend $50 there and then.
And yet, so often, it’s just a slice from the front of the game - the slow bit from the start, the tutorial that tells you how to look up. Unless the developer’s created a custom level - a very rare practice - they don’t have much choice on the matter. Watching a film or listening to music is primarily a passive experience (for the sake of supporting that argument, I’ll not mention how often I have to draw my curtains so the people at the bus stop outside my window can’t see me dancing in my chair whenever itunes shuffles up something wondrous), but most every game involves escalation of difficulty and complexity. It’s a deadly gamble to dump some middle or late-game content into a demo as a) without a few hours of prior context, it may prove entirely inaccessible and b) you don’t want the player to feel he’s seen everything and thus not bother playing the game.
Saturday - April 05, 2008
Rock, Paper, Shotgun - Deus Ex 3 Art & Thief 4 Speculations?
Rock, Paper, Shotgun has a nice piece of concept art that came to them via a French site and a circuitous route. It's authenticity as art from Deus Ex 3 isn't proven but they discuss their reasons for believing it genuine.
In related news, a couple of days ago they speculated Eidos Montreal is also working on Thief 4, after spotting job positions with some strong hints:
To quote the statement from their site: “Eidos-Montréal is proud to announce the recruitment for our 2nd “AAA” project. … A hint! The title begins with the letter “ T”.” Which doesn’t mean much until you notice - as a forumite of theirs did - the previously existing line on their site here: “The first two games we develop will revive successful franchises.” With the Montreal Studio already at work on Deus Ex 3, it’s an easy leap to the further adventures of Mr Stealy rather than the further adventures of the-also-Eidos-Owned-Terracide. Or, less facetiously, they could be Tomb Raider… but that franchise doesn’t need reviving. Let’s be honest: It’s almost certainly Thief. They wouldn’t have said the teasing “T” otherwise.
Wednesday - March 12, 2008
Rock, Paper, Shotgun - Piracy is Not the Issue
Rock, Paper Shotgun's Keiron Gillen examines an essay by Brad Wardell, Ceo of Stardock, which presents the idea that when the dust settles on a particular game's success, piracy is less of an issue than sales. Wardell's entire piece, Piracy & PC Gaming, can be found here.
I actually found the original essay as interesting as the commentary, so here's a brief excerpt:
Recently there has been a lot of talk about how piracy affects PC gaming. And if you listen to game developers, it apparently is a foregone conclusion - if a high quality PC game doesn't sell as many copies as it should, it must be because of piracy.
Now, I don't like piracy at all. It really bugs me when I see my game up on some torrent site just on the principle of the matter. And piracy certainly does cost sales. But arguing that piracy is the primary factor in lower sales of well made games? I don't think so.
Is it about business or glory?
Most people who know of Stardock in the gaming world think of it as a tiny indie shop. And we certainly are tiny in terms of game development. But in the desktop enhancement market, Stardock owns that market and it's a market with many millions of users...If you want to talk about piracy, talk about desktop enhancements. The piracy on that is huge. But the question isn't about piracy. It's about sales.
So here is the deal: When you develop for a market, you don't go by the user base. You go by the potential customer base. That's what most software companies do. They base what they want to create on the size of the market they're developing for. But not PC game developers.
This leads to the quote Gillen references:
“PC game developers seem to focus more on the “cool” factor. What game can they make that will get them glory with the game magazines and gaming websites and hard core gamers? These days, it seems like game developers want to be like rock stars more than businessmen...
Gillen then goes on to say
...With magazines and websites, I don’t think it’s actually anything to do with “cool” - it’s about what’s perceived as cool by the people who read them. As in, what will make them read. Regarding websites, there’s a nasty truth which no-one really has spoke aloud: Pirate’s clicks are as good as anyone else’s. Websites earn money from people who have no interest in paying for the game. If there’s several million pirate-only FPS fans, they’ll swell the page-impression count too. If there’s four million people who want to read about Call of Duty 4, even if only 400,000 want to pay for it, a website will earn more money by writing about it, rather than trying to do something for the 400,000 people who actually want to read about Sins of the Solar Empire, even if every single one of them buy the game...
Thursday - February 14, 2008
Rock, Paper, Shotgun - Warren Spector Interview
God, another Spector interview? Don't worry, I can't see us posting many more but this quote caught my eye...even though it won't get made:
RPS: Okay - as a general starting point of where you are today, can we talk about how you and Disney got together?
Spector: The shortest version is… well, I was out pitching an epic fantasy RPG. It was like Deus Ex and System Shock and the Ultima Games, in that it combined a bunch of genres… and there was one really, really interesting new innovative thing which I don’t think anyone was doing at the time, and I still don’t think anyone’s doing. I’m out there pitching this thing. I get hooked up with Seamus Blackley, who’s an agent at Creative Artists Agency [And prominent figure in the genesis of the XBox - Ed]. He represented me and my studio. He suggested we talk to Disney. “Talk to Disney? There’s no way they’re going to be interested in this!” “Oh, you don’t know that - they’re changing. Let’s go out and talk to them.” So I go out there and pitch this thing and… as we’re talking, they start looking at their Blackberries.
Sunday - October 21, 2007
Rock, Paper, Shotgun - Text in Games
Kieron Gillen at Rock,Paper,Shotgun has written an article on the use of text--words and dialogue--in game design. It includes some explorations of the pivotal role of words in various games and genres, including adventure games, roleplaying games such as Planescape:Torment, text adventures and others, and why text can be as effective as visuals or even more so. Here he quotes Sheldon Pacotti, writer on Deus Ex:
Words remain one of the more enigmatic yet efficient tools available to a professional game designer, and certainly one of the most overlooked. And its efficiency cannot really be overestimated – both in terms of player and development time. “Language (and prose in particular) remains an important tool for game designers because it’s malleable,” notes Sheldon Pacotti, writer on Deus Ex and now at Spector’s Junction Point, “One sentence can go from the Bronze Age to 21st-century Shanghai to the bridge of the Starship Enterprise. Imagine the development budget to represent that last sentence visually. Especially in adventure games, language is critical for conveying history, prophecy, and the multiplicity of a gameworld/society. Consider the dwarves’ song about Smaug at the start of the Hobbit. It moves from legends about the dragon to a prophecy of its doom in a matter of seconds, and for me this is where the book suddenly becomes not just a story but a complete world.”
Here's Chris Avellone on how text was used to supplement or even replace visual storytelling in Planescape:Torment:
“We just thought that there was so much you could do with written description – facial expressions, motions of the hand, etc, that we didn’t have the art resources to represent,” remembers Chris Avellone, lead designer on Planescape: Torment, and now at Obsidian, “To do all the cinematics, animations, and movies to capture the memory sequences, companion expressions, and other moments just would have been impossible.” It also went against the occasional stated wisdom that text is just too much work. “I don’t think text is any harder to produce than building tilesets, models or doing anmations,” Chris, whose fellow designer Colin McComb credits as having written literally half of Planescape, adds “if you love doing it, it’s no work at all.”
Monday - October 15, 2007
Rock, Paper, Shotgun - Guilty Secrets: Why Players Don't Finish Games
Rock,Paper Shotgun's Alec Meer delves into his personal experience after being inspired by this article by Colette Bennett on the Destructoid site (called The Endgame Syndrome: Why Do We Abandon Games? ):
As most of my Destructoid compatriots know, I await RPGs with intriguing storylines more than any other type of game. I enjoy nothing more than to sink myself into a rich plot, get to know the characters, and most of all, experience some form of emotional fulfillment at the end of the story for the work I've put into playing it. To my surprise, the last few I have looked forward to I've gotten fifty to sixty hours into and then simply never picked up again. Why this sudden transformation from game committment to total disinterest?
Alec Meer's observations are here:
Most people don’t finish games, even games they’re dead excited about. The reasons are manifold... I know at least half a dozen people who didn’t make it far past That Moment in Bioshock, praising its power but in the same breath claiming boredom with the game’s admittedly repetitious structure and combat.
I’m guilty of plenty of gaming orphans myself. I’ve never quite completed a GTA game, usually because the level of driving ability required gradually becomes too harsh for me to enjoy myself. It took me 18 months of fits-and-start playing to finish Deus Ex. I made it to Chernobyl itself in STALKER, right on the cusp of answers and endgame, then found my savegame rendered useless by a patch and haven’t found the time/energy to start over. I’m still dodging KOTOR 2 spoilers, because churning through the game’s fight/collect/upgrade mechanics so soon after KOTOR 1 just felt too dreary, despite my burning need to know the plot’s secrets.
Worse, I’ve started Baldur’s Gate II around a dozen times, but always hit a point where its end still seems impossibly far away and just give up. Then there’s the half-dozen Final Fantasies I couldn’t finish because they kept interrupting me with the hideous, arrogant cutscenes that their hideous, arrogant fans believe constitute good storytelling. It’s the kind of thing I’d love to see some graphs on, and no doubt they’d show the faintly horrifying proof that the human animal behaves largely the same way even in experiences which feel so personal. On the other hand, it’d be reasurring to see that many people have given up in the places I did. At least it would mean it was the developer’s fault, and not my own.
Monday - September 17, 2007
Rock, Paper, Shotgun - Quest for Glory
No, not the game Quest for Glory. Rock, Paper, Shotgun has a humorous article on the silly RPG convention of complete strangers entrusting their most personal and important tasks to even stranger adventurers. In this piece, writer John Walker (apparently) dons some appropriate gear and hits some real-world streets to see how people really react:
The plan: To take to the streets, dressed as a wizard, with a quest for the good peoples of Bath, England. Would they really help out a stranger with a strange beard? Would they even stop and listen? Is there any truth to this convention we’ve otherwise entirely accepted?
First of all, I should immediately get this out of the way: No one, at any point, approached me to ask for a quest. Short of suspending a yellow exclamation mark above my head, I’m not sure what more I could have done to attract the attention of any passing adventurers braving the cold thoroughfare through the centre of the town. If anything, people did their very best to avoid me, refusing eye contact, moving far away from my pleading face. It was already concerning.
Monday - September 03, 2007
Rock, Paper, Shotgun - Valve's Newell on The Future of PC Gaming
The folks at Rock,Paper, Shotgun give us a look at some comments on PC gaming made by Valve's Gabe Newell in the course of an extensive Eurogamer interview:
He [Dennis Dyack]also actually said that he thought the PC was the ultimate example of a ‘no standard’ system and that it was “going nowhere”.
Newell: [Laughs] There were 140 million PCs sold in the last year. In a single year they’re going to sell more PCs than the best-selling consoles of all time, so when people make statements like that I really have no idea what they’re talking about. The volumes of scales of PC CPUs, in and of itself, is sufficient to keep the PC incredibly competitive against anything. Intel’s volumes are so huge in comparison to Sony’s volumes on the Cell that the Cell could never be anything other than a second or third tier competitor in the CPU market, because it’s all about how many you make, and if you’re only making millions and your competitor is making hundreds of millions, you can’t compete - it has nothing to do with architecture, it’s just what happens when you make little pieces of silicon; it’s whoever makes the most of them wins. Even an order of magnitude difference is pretty insurmountable, much less two orders of magnitude, so I’m not sure I understand his argument, but I haven’t read his papers or seen his presentation.
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