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Have you heard about The New York Videogame Awards? Word on the street is the event is going to be pretty spectacular. Just keep an eye out for it! Anyway, here’s your weekly Roundup!

Samit Sarkar reviews Destiny’s first “expansion”, The Dark Below.

Mike Futter talks with art director Pete Ellis about the change in art style for the upcoming Fortnite.

Jeremy Voss is getting ready for his own GOTY award on his newly re-designed Shouts From The Couch.

Chelsea Stark reports of Sony’s troubles trying to control the massive flood of information coming from their studio after being hacked.

Evan Narcisse reviews Lara Croft and the Temple of Osiris over on Kotaku.

Jorge Jimenez brings you more Dualshockin’, this time with Far Cry 4.

As a bonus, Stu Horvath reflects upon Christmas and a stranger approaching him on the street.

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By Harry Rabinowitz

I could tell you about all the post-Thanksgiving deals Circle members have been rounding up for you all…but by the time you read this post, all those deals will be gone. Content about games is more interesting, anyway!

Jeremy Voss recaps his post-Thanksgiving escapades, which mostly consisted of Dragon Age Inquisition and a slightly faltering disdain of Assassin’s Creed Unity.

Evan Narcisse talks books. Specifically, William Gibson’s new novel The Peripheral in this amazing look and interview. If you want the spoiler-filled version of the interview, here it is.

Adam Rosenberg reviews Lego Batman 3: Beyond Gotham. Turns out it’s a lot like its Lego Batman predecessors…

Jorge Jimenez is back with another Joystickin’, this time with Assassin’s Creed Unity, post bug-fixing patch.

Mike Futter reports that Chaos Reborn, a new Kickstarted strategy game from Julian Gollop (X-COM), will hit Early Access on Steam December 9th.

Chelsea Stark talks Federal Trade Commission. Yes, you read that right. Because of “deceptive” ads, Sony must offer partial refunds to early PS Vita buyers.

As a short bonus, Jeff Bakalar was on CBS News, talking about tablet sales, which saw a considerable loss in sales this year.

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Mario Cartridge

by Harry Rabinowitz

“Can I take a look?” Rebecca asks me, gesturing towards the blue-screening copy of Mega Man III.

“Sure.”

I open the lid of the Nintendo Entertainment System, a piece of equipment a little under a decade older than me, caress the cartridge of Mega Man III out of the system and pass it to Rebecca, a visiting videogame preservation expert.  She flips the large square upside down.  It rattles a bit.

“What’s that?” I ask.  “Sounds like a bead or something.”

“It’s bad.  Really bad.” She frowns.

Rebecca explains what the sound means.  I ask more questions, naturally curious about games and a console I never had the pleasure of owning.  It gets complicated.  About a half-hour later I get the gist of it.

That copy of Mega Man III is dead.  We won’t be able to get it to play anymore.

I work in the NYU Game Library.  Every day, I sit at my desk placed in front of hundreds of cartridges.  Atari, NES, N64, Sega Master System, SNES, GameBoy, you name it.  I’ve probably only played three of them.  Slowly but surely, each and every one of these games will degrade.  The cartridge might get “finicky”.  The consoles might run a game strangely.  And one day, a Legend of Kage or Zelda II with have its final death rattle.  It might literally start rattling, or just show a silent blue screen, and that’s that.  If I were more versed in this kind of hardware, I could open up the cartridge and try to bring it back.  But I’m not, and I don’t know a single person in my generation who is.

60 years from now will people still be able to play any of these NES cartridges?

Videogames are not like other art forms.  We cannot just put a copy of The Legend of Zelda in a glass display somewhere and be satisfied.  To understand a game, you need to play it.  With companies like Sony and Microsoft abandoning backwards compatibly, the likelihood that my stack of PlayStation 2 games will ever see playtime is shrinking every day the console gets older.  Nintendo is trying its best with the Virtual Console store, but they do not offer nearly the amount of titles that sit behind my work desk.

Unfortunately, I’m not sure how to physically preserve the consoles and games I work with everyday.  But I do know how to digitally preserve them.

I am, of course, talking about emulators.

Things for from grim to hopeful (albeit a bit complicated) with the turn of a page…

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John Azzilonna and Gregg DellaRocca packed up their video gear and took it to Sony‘s recent evening of game demos on the West Side of Manhattan.

Specifically, the John and Gregg focused on games that have a spooky, creepy aspect to them — to say the least.

You’ll see other Critics Circle members throughout the video as well.

For instance, Anthony Agnello from Joystiq makes an appearance.

See how many other Circlers you can find in the background!

But mainly, enjoy this, our Halloween video program.

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Was Sony’s PlayStation 4 presentation last week in Manhattan a boom or a bust?

Jill Scharr, the Circle’s senior associate editor, and Victor Kaliogiannis, our videographer, have put together this excellent, nearly 25-minute video program.

Here’s you’ll find deep, immediate post-presentation insight from Kotaku’s Evan Narcisse, Newsarama’s Lucas Siegel, Engadget’s Ben Gilbert and author/Circle founder Harold Goldberg (who is about to get the flu from a hacking Euronerd who coughed on him, which is why he’s a bit curt at times).

All are member of the New York Videogame Critics Circle.

Our guest for this program is Yahoo! Games’ very knowledgeable Ben Silverman.

Enjoy!

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Illustrator Matthew Nava provides insight into the design behind the truly intuitive game, Journey.

By ANNATRUUS BAKKER

Matthew Nava came to hear about the Journey project in his first job interview with thatgamecompany back when Flower was still a work in progress. Jenova Chen, thatgamecompany’s creative director, asked Nava what he thought “an online multiplayer game in which people could develop meaningful bonds of friendship” would look like.  How do you even answer such an open-ended question like that? Nava’s response sums up the art of what was then just an idea of a game. “I told him that I thought two tiny characters in a harsh setting, something like a giant desert… would only have one option: to become friends.”

It’s well known that the games produced by Chen, Nava and their colleagues have all been more emotive than the average games circulating the shelves at GameStop and Best Buy these days. From reading through “The Art of Journey” it’s clear that, at least for Nava, the game is just as much about the atmospheres one can only create in a digital world as it is about the story. He strove to create a game that was not just cross-cultural, but completely ambiguous in terms of character, architecture, and landscape. The game would be played globally and the team at thatgamecompnay wanted to make sure the game could function the same for everyone from Ohio to Indonesia. Even the music is designed to be familiar but altogether something you cannot place within a certain time-period or culture. The result isn’t entirely new so much as a somewhat ethnic mishmash.

“The Art of Journey” is a way to see deeper into the creation of Journey and get to the core of what Nava strove to create. It is crystal clear just how much time, sweat and love Nava put into this game. As he wrote his game design documents, environment and atmosphere within game play were of paramount importance. Each building, landscape, and even the light was colored so as to evoke an emotive reaction. It’s as if Nava questions what it means to be dust and how it feels to be the color indigo when backlit by the setting sun. It has to be said: the artwork is stunning. The result is not an entirely new landscape but rather a place nostalgic for a lost world. Exploring Journey is comparable to discovering Atlantis or a dreamscape that you always knew existed in your heart but are only just now exploring.

As a companion to the game, “The Art of Journey” tries to assert itself as a coffee table book, large and heavy — with the added bell and whistle of augmented reality to make pages come alive with, say, flying dragons. Unfortunately, the narrative isn’t quite as impressive. Nava repeats himself as he introduces each section (character, architecture, color, etc.). He paints himself as a thorough researcher and overworked artist. Again and again he claims the importance of ethnic ambiguity and his attempt to establish a universal language. No offense Nava, you’ve done an awesome job, but I would rather read about specific influences than broad generalizations. Instead I have to look to the hundreds of illustrations for clues and need a hearty background in art history to examine the overall importance of your research. It is not often we find deftly-created, popular games based on quiet friendship rather than barbarous bloodlust. It’s a trope that’s harder to pull of than the clichés of violence, and hopefully Journey will have a positive impact on the market for games, even hard core games.

As the writing and artwork unfold page by page, it becomes apparent that the avatar is fascinating not simply because his robes flow zen-like in the wind. It’s because the final rendition comes out of a universality we all find in movement. The avatar’s emotions are visible only through the swaying cloth surrounding the vaguely humanoid creature. A word that Nava uses is ‘dynamic cloth” as if the movement of the cloth has a life of its own. The tail that extends down the back of the veiled, dress-wearing, cat-like creature flows with movement and with the wind in the desert. The other creatures your avatar will interact with in the game look like empty cloth wrappings – as if the creature would be invisible if the decorative cloth wrapping it wasn’t there. The ‘dynamic cloth” has a breath to it, bringing life to each creature without assigning the usual hassles like race, sex, or level of evil within them.

Much of the artwork is heavily influenced by Greek, Islamic, and Japanese culture. Nava says that he, “created a set of rules for Journey in which <he> blended elements of these styles with <his> own motifs and designs.” He says the result was something entirely new but as Truman said, “There is nothing new in the world except the history you do not know.” Much of his architecture, specifically the tower the players climb in the book’s desert chapter in the book resembles the architectural impossibilities of M.C. Escher’s illustrations. “Procession in crypt,” “Ascending and Descending,” and “Belvedere” all resemble the vaguely European and Arabic influenced architecture used by Escher and Nava alike. That being said, I don’t think Nava or Journey needs an entirely new yet familiar environment to be successful. Those are extremely high standards and I don’t think Nava needed to have put so much emphasis on them. But I am glad he pushed himself and his team to create something that is truly a monumental step forward in the visceral experience of game play. To explore Journey is to explore movement, light, and color. It is truly a singular thing.

Annatruus Bakker is one of the Critics Circle’s talented interns.  She is a recent graduate of the School of Visual Arts where she wrote plenty of art criticism and made a lot of art.

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By Max Neopikhanov

Just before Indiana Jones cuts a suspended rope bridge in the Temple of Doom, sending his screaming adversaries into the maw of a great river, Short Round, his tenacious little sidekick, delivers one of more memorable lines in the film: “He’s no nuts, he’s crazy!”

Uncharted’s treasure hunter protagonist Nathan Drake is certainly no Indiana Jones, despite the many parallels that can be drawn between the two series. But he’s earned the reputation of being a little nuts due to the many seemingly impossible stunts he’s pulled off in the Uncharted trilogy.  By comparison, Drake’s personality is rather tame and undeveloped in Uncharted: Golden Abyss, the newest installment in the series.

Fortunately, the quality of the game’s individual parts makes up for the some lack of originality in plot and characterization.  Golden Abyss may not have the explosive, cinematic production values of the PS3 Uncharted games – themselves influenced by films like Raiders of the Lost Ark, Die Hard and the old penny dreadful books.

Yet it has its compelling moments.

Golden Abyss chronicles one of Nathan Drake’s explosive adventures prior to the main trilogy.  The young Drake – voiced again by Nolan North – is recruited by a treasure hunter called Dante. According to Drake, he’s “a friend from the old days” who’ll help find unknown wealth somewhere inCentral America.  Within an hour of play, Drake is introduced to Dante’s partner Marisa Chase, and they soon discover clues to a 400 year-old massacre of those unfortunates involved in a Spanish expedition.

As the mystery unfolds, Dante is revealed to be somewhat of a psychopath and the dichotomy between his personality and Drake’s brings their friendship into question.  One flaw in the characterization is easily noticeable – Drake constantly derides Dante’s character yet follows him heedlessly, stealing treasure at every possible opportunity. It’s an astounding flaw.

The absence of veteran Uncharted writer Amy Hennig may be noticeable to long time fans of the series, but the Golden Abyss’ sarcastic, cliché dialogue is definitely more tolerable on a five-inch screen and in bite-sized increments than it would be on the PS3 in your living room.  To enhance the extremely linear story which includes 34 chapters and a prologue, the developers included a plethora of treasures to collect and photographs to take.  It takes a really sharp eye to get all of them and many give insight into both the overlapping historical narrative and the motivations behind some of the characters.

Though the writing may leave you wanting, Golden Abyss’ visual presentation looks nearly as good as any console version of Uncharted.  Right away, you notice the beautifully rendered levels as Drake traverses jagged cliffs and swings on lush vines as soldiers and mercenaries try to gun him down.  A.I. is fairly – but not completely – adept at reacting to Drake’s movements. The somewhat frantic enemies work in tandem to flush him out with grenades, sniper rifles, and shot gun rush tactics. Like its console brethren, Golden Abyss features third person over-the-shoulder gunplay along with cover mechanics.

One puzzling decision by the developer is this: the player has to use the touch screen to navigate through menus with no given option of using the buttons.  One particularly ingenious puzzle, which required that one of the Vita’s cameras be held up against a strong light source to be solved, completely stopped my play session while I traveled on my daily commute on a subway train.  For the first time in all my years of gaming, I could not physically solve a video game puzzle because I was unwilling to stand up and hold my Vita against the fluorescent light in a train packed full of people.

In what admittedly may be an isolated incident, I realized that developers of handheld games need to incorporate gameplay and control mechanics that one shouldn’t be embarrassed to perform in public.

After nearly 14 hours of generally engaging platforming and gun-play, the credits rolled. My disappointment at the predictable ending faded as I powered off my system and stepped off the train at my stop.  I think I’ll play it again tomorrow and get the all the secrets and trophies I missed.

Max Neopikhanov is a journalist and gamer who lives in New York City. This is Max Neopikhanov’s first story for the Circle. More of Neopikhanov’s work can be found at http://hightechmonster.comThe New York Videogame Critics Circle is committed to giving promising writers a platform for their views. Send us a note with your ideas.

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