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Posts Tagged ‘sony’

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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In a stunningly revealing announcement last week, Nintendo stated that on August 12 it will reduce the price of its 3DS from $250 to $170. Though it was spun as an event as important as the Royal Wedding in a press release, the news reverberated throughout the game industry in a decidedly different way. The price drop was seen as a failure on the part of the Japanese company to sell what originally had been seen by some journalists as the most major of steps forward for video gaming: 3D without glasses.

The reasons for the poor sales of the device are many. Soon after the machine was released in Japan, the terrible earthquake and tsunami hit the country. While I pointed out on NPR’s Morning Edition that manufacture of the 3DS didn’t occur in Japan, people working at Nintendo’s Kyoto HQ were certainly hit by the sad situation, if not directly, then, emotionally.

More, sagging sales of the 3DS had to do with an unreasonably high price. Nintendo had succumbed to the same kind of rampant hubris that had hit many game companies over the years, from the 3DO company in 1993 to, more recently, Sony in 2006 with its overpriced PlayStation 3. Especially in a sluggish world economy with a possible new recession looming in the United States, $250 for a new DS was an outrageous price – even though the 3D on the handheld gaming device was spectacular.

When you could see it. The 3DS has an extraordinarily limited viewing angle. If you don’t look at it straight on, you can’t see depth. Instead, you see a double image. And if you play without moving your neck, your reward is stinging neck pain or a pounding headache. Sony itself had contemplated making a 3D version of its PlayStation Portable, but, according to Sony insiders, decided against it because the technology wasn’t quite there yet. It’s not. That viewing angle is the bugaboo.

And how can you hold to that precise viewing angle when playing shooting games or even platformer games like Mario? Most games are made to be exciting, visceral experiences that take you from the real-life mundanity to a world where everything moves like rides at an amusement park. So holding steady is very difficult, to put it mildly.

The 3DS is best suited to a role playing game like the recently released The Legend of Zelda: The Ocarina of Time 3D. In that terrific, artful game, you move at your own pace and talk to townspeople as you level up – until you need to kill an enemy. That’s the time when you turn down the 3D with a small lever and shoot away in more traditional 2D.

Nintendo executives were taken aback by the poor sales of the DS (and the Wii as well) to the point of awed shock. In fact, they agreed to cuts in pay. In addition to getting the 3DS on track, they have a long, hard slog ahead in proselytizing to the world’s gamers that they need the new version of the Wii (which will be coming next year). WiiU is influenced by the iPad. In fact, it looks like an iPad with a console addition. Marketing this will be won’t be as easy as selling the Wii and its wireless, motion controller.

But there’s a zeal for WiiU to succeed because Nintendo’s worldwide president, Satoru Iwata, told audiences at the March Game Developers Conference that games for the iPad and iPhone were being sold too cheaply. Iwata would prefer to keep his $39.99 price for the 3DS games (and $49.99 (or more) for the upcoming version of the Wii).

The 3DS is generally a fine device beyond the 3D aspect. Among other features, it sports wireless functionality and a store in which you can purchase old school Nintendo games. Yet the success of Infinity Blade and Angry Birds for the iPad proves that many games (certainly not all) for the DS are overpriced. If that’s true, and if the 3DS doesn’t sell well at $170, Nintendo executives will be taking more than a pay cut. They’ll be shown the door. After all, it’s one thing to ride the wave of sales for a device like the Wii, which was so easy to play and understand that it sold itself. It’s another thing entirely to take a company on the downswing and make it the next big thing again.

Nintendo isn’t going anywhere. It’s not dying. Yet it’s wounded. Now’s the time for Sony and Microsoft to make their moves in the ever-evolving console wars. And even if one company does win, the winner may no longer take as much as 80 percent of the market as Atari, Nintendo and Sony have in the past. That’s because Apple is so successful with its little downloadable games. Apple’s not going to put the big three out of business. But they are taking a very healthy slice of the pie.

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