Discover the worst Christmas game ever – and why I can’t get enough of it

IIf you own an Xbox and have some sense, you’ll probably be spending this Christmas playing the new Indiana Jones game. And perhaps feeling smug about the fact that it’s a timed exclusive, PlayStation owners will end up pressing their noses against frosted glass like Victorian orphans.

But, PS5 fans, please wipe your tears. Because I found the game that will save Christmas. And it’s only 79p. Let’s say “hello” and “hohoho” to Santa’s Speedy Quest.

I discovered this gem while scouring the PlayStation Store looking for cheap and awful games to laugh at on my Twitch stream. (This is also how I discovered the seminal classic Stroke the Beaver, but that’s another story.) SSQ fits the bill perfectly, and is incredibly cheap (if you have a PlayStation Plus subscription). It’s actually just 23p if you’re paying a fee), which on the face of it is terrible. But it’s also addictive, hilarious, and much more layered than it seems.

At one point during the stream, I might have described this as the pinnacle of the video game medium. It’s a lot like the three pints of Baileys I pre-consumed, maybe a little stronger. But I stand by the claim that Santa’s Speedy Quest is, in its own simple and diabolical way, a work of twisted genius.

As you might imagine, SSQ lacks the polish and high production values of blockbusters like Indiana Jones and The Great MacGuffin. It looks like it was made with Microsoft Paint. It also doesn’t contain any original gameplay ideas, unless you consider “Make Flappy Bird Santa” innovative.

Nothing innovative or original…Santa’s Speedy Quest. Photo: ERIK GAMES

Contains 8 mini games. It all looks familiar. None of them are attractive in and of themselves. Two of them are variations on the “dodge the snowball” concept, depending on whether the snowball comes vertically or horizontally. There are no collectibles, health potions, power-ups, etc. There is no multiplayer mode or online play. I can’t even pause. When you press start, the game continues in the background with a metaphysically challenging message: “You can’t stop this game.”

It feels like Christmas 2008 all over again. At the time, the Wii’s success flooded the market with minigame collections that ranged from poor to very poor quality. I was forced to review many of them just to put food on the table on Christmas Day. on the verge of extinction At Hasbro Family Game Night. I still don’t know if Vienetta was worth falling in love with.

However, here’s the twist. Santa’s Speedy Quest does not allow you to choose which mini-games to play. All must be played. In random order. Continuously without a break. Just for a few seconds at a time. increasing at an increasingly rapid pace and at seemingly arbitrary intervals.

“1.4x faster,” the game shouts. 2.6 times. 3.2 times. This poses a unique challenge for your brain, as it forces you to repeatedly switch between familiar gameplay mechanics that run at breakneck speeds without any notice. All the while, an electro-piano version of Jingle Bells loops endlessly in the background, picking up speed so that the sound becomes distorted and jumbled, like you’re in a horror movie set in an amusement park. I’ll put it away. You can’t stop this game.

And here’s the kicker, the devilish details that elevate Santa’s Speedy Quest from a below-average minigame collection to a diabolical Sisyphean masterpiece. The game takes a snapshot every time you launch another minigame, and when you come back, gameplay continues from that point.

This creates strategic choices. Are you always trying to make sure you’re in a good position so you can pick up where you left off? Mentally recording each state of play every time you get kicked out and knowing which buttons to press when you’re put back in? Do you remember? Or have you forgotten all about it and desperately relied on reflexes dulled by the fact that you were 47, near menopause, and had three pints of Baileys?

The leaderboard isn’t even real…Santa’s Speedy Quest. Photo: Eric Games

Each time you fail a minigame, you are removed from the roster until you run out of minigames, and the game ends. You’ll then see your score and a breakdown of your performance in five key areas: speed, coordination, timing, reflexes, and decision-making. There are leaderboards with seemingly plausible player names like SHADOWBLADE23, but they are fake. No online functionality.

I get this because SSQ has really taken off in my Twitch community, but our high scores don’t show up on each other’s leaderboards. Instead, we have to rely on sharing screenshots on Discord as proof of our efforts. But it doesn’t matter. I’m having a great time.

That’s because Santa’s Speedy Quest is exactly the game you need at this time of year. Easy to learn for non-gamers, difficult to master for serious players, and perfect for reigniting old feuds and creating hotly contested rivalries. It’s a vulgar, stupid, cynical money grab that relies on outdated ideas and sentimental nostalgia. But isn’t it all about this time of year?

Source: www.theguardian.com

Announcements of ‘The Witcher IV’, ‘Okami 2’, and Other Game Award Winners | Games

aDeserving winners – Balatro, Astro Bot, Metaphor: ReFantazio dominates the board – game award Last Thursday brought us many end-of-the-year announcements, like unexpected gifts under the tree. It was the best show ever in terms of newsworthy announcements. It felt a bit like an old-school E3 conference. Of course, if you haven’t watched the three-hour video game awards show live from LA, which aired just after midnight UK time, here’s what you need to know.

Seeing it for the first time The Witcher IV

We’ve known for a while that another dark fantasy RPG was in development at Poland’s CD Projekt, and now we know. next witcher game Instead of father figure Geralt, the film stars Ciri, a white-haired warrior and villain, and the trailer shows her locked in a battle with a striking and gruesome monster. I had a good look at this whole trailer – I spent about 200 hours on The Witcher III back in the day and I’m looking forward to this one Very.

new games from naughty dog

A wise use of the Pet Shop Boys … Intergalactic: Heretical Prophet. Photo: Naughty Dog

The next project from the developers of The Last of Us will be called Next Project. Intergalactic: Heretic Prophet And as the name suggests, this is science fiction. You are trapped on a planet at the edge of the known galaxy, where no one has returned for 600 years, cut off from communication with civilization. Although the premise feels a little tired, I love the stylish lines and bright colors of this space fantasy, as well as the clever use of Pet Shop Boys in the trailer.

us too saw the new trailer Another AAA game that looks promising is Mafia: The Old Country, set in Sicily. (Guardian games columnist Dominic Diamond recently played the remake of the original Mafia to see if he was too old to be a Mafia after all.)

A sequel I wasn’t expecting

The 2006 painting “Okami,” pictured here, is scheduled for a sequel in 2026. Photo: Capcom

I loved In the 2006 Zelda-like painting Okami, in which he plays a wolf god who fights demons across ancient Japan with the help of magical ink, I long ago gave up hope of seeing a sequel. (Apart from “Oishinden,” which was produced in 2010) by a different studio). It was then announced that the game’s original director, Hideki Kamiya, was working on it. Okami 2 The announcement of his new studio, Clover, was as much of a surprise as the announcement of Shenmue III at E3 2015. The studio name is an inside joke. Kamiya’s previous studio, which created the original Okami, was Clover.

Another unexpected announcement from Capcom: new onimusha game – Another PS2-era hit about samurai in feudal Japan. Just as exciting, but much more forgiving than the Ninja Gaiden action games (also side scrolling sequel). Sega is also participating in the revival, with the Like a Dragon team tasked with working on a new installment of the Virtua Fighter series. And 90’s dinosaur hunter Tulloch is taking on a new challenge in his next game. Tulloch: Origin (Warning: Violent trailer).

A future co-op classic

In Split Fiction, two aspiring writers are trapped together in a VR simulation of their own story. Photo: Electronic Arts

Swedish developer Hazelight is known for A Way Out, a cooperative game about two brothers trying to escape from prison, and It Takes Two, a magical realist platformer about a couple on the brink of divorce, Masu. The next piece is about two aspiring writers, one science fiction and one fantasy, who are trapped together in a VR simulation of their own story. Fight by switching between dragons and mechs. it is called split fiction.

Meanwhile, a new game from the creators of Overcooked is also coming. It’s a creepy cooperative horror incident. called stage frighttwo players run through an escape room-style scenario. and AlsoFrom Software has New Elden Ring co-op spinoff This is a bit like Elden Ring meets Monster Hunter. While I’m a bit skeptical of this, I’m also happy at the prospect that From Software’s new game might actually be completed. Because playing it totally counts as quality time with your partner.

And finally…

Fumihito Ueda led the team at Sony’s Japan Studios that created a trilogy of standard games: Shadow of the Colossus, ICO, and Toriko the Man-Eater. All of these games made me think differently about how games express ideas. I’m currently back to game development at a new studio in Tokyo. Project: Robot. There’s only a one-minute trailer here, but I’m still going to play anything this guy is in if I get the chance.

what to play

Sinking into nature… Naiad. Photo: Steam

In the craziness of working parenthood in December, I found peace of mind. naiada free-flowing game about becoming a water nymph. Swim through beautiful river scenery, following schools of small fish, listening to chirping birds, enjoying piano music and the sounds of nature. Sometimes they reunite lost ducklings with their mothers, or make brief appearances in the human world (unfortunately, these are the most frustrating parts). I felt like I was immersed in nature on the steam deck.

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Available: computer
Estimated play time:
3-4 hours

what to read

The CD Projekt logo at its headquarters in Warsaw, Poland. Photo: Kacper Pempel/Reuters
  • bloomberg We interviewed the CEO of cd project red To learn more about how the studio has changed since Cyberpunk 2077 in preparation for The Witcher IV.

  • If you want to know more about the background of the Okami sequel, check out VGC great interview and Hideki Kamiya.

  • classic adventure game under the steel sky I turned 30 last week – eurogamer To commemorate this occasion, we conducted an interesting interview with the manufacturer.

www.theguardian.com

Review of Mouthwash: The Unexpected Challenge of 2024 | Game

IIt's perhaps poetic that throughout this year, the PlayStation's 30th anniversary, developers have discovered such a rich vein of horror in the early 3D visuals. Crow Country, Fear the Spotlight, and Mousewashing all make frightening use of low-poly characters, grungy textures, and muted color palettes to create fear and abomination. And in this sci-fi odyssey from Wrong Organ, they're brilliantly used to symbolize perfection.

The settings for Mouthwash are simple and familiar. When a giant spaceship crashes in a remote part of the galaxy, its small crew slowly loses its sanity as they wait for rescue that never comes. Not helping matters is their cargo of millions of gallons of high-alcohol mouthwash, which is quickly abused by the desperate and deeply flawed castaways.

With the captain critically injured, you primarily take over the survival efforts as second-in-command Jimmy. But they soon discover that everyone, from paranoid doctor Anya to bullish mechanic Swansea, is hiding something. Everything on board is given a sinister edge, from creepy food processing equipment to giant LED displays that continually display images of romantic sunsets and fluffy clouds.

But what sounds like a tense thriller is actually a surreal exploration of social and spiritual decline. The characters hallucinate violently, and the story cuts from pre-crash to post-crash, switching between them in a dizzying chronological dance. The ship itself appears to be mutating in response to the paranoid delusions of its inhabitants. A bizarre vaporwave soundtrack roars and explodes in a cacophonous rush. The interplay between humans and technology collapse has elements of Event Horizon, Solaris, and High Life. The ship's U-boat-like corridors expand and contract like intestinal passages. The crew's mental illness is reflected in cracked screens and destroyed control panels. It's both scary and fascinating.

There are puzzles to solve and items to collect and combine, but nothing works and the game keeps playing and questioning your assumptions. Some players may be reminded of the cult hit Clickolding in that it asks questions about player responsibility and collusion. What to do with the only weapon on board, how to keep the captain's mouth open so you can give him painkillers, and more. When he groans and cries, the visuals are nostalgic, but the connection to what's happening on that ship is very real, very vivid. There are also serious messages about guilt, grief, and alcoholism, which can resonate deeply with those affected by these.

Mouthwash is a difficult but immersive experience, a surreal horror piece reminiscent of the films of David Lynch and Dario Argento, but it's also a very functional game, or at least what a game is. , and it also works very well as a study in what games want us to do. The fact that titles like this are still being produced and distributed globally is one of the few bright spots in a slow year for the gaming industry. Book your flight tickets as soon as possible. You won't regret it.

Mouthwash available now (£10.99)

Source: www.theguardian.com

Skip the Baftas and Check Out the Ultimate Game of the Year Alternative | Games

You have seen
game award name.
you have seen
British Academy Awards longlist.
We’re still a little ways off from announcing our own Guardian Games of the Year list, but while you wait with bated breath, we’re sure to give you an appetizer. It is an alternative prize to Pushing Buttons. Right away…

Make the most of your bed as a gameplay device

Need to restore your mind while adventuring through the eerie rifts tearing Hyrule apart? All you have to do is conjure a bed out of thin air, stay out of reach of your enemies, and take a quick nap. Need to overcome a bridgeable gap? Now it’s time to conjure some bed. Need stairs? Barricades? Something decorative? Bed, bed, bed. in The Legend of Zelda: Echoes of Wisdom the bed is the real hero.

The perfect game to survive a long-haul flight




Hours of fun…Balatoro.
Photo: LocalThunk/Playstack

On my way to this year’s Summer Game Fest in LA, I pre-downloaded Steam Deck and Elden Ring: Shadow of the Erdtree to board the plane and prepare for my first uninterrupted 10-hour gaming session in my 30s. Ta. But when I loaded it, I had to authorize the purchase. And the Wi-Fi on the plane didn’t work. So, after getting really grumpy, I said, “I don’t know. baratolo (Photo above) And the 5 hour flight felt like a blink of an eye. Thank you, Mr. Baratolo, for not only taking up most of my free time in February, but for getting me through that awful flight.

impudence award

It led to a ton of plagiarism accusations and eventually a lawsuit from Nintendo, but it still has to be turned over to the game’s developer. pal world (Top photo) For his true face, he simply imitates a Pokemon and makes him hold a gun. (Palworld’s lead developer claims that the game does not infringe any copyright.)

Problematic Favorites Award

For years, I’ve been disgusted by the glorification of military forces in first-person shooters, as first-person shooters have become more realistic-looking. The connections between these games and real-world weapons manufacturers are also disturbing. These are frequently used as a recruiting tool in the military. And at the same time, Call of Duty: Black Ops 6 The single-player campaign of “90s Special Operations Thriller…

Best First Date Award




The perfect date…Life is Strange: Double Exposure.
Photo: Square Enix

One of the first scenes of Life is Strange: Double Exposure (Above) During a student dive, we see 20-something Max Caulfield trying to flirt with a cute girl behind the bar…

Source: www.theguardian.com

Review of Indiana Jones and the Great Circle: A Smart, Fascist-Fighting Open World Adventure Game

MToday, creating an Indiana Jones game may appear straightforward. Just take Uncharted’s Nathan Drake, transport him back in time about 80 years, give him a fedora and a whip, and witness the emergence of the golden idol. Dog mastered the formula for indie-inspired, globe-trotting action games over a decade ago. It would be understandable if Swedish studio MachineGames followed this same template.

However, Indiana Jones and the Great Circle chooses a different path. They intentionally avoid inviting such comparisons. This unconventional blockbuster shares more similarities with games like Dishonored and Hitman rather than Uncharted. While there are action and spectacle moments, along with some platforming, the focus lies more on puzzles, free-form stealth, and battling fascist enemies while disguised as a priest.

Set in 1937 between Raiders of the Lost Ark and The Last Crusade, The Great Circle follows Indy as he investigates a cult infiltrating Marshall College and stealing valuable artifacts. Pursued by giants from this cult after stealing a cat, Indy embarks on a journey to various historical sites globally.

The environment is filled with items ideal for testing Nazi intelligence. Photo: Bethesda

His first destination is Vatican City, setting the tone for the subsequent adventures. Vatican City serves as a vast, maze-like sandbox where players can freely explore at their own pace, carefully navigating around fascist threats. With various puzzle-solving elements and exciting discoveries, players get to immerse themselves in the thrill of uncovering ancient secrets while outsmarting enemy patrols.

Vatican City offers a diverse range of challenges and hidden areas to explore, setting a high standard that makes subsequent locations like the Pyramids of Giza seem more traditional in comparison. The transition to open-world exploration in later parts of the game allows for more experimentation with Indy’s abilities.

With encounters against various foes like Blackshirts and the Wehrmacht, The Great Circle captures the spontaneous action reminiscent of a Spielberg film. While combat is an option, stealth remains a preferred method, with a variety of tools at your disposal for defeating enemies. The game’s combat and stealth mechanics offer a dynamic and engaging experience amidst tomb raids and cinematic storytelling.

Despite its strong points, The Great Circle occasionally lacks the urgency expected in an Indiana Jones adventure, with pacing inconsistencies in certain acts. Nevertheless, the game picks up momentum later on, leading to a satisfying conclusion that encapsulates the essence of Spielberg’s filmography.

Grave robbing is a recurring theme. Photo: Bethesda

Overall, Indiana Jones: The Great Circle is a rich and affectionate tribute to Spielberg’s work, with a deep respect for the historical context that underlies the quest for the circular MacGuffin. It blends entertainment with poignant explorations of anti-fascist themes, shedding light on the dangers of far-right ideologies and manipulation.

Source: www.theguardian.com

Saving a struggling mobile game: Animal Crossing: Pocket Camp offers solutions | Games

aAt some point, most mobile games will die. Apple’s iOS software updates have removed thousands of App Store games over the years. Old games simply disappear unless developers make them compatible with all new devices and software. (Most games can’t or won’t devote such resources to it.) Also, in the case of live mobile games that encourage users to log in every day, the popularity of the game will inevitably decline and the developer will stop updating it, leaving the game sluggish and unplayable. Sometimes there is no warning. Games exist one day and disappear the next. A truly dark fate.

Mobile gaming has a high mortality rate. 83% of them Research shows that most games fail within the first three years. But maybe there’s another way. In 2017, Nintendo released a mobile version of its best-selling relaxing life simulation game, Animal Crossing: New Horizons. The service, called Pocket Camp, ran for seven years before Nintendo ended support for it last month. But instead of ending the game, the company released a complete version for £8.99 that packages years of content and allows players to transfer data to keep their memories or start anew. The game lives on.

Pocket Camp is an excellent replica of the console Animal Crossing games, closer to a Happy Home Designer spin-off with a lighter touch than the DS and Switch versions. Your super cute character will be in charge of the campsite and decorate it with furniture and cuteobjects. If your campsite is set up to their liking, the animals will come hang out and talk trash with you. You can gift them anything you find lying around, such as fruit, fish you catch, or, better yet, live insects. Guitar-playing dog KK Slider (who, interestingly, is a caricature of Kazumi Todaka, one of Nintendo’s composers) performs at a campfire concert.

The main difference between Pocket Camp and, say, Animal Crossing on Switch is that there’s no cold in Pocket Camp. Performing insignificant missions, collecting more materials, and crafting more things will always bother you. As is tradition in mobile games, you get some kind of reward every few minutes, and every action in the game is tracked in some kind of progression tree to encourage you to keep playing. Twelve currencies, tasks, locations, and seasonal events are possible at any given time. However, it is nevertheless surprisingly feature-rich. There are thousands of things to make and buy, and hundreds of animal villagers to befriend. It feels luxurious for £8.99.

Ironically, Pocket Camp would be significantly better without the insidious monetization that was used to power it. I’ve dipped in and out of this game over the years, especially when I was waiting for 2020’s New Horizons to come out, and I’ve always loved the ubiquitous countdown timer and the daily (or several) I always shied away from it because of the manufactured urgency of logging in. 1 day) Achieve your goals. Hurry up, it’s time to harvest the fruits! Look, this special event is almost over! Don’t you want limited edition items? Don’t you want to buy some leaf tokens to speed up the creation of all this? This is a standard issue in live mobile games, but even if the game itself has value, it can also be very annoying.

All of these monetization system traps still exist in Pocket Camp Complete. They are built into the game design. However, we now give away all leaf tokens, bells, and items that you previously had to wait for or pay for for free. This changes the pace of the game and allows you to play as many times as you like at once without any restrictions. Now, without warning, I can recommend the affordable Animal Crossing: New Horizons.

More developers should do this. Once you’re done with your live games, simply package everything up and sell it for a single price. This happens in the console world, where the “Game of the Year” edition delivers the old game and all its bonuses and extra content. In this way, those who were there for the first life of the game can somehow preserve it. And such games may find new players even in the afterlife.

what to play

Fashion forward…Infinity Nikki. Photo: Epic Games

dress up fairy tale adventure infinity nikki This game, released this week, is one I’ve had my eye on for a long time because there doesn’t seem to be anything else out there. There’s no combat here, but instead there’s music, fishing, balloon rides, and conversations with cats and frogs. Pink-haired Nikki is very fashion conscious and almost everything she does in her world earns her new components for various amazing outfits. It’s an interesting combination of saccharine sweetness and downright weird, and is actually similar to Animal Crossing.

Please note: This is a free-to-play game, so if you have teenagers who want to play, make sure their settings are locked, as you could actually drop hundreds of pounds on a virtual dress. Please check.

Available: PC, PS5, smartphone
Estimated play time:
10 hours or more

what to read

Mobile games in particular have been accused of violating rules regarding the use of loot boxes. Photo: Blizzard Entertainment
  • The BBC estimates that 43 of the top 45 best-selling mobile games are break the rules Regarding disclosure of randomized information loot box in their advertising. Regulators have been slow to take action on these gambling-related features.

  • devolver digital has belatedly postponed some games to next year (including Baby Steps, which I’m really looking forward to). I exhaustedly applaud Devolver for the way they presented their presentation through a mock awards ceremony. 15th Annual Devolver Delay Awards 2024.

  • to celebrate PlayStation 30th anniversarySony has released a set of past PlayStation launch animations, including the PS1’s iconic and incredibly 90s theme. Kotaku has more.

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What to click

question block

Astro Bot is an upcoming platform game for PlayStation 5 by Team Asobi. Photo: Sony/Team Asobi

Now it’s my turn to ask a question instead of the reader’s. you.

We’re still looking for Pushing Buttons readers to submit their favorite games of 2024. That game will be featured in the final newsletter of the year. From Baldur’s Gate 3 to Astro Bot, send us a few sentences about what they mean to you. You will see results within a few weeks.

Please reply to this email or email pushbuttons@theguardian.com.

Source: www.theguardian.com

Review of Grand Theft Hamlet: Shakespeare’s Performance in the Game is Riveting and Exciting

a Great idea, brilliantly executed. Hilarious, surreal, and, yes, really exciting in a weird way. This could be the Marat/Sade of the 21st century. During lockdown, two out-of-work actors, Sam Crane and Marc Oosterveen, played Grand Theft Auto (GTA) online (remotely to each other), and the entire movie It is shown as an in-game action feature in GTA. Their avatars navigate the vast, intricately detailed cityscape of Los Santos, similar to Los Angeles, where the action takes place, while avoiding being shot, mutilated, and mauled in the usual GTA fashion. While running through the area, they happened to come across a deserted group of people. Vinewood Bowl Amphitheater. So they staged an in-game production of Hamlet there, recruiting other gamers to play the roles, donning various bizarre costumes, handles, and personas, and using virtual reality in a zero-gravity, near-realistic way. I thought it might be possible to move around the space., the avatar’s lips move almost in sync as they speak their lines into a microphone.

They audition for all comers. In this noisy business, strange people appear who tend to use flamethrowers and rocket launchers to destroy others for no reason during the explanation of their works. But they also meet people who have fascinating or inspiring stories to tell. Finally, the finished performance is shown, with an atmospheric musical soundtrack that was probably added later for the film.

Coincidentally, they don’t stick to the Vinewood Bowl stage, instead boldly expanding their reach throughout the city. As one of the leads says, this is Shakespeare on a billion dollar budget, or the Shakespeare Elon Musk can afford to make. Crane and Oosterveen, along with Pinny Grylls (who co-directed with Crane), explore the game’s never-ending, dark violence, how close it is to the violence of Shakespeare’s world, and how depressed they are by the stagnation of lockdown. I look back in fascination. It provides a new dreamlike insight into Hamlet’s melancholy.

The result is something like Baz Luhrmann’s gangbanger Romeo + Juliet or Tom Stoppard’s play Rosencrantz and Guildenstern Are Dead, in which actors roam the land performing a show. It’s so wild that you wonder if anyone is watching it. It’s really funny and sweet when Crane, Oosterveen, and Grylls start arguing among themselves in the quirky GTA setting. (Maybe they were just making a little fuss about these “real” crises, but that doesn’t matter.)

To me, Oosterveen’s bemused voice sounds a lot like Simon Jones as Arthur Dent in The Hitchhiker’s Guide to the Galaxy, and it’s no surprise that Douglas Adams would have loved this movie. I say this as a compliment. It certainly was.

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Grand Theft Hamlet will be released in cinemas across the UK and Ireland from December 6th.

Source: www.theguardian.com

Exploring Age and Gangsterism in ‘Mafia: Definitive Edition’ | Game Review

I I'm at a stage in my life where my options are limited when it comes to the job I dreamed of as a child. I'm too old to play football for Scotland, and I have no intention of owning a brewery or becoming an astronaut. (In hindsight, it was a bit ambitious to aspire to a job that combined all three.) Also, in this economy, many people are willing to take a job without knowing if the new job will work out. It is dangerous to abandon it. Luckily, video games allow you to try it out before you take the plunge. Besides, you're never too old to be a gangster, right? That's why I started playing Mafia: Definitive Edition.

I played a little bit of the original version from 70 billion years ago. But it didn't last long. Because there were driving sections that were as unintuitive and poorly controlled as the buggy on Mars.

For me, the dream of becoming a gangster was less about murder and extortion, and more about the social aspect of just hanging out with guys and yelling abuse. This is more than fully expressed in this game. Guys tell me “always soft when it comes to broads” as soon as I start taking an interest in the bar owner's daughter. Hey, does that Jabroni really have my number!

The story of the main character Tommy is how I imagine his path into the mafia. I was born on the east coast of Scotland of Polish descent, so I couldn't trace my family back to Sicily and had no blood ties to any of my five families. Like Tommy, I started out as a taxi driver, and one night I picked up some injured people from a rival gang and did a job of such high quality that I was invited to do more work for them. I imagined it would be. This is the mob equivalent of a 5-star review on Uber.

It's not Goodfellas or The Godfather, but it's solid… Mafia: Definitive Edition. Photo: Hangar 13

With the updated version, you don't actually have to do much driving. You can skip between destinations with the press of a button, but this means you'll miss out on the chat throughout the journey that helps explain the story in more detail. And that's a good story. It's not Goodfellas or The Godfather, but I thought it was solid and the voice actors did a pretty good job.

The script is full of clichés, but they remind me of the mafia movies I grew up loving, so they put me at ease. Politicians are always “taking action.” Gangs always want to “legalize” eventually. It's not about saving lives, it's about saving “donkeys.” you don&#39t thing“Do what needs to be done.'' You are not brave, you have a “real set of balls”. That's not all Any It's a set of balls, but it's a set that frequently requires commentary and praise. My boss, Don Salieri, kept saying to his co-workers, “Look at this kid's set of balls.” Isn't it strange that the mafia doesn't have a human resources department? After one meeting, everyone leaves the room, leaving not one but two cigars burning in the ashtray. Therefore, I don&#39t think much about safety and health in this workplace either.

Some things are a little silly. My character is still called “The Kid” even though he's 30 years old. Maybe they're bootlegging an elixir of life with bourbon. To get the weapon, you have to go see a man named Vincenzo. I am often told that he has just what I need. Most often it will be a baseball bat. I could have bought it at Toys R Us.

However, I find this game very comfortable to play in a predictable and undemanding way. Most of the time it's like settling down with a cozy crime thriller or potato-based soup, but there are some very difficult levels. Completely unforgiving races, bike chases with no room for error, and a level where you have to shoot down a plane, not only did you have to dial down the difficulty to make it easier, but you turned down the controller sensitivity so much that the sights It moved like an ocean tanker. (Thanks to Reddit for the last tip. Also, thanks for the comments from other people who suffered at that level. It was like a video game PTSD group.)

But as I feel comfortable in this nice mafia job with prohibitions and big money, one character gets bored and tired of this life. “I get rusty because we sit there and crush balls for six months. Then I&#39m fighting to stay awake while Don tells me stories.” he says.

I think mafia, like any other job, gets boring after a while.

Source: www.theguardian.com

The Race for ‘Game of the Year’ in 2024 Between Astro Bot and Balatro is Neck and Neck

MJust as Christmas isn’t very fun for someone who has to prepare all the presents and prepare dinner, the annual gaming season can be pretty scary for someone who has to put together a shortlist. Every November, I add up all the critically acclaimed games of the year I haven’t played yet, the underground picks I haven’t followed, and the games I loved but forgot about in February. I feel the panic rising. And when all the year-end lists are released, you inevitably realize you missed something anyway.

The Game Awards has announced the nominations for this year’s ceremony, which will be held on December 12th in Los Angeles. (Disclosure: The Guardian is one of 130 voting bodies for this award, but my knowledge and involvement is limited to sending a ballot to Geoff Keighley each year, usually 1-2 (Sorry, Jeff.) But I’m happy to say that one of the top two games with the most nominations is Astro Bot, which received seven nominations. As far as I know, this game doesn’t get enough reviews. (The other was Final Fantasy VII Rebirth, which won six awards and which critics called a miracle of fan service.) Sadly, after many attempts over the years to get into Final Fantasy Despite this, I’m still not immune to Final Fantasy’s charms.

The other contender for Game of the Year is Balatro, the ridiculously obsessive card game that took over my life in January. Elden Ring: Shadow of the Erdtree, an expanded version of the 2022 action role-playing masterpiece. Metaphor: ReFantazio, a very stylish Atlus RPG that I wrote about a few weeks ago. And Black Myth: Wukong was a huge hit this summer, despite huge controversy surrounding its development and release.

It’s a close race, but my prize goes to Shadow of the Erdtree as the Grand Prize. Because this game is especially loved by game critics. However, I would be happy if Astro Bot wins. The dark horse is Baratolo. Everyone I know loses a week or two at that game, but the moment I win, the appeal wears off. However, there is a public vote worth 10% of the weighting. Significantly Black Myth: Wukong is powered by a huge fan base in China.




Neva, rightly nominated for Best Art Direction. Photo provided by: Nomada Studio

Elsewhere, I had the pleasure of seeing Neva, a game about a warrior and his wolf. This one completely made me sob and was nominated for best art direction, best independent game, and confusing game. Games that make an impact category. The latter list is supposed to be “thought-provoking games with pro-social meanings or messages,” but it appears to be an umbrella category of “emotional games.” I’ve played most of the games nominated in that category and a) I don’t see what ties them together, and b) I couldn’t explain what “prosocial” means in this context .

Indika is a dark and fascinating horror-inspired game about a 19th century nun who attacks a Russian Orthodox church. Hellblade II, like its predecessor, depicts the protagonist’s struggle with mental illness. Tales of Kenzera: Zau is about sadness and draws from its creator’s African heritage. “Closer the Distance” is also a song about sadness. Mr. Nevaeh could be interpreted as an environmentalist, and I think there is some loss in that. However, it is impossible to determine what kind of message Life is Strange: Double Exposure has along these lines.

Otherwise, there are few welcome surprises. Creepy exploration puzzler Animal Well was named Best Independent Game, followed by Lorelei and the Laser Eyes, an unpredictable mystery set in an abandoned hotel, and Mosmouth’s 1980s-style game, Ridiculously Generous The same goes for the compilation UFO 50. “Pacific Drive,” a spooky and bizarre fictional road trip about a broken old car that is constantly being repaired and reinforced, also made it onto our list of best debut games. While Prince of Persia: The Lost Crown deserves praise as the best action game, it was a real shame that Dragon’s Dogma II was only named as the best RPG.

and, of course, The Pokémon trading card game Pocket won the award for Best Mobile Game. I’ve been playing it for several hours every day since it was released (and I still No shiny Articuno).

video game chronicle Easy to parse list Among all categories and nominations. But if you think The Game Awards is too commercial, a new awards show is debuting this year. indie game awards which celebrates the “creativity, innovation and passion” of small game developers, has just announced the nominees. Excerpt from the Best Games category: Mouthwashing, a horror game about the final days of the doomed crew of a space freighter. Arranger is an innovative RPG puzzle game. And Nine Sols, an action game that’s like a cross between Hollow Knight and Sekiro, is something I’ve been meaning to try all year.

Please tell us your favorite…

Before I get back to my own ghastly list, I’ll be giving a shout-out to Pushing Buttons readers’ favorite games of 2024, as always, in my newsletter towards the end of December. So go ahead and send it in with a few sentences about what it means to you and see the results in a few weeks.

what to play




Gloomy and strange…the rise of the Golden Idol. Photo: Color Gray Games

I continue to be fascinated of Rise of the Golden Idola gruesome and bizarre detective story that combines logic puzzles, fill-in-the-blank clues, and hidden object games. Each case is presented in the form of a tableau, and although I’m not sure of the style, it reminds me of a version with a certain twist. Grant Wood’s painting “American Gothic”.

The characters are frozen in a loop of seconds at or immediately after the crime, and you have to figure out who everyone is, why they’re there, and what the heck happened. It all connects to a larger story about corruption, deception, and cursed objects. This game often makes me feel very stupid (I don’t have a great brain to figure out names or details), but I still stick with it.

Available: Smartphone (if you subscribe to Netflix), PC, game console
Estimated play time:
12 hours

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what to read




There’s nothing like the real thing…World of Warcraft II remastered. Photo: YouTube
  • to celebrate world of warcraftOn the anniversary of , Blizzard re-released Warcraft and Warcraft II with updated graphics. unfortunately, everyone hates them. of the valve half life 2 Anniversary update speed has been significantly improved. Only venerable games Broke the long-standing concurrent player record. With steam.

  • a minecraft theme park ‘ is scheduled to be released in the UK in 2026 or 2027. I’m already breaking into a cold sweat thinking about how crowded it will be during the first half of the year.

  • Another game event comes up. WASDa popular showcase of indie-focused PC games, He’s not there anymore.

  • Helpful explainer roblox‘s upcoming “improved” parental controls.

What to click

question block




Kid-friendly…Terra Nil. Photo: Free Lives

I’ll answer new questions next week, but for now, I have a few questions. Reader Recommendations Here are the answers to the last few question blocks. First, some more suggestions for Jonny’s wife who’s looking for a game like Civilization VI, but not quite so chill.

“I have young children, so www.theguardian.com

Review of Rise of the Golden Idol: A 1970s detective game with a dark, twisted, and captivating storyline

a Brutal Scene: A shadowy figure forces someone into a high-voltage circuit box. The victim becomes unable to move at the moment of death, his body convulsing and sparks flying. Downstairs, everyone froze in shock the moment the lights went out. You must scrutinize this scene to determine who everyone is, where they are, why they are there, and, of course, who committed this murder. Examine faces and objects, search everyone’s pockets to see what’s inside, and read notes, signs, and letters for clues. Eventually you’ll piece it together and fill in the report with the missing words that describe exactly who, what, when, where, and why.

Rise of the Golden Idol is a 1970s alternate reality detective game where, when solved, individual scenes tell us something about a larger mystery. This is a sequel to The Case of the Golden Idol, set 300 years after the game’s Age of Exploration mystery, but following the trail of the same cursed object. Some of these scenes are relatively harmless and even funny, such as a drive-in cinema where an unexpected fire breaks out and cosplayed patrons rush for the exit. There are other scary things too. In the opening incident, the strangulation unfolds in an endless loop, like an Instagram boomerang story.

Intentionally grotesque art style…the rise of the Golden Idol. Photo: Color Gray Games

Solving these cases is very satisfying, but you better hope your memory for names and faces is good. Scenes could include 10 or more people and required a notebook to record them. There are more and more obvious hints offered when you get stuck, but as the game warns, using them takes away the fun of using deductive reasoning. Nevertheless, when I understood the gist of the case but couldn’t get someone’s last name correctly, I was glad that there was a button to show me which blanks in the report were incorrectly filled in. I thought.

The strangeness of Rise of the Golden Idol is what makes it so memorable. The art style is intentionally grotesque, with the characters’ asymmetrical faces and eyes moving like crazy, and the backgrounds filled with paint pens. The murders, robberies, and other crimes here are strange, and the picture becomes unsteady in its eternal two-second loop of movement. Until I solved the problem, the scene stuck in my head and I ended up staring at my phone screen for half an hour at a time, thinking, cross-referencing, and taking notes. Where is the character’s gaze leading me? Why is that rug in disarray? Where did that dirt come from?


The big story that comes from these details is worth all the effort. As the chapters change, the fill-in-the-blank incident report turns into a fill-in-the-blank summary of everything you’ve learned from several past cases, helping you draw connections that make the story full of intrigue. This is not a game you can play while thinking about something else. You have to pay close attention, focus your thoughts, and see what your brain can do. I was pleasantly surprised by my own reasoning skills.

The crime scenes are so bizarre that you never know where this game will take you, but there’s always something you need to solve.

“Rise of the Golden Idol” is currently in theaters. £16.75 or included with your Netflix subscription

Source: www.theguardian.com

Review of Wilmot Works It Out: A Relaxing Puzzle Game Transforming Jigsaw Puzzles into Artistic Masterpieces

WAnthropomorphic squares have a strange but not undesirable presence. He lives in a spacious empty house, where Sam, the friendly local postman, regularly delivers tiled puzzles. A subscription that never expires. Wilmot unpacks each new shipment and scatters the pieces on the bare floor. Then shunt, grab, and rotate each piece to form a coherent picture. Each picture is drawn by British illustrator Richard Hogg. Once the matching pieces snap together and your artwork is complete, you can hang it on Wilmot’s big empty wall. As soon as one puzzle is completed, Sam arrives with another, and soon Wilmot’s walls are as cluttered and colorful as a search gallery.

Usually, when you finish a painting, some debris will remain, so identify these rogue debris, put them aside (you are free to organize the floor space according to your organization’s requirements) and move them back to their original location. Part of the challenge will be to bring it back to . Once you have all the necessary components. Eventually, you’ll be able to do several puzzles at once, each with varying degrees of completion. It’s this arrhythmia that gives the game its unique feel and makes it more than just a digital jigsaw simulator.

Postwoman Sam’s breezy dialogue tells a tender story through lively exchanges, adding a touch of human warmth to the relentless inscrutability. But as well as Witch Beam’s zen 2021 Bafta winner Unpacking, Willmott works fine. It’s almost a therapeutic approach. The puzzles are not difficult or complicated. Rather, it’s a slow, satisfying game that feels like untangling a complicated knot. This effect is calming, like a jigsaw, but there is a little more room for creative flair when it comes to placing artwork.

Source: www.theguardian.com

Can You Rely on AI for Web Searches?: Chatbot Optimization Game

Does aspartame cause cancer? The possible cancer-causing effects of popular artificial sweeteners, added to everything from soft drinks to pediatric medicines, have been debated for decades. Its approval in the US was controversial in 1974, some British supermarkets banned its use from their products in the 2000s, and peer-reviewed academic studies have long been at odds. Last year, the World Health Organization said that aspartame is possibly carcinogenic. On the other hand, public health regulators suggest that it is safe to take in commonly used small doses.

While many of us may try to resolve our questions with a simple Google search, this is exactly the kind of controversial discussion that could cause problems for the future of the Internet.

Generative AI chatbots have developed rapidly in recent years, with technology companies quickly touting them as a utopian alternative to a variety of jobs and services, including internet search engines. The idea is that instead of scrolling through a list of web pages to find the answer to a question, an AI chatbot can scour the internet, look up relevant information and compile a short answer to the query. Google and Microsoft are betting big on this idea, already bringing AI-generated summaries to Google Search and Bing.

However, being touted as a more convenient way to find information online has prompted scrutiny of where and how these chatbots choose the information they provide. Looking at the evidence that large-scale language models (LLMs, the engines on which chatbots are built) are the most convincing, three computer science researchers at the University of California, Berkeley, say that current chatbots are found to be overly reliant on superficial relevance of information. They ignore text that includes relevant technical terms and related keywords, while ignoring other features they typically use to assess trustworthiness, such as the inclusion of scientific references and objective language free of personal bias.

Online content can be displayed in a way that increases visibility to the chatbot, making it more likely to appear in the chatbot’s output. For the simplest queries, such selection criteria will provide a sufficient answer. But what a chatbot should do in more complex discussions, such as the debate over aspartame, is less clear.

“Do we want them to simply summarize the search results, or do we want them to function as mini-research assistants who weigh all the evidence and provide a final answer?” asks undergraduate researcher and co-investigator Alexander Wang, author of the study. The latter option provides maximum convenience, but the criteria by which the chatbot selects information becomes even more important. And if one could somehow game those standards, can we guarantee the information chatbots put in front of billions of internet users?

It’s a problem plaguing animation companies, content creators, and others who want to control how they are seen online, and an emerging industry of marketing agencies offering a service known as generative engine optimization (GEO) has caused it. The idea is that online content can be created and displayed in a way that increases its visibility to the chatbot, making it more likely to appear in the chatbot’s output. The benefits are obvious.

The basic principle is similar to search engine optimization (SEO). This is a common technique for building and writing web pages to attract the attention of search engine algorithms, pushing them to the top of the list of results returned when you search on Google or Bing. GEO and SEO share some basic techniques, and websites that are already optimized for search engines are generally more likely to appear in chatbot output.

But those who really want to improve their AI visibility need to think more holistically. “Rankings on AI search engines and LLMs require features and mentions on relevant third-party websites, such as press outlets, articles, forums, and industry publications,” says Viola Eva, founder of marketing firm Flow Agency, incorporating her SEO expertise into GEO.

Chatbots for games are possible, but not easy. And while website owners and content creators have derived an evolving list of SEO do’s and don’ts over the past two decades, there are no clearer rules for working with AI models.

Researchers have demonstrated that chatbots can be controlled tactically through carefully written text strings. So if you want to get a better grip on chatbots, you might want to consider a more hacky approach, like the one discovered by two Harvard computer science researchers. They have proven how chatbots can be tactically controlled by introducing something as simple as a carefully written text string. This “strategic text sequence” looks like a meaningless series of characters, but is actually a subtle command that forces the chatbot to generate a specific response.

Current search engines and the practices surrounding them are not without their own problems. SEO involves some of the most hostile practices for readers on the modern internet. Blogs create a large number of nearly duplicate articles targeting the same high traffic queries. Text tailored to get the attention of Google’s algorithms rather than the reader.

An internet dominated by obedient chatbots raises questions of a more existential kind. When you ask a search engine a question, it returns a long list of web pages. In contrast, chatbots only refer to four or five websites for information.

“For the reader, seeing the chatbot’s response also increases the possibility of interaction,” says Wang. This kind of thinking points to a broader concern called the “direct answer dilemma.” For Google, the company integrated AI-generated summaries into its search engine with a bold slogan: “Let Google do the searching.” But if you’re the type of internet user who wants to make sure you’re getting the most unbiased, accurate, and useful information, you might not want to leave your search in the hands of such susceptible AI.

Source: www.theguardian.com

“Seizing Control in a Collapsing Civilization” | Game

I I feel anxious about the world. There was a mayoral election in Canada, where I live, and it wasn’t even a contest because one candidate was backed by more money than Croesus. In the UK, people have not been able to get the Labor government they wanted to vote for. And as someone who lives a few hours’ drive from the US border, I can only hope Orange Hitler never invades again. Or maybe I’m praying that he does. I willTo prevent our southern neighbor from falling into a repeat of civil war due to refusal to vote. So instead, I decided to play a game where I could control the rise and fall of a civilization. As a snack.

Civilization 6 is a so-called 4X game. 4X stands for “EXplore, EXpand, EXploit, EXterminate,” a phrase that offends my pedantic spelling sense. Unfortunately, the four “exes” I spent a lot of time on here were Exert, Expire, Exclaim, and Exit. It’s as intuitive as Heston Blumenthal’s recipes, thanks to the game’s Execrable gamepad controls. I forgot how many times I moved the wrong unit, or my brain froze trying to remember which button did what. I would have preferred a more common sense control system, mouse and keyboard support, or an interface that uses the kind of power of thought that Elon Musk pretends to have.

My irritation was assuaged by remembering that nothing in a Civilization game brings more joy than finding a barbarian encampment. Free stuff! yay! As I work through the years, I see a menu of intellectually solid advances that remind me that there are many elegant paths to civilization. Learn how the world developed by advancing goals through trade routes and charitable diplomacy that reward mathematical thinking. It offers a real chance to form a spiritual land of pure peace and happiness with environmental protection measures.

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Keza MacDonald takes a weekly look back at the world of gaming

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“Well, good luck and I’ll give you a ride in the Hanging Gardens someday, right? Good morning, Terry, how are you doing!”

“We discovered the Great Barrier Reef!”

“Good times! Give me 40 more turns to build the boat and I’ll send Frank over there to help.”

But they are just one of many things I have to move. After all, modern The world is a bloody hard place to run. Maybe a zombie apocalypse is actually the way to go.

Source: www.theguardian.com

Review of UFO 50: A Retro 80’s Game Returns to the Gaming Universe

WOne of the first indie game superstars of the 2000s, Derek Yu started designing games on graph paper with his friend John Perry while still a student. When Yu’s first major success, “cave exploration,” became a hit, he and Perry decided to collaborate once again, this time as men in their 40s. This heartwarming backstory is reflected in UFO50, an ambitious collection of 50 games. The narrative structure was crafted by a fictional game company during the years of 1982 to 1989. Each game in UFO50 features the nostalgic Atari 2600 and NES aesthetics with chunky sprites and a retro chiptune soundtrack, but incorporates modern design elements to bring a fresh twist to the retro style.

Why 50 games? No one knows for sure. But Yu and Perry, along with their supportive developer friends, showcased their design talents across a variety of genres, both familiar and completely innovative. One standout is “party house,” where players must balance a mix of guests to throw the ultimate house party, scoring points based on the success of the event. Other games in the collection include “night manners,” a point-and-click horror story, “bushido ball,” an Edo period themed game similar to Pong, and “rail robbery,” a stealth action game where players take on the role of an outlaw robbing trains.

Creating 50 games was a daunting task for Yu and Perry, requiring immense dedication and effort. The end result of UFO50 is a testament to their creativity and highlights the vast possibilities within the realm of game design, even in the simplest looking games.

Source: www.theguardian.com

Ultimate Guide to Amazon’s New Free Fantasy Game, Throne and Liberty: Otter in a Hat and Magic Wand

Amazon has been attempting to enter the gaming industry for quite some time. Despite having abundant resources and hiring top designers, progress has been slow. However, in recent times, Amazon has found success in releasing massively multiplayer online games. First came New World in 2021, a fantasy game focusing on survival and player-built settlements. This was followed by Lost Ark in the next year, developed by SmileGate from South Korea, blending MMO elements with Diablo-style combat. While reviews were mixed, both games found popularity among players. Now, Amazon is launching its third MMO in four years, Throne and Liberty, also developed in Korea. Here’s what you need to know about this latest offering.

What is Throne and Liberty?




A large, detailed world… Throne and Liberty. Photo: Amazon Games

Throne and Liberty is an MMO set in a fantasy world akin to World of Warcraft. Players create characters and embark on adventures, either alone, with friends, or as part of a guild. The game offers main storylines, cooperative dungeon battles, and player-versus-player combat for territory control.

The game had a prolonged development, initially announced in 2011 as an expansion of the Lineage series. It was released in South Korea in December after facing delays, technical changes, and leadership shifts. Amazon is the global publisher, having acquired the rights in February the previous year.

How is Throne and Liberty different?




Traditional MMO combat combined with action-game dodging and parrying for real combat. Photo: Amazon Games

Throne and Liberty offers unique elements, such as the ability to transform into various animals for faster travel. Combat and character progression stand out; instead of fixed classes, character abilities revolve around weapon usage. With six different weapons and customizable combinations, players can create unique playstyles.

Is Throne and Liberty worth playing?




A unique world… a massive floating whale in the sky. Photo: Amazon Games

Throne and Liberty offers engaging exploration and combat mechanics, blending MMO and action elements. However, it lacks depth in storytelling and character development. Crafting and upgrading systems may feel complex and tedious. Overall, the game is free-to-play and provides a decent gaming experience without requiring excessive time investment.

Should I try Throne and Liberty?




Fashionable style… Characters resembling a mix of wizards, warriors, orcs, and goblins. Photo: Amazon Games

Throne and Liberty is recommended for casual play, offering basic yet enjoyable gameplay. However, if choosing between Amazon’s Korean MMOs, Lost Ark may be a better choice due to its more engaging combat and storytelling. Both games are free-to-play, providing diverse experiences for players.

Source: www.theguardian.com

Review of Starfield: Shattered Space – Addressing Areas for Improvement | Game

TThe first expansion story for Bethesda’s space RPG comes after a year of updates that have fixed the game’s flaws. Quest-breaking bugs are gone, there are vehicles for easier planetside travel, city maps are improved, and a 60fps mode is added for Xbox Series X players. However, NPCs still feel stiff and there are many loading screens. Despite this, the Shattered Space expansion aims to build upon the game’s progress.

Bethesda realized that traveling through space via cutscenes was lackluster, so Shattered Space mostly takes place on a single map. The story revolves around the Varoon family, a cult of space serpent worshippers. Players embark on a mission to save a civilization hit by a catastrophe, encountering various tasks and challenges along the way.

Tasks range from interstellar travel to defeating phantoms and mundane chores. While reminiscent of classic Bethesda RPGs, many tasks lack excitement and are hindered by clunky movement mechanics.

Exploring the planet’s landscape can be frustrating due to impassable rocks and lack of interesting discoveries. The gameplay lacks the depth and immersion found in Bethesda’s previous titles.

The attempt to introduce cosmic horror elements falls short, reverting to typical gunfights and loot collection. Unreliable quest markers make the game frustrating, overshadowing the engaging main story and visual appeal of the game.

Shattered Space offers more of the same experience as Starfield, lacking the variety of spaceflight. Despite its flaws, there is potential for improvement in future updates, but a full sequel may be needed to address fundamental issues. The core brilliance of Starfield remains unfulfilled, leaving room for growth.

Source: www.theguardian.com

Exploring the Alive and Vibrant Japanese Gaming Scene at Tokyo Game Show | Games

TThe Tokyo Game Show will take place at Makuhari Messe. Makuhari Messe consists of spacious halls situated in a suburban complex about 45 minutes east of central Tokyo. The event occurs in late September and is usually accompanied by extreme heat or heavy rain, leading to humid and crowded conditions. Despite these challenges, I have always had an interest in TGS. My first experience attending was in 2008, and the memories of playing games in a crowded hall with minimal understanding of the surroundings evoke a sense of nostalgia.

Last Friday in Tokyo, many individuals, including myself, felt nostalgic as the event hall was filled with characters and series from 15 years ago. Games like Silent Hill 2 at the Konami Stand and the return of Solid Snake in the Metal Gear Solid: Snake Eater remake sparked memories. Popular titles like Monster Hunter from Capcom, Sony’s showcase of the PlayStation 5 Pro, and Sega’s presence with upcoming games also added to the nostalgic atmosphere. Japanese-made Astro Bots and other new games were on display, reflecting the greatness of the industry.

Alongside these prominent displays, new games like Metaphor: ReFantazio and Like a Dragon: Pirate Rokuza in Hawaiian series captivated the audience. Developers of Palworld faced challenges amidst a lawsuit from Nintendo for alleged copyright infringement. The event also featured Dragon Ball: Sparking Zero, Infinity Nikki, and elaborate presentations from Paper Games, offering a variety of experiences to attendees.

Participants at last week’s Tokyo Game Show. Photo: Tomohiro Osumi/Getty Images

Exploring the diverse offerings, it became evident that indie games from around the world were prominently featured this year, showcasing a blend of creativity and innovation not seen a decade ago. Titles like Rolling Macho: Tumble to Earth from Serial Games offered unique gameplay experiences, reflecting the evolving landscape of the gaming industry.

Reflecting on my time at TGS, I was reassured that Japanese games, reminiscent of my childhood, were thriving. With new releases like Metaphor: ReFantazio from Studio Zero capturing attention, the event highlighted the enduring appeal of Japanese game development.

What to Play

Apartment Story, a Sims-style life management game. Photo: Blue Rider Interactive

One standout experience was playing Apartment Story, a Sims-like game that immerses players in the mundane life of a gaming journalist, offering a unique and intimate gaming experience worth exploring.

Available: Computer
Estimated play time: 1-2 hours, multiple playthroughs possible

What to Read

“Assassin’s Creed Shadows” features a black samurai as the main character. Photo: Ubisoft
  • Ubisoft’s Assassin’s Creed Shadows has been delayed, sparking controversy and reflections on the gaming industry’s challenges. The removal of The Simpsons: Tapped Out from the app store and insights into the Yakuza series further highlight the evolving landscape of gaming.

What to Click

Question Block

Plug and play…steam deck. Photo: Valve

“Is the Valve Steam Deck suitable for plug-and-play gamers like myself? How does its performance compare to traditional PC gaming?”

The Valve Steam Deck offers a portable PC gaming experience at an accessible price point, making it a viable option for gamers seeking convenience. While some games may require minor adjustments for optimal performance, most titles are optimized for the Steam Deck, ensuring a hassle-free gaming experience. Additionally, Steam offers a hassle-free refund policy for games that do not run smoothly on the device, providing peace of mind to users.

If you have any questions or feedback, feel free to reach out to us at pushbuttons@theguardian.com.

Source: www.theguardian.com

The Enduring Legacy of Destiny: A Timeless Game That Will Stand the Test of Time

isEvangelion was released 10 years ago, an eternity in the world of video games. It's also one of the most compelling games of the decade, and sometimes it's not. On the surface, it's a gorgeous online progressive rock space shooter made by Bungie, the creators of the Xbox classic Halo. Gather up with some friends, deploy somewhere in the shimmering landscapes of a future solar system, and shoot people, aliens, and robots to earn better loot.

None of this is unprecedented, and maybe that's the point. You could say that Destiny's touchstones are Halo with its gunplay, World of Warcraft with its persistent online space, and (admittedly, this is a bit odd) the immortal British retailer Marks & Spencer. This last point is especially true because Destiny is a game of fluctuating destiny that seems to fascinate everyone involved in video games, whether they actually play Destiny or not. Just as many in the UK secretly know if M&S is currently trending up or down (there is no middle ground), everyone in the games industry knows if Destiny is doing well or not. Is it doing better than it has in many years? Or is it in a state of decline that is not comparable to where it was two, five, or seven years ago? Destiny is always an uneasy conversation topic for us.

Amazingly, this has been the case from the very beginning. in front The beginning. Fate met with great misfortune. Revealed as a company Long before it was announced as a fictional universe, the game was announced as SKUs and Q1 financial forecasts, not as a fun gunfighting world dreamed up by the best combat designers in the industry. When the first game finally arrived, it was seen as a beautiful epicenter of action surrounded by something that felt somewhat hastily produced. It was an early star where dust and gas hadn't yet fully solidified. Sure, if you had the right shotgun, you'd go into battle and the whole world would sing with you, but the story and lore were scattered across the game's surface as a series of trading cards, as if Homer had unleashed the Iliad on a collection of beer mugs and hidden them across various battlefields.

A great action game… Destiny was shown on a curved screen at E3 in Los Angeles in June 2014. Photo: Michael Nelson/EPA

But here's the thing: people just couldn't stop playing Destiny. From the start, nights spent online with friends couldn't have been more fun: join in, blow up stuff, win stuff, and compare your gains. Leveling up felt like something meaningful here. New loot had real personality. Set pieces unfolded beneath skyboxes so vast and intense they reminded us that, spaceships aside, Bungie's soul has always been deeply romantic.

Part of the game's enduring appeal is a series of striking images: the funereal hulk of the Traveler, an artificial moon, floating in the sky above the world's last city. Claw-like eruptions of Martian rock illuminated by sunlight turned into a barium haze through the airborne dust. But from the beginning, Bungie's games also seeped into the real world: players could view their builds outside the game, millions of raid-party WhatsApp groups sprung up overnight, and websites and YouTube channels were devoted to everything from leveling tips to reconstructing the story of a Frankenstein-style soap opera.

So for the last decade, playing Destiny has meant arguing about the game, getting annoyed and uninstalling it, then reinstalling it and spending the night engrossed in the game again. The existence of conspiracy theories means that the game means something to people. Caves with easy loot The in-game economy nearly collapsed within the first few months. Was this a bug or an intentional design flaw? Raid area with cheese spots A place where players can dish out massive amounts of damage without putting themselves in danger. Is this the sign of an unstable map, or a sign of a savvy developer generating a different kind of buzz?

Inevitably, people were nostalgic for even the Grimoire lore cards by the time Destiny 2 came out in 2017. Since then, there have been ups and downs. Death of a major character Everyone was talking about it The price of the expansion is the samePeople get tired of the drudgery, they think the raids are unfair, they understandably complain about the store, but they also understandably buy Destiny: The Official Cookbook. Complicating things is the fact that Destiny has been steeped in nostalgia from the get-go. Another final point of connection to M&S is that Destiny is an institution.

Few would argue that Destiny is a great action game, and always has been. At its heart is a core of charismatic gunplay, and what radiates outwards from there is an evocative and unforgettable twist of sci-fi, combined with Bungie's long-standing talent for sad, flashy naming conventions. This is the studio that brought us Halo levels “Pillar of Autumn” and “Silent Cartographer.” It's no wonder that the game “Destiny Weapon Name or Roxy Music Deep Cut?” remains a reliable drinking game. (It goes both ways; it's easy to imagine Bungie releasing Sentimental Fool and Mother of Pearl SMGs.)

Striking image…Destiny 2. Photo: Activision

Still, there are fluctuations. The latest expansion was hailed as one of the best in a while, but player numbers haven't increased significantly since then. Over time, Bungie has gone from questions about the cost of cosmetics to serious allegations about its internal culture; the studio has changed owners and recently suffered layoffs. Last week, Destiny 2 Steam player numbers hit all-time low.

Still, we talk about the games that are always in the news (Includes bungeeannounced that it would be publishing a developer blog tonight discussing the future of the game. Many of us still feel nostalgia for a game that was born out of nostalgia. And these two things create a powerful allure. I remember when I first played Destiny 2, long after everyone I knew had cooled off from their obsession with the game. I found a game that kept me entertained for a few minutes, but those minutes could easily turn into hours. I also found a world that felt as if it was covered in blue plaques that told of a painter from long ago who once vacationed here.

After all, Destiny as a game benefits greatly from its dialogue fallbacks. For example, when I first met Devrim Kay, Destiny's gentlemanly sniper, in person, I knew so much about him I could have been his biographer. I felt like I was in the presence of a celebrity, even though he was just another quest giver.

Source: www.theguardian.com

What’s the Deal with That Car? A racing game that throws realism out the window

IImagine a new racing video game. Whatever you imagined, What the Car? is not. While the world of racing games prides itself on cutting edge game engines and perfectly simulated motor engines that make the speedometer feel real and the driving experience more and more detailed and realistic, this is the opposite: this car literally drives around on foot.

Described as “a silly adventure full of races, laughs, and surprises,” What the Car? puts you in the shoes of a car with legs, sprinting and climbing one ridiculous obstacle after another to reach the finish line. “No one on the team owns or even likes cars,” says Tim Garbos, the game's creative director at Copenhagen studio Triband.

“That may seem wrong when you're making a car game, but it allowed us to naively misunderstand a lot of things about cars.”

Not only can this car walk around on two legs, it can also play foosball. It can even chop vegetables. Though it's technically a racing game, it's best thought of as a collection of mindless mini-games. Each of the hundreds of levels has a different challenge to reach the goal, whether that be a paraglider, a football or becoming an accordion to cross a crevasse.

Madcap…what car? Photo: Triband

Naturally, this not-so-racing game isn’t inspired by Forza, Gran Turismo, or even Mario Kart. Instead, the Triband team cites the adventures of The Legend of Zelda and Super Mario 64, with flashes of Katamari Damacy amid the chaos (cars have extra legs and roll around the track like balls). “The ever-changing format of the game is great when it takes inspiration from anything,” Garbos adds.

A version of the game was first released on Apple Arcade last year, where it won a Dice award for best mobile game. The PC version has been enhanced and will continue to receive monthly updates. Another addition is a full level creator, allowing users to build and share their own bizarre worlds. Garbos hopes that the levels will be approached in an appropriately nonsensical style: “People will create totally awful levels and force their friends to play them.”

The studio has previous experience pumping up humor with baseball bat-wielding cult hits “What the Golf?” and “What the Bat?” “As a studio, we’re big on the comedy game, and when we create a joke, we start by setting expectations by giving you a mundane backdrop, and then we subvert those expectations by doing something different,” Garbos explains.

As other successful parody games like Goat Simulator have shown, there’s an art to making something beautiful and silly. So how exactly does Triband strike that balance? “We focus on realism, car fans, and completely ignoring real vehicles while still providing a great overall experience. Sometimes you just need to give your car bigger legs, or make it fly or swim, and we make that happen…” [but] It has to be silly and funny, but it also has to work as a game. It has to be something you want to play for hours. It takes time and commitment.

“The comedy genre is under-represented in video games” … What the Car? Photo: Triband

Games are good at comedy, especially physical comedy. Think Octodad, Gang Beasts, Untitled Goose Game, and any game where characters comically glitch into the scenery. What the Car? joins the recently released Thank Goodness You’re Here! and the upcoming Baby Steps as games actively trying to make us laugh this year.

“I think the genre of comedy is underrated in video games compared to, say, television,” says Gerbos. “We take comedy pretty seriously. If you want to make someone laugh, it has to start with you. If it feels funny or silly, then you’re on the right track… Personally, I love showing this game to people and seeing their eyes light up at the jokes and trying to hide their little laughs. That’s why I make video games.”

We can’t help but wonder what kind of absurdist tri-band treatment we’ll get into next. “We’re just getting started,” Garbos teases. “We’re thinking about making parody games of common, well-known things, like newspapers.”

What the Car? will be released on Steam on September 9th and is already available on Apple Arcade, while What the Guardian? is still TBA.

Source: www.theguardian.com

Experience the Summer Game Changer: 4DX Tornado at the Movies

isDuring this long, hot, dreary summer, I’ve come to believe in only one thing: seeing Twisters in 4DX. Set in Oklahoma, this Lee Isaac Chung-directed film gets a 7/10 in 2D. It’s a sort of blockbuster sequel to the 1996 disaster movie, with Glen Powell and Daisy Edgar-Jones playing tornado chasers and showing off some modest chemistry. But in the immersive theater format of 4DX, where audiences are pelted with literal wind and rain, Twisters gets a can’t-miss 10/10.

In 4DX, you feel every jolt, from the punch in your back to the tickle in your ankles, as the truck sways in the F5 winds. When the characters cling to their bolted-down theater seats during the climactic storm, I clung to the armrests to keep from being torn apart by the wind. There were loud cheers at my screening every time the movie’s tornado hit, as in the scene in which Powell wears a skin-tight white T-shirt in a light rain. I emerged from Twisters with matted hair and tear stains down my side. A friend lost a shoe. In 4DX, in the words of Tyler Owens, who plays Powell, you don’t just “ride out” the storm. teeth storm.

I’m not alone Glorious Recognition4DX has been around in the US for a decade, first introduced with Transformers: Age of Extinction in 2014, but Twisters marks 4DX’s culmination and breakout success this summer. Domestic box office records were broken 4DX grossed $2.3 million in its opening weekend across 62 theaters across the US. A TikTok user recorded himself leaving a screening of Twisters and heading home. Mascara streaks, Pushing and shoving in a four-person theater seat and Seeing God (With shocked parents) In the wind tunnel. A week later, Deadpool and Wolverine Exceeded Twisters’ record $2.8 million marked the second consecutive best weekend ever for 4DX, the second most popular of the so-called “premium large-format” viewing options after IMAX, which accounted for a significant chunk of this month’s box office takings. Alien: Romulus box office.

“Premium formats like 4DX and IMAX are making a full comeback,” says Paul Dergarabedian, senior media analyst at Comscore. “People complain about the price of movie tickets, but audiences don’t seem to mind paying a premium for a particular film experience.” For an average of $8 more than a standard ticket, audiences can feel the impact of a sandworm in Dune, simulate the terror of zero gravity in Alien, and scream inside a tornado. The hype for Twisters has been building for years. A Post-Pandemic Craze for Bold, Spectacular Theatrical Experiences “With Twisters, everything clicked,” says Duncan MacDonald, head of worldwide marketing and theatrical development for 4DX company CJ 4DPlex Americas. “We’ve been stuck at home for so long, and theaters have been closed for so long, so we wanted to see something different, and 4DX gave us that.”

4DX’s summer is largely thanks to a team of artists (whom the company calls “editors”) based in Seoul, South Korea, who adapt 35-40 Hollywood movies and about 70-80 non-Hollywood films a year. Since 2009, the studio has enhanced some 1,050 movies, from horror to the Fast and Furious to Pixar films, with 4DX effects such as smells (gardenias, roses from Beauty and the Beast, Wonka chocolate), weather, lighting, and chair programming adapted from a military flight simulator. What began as an experiment by South Korean cinema chain CJ CGV is now screening in 792 cinemas worldwide, including 63 in the U.S. and Canada, according to the company.

Editors take over once nearly all post-production is finished, usually about a month before the film’s release. The team then goes through the film scene by scene, and frame by frame for particularly intense action sequences, choreographing the chair movements and fine-tuning the effects to match the change in perspective. They have to decide which elements to emphasize at which moments and which to tone down. In the case of Twisters, do you focus on the experience of the battered truck, or the wind? In one storm scene, the 4DX experience “starts with the truck, and you feel every little impact,” says Paul Hyun Kim, senior vice president of content and production at CJ 4DPlex. When a tornado forms in the distance, the seats shake less to match the swaying of the truck, emphasizing the tornado’s intense gusts and smooth movement, drawing the audience into the larger storm. “You’re focused on the tornado, you become part of it,” Kim says.

“It’s a very creative process,” he added. It’s also collaborative: Each team has a lead editor who pitches internally to the studio’s editor-in-chief, Cindy Lee, who has edited 300 titles in 15 years. “With that experience, you really start to gain nuance and a feel and expertise for what to highlight and what to distance yourself from,” Kim said.

Source: www.theguardian.com

AI Generates Playable Doom Game Without Coding

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An AI-generated replica scene from the computer game Doom

ID Software

Recreating classic computer games with AI Doom It's playable without any computer code or graphics, and researchers on the project say it may be possible in the future to use similar AI models to create games from scratch, in the same way that we currently create text and images.

This model Game NGenIt was compiled by Dani Walewski of Google Research and his colleagues, who declined to be interviewed. New ScientistAccording to them paper According to the study, the AI ​​can play for up to 20 seconds while retaining all the features of the original, including score, ammo levels, map layout, etc. The player can attack enemies, open doors, and interact with the environment as normal.

After this period, the model's memory begins to run out and the illusion begins to break down.

original Doom It was released in 1993 and has since become a popular subject for computer science projects. Running on specially restricted hardware Toasters, treadmills, espresso machines, etc.

But in all of these cases, the hardware is simply running the original game's code. What GameNGen does is fundamentally different: a type of AI called a neural network learns by observation how to recreate a game, without ever seeing the game's code.

The researchers first created an AI model that learned how to interact with Doom in a human-like way, then had it play the game over and over again, and then the second AI model learned how to interact with Doom in a human-like way. Stable diffusion The image generator learned how the game state changes with hundreds of millions of inputs.

The second model was essentially a copy of the game, with all of the knowledge, rules, and instructions from the original code encoded into a mysterious network of artificial neurons within its own architecture. In tests, human players were slightly better than chance at distinguishing between short clips of the game and clips of the AI ​​simulation.

In their paper, GameNGen's developers claim that this is a proof of concept that games can be created by neural networks rather than lines of code. They suggest that games can be generated from text descriptions and concept art, making them cheaper to produce than using human programmers.

Andrew Rogojski Researchers from the University of Surrey in the UK say the idea of ​​having neural networks hallucinate game environments and human interactions is an interesting step forward, but it's not meant to replace human game designers.

“I don't think it's the end of game studios. I think what game studios have is the imagination and the skill – the ability to actually create these worlds, understand gameplay, understand engagement, understand how to draw us into a story – that's not just the nuts and bolts or bits and bytes,” he says. “There's something very human about creating compelling experiences that we humans enjoy, and that's going to come primarily from other humans at the moment, and for the foreseeable future.”

topic:

Source: www.newscientist.com

Controversy Surrounds Hit Game ‘Black Myth: Wukong’ Over Comments on ‘Feminist Propaganda’

Controversy surrounds the popular new Chinese game, Black Myth: Wukong, as gaming influencers were instructed not to address news, politics, the coronavirus, or “feminist propaganda” when discussing the game publicly.

Released last week, the game is China’s first “triple-A” rated game, based on the renowned 16th-century Chinese novel “Journey to the West.”

Developers reported selling more than 10 million copies globally in three days.Game Science.

However, controversy arose over guidelines given to influencers and content creators, instructing them on specific topics to avoid while live streaming the game.

Don’t insult others or use offensive language.
Avoid politics, violence, nudity, feminist propaganda, and other negative content.
Stay away from trigger words like “quarantine,” “isolation,” or “Covid-19.”
Refrain from discussing China’s gaming industry policies and news.

The avoidance of “feminist propaganda” raised eyebrows, especially with reports of alleged sexist behavior by Game Science employees.

Game Science and co-publisher Hero Games, reported issuers of the guidelines, have been contacted for comment.

Online fans have engaged in heated discussions regarding the guidelines, linking them to prior reports of sexism within the gaming industry.

The directive, not extended to traditional publications or peer reviewers, is legally unenforceable and has sparked mockery and backlash in the gaming community.

The game’s global success has been notable, with over three million concurrent players in its first week, including two million on Steam.

Chinese authorities and media have praised the game for promoting Chinese culture and countering prejudice.

Recent reports refute Western media’s criticisms, accusing them of politicizing China’s gaming achievements to attack the country.

Source: www.theguardian.com

Review of Black Myth: Wukong – An Exciting and Thrilling Action Game | Games

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Missing Myth: Wukong is a video game that focuses on spectacle, but true awe requires confidence. This confidence is often lacking in big-budget games where developers play it safe, concerned about mainstream appeal. Despite its cutting-edge graphics, Black Myth: Wukong stands out as a potential hit, but surprisingly, it’s developed by the Chinese indie studio Game Science. The game’s polished experience is so impressive that it’s hard to believe it’s the studio’s first “premium” game.

Based on the classic 16th-century novel, Journey to the West, Black Myth: Wukong allows players to step into the shoes of the novel’s main character, the stone monkey, Son Goku. Son Goku possesses incredible strength, speed, and the ability to transform into various creatures and objects, manipulate the weather, and even create clones of himself. The game introduces these abilities through an exhilarating tutorial where Wukong faces off against gods and armies, providing a constant adrenaline rush throughout its 40-hour playtime.

Black Myth: Wukong draws inspiration from modern action games, particularly the challenging “Soul-like” genre known for epic boss fights. The game’s combat mechanics feel heavy and swift, with attention to detail like the use of soaking gourds to enhance abilities, immersing players in an authentic world.

Unlike many action games, Wukong isn’t open-world, devoid of mini-maps and quest logs. The lack of handholding encourages exploration and trust in the game’s process, leading players through dangerous terrains and breath-taking landscapes without distractions.





Capturing the allure of exploration…Black Myth: Wukong.

Photo: GameScience

In addition to exploration, Wukong caters to curiosity with hidden areas that only become visible once players acquire specific items or interact with certain characters. These optional sections, called “Attachment,” play into Buddhist themes of attachment leading to suffering, adding depth to the game’s narrative and gameplay.

Black Myth: Wukong’s success is a testament to its captivating gameplay and storytelling. Despite initial surprise at its origin from a country known for mobile games, the game’s accessibility to Chinese audiences has contributed to its massive popularity. It’s a game that transcends market expectations and delivers an exceptional gaming experience.

Black Myth: Wukong is out now, priced at £54.99.

Source: www.theguardian.com

Monster Hunter Wild: Discover even fiercer and more intimidating creatures in this exciting action game

ohBut out in the desert, the skies begin to darken. You are here to hunt Dosha-gama – fearsome, scaly, lion-like, squashed-faced beasts that roam the dunes in small herds. But a looming storm suggests something much bigger is approaching. Soon, a giant shadow descends from the heavens: Lei Dau, a horned, gold-trimmed dragon who wields lightning. Are you strong enough to face it? Or is it time to flee to the hills?

Monster Hunter is one of Capcom’s most successful game series, but it wasn’t always that way. When I started playing it on the PlayStation Portable in 2006, very few people were interested. It was notoriously cumbersome, demanding, and difficult, and online play didn’t work well. On the other hand, when I moved to Japan in 2008, it was hard not to see someone playing Monster Hunter on the train or in a cafe. It was 2018’s Monster Hunter: World that really made the game a global hit. Technology finally allowed for vast natural settings worthy of gigantic, intimidating, and highly realistic monsters, and smooth online play became a reality.




Watch the trailer for Monster Hunter Wild

“It was a challenge to bring the series to a global level that hadn’t been there before,” recalls Ryozo Tsujimoto, who worked as a designer on the original Monster Hunter, which was released in Japan and North America in 2004, and has led the series ever since.
“In order to make it a global hit, there are some things we haven’t done before… It may not be so visible to players, but compared to the past, we are in much closer communication with our Western offices and staff around the world, so we’re in a much better position than before to listen to player feedback and reactions to the game and decide how to approach the next title.”

Source: www.theguardian.com

Review of Tactical Breach Wizards: A Fun and Intense Strategy Game that Rivals XCOM 2

aThe best place to start with Tactical Breach Wizards, a game that relies heavily on glimpses into the future, is a little further down the line. Let’s start with the fact that this special ops tour of magical mystery is the most important turn-based tactics game since the classic XCOM 2. Its blend of inventive, flexible puzzles and highly entertaining writing is enough to warrant active play on anyone’s console. But what makes the game worthy of Special Arcane Service is how boldly it critiques the murky morality of military-themed games.

In Tactical Breach Wizards you take command of a ragtag team of witch detectives, necromancers, time-manipulating wizards and druid hitmen and use your team’s diverse abilities to overcome escalating tactical siege scenarios. A typical level requires you to break into and enter a room, neutralize six enemies, seal a door to stop reinforcements, and reach a computer that will open a passage to the next room.

This is a simplified example of the format where you don’t have to worry about base management or higher layers of strategy. Instead, it focuses on creatively using magical powers to resolve scenarios as cleanly as possible. Jen, a freelance storm witch, casts lightning spells that can push people away without causing damage and knock out enemies by pushing them into objects or out of windows. Zan, a naval seer, can foresee events a second ahead, allowing him to roughly predict how his enemies will attack, but also to set up ambushes or give his teammates extra actions. Combining powers to maximize efficiency is a key tactic, for example, using Zan’s time boost ability to have Zan use his lightning power twice.

Each room you enter introduces a new ability, enemy, or idea that increases the challenge and your ability to face it. For example, you can recruit the necromancer Dessa to kill people and resurrect them to heal them, or place interdimensional portals in your walls to push through enemies and eliminate them quickly.

Tactical Breach Wizards wants to maximize the puzzle potential by having you move lots of small enemies around a room. But unlike XCOM, it doesn’t extend lateral thinking with brute force. Most scenarios are relatively easy to solve, as you can undo decisions you made on any given turn. However, each stage also has bonus objectives, such as completing a stage without taking any damage at all. Rather than punishing mistakes and killing your allies, Tactical Breach Wizards gently guides you towards excellence.

This more tolerant attitude is also reflected in the game’s themes. Tactical Breach Wizards is never a serious game – evidenced by objectives like “jump through the Pyromancer’s window” and the fact that Zan’s “assault rifle” is a machine gun frame with a wizard’s wand rather than a barrel – but it does treat its characters and the problems they face seriously. One of my favorite bits is the heartfelt exchange that happens every time the team gathers to breach another door. Not only is it a great joke, but the conversation that follows is also incredibly witty and offers great insight into each wizard’s inner life.

But the game’s most impressive trick is how it spins a truly intriguing spy thriller out of its ridiculous concept, while refusing to abide by the uncomfortable ethics of modern military games. The team is made up of rebels and outcasts rather than government-sanctioned wizards, and their enemies are enforcers of a religious dictatorship and people hired by private military companies (plus a traffic warlock called Steve). Even when facing these foes, the team only follows non-lethal rules of engagement. You might wonder how they can do this when people are constantly being kicked out of windows, and the answer is simple: they’re wizards.

This is a nearly perfectly balanced game, with nothing wasted. do not have A wicked ode to turn-based tactics, it embraces the genre’s creative puzzles while rejecting its worst excesses. In Tactical Breach Wizards you can see into the future, raise the dead and smash windows with a witch’s broomstick, but the most powerful magic of all is empathy.

Source: www.theguardian.com

Magic-infused military tactics game Tactical Breach Wizards adds a supernatural twist | Games

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We’re only halfway through the year, but Tactical Breach Wizards is already a contender for best video game title of 2024. Both ridiculously ridiculous and patently practical, the game’s name nicely reflects the intent of this magic-infused, turn-based tactics game. Commanding a SWAT team of wizards battling through puzzle-like scenarios with guns and spells, Tactical Breach Wizards blends decade-old jokes with a desire to solve the problems endemic to the genre that inspired it.

“This comes from playing a lot of XCOM, especially XCOM 2,” says Tom Francis, director of Suspicious Developments and creator of the acclaimed titles Gunpoint and Heat Signature. “I love the game in a lot of ways, but it’s also incredibly frustrating because so often you misunderstand or don’t understand the rules, and end up losing irreplaceable soldiers or suffering devastating losses.”




Robed thief… Tactical infiltration wizard. Photo: Suspicious developments

Francis wanted to create a tactical game that focused on encouraging experimentation rather than punishing players. His solution was to let players rewind their turns to try new approaches to each situation. But the game still lacked a theme to accompany the concept. So Francis recalled a conversation he had while working as a journalist at PC Gamer: “We were joking that it would be really interesting if there was a serious military game like Call of Duty. [where] The people were all in tactical gear, but some were just wearing robes and hats.”

Thus was born Tactical Breach Wizards, combining Francis’s rewinding ideas with a variety of characters who are more like magical police, from freelance storm witches to riot priests, each with their own unique abilities to experiment with in different ways. One example is the Naval Seer. Blessed with the ability to see one second into the future, the Seer can also throw time-boosting grenades that provide bonus actions to teammates. Another is the Necro Medic, a necromancer who heals characters and replenishes their “mana” by killing and resurrecting them. “She rewinds your body, your body goes back to how it was an hour ago,” Francis says. “When she resurrects you, you get your mana back.”

According to Francis, these characters first appeared as puns, but gradually became central to the game. In fact, Tactical Breach Wizards doesn’t have the free-form structure and base building of XCOM, but instead has a linear story that explores each character’s personality and motivations. “I wanted to know who these characters were,” Francis said. “They each feel like they have a story.” He likens the storytelling approach to Mass Effect 2’s loyalty missions, saying, “To me, that was the most interesting thing about the game.”

Additionally, the Tactical Breach Wizard storyline, according to Francis, ” [on] Unlike works like Tom Clancy or Call of Duty, the game also aims to subvert the authoritarian morality of such fiction. “I don’t like those stories, there’s not a lot of criticism or self-examination,” he says. In Tactical Breach Wizards, the characters you command aren’t state enforcers, but thugs and outcasts battling a coalition of elite organisations, including religious military dictatorships and private military companies. “I didn’t want them to just be soldiers in a national army,” he explains. “You need a compelling reason to commit acts of violence.”

Tactical Breach Wizards has been in development for six years, which is a big investment for a small team. Luckily, you don’t have to be a naval seer to notice the positive signs. The game is high on Steam’s “wishlist” charts, and Francis says the recently released demo has been met with positive reactions from players. “There are some people who laugh when you say ‘Tactical Breach Wizards,'” he says. “I knew those people existed, but I didn’t realize how many there were. I’m very happy.” [that] A lot of people understand that.”

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Tactical Breach Wizards will be released on PC on August 22nd

Source: www.theguardian.com

Mastering the Art of Patience: A Game Where Waiting is Key

aPatience may not always be easy to practice, especially during mundane and tedious moments. However, there can still be joy and peace found in the simplicity of everyday life. Optiillusion introduces a tongue-in-cheek patience simulator called While Waiting to capture this unique experience. Producer Dong Zhou explains, “While we’re waiting for things like buses, stuck in traffic, or standing in line, we often seek entertainment. Most people just resort to using their phones, but is that truly engaging? It’s time to turn waiting into a playful experience by turning mundane moments into a fun game where players can find ways to pass the time.”

While waiting. Photo: Optillusion Games

While Playing, players join Adam on his journey through mundane tasks like waiting for a bus, standing in line for a ride, or watching the rain from a window. Zhou states, “Waiting isn’t just a negative experience; it’s a part of life that comes with its own set of expectations and anxieties.” As Adam’s experiences evolve from simple pleasures to deep aspirations, the game becomes a story of personal growth. “In different waiting scenarios, Adam feels a range of emotions like happiness, relief, or sadness. However, he understands that waiting is the only option,” Zhou adds.

Through whimsical depictions of scenarios like elevator lobbies, doctor’s offices, and airport baggage claims, While Waiting presents a series of patience-testing challenges that resonate with common frustrations. While a sense of fatalism looms, the game incorporates profound reflections on life alongside playful anime humor. Zhou hopes players will not only find amusement but also ponder the deeper meanings interwoven within the game.

To ease the restlessness that waiting brings, While Waiting offers various mini-games to help pass the time, such as luggage stacking or filling out paperwork. Zhou explains, “These mini-games can range from arcade games to puzzles or action games, each level offering a unique experience. While players won’t win cash prizes, the games are designed to keep them entertained while waiting for time to pass. Whether you choose to act or not, the game’s theme revolves around the inevitability of waiting.”

Drawing inspiration from classic animated comedies like “Tom and Jerry,” While Waiting incorporates orchestral music that emphasizes the contemplative and whimsical aspects of this patient journey. The brass and string instrumentation offers a musical reprieve from the discomfort of inaction in daily life.

Despite its quirky and light-hearted nature, While Waiting delves into profound themes. As players approach the conclusion, they revisit earlier scenes and contemplate the cyclical nature of life with fresh insights and emotions. Zhou concludes, “Life is a mix of joy and sorrow, and I hope players will appreciate the value of each waiting moment they encounter.”

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While Waiting is set to launch on PC later this year

Source: www.theguardian.com

Windmills are surprisingly charming: Building Relationships, a dating simulation game for PC

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Navigating the challenges of modern dating can be overwhelming for single individuals. The uncertainties of how much you have in common with a stranger, whether you share similar values, and if you can open up to them loom large. Game developer Tanat Boozayaangool delves into these questions in Building Relationships, posing an additional intriguing query: What if you were a home?

The title of this dating adventure game is meant to be taken literally. In Building Relationships, players assume the role of the newest bachelorette residing on an island where love could blossom. The primary objective is to build relationships with other island dwellers, including a charismatic tent, a lackluster houseboat, and a flirtatious windmill named Millie. According to Boozayaangool, Millie tends to be a bit forward, catching some off guard.

Inspired by the eccentric pigeon dating sim “Hatoful Boyfriend” from 2011, “Building Relationships” promises a dating parody infused with personal narratives and surrealism. The game unfolds through various dates that lead to intertwined storylines on the island, where players ultimately decide whom to share a picnic with.

In addition to engaging with the island’s inhabitants through their unique personalities, players can freely explore the environment. Along the way, they encounter talking treasure chests that enhance mobility and fishing spots where they unearth humorous “carp” (referred to as cars in jest). Boozayaangool aimed to infuse the gameplay with a sense of playful exploration in a compact open-world setting, drawing inspiration from the emotive indie gem “A Short Hike”.

The gritty, low-poly art style of the island adventure pays tribute to the origins of Building Relationships as a college game jam creation. The scenery is adorned with cylindrical trees and jagged rocks cloaked in low-res textures, delivering a nostalgic visual style that complements the contemplative ambiance.

Despite the game’s uplifting visual appeal and its inclusion in June’s Wholesome Games Direct, a celebration of non-violent indie gaming, Boozayaangool refrains from labeling it solely as a feel-good experience. Reflecting on the personal themes embedded in the narrative, they acknowledge the underlying emotional challenges of building relationships: “For a seemingly lighthearted game, there’s unexpected depth waiting to be uncovered.”

Without divulging too much, Boozayaangool encourages players to brace themselves for the emotional complexities inherent in the dating journey depicted in the game: “Despite its whimsical facade, there’s a surprising amount of substance to explore.”

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Source: www.theguardian.com

Hollywood video game actors reach breaking point and go on strike in protest: Games

Hollywood video game performers have voted to go on strike, bringing parts of the entertainment industry back into strike action after new contract negotiations with major game studios collapsed over protections for artificial intelligence.

The walkout, the second by video game voice and motion-capture performers affiliated with the Screen Actors Guild-American Federation of Television and Radio Entertainers (Sag-Aftra), is set to begin on Friday at 12:01 a.m. This move comes after almost two years of negotiations over a new interactive media contract with gaming giants like Activision, Warner Bros., and divisions of The Walt Disney Co.

SAG-AFTRA negotiators state that while video game contracts cover wages and job security, studios are not willing to agree to regulate generative AI. Without safeguards, game companies could train AI to mimic actors’ voices or create digital replicas of their likenesses without their consent or fair compensation, as per the union.

In a prepared statement, union president Fran Drescher mentioned that members will not accept contracts that permit companies to misuse AI.

Company representatives did not immediately respond to email requests for comment.

According to game market forecasters, the global video game industry generates over $100 billion in revenue annually. New Zoo Sag-Aftola emphasized that the individuals who design and bring these games to life are what drives their success.

“Eighteen months of negotiations have shown that our employers are not interested in fair and reasonable AI protections, but rather in exploitative behavior,” stated Sarah Elmaleh, chair of the Interactive Media Agreement Negotiating Committee.

Last month, a union negotiator informed The Associated Press that game studios had declined to provide the same level of protection from AI risks for all members, especially motion picture performers.

Last year, union members overwhelmingly voted to authorize leadership to strike. Fears about how studios might utilize AI in a strike were intensified by AI. Last year, labor unions staged a four-month strike in the film and television industry.

The final interactive contract, expiring in November 2022, did not include protections for AI but established a bonus compensation structure for voice actors and performance capture artists following an 11-month strike that commenced in October 2016. This strike marked SAG-AFTRA’s first significant labor dispute since the merger of Hollywood’s two major actors unions in 2012.

According to the union, the video game contract covers more than 2,500 “off-camera (voice-over) performers, on-camera (motion capture, stunt) performers, stunt coordinators, singers, dancers, puppeteers, and background performers.”

Amidst tense interactive negotiations, SAG-AFTRA entered into a separate deal in February aimed at indie and low-budget video game projects. The Tiered Budget Independent Interactive Media deal consists of some of the AI protections that have been rejected by larger companies in the video game industry.

Source: www.theguardian.com

Black Myth: Wukong – The Most Anticipated and Talked-About Video Game of the Summer | Games

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When Chinese developer Game Science announced its first console game, Black Myth: Wukong, last year, it immediately created a stir. Inspired by the great 16th-century Chinese novel Journey to the West, the action-packed film sees the titular mythical monkey Sun Wukong battling demons from Buddhist folklore and sword-wielding anthropomorphic foxes in beautifully rendered forests. Smartphone games are extraordinarily popular in China but console game developers remain scarce, so anticipation for Wukong was at an all-time high in Game Science’s home country. Within 24 hours, the trailer had garnered two million views on YouTube and more than 10 million on Chinese video-sharing site Bilibili, surprising and delighting its creators. One excited fan said:
Breaking into the developer’s office
eager for more information about the game.

After playing Wukong for an hour and a half in a London hotel suite, with a few Game Science folks nervously watching, I was convinced that, by some miracle, this masterful Dark Souls-infused take on Chinese mythology lived up to the promise of its splashy trailer, blending fluid combat with reflex-testing difficulty and the expensive cinematic sheen of God of War. Sprinting through Wukong’s jungles, ducking and dodging between hordes of terrifying flora and fauna, you’ll face everything from gi-clad toads to nightmarish giant-headed infants. Unlike many of its brutally difficult FromSoftware-esque brethren, Wukong’s difficulty feels judged by experts. My ape-man avatar met a gruesome end more times than I’d like to admit, but I persisted. Eventually I defeated enough foes to unlock new abilities. Soon I was perched on a staff mid-attack, gaining the upper hand against the savage monsters of myth. I can flit through the forest like a stealthy cicada, summon flames with my sword, and eventually take down a werewolf the size of a truck roaring atop a crumbling temple.

“We feel a lot of pressure,” recalls one of Game Science’s co-founders, Ted (who Game Science declined to reveal his full name), through an interpreter. “This is our first time working on PC and console games, and we’re a new studio, so we’re really grateful for the players’ and the market’s openness towards us. Their enthusiasm encourages us. But the Chinese mindset tends to be risk-oriented, so when faced with such great encouragement, the best we can do is to do our best to meet players’ expectations… and communicate with them in a very sincere way.”

Unfortunately, when I talk about this, I rarely get any honest communication.
Report from IGN
The email was about alleged sexist comments made by multiple developers and people in leadership positions at Game Science. I offered Ted the opportunity to speak about the alleged misogynistic posts and whether or not he thought they were representative of Game Science’s values. However, I received a hasty “no comment” from the UK PR representative, followed after a long wait by a longer statement, also “no comment”, relayed through Ted’s translator. I was then told that Game Science’s US PR agency would follow up with a prepared statement later, which read, “Game Science is focused on demos at this time and will only answer questions about gameplay.”

The same thing happened to an IGN reporter.
Demo in LA
It’s disappointing that Game Science chose to invite journalists to talk and play the game last month, but refuses to answer questions. Perhaps there’s nothing reassuring to say. A generous interpretation of the situation would be that the inexperienced studio is afraid to say the wrong thing. But by staying silent, Game Science is also failing to distance itself (and the game) from a number of crude, derogatory and misogynistic comments directed at its employees and management.

Journey to the West is, of course, no stranger to the world of video games; from Ninja Theory’s 2010 Xbox 360 adaptation Enslaved: Odyssey to the West, written by Alex Garland and starring Andy Serkis, to the late Akira Toriyama’s world-conquering Dragon Ball, its mythology and ape world are ripe for gaming. Black Myth: Wukong’s stunning visuals, cinematic beauty and exhilarating sense of speed make it the best playable adaptation of the fable to date, but the uninhibited excitement I would otherwise feel is trampled by the elephant in the room.

Black Myth: Wukong will be released on August 20 for PC, PlayStation 5, and Xbox Series X.

Source: www.theguardian.com

The Sudden Rise of Clickolding: Exploring the Popularity of the Voyeur Game | Games

a A man in a strange, animalistic mask sits slumped in an armchair in a dingy motel room and watches you click a hand-held tally counter. He offers you $14,000 if you keep clicking until the number resets to 10,000, so you do. Occasionally he makes polite but suggestive requests: go faster, go slower, stop and try again, but he remains motionless, except for the occasional flexion of his hand.

Clicking the left mouse button, you wander around the room, admiring the paintings on the walls, the out-of-sync TV, the thermostat, etc. But as you approach the final scene, the man slowly begins to reveal bits and pieces of his life, and the atmosphere of an already dark world grows darker by the minute. This is what the game is all about.

Clickolding has been getting a lot of attention since its release on July 17th, receiving widespread coverage in the gaming press and nearly 500 reviews on PC game store Steam, most of which have been very positive. But what is it about this strange piece of interactive art that’s only 40 minutes long that has captured the hearts of critics and players alike?

That’s partly because Clickolding is a pretty obvious allegory about voyeurism and the sex trade. The man in the chair indirectly enjoys someone else’s use of his precious counter, which he describes as a lover he can no longer satisfy (“We’ve been together a long time, but I just can’t click like you do.”). The relationship between the two people in the room is deliberately left ambiguous, but we know this is no hostage situation; players are free to leave the room when they want, and opening the hotel room door ends the game. And yet, the threat hangs over the room, like a bad smell.

The player character must perform certain physical acts that clearly arouse the seated man, though not overtly explicit (“You’re clicking steadily. That’s good.”). But there’s also emotional labor, as the man reveals aspects of his tattered private life. Power dynamics shift subtly: at various times you’re a servant, a caretaker, a partner, a stranger, all with barely any dialogue.

One of Strange Scaffold’s other creations, an alien airport now run by dogs. Photo: Strange scaffolding

The game also captures a universal aspect of the experience of being confined to a hotel room for an extended period of time. While you’re there, it becomes a strange temporary home. It feels intimate (you undress there, you sleep there) yet alien and oddly fascinating. Who picked that floral wallpaper, that kitschy bedside lamp, that particular painting and why? How does the thermostat work? What’s outside the window? Visually, the room feels natural and detailed; it feels like a room from the latest Resident Evil or Call of Duty.

The clicker was born as an exploration of design principles: At this year’s San Francisco Game Developers Conference, members of studio Aggro Crab bought a clicker at a nearby thrift store, sat down with industry peers in a hotel lobby, and built a game to play with it. One of those peers was Xalavier Nelson Jr, creative director at the experimental indie studio. Strange Scaffoldingis responsible for such unique titles as Space Warlord Organ Trading Simulator and An Airport for Aliens Now Run By Dogs. An evening of oral history at WiredNelson was intrigued by the clicker’s hyper-repetitive appeal and began thinking about how he could use it in a new gaming project.

Clickolding continues the tradition of parody games like Cow Clicker and Cookie Clicker, which were designed to critique first-generation social media games like FarmVille, in which players perform endlessly repetitive tasks to accumulate resources and level up their characters. But by adopting mainstream game design elements—realistic visuals and a first-person camera—Clickolding extends the parody to all games driven by fast clicking, such as shooters and real-time strategy simulations. Here, the man in the chair becomes a metaphor for compelling game mechanics, enticing the player to get faster, better, and more accurate.

As you approach 10,000 clicks it starts to get boring, but you feel compelled, even obligated, to carry on while the man in the chair gives you a glimpse into his fractured life. It’s strange and mundane, uncomfortable and oddly comforting all at the same time. Perhaps the reason this game has attracted so much attention is that the monotony of clicking buttons in a boring motel allows your own thoughts, feelings and experiences to creep into your and the masked man’s room. Rarely have games given you so much room to be scared.

What to Play

Arranger: A role-solving puzzle adventure. Photo: Furniture and mattresses

in Arranger: Role Playing Puzzle Adventureis a cutesy RPG-like game in which you play a young social misfit setting out on his first journey outside the town he grew up in. Except the entire world is a grid of sliding tiles, and as you move, rows of tiles move with you. This turns combat into a sliding-block puzzle where you have to carry your sword to monsters to defeat them, and turns the regular towns, forests, and graveyards into giant game boards. It took me a while to get to grips with it, but the unique mix of story and puzzles is far more interesting than a match-3 puzzle. You may recognize the artist from his groundbreaking 2010 indie game Braid.

Available on: Nintendo Switch, PC, PlayStation 4/5
Estimated play time:
6 hr

Source: www.theguardian.com

The Scottish warrior in me: Exploring the hack-and-slash game Tears of Metal

‘T“There’s a giant rock that fell from the sky on an island in Scotland. They call it Dragonstone,” Tears of Metal director Raphael Toulouse explains, “and the British send their general out to [a look]”
“But then the general finds the rock and goes a little rogue, a little bit like Apocalypse Now. He breaks ties with the English, takes control of the island, and the English start mining this giant rock to make weapons and armor, but it also affects their minds. So the Scots organize to take the island back. And that’s where you come in.”

In Tears of Metal, you play as the leader of a Scottish battalion, and your job is to get closer and closer to Dragonstone while cutting down breakaway English troops. But as you get closer to the supernatural meteorite, the beautiful green backdrop of the Scottish Highlands gradually transforms into a hellish world. “It gets weirder and weirder, and by the end it looks almost post-apocalyptic,” Toulouse says.

You start with around 10 soldiers, but you can recruit more, and they’ll get stronger over time. Tears of Metal is a roguelike, so if you’re defeated you’ll be sent back to the start of the game, but you’ll keep any troops you’ve gathered for your next playthrough. However, just like in the alien-fighting XCOM series, if one of your soldiers dies in battle, he’s lost forever. The stakes are high, and you may have to rush to rescue your favorite characters before they’re wiped out for good.




Sensitivity warning: imitation blood.

The game is reminiscent of Dynasty Warriors, a series in which powerful warriors mow down hundreds of enemies in fantastical re-enactments of historical battles. Toulouse acknowledges that the series was a “huge influence,” but says the game relies less on button mashing. Up to four players can play together, each with their own army.

Toulouse is CEO of Paper Cult, an indie studio he co-founded in Montreal, Canada, nearly a decade ago. Which begs the question: why a French-Canadian indie studio is making a game set in Scotland? “That’s a good question,” Toulouse says, adding that the game originally had a completely different setting. Settling on medieval Scotland was a marketing decision; they wanted something instantly recognizable. But there’s also the fact that Toulouse is partial to the movies of Mel Gibson.

“I was a huge Braveheart fan,” he says. “I would always watch the movie with my friends after school. I would watch it over and over again. I loved the action scenes, and the Braveheart soundtrack is amazing.”

Toulouse has no personal connection to Scotland, but says Paper Cult has “a lot of connections with Scottish people” and works with writers who visit friends in Scotland every year. “We’re really trying to involve Scottish people in the project,” he adds, noting that the dialogue, in particular, will be of interest to Scots who still remember the terrible tragedy. Narration of William Wallace’s election campaign Age of Empires II users will be relieved to hear this.

Paper Cult has been working on Tears of Metal for around four years, but the release date is still a long way off, slated for next year. But since the game was revealed at Summer Game Fest in early June, Toulouse has been amazed by the audience’s response. He says it has been added to wishlists on Steam more than 100,000 times. “Within the first few days, we had over 100,000 people added to wishlists,” he says. [after the announcement]we surpassed [our previous game] “This is my lifetime wish list for Bloodroots,” Toulouse says with a hint of excitement. “I’m super excited.”

Source: www.theguardian.com

Challenging Climbing Game: Cairn Faces the Ultimate Test | Games

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Climbers cling to dizzying rock faces, toes digging in, knuckles white, limbs trembling with extreme tension. In this perilous moment, they have a few options: move quickly to regain their balance, rest for a few seconds, or simply let go and hope the belay can support their weight as they succumb to the massif.

Cairn, the new “survival climbing game” from French studio The Game Bakers, is full of dangerous, panic-inducing moments like this. There’s no visible stamina bar, meaning players must derive all their information from the state of their controllable climber, Aava. When under extreme stress, Aava’s breathing becomes intense and rapid and shallow, and her body begins to tremble. “We want you to focus on her posture and the railing in front of her,” says creative director Emeric Thoa.

Beneath this naturalistic presentation lies a huge amount of mathematical calculation. Using only the left analog stick, you control all of Aava’s body and limbs, and lock in handholds and footholds with the press of a button. The system calculates the stress on Aava’s limbs and core in real time, which determines the most physically realistic next movement for Aava. “Limbs are chosen automatically by the system; it predicts which arms and legs will move smoothly and easily,” Thoa explains. “The challenge for the player is to keep Aava balanced.”

This kind of dynamic scrambling is a far cry from Assassin’s Creed’s automated parkour, which has you clinging to stone walls with the pull of a trigger, or the navigation puzzles of recent climbing hit Jusant, which have you clinging to mineral outcrops on a predetermined path up a mountain. Cairn makes even the most dizzying activities even more complex by combining a freeform control system with a meticulously designed mountain, whose intersecting routes even Thoa and his colleagues don’t fully understand.

“It’s 2024, and there are words like ‘procedural’ and ‘AI,’ but we designed this mountain and built it completely by hand, placing every rock and crevice and handhold,” Thoa says. “It’s really hard work, and very iterative. I’m really grateful to our level design team.”

What sights and emotions await the player and Arva on their journey? Tore remains tight-lipped, saying only that he and the studio consulted with renowned mountaineer Elizabeth Revol, who spoke of “the intense freedom you feel when you push yourself past your limits at the top of the Earth.” Another detail that stayed in the game’s creator’s mind was that upon reaching the highest, thinnest mountain air, Revol experienced an almost delirious euphoria, “crying, screaming, going into a kind of strange trance.”

Cairn arrives with multiple game modes: the story sees Aava take on a gruelling, multi-day climb of a single mountain, and there’s an Expedition mode with additional mountains and challenges. Those willing to forgo the safety of the rope can also climb “free solo.” “This is where the real fun begins,” declares Toa, with a devilish glower, who, unlike Joussant, “will definitely die” in Cairn.

So what’s the Dark Souls of climbing games? Probably. But as Thoa stresses, “this isn’t a rage game.” Rather, he says, Cairn aims to convey “what climbing and alpinism is really about.” “You try, you fall, you try again, you fall, and then when you manage to get up, it’s very satisfying.”

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Source: www.theguardian.com

Review of Flock: A Peaceful Flying Game Collecting Creatures, a Pure Bliss Experience | Games

yesWhile the name might lead you to think of a game about herding sheep, it’s actually a lot stranger than that. teeth They’re sheep, but they’re fluffy flying sheep that float around after you as you ride on the back of a giant, colorful bird. Every now and then, they’re sheared and knitted into new jumpers or hats with pom-poms so the sheep look like naked, purple, aerial sausages with eyes. But the majority of your flock is actually made up of flying fish. Or are they fish? Some are curvy like eels, some moo like chickens, and some look like winged whales. Like we said, it’s pretty weird.

Your job in Flock is to find them in the wild, identify them from their short but varied and obvious written clues (“drooping proboscis,” “vertical stripes,” “often mistaken for a noisy radish”), and fill a field guide full of these big-eyed, flying-fish-like creatures. They all resemble sea creatures through a slightly surreal pop art filter, but are so well drawn that you can now tell the difference between a Cosmet and a Beul, a Thrips and a Rustic. Some camouflage among weeds and leaves, others flee when you approach, and others chirp at you while sunning themselves on rocks. You can find a piper to teach the birds to sing, and then collect them like a piper into a cloud of creatures that will follow you.

I’m still not very good at charming creatures. I can’t get the timing right and often end up frightening the birds with my off-key shrieks instead of leading them into the flock. But I morning It’s good at finding them. The flying is done for you. Birds fly around trees and mossy rocks automatically, so you’re free to observe your surroundings and listen for the chirps and twitters that announce the presence of undiscovered birds and fish. I navigated by sound as often as by sight. The nature-inspired soundscapes are one of Flock’s strongest features, along with the eye-catching art and cute, witty writing.

I enjoyed my few days with Flock, though I wish it were longer. There were some really interesting environmental puzzles that made me want to find other creatures hiding out on the plateau. Most creatures were easy to find, but a few required some fun deduction from a single sentence in the field guide. Once or twice, a creature in my entourage would tell me the location of another creature or help me find something, but most creatures just follow the player around and don’t do anything. I couldn’t help but imagine a more ambitious version of this game, one where the main creatures give you interesting abilities once you’ve filled out the field guide, and you can do things with your friends in races and challenges. But in under five hours, I’d done everything there was to do.

And yet I keep firing up Steam Deck just to fly around the swamps and moss forests for a few minutes – it’s so relaxing, so fun to look at, and so endearingly quirky that it stands out from the crowd.

Source: www.theguardian.com

Gabriel Garcia Marquez and the Potatoes: A Magical Recipe for Video Game Realism

SOpa (Spanish for “soup”) is a game about a young boy who goes to get potatoes for his grandma and finds himself lost in a magical world at the back of the pantry. “It feels like the pantry is getting longer and longer,” explains creative director Juan Castañeda. “And as he tries to grab a bag of potatoes, he's drawn into another world of fantasy and magical realism. He goes on different adventures and meets different characters, but at the end of the day, he's just trying to get potatoes for grandma's soup.”

As video game quests go, this is surprisingly mundane — not unlike rescuing a princess trapped in a castle or saving a land in peril — but you soon discover there's more to it than just the lost potato. “There's another layer to the story, and that's what the game is really about,” says Castañeda. “Every time you return to the kitchen, things change in unexpected ways, and with each adventure you pick up hints about a mysterious traveler who passed these paths long ago.”

An ancient mystery lies behind your initial quest to find cooking ingredients, and as the game progresses, elements of magical realism come to the forefront, making it “a little hard to know what's fantasy and what's reality,” Castaneda said.

Sopa is being developed by StudioBando, a team of around a dozen developers working remotely across countries including Colombia, Mexico, Argentina and the US, who have previously worked on mobile titles. Super Best Ghost Game “Sopa will be the studio's first release for consoles and PC, but Castañeda hails from Colombia, the birthplace of magical realist author Gabriel Garcia Marquez, and he says that Marquez's novels, including One Hundred Years of Solitude, were a major influence on Sopa.

“He's a kind of national treasure, a national hero,” Castañeda said, noting that Márquez's presence can be seen throughout the country. “We grew up hearing his stories, we grew up reading his books. It's something that is deeply ingrained in the heart of every Colombian.”

Colombia also has deep roots in Sopa. Castañeda says the game is based on his grandmother's house in a rural Colombian town swallowed up by a growing city. “It was a traditional colonial house with a big garden,” he says, recalling the place always bustling thanks to his grandmother's 15 children. “Some of them had their own children, and the house was always bustling,” he recalls. “Every room was always full.”




Photography: StudioBanda

In contrast, Sopa offers a quieter experience, at least at first. The young protagonist, Miho, is bored hanging out watching TV at her grandmother's house and reluctantly gets up to help prepare soup. The show he's watching, The Voltage Templars, is a homage to the Power Rangers that Castañeda remembers as a child, just one of the many American and Japanese shows that flooded Colombian television.

“There wasn't much Colombian media at the time, other than radio,” he says. “As a kid, I wanted foreign frozen yogurt, I wanted to watch American shows, I wanted to read foreign books, and I ignored a lot of the really beautiful and special things around me.” Miho's reunion with her own culture forms the basis of Sopa, as she dives into a world steeped in Latin American traditions. “Through these adventures, you pick up the pieces of these traditions and learn to appreciate them.”

Sopa appears to be part of a trend, alongside games like 2023 award-winning Venba, about reconnecting with cultural traditions through cooking, and Indonesian hit A Space for the Unbound, as creators increasingly depict cultures outside the U.S., Europe, and Japan that have traditionally dominated video games. “Maybe people all over the world are feeling the same way I am, and telling personal stories about their place,” Castaneda says.




Photography: StudioBanda

Besides Garcia Marquez, Castañeda said The Little Prince, Alice in Wonderland, The Tale of the Princess Kaguya, Pinocchio, and especially the Pixar film Coco were major influences on Sopa. Though the idea was born about 10 years ago, the game's development has been ongoing for about five years, starting with studio co-founders Castañeda, Holt, and co-writer Nelson Guevara. “We all basically went back home to finish the game and keep costs down,” Castañeda said.

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“It's not like we had a ton of money saved up from previous successes. It was a really humble start and quite tough. It was very hard to get support for a long time.” He pitched the game to publishers but was rejected one after the other, with companies unwilling to believe the team could realise their ambitions or doubting that there was a market for it.




Photography: StudioBanda

Meanwhile, Castañeda says he received plenty of support from his peers in the gaming industry. “For a long time, no one was willing to back the project and help us make it, but personally, I had a lot of supporters and people with beliefs in the gaming industry who helped us get the project out there.” The big breakthrough came at a meeting with Microsoft. “We pitched the game, but it wasn't even a video call, it was just audio, so I had no idea what they thought,” Castañeda recalls. “Then, a week later, in the middle of the night, I got an email saying they liked the project and wanted to back it.

“I remember calling my teammates in tears to tell them the news, because that day I had been talking to my advisors and I was like, 'Was I just stupid? The Earth is showing us that we shouldn't make this game. Nothing is happening to us.' And then that same night I got the news that they were going to help us out with an initial investment.”

That was last fall, in the midst of a tumultuous time in the games industry, with frequent layoffs and studio closures, “everything crashing and burning around us and just being scared,” Castaneda says. Perhaps Sopa is not just a game about reconnecting with Latin American traditions, but also a game about tenacity and, above all, hope.

Source: www.theguardian.com

Could College Football 25 Become the Most Anticipated Sports Video Game in American History?

Sported video game releases are often low-key. New versions come out every year, but apart from character updates and gameplay tweaks, not much changes from edition to edition. Unlike Grand Theft Auto diehards, sports game fans don’t plan midnight release parties.

But EA Sports College Football 25, which launches worldwide on July 19, isn’t your typical game. It might just be the most anticipated sports video game ever in the U.S. To understand why, we need to go back to the beginning.

EA Sports has started making college football video games Released for the Sega Genesis in 1993Other studios dabbled in college football, but by the late 2000s, EA Sports’ franchise, NCAA Football, had established itself as the market leader. The games were well received critically and commercially, and the final version, NCAA 14, was released in 2013. It is reported that about 1.5 million units were sold..

But the NCAA Football franchise had a problem that had nothing to do with critics or consumers: the court. (The terminology surrounding the game can be confusing to those who aren’t fans of college sports. The NCAA is the primary governing body for college sports in the United States; the NCAA Football franchise takes its name from this organization.)

Franchises like Madden, NBA2K and EA Sports FC have negotiated rights with various athletic associations as well as professional leagues to allow their teams and athletes to feature in their games, but college students are not defined as professional athletes, and NCAA institutional policy in the 2010s prohibited players from receiving financial compensation for their abilities.

So while previous NCAA Football releases have included actual teams like the Ohio State Buckeyes and the Florida Gators, the athletes were simply known as QB #7 or RB #21 rather than by their real names.

But in NCAA Football 2009, for example, you didn’t have to be Hercule Poirot to realize that QB #15 had the same height, weight, hair color, and skill attributes as Tim Tebow, the actual quarterback for the Florida Gators.

Athletes have noticed too: In July 2009, former UCLA basketball star Ed O’Bannon led a class action lawsuit by college athletes alleging that NCAA organizations, EA Sports, and College Licensing Companies had illegally used their likenesses without compensation.

EA Sports and CLC reach out-of-court settlementThe NCAA lost the lawsuit and appealed. In exchange for allowing EA Sports to pay royalties for the use of players’ likenesses, The NCAA decided to terminate its licensing agreement with EA Sports in 2013.Several colleges and big-name schools quickly followed suit. The franchise had never previously featured real players, but now it must operate without real teams or conferences, and without brands that have pulled sponsorship deals due to the game’s limited scope. EA Sports felt the series was no longer viable.NCAA 14 was the final game of the series.

Until now. In February 2021, EA Sports released a tweet that stunned the college football world. The game is back.

The advent of name, image and likeness rights deals has allowed EA Sports to include real-life players in the new edition. Photo: EA Sports

By 2020, it had become clear to college sports industry leaders that the NCAA’s strict policy of forbidding athletes from monetizing their name, image and likeness rights would not stand up to political and legal scrutiny. In July 2021, the NCAA officially changed its policy, allowing athletes to earn revenue by appearing in commercials, promoting products on social media and, of course, appearing in video games. With a way for athletes to earn revenue from their participation, schools quickly agreed to participate in the revamped NCAA Football series. This year’s games will feature more than 11,000 athletes, real players.

As the game’s release date approaches, excitement is building at universities across the country. Mississippi State University holds launch party It will bring fans into the game alongside current and former Bulldogs players inside a 9,000-seat basketball arena. Major NIL organizations supporting UCLA are hosting similar events. Georgia Southern and San Diego State UniversityOther schools, Like Boise State University, they use video games EA will unveil the new uniforms for its soccer team. EA will send developers to camper vans to Actual Playbooks It’s meant to allow student-athletes to double down on film study while playing games late into the night for the real teams in their fantasy worlds (the real-life playbooks are not available to the average gamer).

These events are meant to build bridges between the various groups that make up the College Football 25 community, from new fans to those nearing 40-year-olds who remember previous editions of the franchise. If you ever wonder why a coworker booked a last-minute vacation or was slow to respond to Slack, maybe they have their eyes on leading North Texas to new heights. Dynasty ModeThere are closeted gamers and NCAA die-hard fans who haven’t picked up a controller since the game was discontinued in 2014. But the passion for the game remains, with more than 120,000 people Fictional National Championship Streaming on Twitch during the pandemic.

That deep love for the series extends to the people making the game: EA Sports production director Christian McLeod said in June that the entire development process “has been a labor of love for the whole team.”

The project is especially rewarding for McCloud, who took an unconventional career path. A self-described “super fan” of college video games since the early 1990s, McCloud originally worked as a chemical engineer and wrote about sports video games on the side. A developer discovered his work and eventually contacted him to join the NCAA football team as a designer. Other key players on the development and design side of the project also came from outside the games industry.

“I really believe that if you’re really passionate about something, especially in the games industry, you should bring that passion to your work,” MacLeod says. “We can teach you how to be a designer. We can teach you how to be a producer. But you can’t teach passion.”

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That passion is what helped bring the game back to life. When the series was canceled, a group of fans started a mod called College Football Revamped to keep the PC version of the game updated. While other game studios would have tried to sue and kill the project, EA instead hired several people from the Revamped team to help create College Football 25.

The new edition isn’t just for fans in the US: for the first time, fans outside of North America can easily play the game without worry. About region-locked hardware.

College Football 25 will be the first in the series to be released worldwide. Photo: EA Sports

One such avid fan is Ben Parker from Bishop’s Stortford, England, who told me he first discovered American football through the Madden series.

“I’ve always been a big soccer fan, but Madden showed me that American football is so much more than I ever imagined. It’s like a human version of chess and I found it fascinating,” Parker said.

While following the NFL, Parker became aware of the college game. “I decided to buy a copy of the 2006 Rose Bowl on eBay. That year, Vince Young, Reggie Bush and Keith Jackson were the announcers and the Rose Bowl was perfectly staged. Even though it had been months since the game itself, it was so incredibly dramatic to watch and I thought, ‘I want to know more about this sport.'”

Parker picked up an imported version of NCAA 2006 on eBay and played it religiously, and he and many other Europeans and South Americans I spoke to believe the video game could be another avenue to grow college football’s international audience, especially given the difficulties of watching live broadcasts outside the U.S.

Industry analysts expect the Madden series to outsell NCAA College Football 25 due to the NFL’s popularity both domestically and internationally, but schools and licensing industry sources are confident this year’s collegiate release will do well commercially.

It means a new generation of fans will be exposed to the passion of not just video games, but college football itself. And it might have been worth the wait.

Source: www.theguardian.com

Three protagonists in The Last of Us: Ellie, Joel, and music by Gustavo Santaolalla

The Last of Us is a story of tension: between love and loss, violence and intimacy, protection and destruction, life and death. It’s also a study in how fragile life can be and the terrible stubbornness of the will to survive. As a composer, Gustavo Santaolalla’s job was to navigate that tension and create a soundtrack, a reconciliation between the game’s conflicting themes. His mission was to compose music for a video game that was doing something different and really wanted to say something.

Santaolalla shared with me that as a child in rural Argentina, one of his tutors quit after only a few lessons, telling his parents, “I can’t teach you anything.” His career began in 1967, when he co-founded Arco Iris, a band that specialized in fusing Latin American folk and rock. After a brief stint leading a collective of Argentine musicians in Soluna, he went independent, releasing solo albums and beginning to compose for television shows, advertisements, and eventually films (most notably Amores Perros, 21 Grams, and The Motorcycle Diaries).

In 2006 and 2007, he won Academy Awards for his performances in Brokeback Mountain and Babel, respectively. Now a big name in Hollywood, he was headhunted by many TV and film directors and producers, as well as game developers, in the years that followed.

“After I won the Oscar, I was approached by a few companies to do music for video games,” Santaolalla recalls. “A European company approached me to do a Western video game. It was going to be a big project, financially, in terms of visibility and what it could represent, but it was all pretty similar. I wanted to do something that would connect emotionally with what I was doing in the game, something more than just gymnastics or shooting or fighting or surviving.”

Two sides to the story…The Last of Us. Photo: Sony

Santaolalla was approached by Naughty Dog around 2009, early in the game’s development, to work on The Last of Us. The story is about an orphaned girl named Ellie and a man named Joel who is grieving the loss of his daughter. Set against the backdrop of a zombie apocalypse, the two slowly open up and show each other their weaknesses. The closer the two protagonists get, the more they hurt each other, depicting a complicated hedgehog dilemma relationship.

It was perfect for Santa Olaya, who was able to bring his Argentinian-inspired soulfulness to a non-Western setting, imbuing the urban ruins of Boston, Massachusetts, with an Americana vibe that was dreamy and familiar, yet distinctly American. Even the way he plays his guitar, scraping and scratching the strings with the pads of his fingers, suits the instrument’s understated humanity.

The soundtrack’s greatest attraction is the captivating interplay between Santa Olaya’s signature instrument, the Bolivian guitar, the Ronroco, and the Fender VI, a six-string bass guitar from the ’60s that sounds an octave lower than a guitar and a bit different from a modern bass. Listen to any song on the soundtrack and you can hear the gentle conversation between the two instruments, quiet but constant, sometimes agreeing, sometimes disagreeing.

The bass, famously used on Beatles and Cream records, is Joel’s voice; and the more delicate but no less powerful Ronroco is Ellie’s voice. “This six-string bass is definitely the masculine side of this story,” Santaolalla tells me. “And Ronroco, the delicate side of the music, is Ellie’s side of the story. I didn’t think of it that way when I wrote the song, but listening to it again, it’s so clear to me.”

“And the banjo and electric guitar fill the middle, the central role between these two extremes. As the story unfolded in Part II and we started introducing more characters and complexities, the music needed a richer tone. We couldn’t just stick to the combination we used in the first game.”

Everything Santaolalla does is “instinctive,” he says. He spontaneously introduced the banjo to Abby’s theme in The Last of Us Part II, and it was a perfect fit. He wasn’t born a banjo player, so using the instrument in his score feels foreign to his ears, searching, reflective, pensive. “I got out of bed one day, picked up my banjo, and it just came out of me,” he laughs. “Some of the character themes are magical in the way they happen. They come out when I’m not really thinking about it. I pick up an instrument, and it’s like someone else is playing it.”

The 72-year-old has an intuitive feel for his scores and knows that as a listener, his emotional response comes both from “what I hear” and “from what I actually hear.” and “What you can’t hear” is one of the reasons why The Last of Us’ score stands out. Game music is full of extremes: soaring bombast, orchestral high notes, intensity. The Last of Us is quite different, more introspective and quiet, expressing as much through the absence of music as through melody. The HBO TV series he composed for follows the same principle.

“We love the space that silence creates” – Pedro Pascal and Bella Ramsey of The Last of Us TV series. Photo: HBO/AP

“I love using silence,” Santaolalla enthuses. “I love it. I love the space silence gives, because it gives resonance to the sounds you play around it.” Suddenly, he begins talking about parkour, a recent new interest of his, sparked by a group of British athletes. Stoller.

“I linked the jumps in parkour to the silence of music, and I think that’s really important,” he says. “Runners measure their jumps, they run, and they measure again before they jump, right? They measure their jumps, they decide how many steps they’re going to take before they put their feet on the ground and jump. It’s like choosing a note to play before you get quiet, before you jump. And you choose a note to play when you land, and with that note silence wins. You don’t fall. You’re in that space, in that moment of silence, and when you land it all makes sense.”

This interview, the master class he taught, and Game Music Festival I spent a fair bit of time with Santaolalla at his concert at London’s Southbank Centre. The way his brain works, and the way he connects concepts to practice, is inspiring. When he performed “Ando Rodando,” a song from his 1982 album, Santa OlayaThe show is now dedicated to Joel for its “gritty, rock” nature, and the room was met with stunned silence. That Santaolalla was able to find traces of The Last of Us characters deep within his previous work and bring them into his performance demonstrates his deep understanding and love for Naughty Dog’s work.

Source: www.theguardian.com

Review of Zone Zero: A Stylish, Captivating, and Enchanting Game Without Zen

ohOne of the biggest changes in the modern video game industry is happening just beyond the reach of the average console gamer. Free-to-play gacha games, where you spend real money or in-game currency for a randomly selected set of characters and weapons, are booming in the Chinese market, led by publishers like miHoYo, NetEase, and Yostar. Some of the most popular games in this genre include Genshin, Arknights, and Another Eden, with tens of millions of players on smartphones and significant revenue from players willing to pay to enhance their collections.

More recently, the genre has expanded beyond mobile with Zenless Zone Zero, the newest addition. Developed by HoYoverse, the game is an expansive, anime-inspired action role-playing adventure set in a chaotic sci-fi dystopia. Earth has been invaded by extra-dimensional aliens, and human survivors now reside in New Eridu, a city built on the remains of a previous civilization. Players can choose to play as Wise or Bell, sibling hackers who run a video rental store, or as proxy agents sending teams of warriors on missions for clients.




Everything you do earns you some form of currency… Zenless Zone Zero. Photo: HoYoverse

Similar to the popular Persona RPG series, Zenless Zone Zero combines story, beat ’em up, and life simulation elements. Players navigate through various activities like fighting aliens, managing a video store, running errands, playing games, and capturing photographs of neighborhood cats. Actions in the game earn players currency, which can be used for upgrades and acquiring new characters. Completing contracts involves solving puzzles before battling aliens, leading to more lucrative missions and a continuous cycle.

Combat is straightforward with one button for attack and another for dodging. Characters have unique abilities and weapons, each with special and ultimate moves for enhanced gameplay. Switching between characters during combat adds visual effects and explosions, making it engaging.




Laser beams, bullets, blades flying…Zenless Zone Zero. Photo: HoYoverse

Visually, the game embodies cyberpunk anime with a rundown cityscape contrasted by advanced technology. Marauding gangs, AI raids, and cute robots coexist in a dystopian setting reminiscent of Studio Ghibli and Ghost in the Shell. The game allows for exploration of the environment, interactions with characters, and development of human relationships among the agents. The gacha system in the game entices players with rare items available for limited times, encouraging engagement through in-game currency or real money.

Zenless Zone Zero is a captivating gacha game with a mix of gameplay elements and a compelling narrative. Despite the controversial nature of gacha games, the experience offered by Zenless Zone Zero is engaging and rewarding, making it a fair exchange for players invested in its world.

Source: www.theguardian.com

FarmVille Celebrates 15 Years: The Impact of the Beloved Facebook Game on the Digital Landscape

debtFacebook users of a certain age may remember a particularly lonely-looking farm animal that appeared in their feeds during the platform’s heyday. A lonely cow wandered into FarmVille players’ pastures with a frown on its face and tears in its eyes. “She’s very sad and needs a new home,” the caption read, urging players to adopt the cow or message a friend for help. Ignore the cow’s pleas and you’ll likely lose both your friend and your food. Message your friends about it and you’ll have fueled one of the biggest online crazes of the 2010s.

When FarmVille was released 15 years ago, it was a smash hit. Over 18,000 players played on the first day, and by the fourth day that number had risen to 1 million. At its peak in 2010, over 80 million users were logging in each month to plant crops, care for animals, and harvest to earn coins to spend on decorations. They made their obsession public.McDonald’s created farms for promotions long before artists were releasing music on Fortnite. Lady Gaga performs new song From her second album to a cartoon farm sim. Not bad for a game made in five weeks.

By 2009, developer Zynga had established itself as a pioneer in social media gaming, when four friends from the University of Illinois presented plans for a farming sim. It was a hastily reworked version of a failed browser game they’d made that copied The Sims, but Zynga was impressed enough to buy the technology, hire the four people, and pair them with some in-house developers. Zynga quickly released FarmVille.




The world of FarmVille… Photo: PhotoEdit/Alamy

“Facebook was exploding in popularity and engagement in a way that was novel at the time,” says John Tien, a former director of product at Zynga. Farm Town, a farming simulation game with a similar cartoony look and design made earlier by another studio, was already attracting 1 million daily active users on Facebook’s platform. Facebook had previously courted game studios and told Zynga it would soon give third-party developers access to user data, friends lists, and news feeds.

“By opening up its platform to app developers like Zynga, Facebook has been able to create an almost symbiotic relationship,” Tien says. “Facebook has given Zynga access to a large, engaged user base, and Zynga has given Facebook users more to do on the platform.”

Features like the lonely cow, which gently nudged players by requesting their friends to help grow their farm, became central to the experience, and Facebook was flooded with posts and notifications promoting FarmVille to the masses. These viral mechanics gave the game a “meme-like buzz,” says former Zynga vice president and general manager Roy Segal. “It’s this water cooler effect: you see your friends playing and you want to join in.”

And once you were in, it was hard to get out. For each crop you planted, you had to return at a set time, a few hours later, to harvest it. If you left it for too long, it would wither and die. “The idea is that the player makes their own schedule,” says Amitt Mahajan, co-creator and lead developer of FarmVille. “That’s what keeps people coming back every day.”

The result, Tien says, is a game that players feel they have to accomplish. “We all have growing lists of things we need to do and we’re struggling to get them done in the time we want,” Tien says. “Checking things off a list is viscerally satisfying, and playing FarmVille was a way for players to experience that satisfaction.”

New features and content were added several times a week to keep players interested, but the real magic happened behind the scenes with Zynga’s in-house data analytics tool, ZTrack. The tool could monitor the most detailed player behaviors, from what features players used to how long they spent on them to where they clicked on the screen, with the goal of building an ever-evolving, data-driven picture of player interests.

“At any given time, we had hundreds, maybe thousands, of dashboards and experiments running,” says Tien. “We could see core metrics every five minutes. We could see immediately after a new feature was released whether it was having an effective impact.”

Metrics-based design is standard today across social media platforms, apps, online retailers and digital services. Reliance on big data to predict consumer behavior is the foundation of everything from Google’s advertising empire to Cambridge Analytica’s political consulting. But back in 2009, no one was doing it quite like FarmVille.

“Zynga’s approach to game analytics inspired the entire digital analytics industry,” says Jeffrey Wang, co-founder and chief architect of analytics platform Amplitude. “One of Amplitude’s earliest customers was a former Zynga product manager who had started his own company and was looking for a tool comparable to ZTrack. There was nothing even close at the time.”

ZTrack became the backbone of FarmVille – features were repeatedly tested, analyzed and optimized, and the results determined what to deploy, monetization options and how to integrate to maximize player retention.

“Zynga’s dirty secret is that none of our five company values ​​are more important than our metrics,” the Zynga co-founder said. Andrew Trader Ken Rudin, former vice president of growth, analytics and platform technology at Zynga, went a step further: Quoted In 2010:[Zynga is] An analytics company disguised as a gaming company.”


Like most Facebook apps at the time, users could not play FarmVille without giving Zynga permission to collect their personal Facebook data. But the details of what data would be shared were written in small print on click-through screens that most users habitually ignored. “We as citizens, and government policymakers, didn’t really know the extent of it. [online data harvesting]”We’ve seen the harm that can come from unrestricted data extraction,” says Florence Chi, an associate professor of communication at Loyola University Chicago. But since then, she says, “we’ve seen the harm that can come from unrestricted data extraction.” Discovered in 2010 They share players’ personal data with advertisers and online data brokers.

FarmVille’s success, driven by data-driven design, was short-lived. Over the next few years, players abandoned the game, Zynga turned to unpopular sequels, and Facebook eventually revoked access to developers the game relied on for its early virality. In 2020, Adobe dropped support for Flash, the software that powers FarmVille. The game suddenly went offline.

But Zynga’s success continued. Words with friendsmobile racing game CSR Racing, Draw Something and a suite of slot machine games all use player data to maximise engagement. Zynga still makes data-driven, aggressively monetised games for mobile phones under Take-Two Interactive, which acquired the company in 2022 for $12.7bn (£9.4bn).

For Chee, FarmVille was a Silicon Valley entrepreneur’s dream, and very much a product of its time. “If you look at today, there’s not really a Facebook social phenomenon like there was in 2009,” she says. “It was a very special time for a game like FarmVille to come out, and the recommendation systems and algorithms were just in the right place.”

Source: www.theguardian.com

Long-Awaited Video Game ‘Kien’ Finally Released After 22 Years

IIn 2002, a group of five Italians garnered local attention for their ambitious project. They aimed to develop games for Nintendo’s Game Boy Advance, becoming the first company in the country to do so. Armed with just a few hundred euros and basic computers, these executives dove headfirst into the world of game development without prior experience or a team of programmers. Their motivation stemmed from a shared passion for gaming, a distaste for traditional employment structures, and unwavering optimism.

Over the ensuing two years, the team poured their hearts and souls into the project. Countless late nights and minimal time off characterized their relentless pursuit to bring their vision to life. Despite facing numerous challenges, they remained steadfast in creating a groundbreaking game with intricate features. The game, named Kien, remained in obscurity for years, eventually surfacing this year. However, most original team members had already moved on to other endeavors by then, with only game designer Fabio Belsanti persevering and seeing the project through.

Kien holds a unique distinction as the longest-delayed video game release, spanning 22 years. Surpassing the notoriety of Duke Nukem Forever, Kien’s delayed launch finally allows gamers to experience the action-platformer on a Game Boy Advance cartridge.

The game commences with players selecting between two protagonists: the Warrior and the Priestess. The Warrior wields a sword against hordes of enemies, presenting a formidable challenge. Kien’s gameplay keeps players engaged with challenging encounters and respawning adversaries, drawing comparisons to the difficulty level of Dark Souls. This nostalgic experience harkens back to the unconventional games of yesteryears that captivated youthful imaginations.

Take your chance… Priestess of Kien. Photo: Incube8 Games

While Kien’s journey to release was fraught with challenges, it was not initially intended to span decades. Following completed development and failed publisher negotiations, the game languished in obscurity. Belsanti’s dedication to uncovering lost 15th-century literature and merging it with Japanese gaming influences and classic action titles like Turrican shaped Kien’s unique narrative. Despite setbacks, Belsanti remained resolute, eventually finding a publisher in Incube 8 to revive Kien for a new audience.

In a digital landscape dominated by modern graphics and technical prowess, Kien’s revival on original hardware stands as a testament to its enduring charm. Its availability on retro cartridges accompanied by multi-page manuals rekindles a sense of nostalgia and reverence for gaming’s roots.

Looking ahead, AgeOfGames seeks to create a spiritual successor to Kien, staying true to their ethos of delivering compelling gameplay experiences over flashy visuals. Belsanti’s enduring passion for storytelling through gaming underscores the timeless appeal of simpler yet immersive game design.

Embracing a new era of retro gaming resurgence, Kien’s resurgence symbolizes a return to simpler times in digital entertainment. Its rediscovery by a new generation echoes the enduring power of captivating storytelling and imaginative gameplay experiences.

Experience Kien’s revival on original hardware through Incube 8, a pioneering company championing classic console gaming. Witness the magic of Kien’s long-awaited release and embark on a nostalgic journey back to the golden age of gaming.

Source: www.theguardian.com