Shakespeare’s Macbeth: A Tale of Violence and Decadence—Not Grand Theft Auto

Last week, The Guardian engaged with the creators of Lili, Macbeth’s video game, which was showcased at the Cannes Film Festival. The prominent quote from this piece stated, “Shakespeare will write for today’s game.” Shakespeare was immersed in the Elizabethan era of theatre, a time when, much like contemporary video games, plays were regarded as mere popular entertainment and often overlooked for serious analysis or preservation! Authorities at the time similarly fretted over the violent and obscene nature of these plays and their potential influence on the masses.

If he were to embrace the notion of a 21st-century Shakespeare crafting games, what type would that entail? Our key argument is that Shakespeare was invested in populism and entertainment. Thus, if we focus on pure profit, he might develop casual smartphone games—akin to Tencent’s massively popular multiplayer arena game, King of Honor, which raked in $2.6 billion (£1.9 billion) last year. However, while the Bard had a fascination with royalty and honor (and certainly making money), it’s a stretch to envision Hamlet as a multiplayer arena-style battler. Surely, our noble characters would barely utter, “O, this would melt, thaw, and settle into dew. Before it evaporates with a barrage of sc-heat.” There’s also little room for the intricacies of storytelling or military rhetoric in battle royale games like Fortnite, despite Shakespeare’s acknowledged affinity for conflict and mortality.

No, if Shakespeare were to return in the early 21st century, it seems he would gravitate towards open-world role-playing adventures. In such a realm, he would have the freedom to craft nuanced stories with an array of characters in diverse settings. The marsh of King Lear could transform into a desolate wasteland, echoing the ravages of Fallout. Macbeth’s Castle might resemble Elden Ring’s ghostly dungeons or settings in The Witcher 3. Verona, home to Romeo and Juliet, could present a captivating yet troubled rendition reminiscent of GTA’s Los Santos. The persistent themes of Shakespeare—war’s nature, revenge, madness, and free will—are at the heart of fantasy RPGs. His talent for incorporating characters from all walks of life is mirrored in the intricate social hierarchies of expansive open-world games. Shakespeare’s historical narratives blend real and fictional figures, akin to the Assassin’s Creed series, which also grapples with themes of identity, disguise, and fantasy.

“This castle has a comfortable seat”… The Witcher 3 represents the kind of open-world RPG that a reborn bard could inspire. Photo: CD Projekt Red

Moreover, open-world games possess a similarly free-form structure and psychological depth as Shakespeare’s theatrical works. They feature subplots, side quests, nonlinear timelines, and morally complex characters. Vast and sprawling, these games invite diverse interpretations; audiences often become both spectators and participants within the narrative. Likewise, Shakespeare aimed for his audiences to engage with the performance, utilizing asides, quips, and monologues to blur the lines between the stage and the audience. Today’s vocal and interactive gamers share more with Shakespeare’s Elizabethan viewers than with the polite crowds of modern theater.

This intriguing intersection of Shakespeare and open-world games is gradually gaining recognition. A few years back, the RSC commissioned three artists to explore live theater interactions with technology. One such artist, digital creator Adam Clarke, experimented with staging Shakespeare’s performances in Minecraft. Recently, I viewed Grand Theft Hamlet, an incredible documentary showcasing efforts to perform Hamlet within Grand Theft Auto during the COVID lockdowns. After all, if any genre can technically express Shakespeare’s fundamental philosophy, it’s that of open-world online video games, where everyone is merely a player on the great stage of life.

What to play

An intriguing strategy sim… Lift Lift. Photo: Adriaan de Jongh

It’s always refreshing to witness a familiar video game genre reimagined thoughtfully. Lift Lift, created by Dutch designer Adriaan de Jongh and his small team, offers a fresh take on tower defense games—think Plants vs. Zombies. In this version, the landscape is significantly more expansive, incorporating tactical elements like the capacity to lay the groundwork for new towers before gathering the necessary resources. With engaging visual aesthetics and sound effects, this strategy sim proves appealing to both newcomers and veterans alike.

Available on: PC
Estimated playtime:
Over 15 hours

What to read

It’s a flesh scar… Elden Ring. Photo: Bandai Namco
  • Writer, director, and gaming enthusiast Alex Garland has confirmed his involvement in the upcoming live-action adaptation of Elden Ring, produced by A24 and Bandai Namco. If realized, the initial moments of the film will depict the protagonist’s repeated defeats at the hands of the Tree Sentinel Knight.

  • Pac-Man officially turns 45! The BFI features articles tracing the game’s development, from its origins as a pizza-inspired saga to the distinct personalities of the ghosts. However, Ms. Pac-Man remains the superior game.

  • Game design icon Peter Molyneux recently participated in a Q&A at the Nordic Game 2025 Conference, where gi.biz shared his intriguing insights on the fate of Project Milo. If you have to ask what it is, you may never know.

  • For those intrigued, check out Hurt Me Plenty, an exquisite coffee table book exploring the finest first-person shooters from the 2000s. It dissects titles like Call of Duty 4: Modern Warfare, Half-Life 2, and Unreal Tournament, along with an obscure gem known as Code Name: Nina—an insightful overview of this pivotal era in shooter game design.

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Question block

The oddest game contender… Seaman. Photo: Sega

This query comes from Andy, who asked:

What is the strangest game you’ve ever played? Last year, I explored Harold Halibut on Game Pass, which stands out as one of the most bizarre experiences I’ve encountered. I’m eager to hear about other unusual gaming journeys.

I’ve played many peculiar titles. Seaman (the fish who speaks with Leonard Nimoy’s voice), Mr. Mosquito (where you embody a mosquito), and Catamari Damacy (where you roll up a massive ball of trash for the King of the Universe) have all left an imprint. I’ve also ventured into more obscure games like the Spectrum classic Fat Worm Blows a Sparx (you are a microscope worm trapped in a computer), the strange Amiga adventure Tone’s Tass Town (where you’re caught in a punk-infused 1980s dimension), and the quirky PlayStation 2 voyeur simulator Polaroid Pete (you’re a photographer capturing odd happenings in a park).

My personal favorite is Sega’s Ambulance Emergency Call, a game reminiscent of Crazy Taxi. If you collide too much, you have to perform CPR while transporting a critically ill patient. It was a notable arcade hit, yet it surprisingly didn’t make it to home consoles—I can’t fathom why!

If you have a blocking question or anything to share about the newsletter, please reach out to pushingbuttons@theguardian.com

Source: www.theguardian.com

Shakespeare Reimagined for Modern Gaming: Cannes’ Debut Game ‘Lili’ Voices Macbeth

While the Cannes Film Festival is typically not linked to video games, this year it hosts a unique collaboration. “Lili” is a joint project created by the New York-based game studio Ink Story, known for 1979 Revolution: Black Friday, which explores the narrative of Iranian photojournalists as well as a modern adaptation of Macbeth presented by the Royal Shakespeare Company.

“It’s an incredible opportunity to have my first video game experience showcased at Cannes,” shares Vasiliki Honsari, co-founder of Ink Story. “People often say they aren’t familiar with gaming and may only give it a quick try. However, once they engage, you can sense their growth in empowerment within the film industry.”

Although the Cannes Festival’s immersive competition launched in 2024, the lineup rarely features traditional video games. “VR films and projection mapping are central to this initiative,” explains Navid Khonsari, Vassiliki’s husband and another co-founder of Ink Story. Nonetheless, “Lili” integrates live-action sequences with gaming mechanics, similar to titles like *Lies* and *Immortality*. The lead, Zar Amir Ebrahimi, previously won the Best Actress award at Cannes three years ago.

Centered around the character of Mrs. Macbeth, Lili portrays her as the determined wife of a Basij officer (a paramilitary volunteer group within Iran’s Islamic Revolutionary Guard). Much like the original play, she plots a murder to elevate her husband’s position. “What fascinates us is Lady Macbeth’s manipulative nature,” Navid explains.

“Her societal limitations based on gender compelled her to strive for a leadership role,” he adds. “Had she been a man, she could have become one of the greatest kings, but as a woman, she had to navigate a restrictive system. Our character Lili shares this experience.”

Players take on the role of a member of Hecateb, a group of hackers allied with Macbeth’s witches. You access Lili’s cellphone and computer while keeping an eye on her via a CCTV camera in her home. Key themes include surveillance and censorship. At one point, Lili attempts to view a YouTube Makeup Tutorial but is thwarted by the state firewall. This unpleasant voyeuristic dynamic is intentional. “We all participate in the problem of surveillance, looking and spying on one another,” comments Navid.

“She’s suffocating beneath the various masks she wears”… Zal Amir Ebrahimi from Lili. Photo: Ellie Smith

You can help her bypass these barriers, leading to a memorable scene where she wraps her head in cling film before applying eyeliner and lipstick. “This makeup ritual symbolizes her attempts to adapt to a world where she cannot express her identity,” Vassiliki points out. “We’ve highlighted the multiple layers of masks she bears, portraying the choking nature of her existence.”

Set for release in late 2026, Lili may eventually transform into a theatrical production, according to RSC’s Saraelis. Navid mentions plans for a film adaptation, utilizing some of the same footage from the game. This indicates an increasingly blurred line between gaming, cinema, and theatre, and it’s unlikely that this will be the last project the RSC takes on with gaming.

“I’ve always been intrigued by the intersection of games and theatre,” remarks Ellis, who initially proposed the collaboration to Ink Story. “We collaborated with top Shakespeare scholars. Professor Emma Smith from Oxford was instrumental in the dramaturgy of this project,” notes Ellis. Smith believes that if Shakespeare were alive today, he would be writing for games; Ellis concurs, emphasizing, “He was an innovator.”

Source: www.theguardian.com

Exploring Dark Themes: How Black Mirror Pushes Boundaries in Gaming Magazines of the 1990s

o
UT for all episodes of Black Mirror’s seventh season is a play thing that stands out from me, and I’m suspicious of anyone else who played video games in the 1990s. It tells the story of Cameron Walker, a socially troublesome freelance game journalist. Cameron Walker steals the code to a new virtual pet sim named Thronglets from a developer intended to interview. When he returns home from the game, he discovers that the cute, intelligent little creature he cares for on-screen has darker ambitions than simply playing for his entertainment.

The episodes are interesting to me. But more importantly, too, did Charlie Brooker. He began his career writing satirical features and ferocious reviews of PC Zone Magazine, one of the perpetually fighting PC Mags of the era (I shared the office with other PC Gamers). In Plaything, it is the PC zone written by Cameron Walker, with several scenes taking place in the office. The program depicts it as a reasonably adult office space with an organized computer workstation and huge windows. I don’t think the production design team has gained this vision from Brooker.

“The zone had a much less corporate workplace feel than the episode showed, and it had the feel of a youth club and nightclub for children in the basement,” says Paul Presley, who worked in the PC Zone at the time. “It was just a handful of messy, messy desks stuck in the windowless basement office around Oxford Street (later Tottenham Court Road) and were killed because of floor-to-ceiling windows! on CD.”

For journalistic thoroughness, I also contacted Richie Shoemaker, a graduate of another PC Zone, for his recollections. “There were windows along one side, but they were below street level and are smudged with London stains,” he says. “Silles was breaking dusty magazines, broken joysticks, empty game boxes. It was a permanent night in the best parts of eight years.”




Children in the Underground… Mid-1990s PC Zone Magazine Office Photo: Richie Shoemaker

This episode was more accurate in the game itself. The first scene in the office shows Cam playing Doom when the editor appears. He shows the front cover of the latest issue of the magazine with system shocks on the cover. Then ask Cameron if he has finished his review of Bruflog’s classic adventure game Magic Carpet. “[Plaything] It’s a good thing on the timeline,” says Shoemaker. “Of course, playing Doom in the office was the norm. When I joined the team’s earthquake, it was a death-death at lunch and work. Magic Carpet reviews. did It was featured in the question after System Shock (which was actually Charlie’s first cover review), but it went from 93% to 96%, written by Launch Editor Paul Lakin, who continued to work in foreign offices. ” He also believes that the old editor of the episode’s Grizzled might have been inspired by then-associated editor Chris Anderson. Shoemaker believes that “he was a rather vampire character who seemed to be present in Tobacco and Ultima’s online diet.”

What appeals to me is the origin of inspiration for the Thronglets Virtual Pet game. Most reviewers refer to Tamagotchi, the keychain pet toy that stormed the world in the late 90s. Brooker himself refers to it in an interview. But the much more likely candidate was the 1996 title creature, with players caring for cute creatures for generations. It looked like a cute pet game, but it was actually a very sophisticated experiment in artificial life, created by cyberlife technology that clearly sounds sci-fi. Players had to try to establish breeding groups of creatures known as Norns, but their control was limited as they were encoded in advanced neural networks and functioned internal body systems that regulate behavior and physical abilities. Cyberlife has created a great deal of the complexity and experimental nature of the game. The box comes with a warning sticker that says “digital DNA is surrounded by” and the blurb in the back warned players that it would unleash the world’s first artificial life science experiment.




Cuteer than it looks… a creature. Photo: CyberLife Technologies

Creature creator Steve Grand has similarities with Play Things (and Vander Snatch) coder Colin Rittman. He was a programmer who was tired of traditional games and wanted to try something very new. He went on to write books about creatures and their development, creation, that is, life and how to make them, and later became an internationally famous robotist and developed the famous robot orangutan. Certainly the most black mirror career trajectory ever. In 2011 he began working on a mental follow-up to a creature named Grandroids. Thronglets was to develop a race for intelligent AI aliens. Grand launched Kickstarter in 2016. Fantasy. Everything is very interesting.

This is one of the things I like about Black Mirrors, and it’s actually the use of technology and video games in traditional dramas. This is an inexplicable world filled with quirky people that no one outside the industry has ever heard of, but it has a huge impact on the toys they make. Personally, I wanted to see more PC zones, as imagined in the program, but I understand that ominous flocks are the real focus. Maybe one day there will be a Silicon Valley-style drama series about the 1990s gaming industry. It was hell. For now, it’s interesting to see both Brooker and me living in a world that is used as a venue for dystopian fiction.

Source: www.theguardian.com

Nintendo Unveils Two New Switch Consoles Set to Release on June 5th | Gaming

After much anticipation and mysterious teaser videos, Nintendo has officially unveiled the successor to its popular Switch console. The Nintendo Switch 2 is set to launch on June 5th with a starting price of £395.99 for the base package, including Mario Kart World, and £429.99 for additional features.

The new screen is larger, measuring 7.9 inches with a 1080p resolution for improved clarity. It supports up to 120 frames per second and high dynamic range lighting for enhanced color contrast. Despite these upgrades, the console maintains the same thickness as its predecessor. The dock can now connect to 4K televisions for a better viewing experience.

The redesigned Joy-Con 2 controller magnetically attaches to the console and features larger SL and SR buttons for improved gameplay. Each Joy-Con can also function as a mouse with a rollerball for precise movements, as demonstrated in the game Drag X Drive. Additionally, a trailer for the new title Mario Kart World was showcased during the live stream.

Nintendo Switch 2. Photo: Nintendo

Other game announcements included Zelda Hyrule Warriors, Kirby Air Rider, and Donkey Kong Bananza. Several third-party titles were also revealed, like Elden Ring Tanished Edition, Hades II, and Hitman World of Assassination.

The Switch 2 boasts improved internal speakers, 3D audio support, and a sturdier stand for different viewing angles. It offers full backward compatibility with most original Switch games and upgraded visuals for select titles.

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Used as a mouse… Switch 2 controller. Photo: Nintendo

Nintendo has focused on enhancing social features with the Switch 2, including GameChat and video chat capabilities. The new Gameshare feature allows sharing games with up to three players. Despite being slightly behind in technical specs compared to other consoles, Nintendo continues to prioritize innovation and game quality.

“We have to wait a bit longer for the launch,” said Takuhiro Dohta, the Design Director of Switch 2, signaling an exciting time for Nintendo fans.

Source: www.theguardian.com

Parents wield more control over their children’s gaming activities on Roblox than children themselves

Parents now have the ability to communicate with specific friends on Roblox, an online gaming platform popular among children, or restrict children from playing certain games.

This update is part of a series of safety enhancements designed to give parents more control over their child’s experience on the platform.

Starting Wednesday, parents and caregivers who verify their identity through ID or credit card will gain access to three new tools. The Friend Management Tool allows blocking individuals on the child’s friends list, preventing direct messaging with their accounts, and reporting rule-breaking users.

Parents can also adjust the content maturity level of their child’s account, manage their access to games, and view detailed screen time statistics.

Under new online safety regulations, tech companies must address harmful content on their platforms or face substantial fines.

Roblox, the UK’s most popular gaming platform among 8 to 12-year-olds, has faced concerns about bullying, grooming, and exposure to inappropriate content.

Matt Kaufman, Roblox’s chief safety officer, emphasized the company’s commitment to safety, striving to be the world’s safest online platform.

With over 80 million daily players, 40% under the age of 13, Roblox is one of the largest gaming platforms globally, surpassing the combined monthly users of Nintendo Switch and Sony PlayStation.

In the past year, Roblox introduced 40 safety updates, including restrictions on direct messaging for users under 13 and improved voice safety technology.

Andy Burrows, CEO of the Molly Rose Foundation, welcomed the safety improvements but highlighted the ongoing challenges with inappropriate content on Roblox.

He raised concerns about age-inappropriate games and communities on the platform, urging Roblox to address these issues for the safety of younger users.

Last month, Roblox’s co-founder and CEO, David Baszucki, expressed the platform’s focus on user protection and emphasized the importance of parental involvement in deciding whether children should use Roblox.

Source: www.theguardian.com

Gaming music takes center stage on the festival circuit, expanding its reach

dDid you know that soundtrack concerts are the most popular orchestra tours? A third of the Royal Philharmonic Orchestra’s first-time audiences have come to the concert hall through their favorite series, films, and video games. It is a huge cultural growth field and may not be recognized by the public.

“Now it’s impossible to ignore video game music,” says Tommy Pearson, founder and artistic director of London’s first soundtrack festival. “The creativity and artistry of the game are incredible and it’s fascinating to see many composers blossom in the genre.”

As one of the lead architects behind the festival, Pearson was keen to create space for video games as part of the celebration, not just as an “add-on” to television and film soundtracks, but also as an equality in art forms. “When we first thought about what we would do at a festival, including that music in the game isn’t easy, it must be there absolutely, along with film and television music. It has an audience of very dedicated fans, and the music is as good as what is written in any genre.”

Tommy Pearson, artistic director of the London Soundtrack Festival. Photo: London Soundtrack Festival

The festival from March 19th to 26th will consist of live performances, panel discussions, screenings, Q&AS and masterclasses. One of the important events The cutting edgea composer who won a Grammy and Iver Novello Award for his work in Video Game Music by the Royal Philharmonic Concert Orchestra, Masterclasses of Stephen Burton and Gordie Herbs, and a work in Star Wars Jedi: Survivor.

Why is 2025 the best time for the first soundtrack festival in London? “We watch millions of streams of game soundtracks every day,” Burton says. “Instagram and Tiktok have a huge amount of social media content, not to mention the world of Twitch where streamer playlists are a big part of their identity. The record industry is keeping up with this.”

“You can see streaming numbers climbing in real time, but you can feel it anywhere, beyond the data,” adds Haab. “Game music is not limited to consoles anymore. It is woven into everyday life. For example, my nie and ne have purely rotated gaming soundtracks for pure fun. At game events, I know notes on these themes. I stand on my own as film music, as legitimate art forms.

“Fans know these themes. Photo: Kojima Production

Composers Rudig Forsell (Stronging of Death), Harry Gregson Williams (Metal Gear Solid), Stephanie Economy (Assassin’s Creed Valhalla: Dawn of Ragnarok), and Borislavslavov (Gate 3 of Bardur) are all part of a panel discussing game music before participating in the evening performance.


“It’ll be hard to find someone who can’t sing a song from Super Mario Bros., Final Fantasy, Hello, or The Legend of Zelda,” says Econow. “Video game music is common because video games are common. The industry itself is more profitable than the combined film, television, and music industries, so when people think that popularity is suddenly rising, all I can think of is getting more recognition and celebrations in the sphere that has finally been released.

“The London Soundtrack Festival is a great opportunity to celebrate the differences and diversity of media music,” adds Forssell. “Video games may still be Brock’s new kids, but in a way they will definitely stay here. And as composers, we hope that we will always have a unique approach to music in general, including movies, TV, video games, pop, rock, music.”

Pearson and the team of composers he framed are watching the event as a celebration of the state of video game music. “These are all amazing, highly respected composers who have produced amazing, exciting scores that have been extremely successful in the games and concert halls,” says Pearson.

Can non-game audiences accept video game music as much as television or movies?

“It’s always going to be a bit silly when it comes to media music,” Pearson says. “But it isn’t as close as it used to be.

Source: www.theguardian.com

Assassin’s Creed: Shadows – Exploring Feudal Japan in a Historical Gaming Experience

jApan, 1581: Iga Province is burning around you. You will be monitored, injured, helpless
Oda Nobunaga – the warlord responsible for many civil wars and the ultimate unification of the country – a smirk from the nearby hill. You draw your katana and glow in the flickering light of flames. This is Assassin’s Creed: Shadows – some exciting ninja games, some history lessons. It’s a strange combination, but it brings together a vast historical fiction adventure filled with discoveries and deceptions.

The turbulent times, when Japan was unified in the late 1500s and seeing the collapse of Nobunaga, are ideal environments that will help you play as despicable ninja and brave samurai. The series’ science fiction framing device means that you, the player, are cornering the mysterious craft by jumping into your ancestor’s memory and defeating a group of terrifying masked samurai one at a time. But most games leave you alone to enjoy feudal Japan.

During this difficult period there is a constant sense of danger, and each conversation is like a careful step at the edge of the knife. The stories are of course complete fiction, but they weave real historical events and characters, and the Ubisoft developers clearly have become a huge pain to make them feel authentic, authentic, both the scenery and the people who inhabit them. If you automatically remove your shoes when you enter the building, it looks like you’ve seen the famous temple, not as a tourist destination today.

The world is truly luxurious, with several states to explore in all seasons and weather, as well as cities of the era, including Kyoto and Osaka. The giant temples rise above a busy town filled with food stalls and workshops, while mossy shrines are scattered along the winding paths of the countryside. Japan of all colours will see Japan in all colours, from the mild pinks of cherry blossoms in spring to the fiery colours of leaves covering the hills in autumn to the pitch black darkness of winter nights. It’s easy to be distracted by views along the way when surrounded by ancient Red Torigates or when you notice random puppet performances on the streets. I feel that Ubisoft’s Japan is alive. Also, sometimes it feels completely overwhelming.

It’s as fun as riding horses around the country and scouting new villages and historic places, so it’s easy to feel lost because there are so many. There are many missions and side quests that will guide you around the map, but those tasks have many repetitions. To kill a high-level samurai, you need some help. Someone who can help you want the bounty, it includes finding
Another Someone I want you to kill me
different Samurai, etc. After a long time in the game, this starts to grate.




Important Features: You can keep all Japanese cats (and dogs) if you wish. Photo: Ubisoft

The double hero helps to reduce the feeling of you being stuck in a loop repeatedly. For the first 10-15 hours of the game, she steps into sandals on Fujiwarajima Island, a young woman seeking revenge after the house is destroyed, reconstructing her life and helping her set up a network of spies and rebels from a secret mountain base. Then there is Yasuke, a principled black samurai based on a real historical figure of the same name. They appear briefly in the introduction to the game, disappearing until Naoe approaches Nobunaga.

Naoe is bright on her feet, allowing easy expansion of walls and temples, blending into the shadows to sneak around her enemies. Her stealth approach makes for fun, mean moments like stabbing a screen door on a paper for a surprising attack. But that tipped approach costs her when she faces a brawl. The enemy strikes attack her hard, and she is soon overwhelmed in the battle. Yasuke, meanwhile, cruelly strong, runs straight through those screen doors, shrugging on sword strikes, shrugging like the stimulant they tickle. He can still assassinate his enemies like Naoe Can, but he does it from the front, not from the shadows. In a series that traditionally prioritized stealth, it is extremely liberated when you break through the castle gates and everyone faces it head-on. Both characters are viable options for playing most of the game and can be freely exchanged between them (almost) at their own pace.




Few other games have done such a good job in this setting… Assassin Creed: Shadow. Photo: Ubisoft

Unfortunately, no matter who plays, you have to put up with some great things in the fight. Dodge and Parry find themselves surprised in one-on-one scraps, but you often find yourself surrounded as more opponents are warned of your presence. It feels like everything is when you take your time sneaking up around the castle roof and picking enemies, bouncing backwards into the shadows before scopeping your next kill. But the moment you get caught up in a battle on the ground, it starts to feel nasty and frustrating.


I found myself getting frustrated with going back and forth between the quest givers, but I can’t stop thinking about the shadows. Emotionally resonating moments, such as excellent performances and Naoe’s painful recovery after losing everything she cherishes, mean that she feels all her sadness and anger along with the game’s hero. Events are often troubling as the power struggles between the Lord often cost locals a lot and see the unwelcome impact of your actions on allies.

Few games have done such a good job in this environment as they run through lush bamboo forests before creeping up to shrink the walls of ancient castles and steal treasures. These moments of glow are more than making up for that weak point.

Source: www.theguardian.com

Embracing the Challenge: Bringing Shadows of Assassin’s Creed and Feudal Japan to Life in Gaming

mFour years after its announcement, and after two last minute delays, the latest title from Ubisoft’s historic fiction series Assassin’s Creed will finally be released on Thursday. Set in Japan in 1579, the period of intense civil war ruled by feudal Oda Bunaga follows two characters overcoming bloody chaos. A female ninja named Fujiwarajima Island and an African slave Yasusuke became samurai. According to Ubisoft, Japan is the series’ most requested setting for many years.

“I’m on the ride [this] For the 16 years of the franchise, every time we start a new game, Japan comes out and asks if this is the time.” says executive producer Marc-Alexis Coté. “We have never pushed beyond the conceptual stage with Japan.”

The game comes at a critical time for Ubisoft after the disappointing performance of the expensive closure of last year’s titles Star Wars Outlaw, Skull and Bones, Prince of Persia: Lost Crown and live service shooter Xdefiant. There was also a stir against the black and female protagonists of the game. Criticize them as “awakening” And historically, it is inaccurate despite the fact that female warriors fought throughout the feudal era and that Yasuke, the black samurai of the game, is a historical figure.

That’s something the team wants to deal with. “In-house historians were some of the first to staff the production team,” says creative director Jonathan Dumont. “We have a continuous supply of huge data banks. As we gain a sense of the times, research efforts must either narrow down the details or understand more detailed cultural points, seeking the help of experts around the world, including Japan.”

The game features advances in landscape lighting. Photo: Ubisoft

There was also a field trip to key locations in the Kyoto and Osaka game, revealing elements the team hadn’t thought up. Coté recalls a local colleague traveling to Japan to showcase some technical breakthroughs the development team had made in light of the landscape. But they all shook their heads and said it wasn’t working. “I was like, ‘Why?!'” he says. “And they just replied: ‘That’s not the way light falls on the mountains in Japan.’ So, when our art director was there, I asked him to go and see the mountains in particular. He went and took a reference photo, but now he captured it.”

The team also had to render socks for individual characters. Because they are always painted with their footwear removed when they enter the building. “The expectations were much higher. That was a challenge.”

Like all previous Assassin’s Creed titles, Shadows uses authentic locations and historical figures to take the game’s time hopping story by storm. Takada, Fukuyama and Hill Castles are all replicated along with villages, harbors and countryside landscapes in Central Japan. However, as always, this is a game where you secretly defeat enemies first and foremost, first and foremost, secretly defeat them. In the demo played just before its release, the main character attacks Himeji Castle. Choose to play as Nae and use smoke bombs and quiet attacks to scalp shadows to escape detection. Ubisoft has put a huge effort into acquiring the nature of the nearby Tayama period and the IGA peasant class (possibly origins of modern ninja archetypes), but equally important is how good it feels to plunge out the roof and decapitate the enemy.

“Incredibly bloody battle.” Photo: Ubisoft

In many ways, the game appears to be portrayed from modern cultural portrayals, just like history as it is from the era and its warriors. “Japanese storytelling has a very impact on the development of the game and all Western art in general,” says Dumont. “The tale of Kurosaki’s Kagemsha, 13 Assassins, Zatachichi, Zekigahara, and Genji or Musashi on Yoshikawa Island, give a more obvious name [all] It helped shape the vision of the game. Even Studio Ghibli films like My Neighbor Totoro helped me understand the countryside and vegetation.”

It’s certainly an interesting time for Shadow to release. With multiple famous failures in recent live service games, players are eager to see an era of big single player adventures, and Obsidian’s recent RPGs have been reported. Meanwhile, the huge success of FX/Hulu’s Shōgun series has brought feudal Japan back to the cultural spotlight. And the story of how that standout British navigator John Blackthorne becomes high-class is somewhat of a reflection of that of Yasuke.

The game looks beautiful with complex environments, dramatic weather systems and incredibly bloody combat. Ubisoft survived a difficult time. Much depends on its most precious possessions.

Assassin’s Creed Shadows will be released on PC, PlayStation 5 and Xbox on March 20th. Keith Stuart attended a press conference in Kyoto along with other journalists. Accommodation and travel expenses were met by Ubisoft

Source: www.theguardian.com

Review of Wonderstop – A Fantastic Escape from the Stress of Competition | Gaming

tHis “comfortable game” is what appeals to one of our two responses, the ones who typically engage in regular video game play. It beckons you with its promise of soothing, resource management-focused gameplay that offers a leisurely pace, providing a gentle escape from the intense action and high-stress adventures. Alternatively, it may repel you – certainly, it repelled me. “Cozy” often serves as a code for a twee aesthetic, avoiding drama in favor of repetitive tasks aimed at creating comfort, reminiscent of resource management sims like Stardew Valley and Animal Crossing.

So when I encountered WonderStop, a vibrant game where a fallen warrior transitions to running a tea shop, I felt hesitant. However, this is Davey Wreden’s third project, following the success of Stanley Parable and Beginner’s Guide. If it’s anything like its predecessors, it’s bound to be full of surprises and crafted with meticulous attention to detail and artistic vision. Wreden is an auteur, known for exploring challenging postmodern themes in his work. His creations push the boundaries of what video game mediums can achieve, and luckily, this latest offering is no exception.

Your life… Wonderstop. Photo: Annapurna Interactive

WonderStop excels at blending gameplay with a narrative about the perils of burnout. The game embodies what it preaches – it isn’t merely paying lip service to a serene lifestyle. Instead, it constructs one around the player, whether they embrace it willingly or not.

The protagonist, Alta, the fallen warrior, clearly resists this change. Constantly losing battles, she ends up in the woods, seeking solace under the tutelage of her hero. Boro, a kind gentleman running Wonderstop Tea Shop, takes Alta in and encourages her to brew tea and engage in light chores to aid her recuperation. As players brew tea and tend to the colorful, perilous Ghibli-style garden, characters come and go. Apart from brewing tea, players can care for whimsical creatures, collect items, read books, cultivate plants, and enjoy the beautiful scenery.

The joy of growing up… Wonderstop. Photo: Annapurna Interactive

This scenario may not be entirely new. Games like Wytchwood, Spiritfarer, Spirittea, and Moonstone Island also involve combining ingredients to fulfill the whims of fantastical creatures. What sets Wonderstop apart is its refusal to focus on progress or resolution. There is no optimization, no ticking clock, no pressure. You won’t “win.” This game resists the gratification of grinding, clicking, and ticking boxes. The manner in which the story unfolds may unravel the game’s enchanting sleight of hand, but suffice it to say, I was pleasantly surprised by the narrative’s poignant harmony. Addressing burnout in both its dialogue and storyline is a noteworthy aspect of the game. While it’s easy to extol the virtues of rest, actively showcasing surrender and healing is a whole other level.

From a technical standpoint, WonderStop offers a seamless experience. The controls are user-friendly, the music is soothing, and voice acting, though minimal, is impactful. The game mechanics are finely tuned, with dialogues and incidental texts proving engaging, surprising, and poignant when necessary. There are no arbitrary obstacles hindering the immersive experience.

Completing WonderStop typically takes around 12 hours, but for me, the game beckoned for an immediate replay. I yearned to return to the tea shop’s gardens and uncover as many secrets as possible. It lingers, prompting reflection on the relentless pace that consumes us all. Arguably, the frustration experienced by seasoned resource management enthusiasts due to the game’s slippery and enigmatic nature is precisely the point – play with surrender.

Wanderstop’s cozy and charming facade conceals something far more profound and clever than I’ve encountered in a long while. It’s a disguised masterpiece that offers players a sanctuary worth visiting, lingering in, and engaging with.

Wonderstop is now priced at £20

Source: www.theguardian.com

Is the PlayStation Portal poised to revolutionize portable gaming like the Nintendo Switch? | Games

hAll those of Akki Monster Hunter Wild Week Week Celebration: Capcom's thrilling action game for sale 8m unit In 3 days, that means there's a good chance that many of you are playing it. I'm a huge fan of this series and am pleased with the latest entries, but after submitting a review last week I barely had the time to play it after it came out. Regular readers will know that this is a familiar problem to me. I have two kids so my game time is strict and the living room TV is used very often.

I was expecting this, so on the landing to the release of Monster Hunter Wild, I spent £200 on the PlayStation Portal. This is basically a screen sandwiched between two halves of a PlayStation 5 controller. It's impossible to tell if Sony is one of the most cumbersome things that have come out so far, or one of the most elegant ones. You can stream games from the PS5, so the console can scream under the TV, be on the sofa on a small screen, waving x to convert. A scary octopus.

Here's how the portal works: Turn it on and it becomes a pleasant, futuristic noise. When you try to connect to the home console, a soothing pulsating circular portal appears. Then, if it works (sometimes I have tried a few times), your PlayStation 5 homepage will be displayed through that portal and expand to fill the entire screen in your hands. You can then use the controller's rumble and tactile feedback and more to play everything like you do on a TV. When your internet connection becomes unstable, your device will downgrade the appearance of the game rather than launching you. Rather than force the game to reconnect with pixel soup, it becomes a strange messy visual artifact.

Monster Hunter Wilds looks perfect on the PS portal… when the device works. Photo: Capcom

I've played a lot of game streaming “solutions” over the years (at first GaikaiBack in 2009, we streamed games like World of Warcraft from the cloud, and at the time it was very novel and not always optimal. No matter how good your internet connection was, it has always been too much delayed. The streamed games always looked significantly worse. There was never wifi very It's reliable. However, the portal works surprisingly well in the wifi at my home. Monster Hunter looks perfect. It's a tough action game so lag feels like it's not playable right away, but I was able to play on the portal for hours without being too annoyed.

You can also use the portal to play PS5 games away from home and use your device to turn the console remotely in an empty house (tip: Yank to not turn on the TV before leaving the HDMI cable). I took the portal on a semi-annual holiday with my family – certainly more convenient than packing the entire console and all of its gubbins – and then tried connecting from my hotel room to my home's PlayStation 5. It took a few times, but did I also work on the hotel wifi. Unfortunately, in this situation, the quality of the streaming was very poor, and the game got worse on the PSP 15 years ago, making the delay seem unbearable. It wasn't the on-the-go PlayStation gaming experience I wanted.

The portal is a handy little gadget – at home, when it works. And that's the case for all kinds of internet-dependent game streaming: it's good When it works. One day, I want to be able to play games wherever I am, without sacrificing the quality of my game, but streaming technology hasn't gotten there yet. It's certainly getting better. I've streamed games from my Xbox Game Pass library from my Home Console Game Pass library and occasionally had problems. But what I really want is that I can stream games to the handheld when I'm in my office or while traveling.

The Nintendo Switch was released eight years ago, but it remains the gold standard for hybrid games at home/outdoors as it does not rely on an internet connection. It just works seamlessly. Pick it up, bring it in, put it in the dock, and it will appear on the TV right away. Switch changed my life by adjusting time for games with work, friends, travel and family. Steam decks are also transformative, allowing you to take games you review (or enjoy) from the office to the home, or play on long distance flights. We're used to this now almost ten years later, but it was really one of the most innovative technical things the console has achieved.

Until the Big Nintendo Switch 2 event becomes two events on April 2nd, we'll learn more about what this next console actually can do. Given that this is Nintendo, I would be surprised if internet-based game streaming was part of the new console offering. Nintendo tends to favor older, proven technology than risky bets. It's been eight years that Nintendo's competitors have completed alternative, neglected gaming solutions. Perhaps that's not possible. It's no wonder Switch 2 is stuck with what works.

What to do

Ambitious, gentle and stupid… split fiction Photo: Electronic Arts

The manufacturer of the cooperative divorce platformer unexpectedly sold 230,000 copies. This will work if publishers remember this safe betting age – Divided fiction It's an ambitious, kind and stupid game about two writers who are forced to live in each other's stories. Sci-fi writer Mio and fantasy writer Zoe will compete in a meeting at Big Publishing House. Just jail in a machine that steals futuristic ideas.

This game requires two players. This is because it completely relies on working together on both puzzles and action bits. (Don&#39t worry if there is a difference in skills between you and your future cooperative partner. One player can do most of the heavy lifts if necessary.) This was designed around cooperative play, whether this is full and playing with friends, partners, or older kids.

Available at: PC, Xbox, PlayStation 5
Estimated playtime:
15 hours

What to read

Never Better Skate… Tony Hawk's Pro Skater 3 + 4. Photo: Steam
  • Tony Hawk's Pro Skator I&#39m back again. The third and fourth entries in the series are Remastered by ActivisionAnd then I&#39m off in the summer.

  • Activision performed a bunch Scary AI-ART ads Last weekend, on Instagram for a game Please don&#39t actually exist. The ads link to a survey to a survey that is likely to measure interest in fake games, but instead everyone is talking about the band. Guitar Hero Mobile There are no four guitarists, singers, or phantom drummers.

  • Rockstar has I bought an Australian studio It is executed by Brendan McNamaradirector of the 2011 detective drama game La Noire, was also published by Rockstar. His previous studio, Team Bondi, was closed shortly after Rawar ended his past development. A toxic, oppressive, crunchy work culture Leading by McNamara.

  • Game Industry Analysts Matt Piscaterra Running the numbers, I discovered that 40% of all the time spent playing games in the US in January was spent playing The same 10 live service gamesMost of them are age. Draw a dark picture for developers who are about to break into this space.

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What to click

Question block

My favourites from the past… Arcadia Sky. Photo: Dean Mortlock/Super8 Media

There was something wrong with the answer in question block last week: Doug I wrote it saying it was a Nintendo switch I'll do it I now have the YouTube app, but fortunately he says that parental control is enough to stop my 11 and 8 year olds from constantly loading it again.

Thanks to readers for this week's questions Emily:

“Did you previously love the game that you didn&#39t enjoy playing today?”

I really had to think about this. We are sure

Source: www.theguardian.com

Enhance Your Gameplay with the Newest Tool: Meet Tinder for Gaming! | Games

aAdults who love video games understand the struggle of having too many options – 19,000 games were released in 2024 on the PC Game Storefront Steam alone, not to mention the countless games available on consoles and smartphones. Many of us have a backlog of classic games we haven’t played yet, leading us to feel guilty about buying new ones. However, discovering truly good games can sometimes feel impossible. Approximately 50% of the questions we receive for this newsletter are variations of “Help, what should I play?”

While we do our best to assist, as someone who is knowledgeable about games, I still don’t have unlimited time to play them all. Streamers spend their days playing games, but they tend to specialize in specific games and genres, rarely venturing outside their comfort zones. Nowadays, navigating through Google search results, parsing complex Reddit threads, and getting lost in AI-generated recommendations can be overwhelming.

Enter Louise Sene’s new app, set to launch on Kickstarter this week, aiming to address this issue. Described as the Tinder for video games, the app presents users with a game name, details, a stack of cards featuring screenshots, and a trailer link, which users can swipe left or right on to indicate their interest. Based on user preferences, the app provides new game suggestions, allowing users to build a deck of games they want to try. The app also shows connections between games, providing transparency on where the recommendations are coming from.

Users can also select specific experts, such as streamers, critics, and other gaming personalities, to receive recommendations from. Each expert has their own card with a brief bio and background, aligning with the app’s focus on human recommendations rather than AI-driven algorithms. The recommendations are based on datasets compiled by the team over five years from the Family Game Database, a trusted site for parents.

Andy Robertson, a seasoned game writer leading the project, emphasizes the importance of uncovering hidden gems within the vast realm of games. The app aims to make game discovery fun and effective again by utilizing a blend of matchmaking features and personalized recommendations from experts. If the Kickstarter goals are met, Ludocene will be available for free in a basic format, with an optional subscription model for additional features at just £3 a month.

Personalized and niche game recommendations are invaluable, especially in an era dominated by AI-driven recommendations. For those seeking expert-driven suggestions, platforms like Louise Sene’s app cater to a more curated gaming experience.

Another valuable resource for discovering games is the Thinky Games Website, a database and review site for puzzle enthusiasts. Featuring a wide range of games across various platforms, the site provides descriptions written by individuals who have played the games, offering a more personal touch compared to store-provided data.

As someone who has been a gaming critic for nearly 20 years, I believe in the power of person-to-person game recommendations, especially in a digital landscape overwhelmed by algorithmic suggestions. While I haven’t signed up as a Ludocene expert yet, I may consider doing so in the future. To learn more about the app, visit their Kickstarter Page.

What to do

“I'll continue driving.”

Source: www.theguardian.com

Is Top of the Flop More Considered a Success in the Gaming Industry?

bSquare Enix, which ACK purchased the series from Eidos in 2013, has released a reboot of the 1990s hit action game Tomb Raider. I I loved that game despite the first nearby semi-assault scene, I later came to consider it a bit nasty. I wasn’t the only one. It was very well received, selling 3.4 million copies in the first month alone. After that, Square Enix came out. I called it a disappointment.

The sale did not meet the publisher’s expectations. It was What are your expectations? Was it supposed to sell 5m? One month? If the book sells 10,000 copies in a week, it is considered a bestseller. Even at its popularity in the 90s, no Tomb Raider game sold over millions. Square Enix’s expectations were clearly unrealistic. That’s not the last one. In a 2016 interview with Hajime Tabata, director of Final Fantasy XV, he told me that he needs to sell 10m for the game to succeed.

In last week’s revenue call, EA executives had to explain their lack of profits. It was driven primarily by EA FC. This is the ubiquitous football series, which saw revenue declines the previous year, but CEO Andrew Wilson also chose to go single-out for the much-anticipated RPG Dragon Age: Bailguard, which was announced last October. “Dragon Age had a high quality launch and was well reviewed by critics and those who played it. However, in this highly competitive market, it didn’t resonate with a wide audience,” he says. I did.

Dragon Age “reached 1.5 million players” for several months since its release. This is likely to include people paying through subscription services and direct sales. If 3.4m was Square Enix’s disappointment in 2013, then the game can imagine 1.5m was a disaster for EA in 2024.

But as Polygon’s Maddie Myers points out Detailed analysis of comparable games 1. Last year’s genre breakout hit, Dragon’s Dogma, sold 3.3m over six months.




Breakout hit… Dragon’s Dogma 2. Photo: Capcom

Source: www.theguardian.com

Gamers inundate with complaints after PlayStation Network shutdown

The PlayStation Network (PSN) is currently experiencing technical difficulties, causing online gamers worldwide to be unable to access weekend events.

PSN is a service utilized by Sony PlayStation console users to connect to online gaming networks, enabling them to play with other gamers globally.

The outage started in the UK late on Friday night, affecting approximately 71,000 gamers who have reported the problem on the PlayStation website, with many losing access to the online game lobby, PlayStation store, and their online accounts.

PSN offers subscriptions at different price points, ranging from £13.49 per month to £119.99 per month for a premium subscription. Users have been expressing their frustration over these costs when addressing Sony.

During weekends, specific games hold special tournaments and events, such as Electronic Arts’ FC 25 with its “weekend leagues” on the ultimate team platform. Additionally, Call of Duty fans will miss out on promotional weekends and Double XP events in Black Ops 6 and Warzone due to the ongoing PSN disruption.

Many disgruntled PlayStation users have taken to social media to voice their displeasure with the outage through memes, jokes, and complaints.

One user wrote, “Let’s be honest. Everyone should get free PS Plus this month. Paying a monthly fee only for the network to go down over the weekend is unacceptable.” Another user expressed frustration about missing out on gaming time due to the server issues.

Sony is actively working to resolve the problem and has advised users to check their digital services for updates. The Guardian has reached out to PlayStation, Electronic Arts, and Activision Blizzard for comments on the situation.

Source: www.theguardian.com

Sales of boxed video games decrease in UK while digital revenues remain steady

With music sales and streaming revenue reaching a record high of £2.4 billion, the UK video games market has experienced consistent growth over the years, despite a 4.4% decrease. The most significant decline was seen in boxed video game sales, which dropped by 35%.

Data from the Digital Entertainment and Retail Association (ERA) predicts that the UK video games market will reach £4.6 billion in 2024, making it the second-largest market after TV and film, which is valued at £5 billion.

The shift in consumer buying habits from physical games to digital downloads and in-game purchases is evident in the increasing popularity of games like Fortnite and Roblox. Currently, boxed games account for 27.7% of new game sales in the UK, according to ERA data.

According to an ERA spokesperson, several factors have contributed to the decline in physical sales, including the shift towards digital downloads, subscription access, the console cycle downturn, and the lack of new hit IPs in the market.


The decrease in physical sales also reflects a decline in brick-and-mortar video game retail, with Games being one of the last specialist video game retailers in the UK. The shift away from selling video games towards toys and other merchandise has left customers with limited options for buying boxed games in-store.

Global trends in the gaming industry indicate a decline in physical sales as digital distribution becomes more popular. While physical formats may still exist as collector items, digital distribution is expected to dominate the market in the future.

Download sales saw a slight decrease, while subscription revenue and mobile/tablet game revenue increased. Despite job losses and reduced investment, analysts anticipate a rebound in sales and profits in 2025 with new console releases and game titles.

Source: www.theguardian.com

Review of Marvel Rivals: A Hero Shooter That Raises Concerns About the Future of Gaming

TThe history of video games is, in some ways, a history of subtle iterations of other people’s ideas. The interstellar success of Taito’s Space Invaders spawned an entire shooter genre, with titles like Galaxian, Phoenix, and Golf taking the basic idea and adding new features. Then in 1984, Karate Champ started the fighting game craze, and Tetris gave us the falling object puzzle game. This is how things have always worked. Adapt, expand, and pass the baton. However, there is a subtle but deep gulf between imitation and inspiration, and not every title can cross it.

Chinese mega-publisher NetEase’s latest live service game, Marvel Rivals, is an Overwatch featuring Marvel characters. It’s more than just an elevator pitch. that’s right What is it? Colorful cartoon characters with varying skills gather in a series of sci-fi arenas for team-based combat in a handful of play modes. The Punisher, a vanilla guy with a machine gun, is Soldier 76 from Overwatch with a Bastion flavor. God-like healer Adam Warlock is a male Mercy. And the Hulk, as a fist-thumping tank, is just rampaging through Winston, the hairless gorilla. Also provides gaming site GamesRadar handy guide Show players which Marvel cast members most resemble their Overwatch favorites.

Marvel’s rival. Photo: Game Press

Many of the genre’s well-worn tropes and abilities have at least been remixed to suit the Marvel universe, and playing as these familiar legends adds an undeniable charm. From bludgeoning enemies with Thor’s hammer to sending exploding acorns flying as Squirrel Girl to slamming Captain America’s shield into Black Panther’s body armor, Rivals captures the comic dynamics of this famous cast perfectly. so much so that the large-scale skirmish seems like the most exciting scene in the movie. X-Men ’97 cartoon. It’s also great that all 33 heroes are available for free from the beginning. Of course, there’s also the Store and Battle Pass, but for now these only give you alternative costumes, emotes, and other accessories. And completing daily missions and seasonal story objectives will give you currency to buy this kind of stuff without paying a penny.

Additionally, the game has a big new feature, Team-Ups, which unlock additional hero abilities when at least two players on the same side select complementary characters. There’s a symbiote bond between Venom, Spider-Man, and Peni Parker that allows the latter two to channel the former’s alien powers, and allows Hela to heal and resurrect Thor and Loki in Ragnarok: Rebirth. I can do that. Kinship can greatly facilitate tactical play.

Marvel’s rival. Photo: NetEase Games

But Rivals in many ways reflects key tenets of the bible of hero shooter design. In other words, for every positive there is always a negative. The sheer number of Marvel’s super freaks and their team-up powers make the game feel very unbalanced at times. Characters like Storm and Iron Man are difficult to counter when they can stay in the air for the entire match, picking off enemies from a distance and avoiding most of the incoming gunfire. Big guys like Venom and Moon Knight tend to completely dominate the area they’re fighting, often at the expense of melee-based combatants who need to get close to deal significant damage. I never expected Wolverine to become one of the most nuanced and sophisticated characters in Marvel’s cast, but here we are.

This game is definitely luxurious in both look and feel. The user interface design regarding the menu system and information screens is excellent. Destructible locations shine in detail. And the characters are also beautifully reproduced. However, here too there are drawbacks. Amidst the chaos of a superhero riot, with explosions, magical attacks, and “hilarious” banter all at the same time, figure out what you’re hurting and what you’re hurting instead. It’s difficult. you Until it’s too late.

These characters will definitely receive buffs and nerfs in time to even out the balance, and players will begin to learn how to combine team members more strategically. But even if the balance issue were resolved, what we’re left with is the equivalent of a changeling in video game folklore, designed to trap those who loved the original. A supernaturally accurate replacement. The question is, can you really blame Rivals for getting too close to Overwatch and potentially getting a restraining order? As the failed hero shooters Hyena, Concord, and xDefiant recently demonstrated, the brutal economics of the live service market demand absolute loyalty to established norms. It’s also fine to tag large global licenses.

Rivals, like many other highly polished and highly focused franchise expansions, is entertaining, gorgeous, and well-made. However, its presence bodes ill for the mainstream gaming industry and the people who work in it. To be successful, especially in the live services sector (where there is a lot of investment), he says, there is no need to expand or challenge other genres. All you have to do is flip a few low denomination coins based on your innovation concept, replicate it and refranchise it. On the other hand, studios that launch new ideas and original characters are doomed to failure. Millions of dollars are lost, jobs are lost, and the game is over.

Rivals is packed with Stan Lee superheroes, but its message about the game’s all-out Funko Pop-ification is as dark as a Charles Burns graphic novel.

Source: www.theguardian.com

Spectrum Review – Reliving the 1980s with Tactile Gaming Experiences

TThe first time I played with a ZX Spectrum was at the Stockport branch of Debenhams. Back in 1983, it had a great home computer section, which quickly turned into a kind of free daycare center for bored 13-year-old boys. You can be there for hours typing rude Basic programs into the machine’s array while hasty staff members scramble around trying to stop it from running. However, some computers were running games for customers to try. There I encountered Manic Miner, a legendary platformer with bizarre flashing visuals and surreal enemies. The Speccy game looked completely unique thanks to the machine’s unusual way of limiting its 8×8 sprite map to two colors. This meant that objects moving on the screen were typically patchwork collections of colored pixels, creating an effect called attribute collision. Somehow it was ugly and beautiful – and it still is.

Unboxing Spectrum, Retro Games Ltd’s latest offering of modern vintage hardware, is a surprisingly nostalgic experience. It looks exactly like the original machine I remember. It’s a black board with rubber keys, each of which displays basic programming commands as well as numbers and letters. “Rem,” “Rand,” and “Gosub” are mystical words from the era of home programming. There’s a USB cable to connect (but you’ll need your own USB plug) and an HDMI lead, but no joystick. This machine is compatible with most USB gamepads. You just need to configure the button yourself. It’s a little time consuming, but worth it if you can’t stand using rubber buttons to control games.




Classic… Head Over Heels by Spectrum. Photo: Retro Games Ltd

Once you load it, you’ll be presented with a modern home screen displaying a carousel of built-in games. There are 48 to choose from, from classic titles like The Lords of Midnight, Head Over Heels, Manic Miner, and The Hobbit to the latest titles created by modern programmers in the Speccy fan scene. These are fascinating projects, including the top-down sci-fi blaster Alien Girl: Skirmish Edition and the tomb raiding romp Shovel Adventure. If you run out of internal power, you can also download Spectrum Game Roms from your PC to a USB stick, plug it in, and run it here. However, if you’re not a modern open source fan and are looking for a classic Speccy title – a game made with – then you’re in questionable legal territory.

As before, there are a number of screen settings so you can add CRT effects to give you a more authentic 1980s TV experience, but honestly, you can’t watch “Horace Goes Skiing” on a 55-inch LED display. There’s nothing to reduce the intense confusion when playing. What surprised me is that these games still have a lot of visual appeal. The students and teachers wandering the halls of School Days are full of personality, from a hulking bully to an aging history teacher. Sandy White’s Ant Attack maintains its rugged beauty, with geometric walls and giant, scurrying ants giving it an old-fashioned sense of alienation and fear. Ocean’s relatively sophisticated isometric adventures The Great Escape and Where Time Stood Still pack an incredible amount of detail into their largely black-and-white worlds. It’s nice to see them again.




The legendary… Spectrum Manic Minor. Photo: Retro Games Ltd

As with most other retro game consoles, modern game features like save points (which are a bit difficult to navigate but work) and the ability to rewind to the seconds before you got hit by a car in Trashman has been added. . But I also like the fact that every time I select a game, the original illustrated loading screen appears for a few seconds. These pictorial delights were an important part of the initial experience, as the tape would be watched for up to five minutes before it was finally loaded. What matters is whether they are preserved or not.

The original computing power of the ZX Spectrum is also retained. Selecting classic mode switches the console to the old boot screen and allows you to actually program. This is a feature that I fully utilize.




Classic Spectrum Basic program. Photo: Retro Games Ltd

Who is this for? Obviously the target audience is people like me who were there in the beginning and remember playing a lot of these games 40 years ago. Indeed, there are free Spectrum emulators available online if you know where to look. You don’t mind risking malware infection every time you search a ROM site. But part of the nostalgic gaming experience is sitting in front of the TV and watching recreations of machines you remember. And in “The Spectrum,” you also get the legendary rubber button, which presses under your finger when you hammer the leg sweep button in “The Way of the Exploding Fist.” I feel it.

Spectrum is available now for £89.99

Source: www.theguardian.com

Thirty years of PlayStation: How the iconic console revolutionized the world of gaming

IIf you were an avid video game fan in the summer of 1994, you probably remember where you were when the August issue of Edge magazine went on sale. By that time, Sony had already announced its intention to develop a PlayStation console (in October of the previous year). But it was the cover of the world’s most advanced gaming publication that really opened up this machine’s potential. Edge not only listed the specs in full, but also attached glowing endorsements from Capcom, Namco, and Konami. One developer breathlessly told the magazine: “This will revolutionize the way computers work today.” Suddenly, the entire structure of the console gaming business was under threat. All I needed was a boost.

Sony’s entry into the video game industry has become the stuff of legend (and will probably be fodder for a regular Netflix movie one day). In the late 1980s, the company was keen to gain a foothold in an increasingly lucrative business after the failure of its MSX gaming computers. So when the opportunity arose to build a CD-ROM drive for the soon-to-be-released supercomputer, Nintendo (SNES) console, Sony jumped at it. But behind the scenes, Sony’s engineering genius Ken Kutaragi was also designing a standalone system. playstationit can play not only SNES games, but also the new CD format controlled by Sony itself.

Nintendo felt a threat to its supremacy. As a result, when Sony announced the PlayStation at the big Consumer Electronics Show in Chicago in 1991, Nintendo actually canceled the deal and instead partnered with Philips to create a SNES-based CD add-on. It was immediately announced that it would be produced. Sonny was shocked and humiliated. Jilt Bride in the Cathedral of the Tech Industry. Various theories have been proposed about Nintendo’s motives, but the most obvious was that it was a highly protective company wresting control back from an ambitious consumer electronics rival. Whatever actually happened, the PlayStation was over. Or was it?

Some of PlayStation’s first games. Photo: Lou Benoist/AFP/Getty Images

No, no. It wasn’t. Instead, an enraged Sony scrapped the Nintendo-based technology, and Kutaragi began work on a new console codenamed PS-X. This game console is designed around a powerful 32-bit Risc processor and includes a co-processor named Geometry Transformation Engine. Fast and detailed real-time 3D visual mathematics. At this stage in the early 1990s, the company made two important decisions. One was a development deal with arcade legend Namco to create new PS-X exclusive titles. The other was to send engineers on a worldwide developer tour to recruit developers. Support your console with exciting 3D graphics demos. Sony successfully capitalized on widespread dissatisfaction with Sega and Nintendo, which had bound publishers to restrictive and complex licensing agreements for years, while also captivating programmers and artists with its thrilling technology. By early 1994, 250 companies had signed up to create games for the machine, beating out the meager support gained by rival multimedia consoles such as the Philips CDi and 3DO. I could feel the momentum building.

When the PlayStation launched in Japan in December 1994, it launched Sega’s long-awaited 32-bit CD-ROM machine, ostensibly a similar 32-bit CD-ROM machine that supported the company’s biggest arcade titles, Daytona USA and Virtua Fighter. I played against Saturn. At first, Sony seemed to balk, and the launch of this machine didn’t draw the same chaotic lines that greeted the Saturn a few weeks earlier. But as the US and European release dates approached, both the hype and the software library grew. Titles like 3D fighting game Toh Shin Den, platformer Jumping Flash!, and racer Motor Toon GP exploit the visual potential of machines with rich, detailed 3D environments and smooth vehicle and character animation. I showed off. By the end of that year, Wipeout and Tekken had joined that list. These beautiful and thrilling games pack attitude and perfectly embody Sony’s philosophy that if it’s not real-time, it’s not a game.

Starting in 1996, Sony began seriously promoting the PlayStation as a lifestyle accessory rather than just a children’s toy. Geoff Glendening, head of marketing at Sony London, famously introduced the console to nightclubs and music festivals. Advertising giant TBWA was hired to develop a fresh image of the machine as cool and desirable, culminating in an award-winning production in 1999. double life commercial. But more importantly, the console’s friendly development environment and Sony’s excellent support for third-party studios ushered in an era of enthusiastic experimentation.

Now, when we look back at titles like Resident Evil, Tomb Raider, Tony Hawk’s Pro Skater, and Driver, we see open, explorable worlds, genre-defying design, and cinematic storytelling. Discover the origins of modern 3D game design. We’ve seen Namco ease its role as a semi-first-party creator and push the Ridge Racer and Tekken franchises to new heights both technically and design-wise. We’ve seen Japanese publishers break away from restrictive relationships with Nintendo and Sega and bring out gorgeous blockbusters like Final Fantasy VII and Metal Gear Solid.

But importantly, PlayStation also brought with it an undercurrent of whimsy and playfulness. From PaRappa the Rapper to BibliBong to LSD: Dream Emulator, music and imagery were explored, sometimes to disconcerting effect. And while people in their 20s loved Tony Hawk and Tekken, kids weren’t left behind. This era was also the era of beloved comic book platformers like Jumping Flash, Spyro, Croc, and Crash Bandicoot. When Nintendo finally released the N64 in 1996, it found that PlayStation had already captured the majority of its potential users. Another layer of Sony’s long revenge.

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Something for kids… Crash Bandicoot. Photo: Universal Interactive

The original PlayStation went on to sell 100 million units over its 10-year lifespan. This broke the monopoly enjoyed by Sega and Nintendo and cemented a series of huge game franchises that still thrive today. At launch, there was uncertainty about the CD-ROM format, which provides slower access to data than cartridges, but Sony leveraged its music and film technology expertise to overcome obstacles and establish the format as the future. I did. Its industrial design was stunning, a sleek gray machine that fit next to my TV and video recorder in my living room. An innovative joypad. Those cute little memory cards. Start-up animation with music swells. The TV advert made me want it, and the launch price (£299 compared to the Saturn’s £399) made it more accessible.

However, looking back at the feature in Edge magazine that was published a few months before the game’s release in Japan, and which has since been followed by many similar reviews in the gaming press, it feels like something important is already happening. I did. Quotes, specs, and screenshots of demos seem to pop off the page. Even if PlayStation’s success wasn’t inevitable at that point, in the notoriously unpredictable video game business, it was as close as it gets.

Source: www.theguardian.com

Reclaiming the Handheld Gaming Market: Strategies for Sony to Compete with Nintendo and Smartphones

a Report from Bloomberg Suggest this week Sony is working on a new portable PlayStation device. As someone who can't bear to leave my PlayStation Vita in the attic and still has it sitting in my desk drawer, this is a very exciting prospect. It's been almost 13 years since Sony released its last portable console, the Vita, and with its crisp big screen and skinny little stick, it's a real wonder. I wish more people would have made games. Papercraft adventure Tearaway and dizzying platform puzzle game Gravity Rush remain underrated.

In fact, aside from the beautiful and very niche Playdate, no one has bothered to release a dedicated handheld game console in over a decade. Both the Nintendo Switch and Valve's Steam Deck are hybrids that can be played handheld or connected to a big screen.

There's a reason for this. First, smartphones have taken over almost the entire portable gaming market, offering an endless supply of free and cheap games on the devices everyone already owns. And secondly, it's handheld and In the past, commercially available home game consoles divided development resources. Only Nintendo has had enough success selling handheld devices to overcome generations of talent split between DS and Wii, or 3DS and Wii U, games. That made the Switch a candidate for the smartest business decision in the company's history. .

Sony, on the other hand, has always struggled to make enough games for the PlayStation Portable (PSP) and Vita, alongside the home PlayStation, to make the handheld console an attractive buy. The PSP, which sold 75 million units, was a highly profitable console, even though it was in direct competition with the Nintendo DS, which sold 150 million units (12 million was sold by the PSP before moving to a competing platform). (Thanks in part to Capcom's Monster Hunter series, which sold more than just books.) But when the Vita launched in 2011, it was obsessed with the smartphone world and only sold an estimated 15 million units.

It’s underrated…. Platform puzzle game “Gravity Rush”. Photo: Sony

The difference this time is that the machine Sony is reportedly developing can play it. existing PlayStation 5 game. The idea seems to be to have a portable and home version of the same console that can play the same games. Bloomberg suggests that Microsoft is also working on portable console prototypes, but none of these may ever make it to market.

Another difference is that cloud gaming has become mainstream. I know a lot of people who used the Vita primarily as a not-so-legal emulator that allowed them to play a ton of retro games, as it was sadly easy to crack. But now, with a PlayStation Plus subscription and fully legal access to Sony's treasure trove of back catalogue, I'm happy to have a handheld gaming console that lets me play most of PlayStation's history without having to buy a game. How many people would pay for it?I'm sure there are many.

Sony did it some There has been experimentation with portable hardware ever since the Vita was discontinued. Late last year, the company released a strange little device called the PlayStation Portal. It's essentially a screen attached to the center of a PlayStation 5 controller, allowing you to stream games from the PS5 and play them in your hands. This has limited practicality, but it's great and I love it Sony's hardware design – so I really hope we see a new PlayStation Portable in the next few years, even if it doesn't come loaded with the bite-sized, bespoke games that older handsets enjoyed .

However, as Steam Deck proved, mobile devices can be a game-changer for busy people, as they simply give you more time and opportunities to play, even if you don't have your own dedicated games. For example, the only way to beat Persona 4 was to play it on the vita on the train. With the next portable PlayStation, you could probably manage the last 10 hours of Persona 5.

what to play

Memories… LocoRoco.

When you think about the history of the old portable PlayStation, a few games come to mind. There is LocoLocoa game about a singing blob that's back with this year's Atom Bonus Level. And I spent more than 100 hours with my index finger oddly curled over the PSP's directional button, my hand forming the shape known as Monster Hunter's claw.

And there it is tear awayMedia Molecule's intimate and brilliant Vita platformer is set in a world made of paper. This is the easiest to try as there is a slightly less capable PS4 version. unfolded tear duct Available from the PlayStation Store. It's included with PlayStation Plus, so I just downloaded it to play with my kids this afternoon.

Available: PS4/5
Estimated play time:
8 hours

what to read

Is there a new one on the way? … Bloodborne: The Old Hunters. Photo: Public Relations
  • If you stick to Sony news, PlayStation 30th anniversary next month. to celebrate, released by Sony There are tons of game soundtracks, timelines, quizzes, and of course some things you can buy.

  • Shuhei YoshidaThe former head of PlayStation Studios and current head of the company's indie developer initiative will retire from the company in January after 31 years. I last interviewed him last year. He remains one of the friendliest people in the entire gaming industry and one of its most seasoned advocates.

  • And Sony clearly intends to buy Kadokawa, From Software's parent companyManufacturer of Elden Ring, Dark Souls, and Armored Core. Will we finally get a new Bloodborne?

  • New version of Microsoft flight simulator have It started in a small state. If you're considering buying one, it's probably best to wait a few months.

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What to click

question block

Under discussion… Elden Ring: Shadow of the Eld Tree. Photo: unknown/Bandai Namco Europe

leader benjamin This week's question:

“You said your latest Pushing Buttons cost money.” Shadow of the Eld Tree forgame of It's the annual award, but I'm curious. to hear your thoughts First of all, it is a downloadable extension and not a game itself. Wouldn't it set a strange precedent if something that wasn't playable as a standalone could end up being the best game of the year?”

Gaming awards categories such as the Baftas, Game Awards and Golden Joysticks are struggling to keep up with the speed at which video games are evolving. A few years ago, most of them introduced some version of the “games in progress” category to account for games that have been running for years and change frequently, such as Fortnite, No Man's Sky, and Minecraft. did. But now it has become difficult in itself. Does the game have to change in that year to qualify? How about something like Cyberpunk 2077? Although this is not a multiplayer game with continuously new content; did Will it be significantly changed and improved after release? How about a remaster? Should we also consider downloadable expansions? And where should we place games that fit into more than one genre? Every year there are many releases that challenge the definition of categories.

I might end up saying things like this forever. My feeling is that anything released that year, if it's good enough, should be eligible for an award, whether it's an add-on or expansion to an earlier game. Shadow of the Erdtree was over 30 hours long and could very well have been a standalone sequel. That's 10 times longer than some indie games nominated in other categories. Personally, I think it's hard to justify disqualifying this game for technical reasons, but of course I think I'd judge it on its own merits, not the basic game's merits.

If you have any questions for the questions block or anything else you'd like to say about the newsletter, please reply or email us at pushbuttons@theguardian.com.

Source: www.theguardian.com

“We will not venture into Ravenholm”: Unveiling the backstory of Half-Life 2’s most legendary stage

aIn Valve’s Half-Life 2, the seminal first-person shooter that celebrates its 20th anniversary this month, taciturn scientist Gordon Freeman finds himself trapped in a dystopian cityscape. Armed soldiers patrol the streets while innocent civilians wander around dazed, without purpose or future. Dr. Wallace Breen, Freeman’s former boss at the scientific “research center” Black Mesa, looks down from a giant video screen and defends the virtues of humanity’s benefactors, an alien race known as the Combine.

Freeman stumbles through the first few levels of Half-Life 2, as players become accustomed to the terrifying future unfolding before them. It’s not the most cheerful atmosphere, but there are some friendly faces (guards Barney, Alix, and Eli Vance), and a beaked face named Lamar, Dr. Isaac Kleiner’s pet. There are even moments of humor, such as an eating alien running amok in a lab. I feel safe. It will make you feel happy. It feels nostalgic. There’s also a crowbar! And that omen. “That’s the old passageway to Ravenholm,” Alix Vance tweeted during a tour of Freeman’s Chapter 5 Black Mesa East facility. “We’re not going there anymore.” I feel a shiver run down my spine. you know You’ll end up going there.

“[Ravenholm] It was a completely different environment than anything players had ever been in before,” said level designer and member of the unofficial City 17 Cabal, a group within Valve that worked on Half-Life 2’s most famous levels, Dario Casali. “This is an outlier in the map set that survived from a very early build of the game, and was born out of the need to give the newly introduced Gravity Gun a place to shine.”




“Ravenholme was a completely different environment to anything the players had been in before.” Photo: Valve

The lack of ammunition for Freeman’s traditional weapons is what propels Ravenholm and Half-Life 2 into the realm of horror games. Ravenholm, an old mining town previously hidden from the Combine, is now a desolate place, shrouded in darkness and its inhabitants corrupted by the heavy bombardment of Headcrabs (face-eating aliens). “We used the confined space to slow down the zombies. [headcrab-afflicted people] It can actually get closer to you,” Casali reveals. And players will no longer be able to blow them away with machine guns or pistols. You will have to rely on your heavy gravity gun to pick up whatever is around and throw it at the monsters that are closing in on Freeman. Pots of paint, pieces of wood, and even corpses became ammunition for players.

Like most of Half-Life 2, Ravenholm is a cinematic experience, taking cues from horror films like Saw and 28 Days Later. When the Combine forces attack Black Mesa East, Freeman escapes through a dark tunnel leading to Ravenholm. Immediately, a sudden change in atmosphere hits the player like a chill. A gloomy set of dark buildings, faint and almost non-existent music, two crashed headcrab rockets, and the sound of something swinging from a barren tree. When I looked closely, I discovered the lower half of my body, which had been pecked by a crow.

A headcrab zombie appears out of nowhere and screams in pain. But soon, Freeman has little to worry about. Designed to fit within the map, Ravenholm’s “fast” zombies climb drainpipes and run across rooftops, leaving adventurous scientists with little safe haven. Freeman also has to contend with hunched creatures that throw poisonous headcrabs at him.




“A desolate place.” Photo: EA

Fortunately, Freeman is not without help. Soon, he encounters Father Grigori, responsible for Ravenholm’s saw-like traps, and passionately redeems his “flock” with a shotgun. Casali said: “In my opinion, this man was slowly losing his mind due to the Headcrab and the zombification of his followers. Ravenholm was so isolated that he didn’t even know about the Combine invasion. , I imagined they thought the devil had come to town. Father Grigori and the zombie horde were the perfect excuse to double down on the creepiness.”

Freeman follows Grigori throughout Ravenholm until the final climactic battle in a (appropriate) graveyard. “I thought Ravenholme really needed an action-packed ending, worthy of a horror movie,” says Casali. “What better place to do that than in a cemetery?”

The final encounter between Freeman and Grigori, besieged by an army of zombies and headcrabs, releases some of the tension built up while exploring the spooky streets of Ravenholm, but this level is difficult to play It still leaves a lasting impression on those who did it. Changes in tone and style. This segment has essentially been around since the beginning of Half-Life 2’s long development (a version appeared in Valve’s famous 2003 E3 demo), and evolved into the final game’s ammo-starved spooky fest.

One of the standout games of the past 20 years, Half-Life 2 defined the future of video games with its innovative visuals and excellent physics engine. As part of the City 17 cabal, the activities of Casali and his colleagues were instrumental. “The desire to surpass the original Half-Life was so strong that we were constantly motivated by the quality of work other teams were doing,” he recalls. “It was magic.”

Source: www.theguardian.com

Rise of the Titan: How World of Warcraft Triumphed Over the Geek World and Dominated the Gaming Industry

IIn 2004, Holly Longdale was a game designer at EverQuest and a champion of a new genre of video games that enabled massively multiplayer role-playing. These online fantasy worlds allow players to pursue quests together rather than alone, adding an engaging new social – and competitive – dimension to the static offline role-playing that Holly’s generation was accustomed to. I did. But whenever possible, Longdale would instead sneak in a few hours of play as EverQuest’s main competitor. That game was World of Warcraft (WoW).

“There were so many moments in WoW that I was jealous of,” she says. Then I saw another player running in the opposite direction. This is the druid who buffed me along the way. That’s when I knew I was going to be in this business for the long term. ” Twenty years later, Longdale is now vice president of WoW and executive producer at developer Blizzard, and one of the millions of people who have accepted the game as a part of their lives.

For two decades, World of Warcraft has been an icon of geek culture, referenced everywhere from South Park to The Big Bang Theory to Family Guy. WoW has become a convenient abbreviation for not only a certain type of gamer, but all sorts of nerds, nerds, and silly subcultures. In the ’00s, Ozzy Osbourne, Chuck Norris, Mr. T and more promoted it along with the infamous Night Elf Mohawk. Henry Cavill, Mila Kunis and Vin Diesel are among the fans, but the 2016 film did not do particularly well, grossing $439 million. In 2021, Blizzard revealed that players have combined for nearly 9 million years of play time.

“WoW is more than just a game”…Holly Longdale at BlizzCon 2023. Photo: Robert Paul/© Blizzard Entertainment, Inc.

There were certainly other role-playing games before WoW was released in 2004. However, 3D graphics was still in its infancy. Games like Star Wars Galaxies and Everquest have vast, largely barren worlds that rely on copious amounts of in-game text and clunky rules removed from tabletop games for explanation. did. Then along came Blizzard, the developer company that made a name for itself and a small fortune with great online competitive strategy games like StarCraft and Warcraft III. Unlike its competitors, WoW’s world of Azeroth felt alive, with gorgeous scenery and a huge number of animals and monsters roaming the landscape. An iconic bright yellow exclamation point will float above your non-player character’s head, letting them know that a quest awaits them. And of course, there are other players everywhere, taming beasts, slaying monsters for quests, drinking at inns, mining ore, or just passing by in high-level gear. He would see you doing things like that, and he would get jealous as you struggled to tackle the pack. A despicable Murloc.

What came to define early WoW was the social aspect of the game. The world’s tightly controlled zones encouraged players to encounter other people as they explored Azeroth. Additionally, when creating a character, players had to choose between two factions: the Alliance and the Horde, giving players an instant sense of loyalty. Whether grouping up to take on a dungeon, rallying in a band of 40 to take down a giant raid boss, or storming into an enemy capital as an army of low-level cannon fodder, every player has the power to It seems to have a story about the era of. Azeroth.

A perfect storm is brewing…World of Warcraft: Shadowlands. Photo: Blizzard Entertainment

I still romanticize my role sneaking into the Alliance capital of Stormwind with a group of low-level undead rogues. I imagined it to be a daring attack, but in the end I had to run for my life. Another time, I asked a better-equipped passerby for help in defeating a particularly formidable monster in the Night Elf Zone of Darkshore, but ended up chatting with the person for hours. . Over the next few months, I messaged that same player.

WOW was a completely simple phenomenon. Blizzard had to more than double its workforce within a year to answer player questions, resolve technical issues, and keep servers running. WoW achieved impressive subscriber numbers, which were further increased by the release of two expansion packs: The Burning Crusade in 2007 and Wrath of the Lich King in 2008.

By 2010, over 12 million players had active monthly subscriptions. Some called themselves WoWaholics. Other players find WoW to be an escape from the constraints of real life, as evidenced by Mads Steen’s moving story recently told in the Netflix documentary The Remarkable Life of Ibelin. Although Mads suffered from muscular dystropy until his untimely death at the age of 25, he lived a vibrant life in WoW. His parents were completely unaware of his son’s life until online friends sent them long messages from all over Europe telling them how much their son had affected their lives. Five members of Mads’ WoW guild traveled to Norway for his funeral.

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But no game can stay in the spotlight forever. WOW went from strength to strength over its first six years, but as the game got older, so did the players. Ion Hazzikostas, then lead game designer, now game director put it down 2014: “If you started this game in 2004, you were a student with a lot of free time, and now you’re a career woman with a family.” Blizzard maintains existing fans while attracting new generations. It was necessary to attract. The 2010 Cataclysm expansion decided to revolutionize the game by overhauling the world with a new design philosophy suited to the faster gameplay that modern gamers were thought to demand. . This change remains controversial.

Today, exploring Azeroth is an almost unrecognizable experience compared to its early days. WoW has had several different eras. The classic WoW era lasted until Wrath of the Lich King (2004-2008). The world overhaul that characterized Cataclysm (2010) to Warlords of Draenor (2014). From Legion (2016) to Shadowlands (2020), the pivot to a long endgame grind that allows players to become infinitely more powerful. and the modern era of WoW, starting with Dragonflight (2022) and continuing through the recently launched expansion The War Within (2024). These “eras” are so distinct that it feels like the game is being reinvented every six years.

Social aspects have also changed over time. As Taliesin – one half of a couple YouTube Duo Taliesin & Evitel – says: 2004 was the era of bulletin boards, forums, and a more “underground” Internet. Today’s internet is much shorter and crisper. It’s TikTok, a social media focused on one or two megasites. What we do socially on the internet has changed, and so has WoW. ”

Anger… 2021 Protesters. Photo: David McNew/AFP/Getty Images

I often hear complaints that WoW has changed so much that it has lost its original spirit. Players were often confused about design decisions that they felt conflicted with the traditional experience. Unfortunately for Blizzard, these peaked after the launch of Shadowlands in 2020, just as the perfect storm was brewing for the company. Not only has the coronavirus upended game development, but in 2021 Blizzard was hit with a lawsuit brought by the California Department of Fair Employment, accusing it of a “frat boy” workplace culture, including sexual harassment and poor treatment of women. He was accused of encouraging.

The lawsuit had far-reaching implications for the company and the gaming industry as a whole. Several senior executives, including Blizzard President J. Allen Black, fell downand the company agreed to pay millions of dollars to address concerns of sex discrimination and pay inequality. The lawsuit ultimately helped form the first labor union at a major U.S. gaming company.

Especially within WOW, this suit brought about rapid changes in the game. Characters named after accused abusers have been renamed, and many in-game assets deemed inappropriate in light of the accusations have been replaced or tweaked, including sexual depictions of women. Many of the changes were ridiculed by the player base, prompting Blizzard to combat toxicity. Instead of “turning women into fruit bowls””.

A showdown in Azeroth…a great battle. Photo: Blizzard Entertainment

Longdale had just joined Blizzard in 2020 when the lawsuit began. “It was heartbreaking,” she says. “I’d only been here a few months, and it was really heartbreaking to see the team so devastated thinking about what the future holds.” The fallout from this already exists about the state of the game. Combined with the discomfort it caused, it could easily have been the beginning of the end for WoW. However, the game was able to hold up due to the commitment of both the WoW team and new Blizzard leadership to come back better. “What I’m really proud of is the huge increase in diversity on our team,” Longdale says. The content we create now has more “voices” and people are creating highly personal content based on their own experiences. ”

Every time WOW has been in danger of losing relevance over the years, it has reinvented itself and managed to come back. And although its cultural influence has diminished over time, the influence it has had is undeniable. Countless fantasy role-playing worlds and characters draw inspiration from WoW’s pantheon of heroes. This game is in the DNA of subsequent generations of video games that have been developed since 2004.

Today’s WoW may not evoke the same sense of wonder that early players felt in 2004 when they roamed the green hills of Stranglethorn or boarded their first ships from Kalimdor to the Eastern Kingdoms. But the fact that it’s still going on and changing is a testament to the great foundation we laid 20 years ago. And what about the future of WoW? “My goal, and the team’s goal, is that WoW is more than just a game,” Longdale says. “It’s essentially part of your lifestyle. It could be for your friends, or it could be for parents playing with their children. It’s a fascinating fantasy world that connects you with people. ”

Source: www.theguardian.com

30 years later, the Sega Saturn remains a groundbreaking console ready to be rediscovered in retro gaming enthusiasts.

IIt’s one of the biggest injustices in video game history that the Sega Saturn is widely considered to be a failure. The console was released in Japan on November 22, 1994, almost two weeks earlier than the PlayStation, but has always been compared disparagingly to its rival. We hear that while Sony built high-end machine lasers intended to produce high-speed 3D graphics, Sega engineers had to add extra graphics chips to the Saturn at the last minute. I read that Sony’s Ken Kutaragi has provided creators with an even easier to use development system. We know that Sony used its power as a consumer electronics giant to take a financial hit and drive down the prices of Sega’s machines. That’s all true, but what’s always left unmentioned is the huge success of Japan’s Saturn launch and the extraordinary legacy left by Sega’s 32-bit machines.

What I remember is this. The Edge magazine reported from Akihabara, Tokyo, that its Japanese correspondent joined a line outside a major Laox computer game center to pick up one of the thousands of machines that fans had not yet reserved. I was trying to get it. Two and a half hours later, the author showed up with my purchase. Among them was a copy of Virtua Fighter, the best arcade fighting game of the year. It was a lucky purchase. Shelves around town were quickly emptying. Sega shipped an unprecedented 200,000 units that day.




The Saturn brought the feel of arcade titles like Daytona USA into your home. Photo: Justin Layton/Alamy

The following September, I joined Edge as a writer and stayed there for two years, coinciding with the creative peak of Saturn’s short life. What was clear to me at the time, and what still rings true today, is that Sega’s first-party output on this machine was one of the best of the decade. Arcade megahits “Sega Rally” and “Daytona USA” set the challenge for a new era of stylish 3D racers, while “Virtua Fighter 2,” “Fighting Vipers,” and “The Last Bronx” challenge the 1-on-1 brings complexity and depth to fighting games. Sega’s platform-exclusive titles were similarly vibrant and groundbreaking. Panzer Dragoon, Night Into Dreams, and Burning Ranger reinvented stalwart genres for a new generation with imaginative and rich visuals. But I also loved wacky experiments. There’s the toy-like platformer Clockwork Knight, the weird and frenetic puzzler Bakubaku Animal, and the self-consciously stupid Virtua Fighter Kids.

It’s often said that what Saturn lacked was support from third-party developers, but that wasn’t the case in Japan. Veteran shooter creator Treasure developed two of their best titles for this machine, Radiant Silvergun and Guardian Heroes. If you still want to play classic 2D shooter games, the Saturn is the way to go. Batsugan, Battle Garegga, and Darius Gaiden are all considered staples of the genre.




X-Men vs Street Fighter: Sega Saturn was the beginning of Capcom and Marvel’s relationship. Photo: ArcadeImages/Alamy

Atlus adapted the arcade hit Donpachi and created the underrated role-playing adventures Shin Megami Tensei: Devil Summoner and Princess Crown. For horror fans, there’s Warp’s survival thriller Enemy Zero, and Capcom created a Saturn port of Resident Evil that included exclusive mini-games and new enemies and costumes. Capcom also produced many of the best fighting games of the time, including X-Men: Children of the Atom (originally a home exclusive), X-Men vs. Street Fighter, and Darkstalkers 3. I put it into Saturn.

Sega also had decent developer support in Europe, with programmers who grew up on home computers having experience programming in the assembly language supported by the Saturn (the PlayStation had a much rarer development environment based on C). Core Design originally targeted Tomb Raider for machines (and also made the unfairly forgotten action-adventure Swagman for consoles). WipeOut brought Psygnosis. Gremlins loaded top-down brawler for both consoles. And Knutsford-based Traveler’s Tales, who would go on to create the Lego series, co-created the underrated racer Sonic R with Sonic Team. This was a great technology showcase for Saturn, with smooth frame rates and gorgeous transparency effects.

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The Saturn was innovative in other ways as well. Saturn Bomberman remains arguably the best title in Hudson’s explosive series, especially considering its support for chaotic 10-player matches with two multi-taps. The Saturn was the first major console to offer online gaming via a Net Link modem, and in 1997 it allowed players to participate in direct sessions of Sega Rally Championship and Virtual-On over the Internet. A party title that supported this technology was Shadows of the Tusk, a deck-building strategy role-playing game (years before the genre became mainstream) that came with its own physical card pack. Additionally, Sega’s 3D Control Pad, an analog controller designed specifically for Nights Into Dreams, outperformed the Nintendo 64’s pad by several weeks by market launch.

There was a period, perhaps for a year or two, when Saturn’s disappearance was inevitable. It held its own and rivaled everything that Sony and its lead development partner Namco could offer. Daytona vs. Ridge Racer, Virtua Fighter vs. Tekken, Virtua Cop vs. Time Crisis. And this rivalry has been an absolute boon for gamers, driving 3D game design and creating the technical expertise needed for the next generation of open-world 3D console titles. There’s a reason why refurbished and modified Saturns are still being sold on eBay and retro gaming sites 30 years after its release. They are often region-free and come with a switch to toggle between European 50Hz or NTSC 60Hz TV options. And that’s because the games I’ve mentioned here are still worth playing in their original form, their original home. Although the Saturn never really caught on as a mass market device, it was successful in many ways. When we think about the history of video games, we need to talk more about it.

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

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

Review: I Am Your Beast – A Fast-Paced Gaming Experience Comparable to Rambo

H
arding and Birkin may sound like law firms, but these two have a long history in the battlefield. Harding was a brilliant special forces operative who could handle any job, no matter how bloody. Birkin was Harding’s handler, and now he’s trying to bring him back for one last job. Harding has long ago hidden away in the woods to start a new life, but can Birkin chase him out at gunpoint? How far will they go? And with the two lost in the wilderness together, who is really chasing who?

That’s the engrossingly sleazy premise of Strange Scaffold’s latest action game, I Am Your Beast. What follows is not so much Rambo as an exploration of the way he’s become ingrained in our memory – the trees, the traps, the body counts. Strange Scaffold is known for making hectic, unrelenting games at a hectic, unrelenting pace. I Am Your Beast is another masterpiece of agility and efficiency. Playable in three hours at a stretch, this first-person shooter finds you constantly outgunned with firearms, but with infinite wit. Even the longest of the game’s “micro-sandbox” missions is over in 90 seconds, and you’ll be done before you have time to acknowledge the fact that the level names all sound like Jack Reacher novels – Late Shift, Breakdown, On Your Six.




I am your beast. Photo: Strange scaffolding

It all works extremely well: the beautifully streamlined design allows for fast first-person movement, having you ducking through roots one moment and leaping between the branches of a treetop canopy the next, while the sandbox approach to action sees you grabbing an enemy’s weapon, using it until it runs out of ammo, and hurling it at a nearby target to deliver the final blow, without having to be slowed down by tedious reloads.

There are elements of seminal first-person action games like Mirror’s Edge and SuperHot echoing this, but I Am Your Beast remains entirely its own thing. It has a speedrunner-like pacing, but the idea is that the simplest of mission structures, when combined with feel-good generic fiction, can really pump up the action. Simply fire up three laptops, target five satellite dishes, and kill everyone you come across. The objectives loop, but they add up to infinite lives in the game’s compact, complex arenas. A short health bar and a repetitive structure of attacking then disappearing behind the trees always make you feel like you’ve made a good getaway.

What makes I Am Your Beast thrilling is the vivid, well-chosen details. Grab the nearest herb and heal yourself on the spot. Let your enemy’s invincible attack helicopter wipe out hordes of enemies while sparing collateral damage. Kick people into ravines or jump on their heads to kill them. Every encounter is a chance to keep up the rhythm of carnage as inventively as possible, while increasingly frantic radio chatter from your enemies narrates the bloody and gore-splattered scenes as if they were commentating on a gruesome Olympics.

In fact, that emotion is at the heart of it all: Beneath the smoke and spent shells, I Am Your Beast is a reimagining of playground warfare as sport. On this forest battlefield, you perform deeds that are frighteningly good, and if you don’t get it right the first time, you’re one step closer to perfection.

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Source: www.theguardian.com

Critics question China’s gaming industry after the release of Black Myth: Wukong

a The Chinese game Black Myth: Wukong has become a summer sensation, selling 10 million copies in just three days, as reported by developer Game Science. With over a million daily players on Steam, it marks China’s first major success in the console and PC gaming market, typically dominated by mobile games. The game’s popularity as a single-player experience contrasts with previous multiplayer failures, indicating a growing demand for this type of adventure.
still The game industry executives may have underestimated the appetite for such immersive experiences.

Goku, the main character of the game, has also sparked interest for other reasons. IGN’s report shed light on public comments by Game Science employees, revealing a concerning pattern of sexism. This led to conversations about gender inequality in Chinese gaming and society as a whole. While some defended Game Science, others criticized the studio for its alleged attitudes. This controversy further fueled the debate in the gaming community.

Black Myth: Wukong’s success has placed it at the center of cultural debates in the gaming world. Recent incidents of limiting discussions around sensitive topics in game demos amplified the scrutiny on the game and its developers. The game’s guidelines reflect broader restrictions in China, raising questions about creative freedom in the country’s gaming landscape. Despite these controversies, the game continues to thrive, attracting attention from global audiences.


Gamers in Shanghai try out Black Myth: Wukong on release day.
Photo: Héctor Retamal/AFP/Getty Images

These events underscore the multi-layered significance of Black Myth: Wukong’s success, highlighting the changing dynamics in China’s gaming sector. With the game’s roots in Chinese cultural heritage, it has garnered support from nationalist sentiments. However, critiques about its gameplay quality raise questions about its lasting impact. Despite differing opinions, the game remains a pivotal example of the evolving gaming industry landscape.

What to Play


Astro Bot: “Overflowing with ideas”
Photo: Sony/Team Asobi

Dive into the imaginative world of Astro Bot on PlayStation 5, a platform game that offers endless fun and creativity. Explore the galaxy as Astro and his robot friends in a spaceship-shaped adventure. Experience the PS5’s capabilities in a captivating storyline. Stay tuned for a detailed review coming soon.

Available: PlayStation 5
Estimated play time:
20+ hours

What to Read


Concorde.
Photo: Sony Interactive Entertainment
  • Sony’s cancellation of Concorde highlights the challenges of the gaming industry, with a failed release prompting quick action. The game’s premature end raises questions about market demand and quality standards.

  • Explore the legacy of Mabel Addis, the pioneering female game designer who revolutionized the industry. Her contributions to storytelling and character development set new standards for interactive entertainment.

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What to Click on

Question Block


Go to the Farm: Stardew Valley.
Photo: Photo from ConcernedApe’s High Score column

leader Adam question:

“I game online with friends regularly, and have been looking for a new story-driven online co-op adventure for a while. I'm struggling to find something to fit in for a short Friday night session. Any suggestions? As a kicker, something where he can act planned and careful, and I impulsively make a mess that he has to clean up, would be ideal.”

Discover exciting co-op adventures like Stardew Valley and Monster Hunter World, offering engaging gameplay experiences where collaboration and chaos collide. These titles provide an immersive escape for short gaming sessions with friends, catering to different play styles and preferences.

If you have a question for Question Block, or anything else you'd like to say about the newsletter, please click “Reply” or email us at pushingbuttons@theguardian.com.

Source: www.theguardian.com

Gaming: PlayStation 5 shooter Concord goes offline only two weeks post release

Sony has made an announcement regarding its new PlayStation 5 shooter game “Concord,” which was released on August 23. The game will be taken offline just two weeks later, and refunds will be offered to all players who purchased it.

Concord, a team-based hero shooter similar to Activision Blizzard’s Overwatch, puts teams of five against each other in intense combat arenas. However, it turned out to be one of the year’s most high-profile launch failures with only a few hundred players on Steam and fewer than 25,000 copies sold, as reported by GameDiscoverCo Analyst.

In a statement on the PlayStation blog, Sony expressed gratitude towards Concorde fans and acknowledged the mixed feedback received. As a result, the decision was made to explore options, including taking the game offline from September 6, 2024, and halting sales while providing full refunds to players who bought the game on PS5 or PC.

Warner Bros. also faced a similar situation with their game Suicide Squad: Defeat the Justice League, which failed to meet player expectations. On the other hand, the squad shooter Helldivers II has been a huge success for Sony since its release, boasting over 12 million copies sold in the first three months.

It’s uncommon for a struggling multiplayer game like Concord to be pulled off shelves so quickly, as failed games like Evolve, Lawbreakers, and Paragon typically lasted around a year. The future of Concord remains uncertain, with no indication in the statement of whether the game will be permanently canceled or potentially resurrected at a later date.

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Concord is a game that has been in development for around 8 years. Sony acquired the developer Firewalk Studios in 2023, along with other live service game developers, as part of their strategy to focus on long-tail multiplayer games for the PlayStation 5 platform.

Source: www.theguardian.com

Upgrade Your Gaming Setup this Fall

circleNow that summer is over and the skies are starting to turn grey in preparation for six months of rain, you might be thinking more seriously about video games. September and October are when we see some of the biggest releases of the year, so you’ll likely be spending a lot of evenings hiding from the world while playing Call of Duty: Black Ops 6 or Mario Party Jamboree. If your gaming setup is starting to get a little stale and you’re looking to give it a serious seasonal upgrade, here are some suggestions.

tv set

If you have a PS5 or Xbox Series X, you’ll need at least a 4K TV, but also a model that supports a 120Hz refresh rate, which provides super smooth and fluid picture quality in compatible games. Your TV will need at least one HDMI 2.1 port, and you’ll need a 2.1 HDMI compatible cable to connect your console.

Support for High Dynamic Range (HDR) lighting is also a must. This is a technology that produces more detail and color in both high and low brightness. Confusingly, there are multiple versions. HDR10 is the basic version supported by both PS5 and Xbox. However, if you have a Microsoft machine, you’ll also get Dolby Vision, which is basically an improved version of HDR. These days, almost all TVs have a special game mode or game optimizer that turns off unnecessary image processing effects to reduce input lag and improve response times, but it’s still worth checking exactly what the TV you’re thinking of buying offers in this regard.

Recommended: LG C4 Series




LG C4 Series OLED TV Photo: LG

I recently tested one of these for a month and really liked it. The C4 is LG’s latest mid-range OLED set, with amazingly sharp images, vibrant colors, and support for Dolby Vision, HDR, and a 120Hz refresh rate. I tested it with a variety of titles, from Elden Ring to Helldivers 2, and they all looked beautiful. The Game mode is particularly good, allowing users to tweak the settings depending on the type of game they’re playing. You can even connect your PC and use it as a monitor, with a 144Hz option and support for Nvidia G-Sync and AMD FreeSync technologies that help maintain smooth frame rates when playing demanding action games. If it’s a bit too expensive, the Samsung Q80D series is a very good alternative, but it’s hard to beat the LG C4.

monitor

If you play on PC instead of console and want to update your monitor, you need to think about the three R’s: refresh rate (the number of frames the display can show per second, measured in Hz), resolution (the detail of the image, measured in pixels), and response time (the time it takes each pixel to react to a change in the image, measured in milliseconds). What you need depends on the type of games you play. If you like fast-paced shooters, refresh rate and response time are the most important factors. If you like graphically rich adventure games, resolution is a key consideration. For general play, look for a model with at least a 144Hz refresh rate, 1440p resolution, and a response time of around 5ms.

You should also think about what type of panel your new monitor uses (VA, TN, IPS, OLED, etc., each with their own pros and cons – here’s a good guide. here), HDR, Nvidia G-Sync, AMD FreeSync, and other technologies.

Recommended: This one is tough. I still have my 5 year old Acer Predator and it still performs great, but I also have the much newer Samsung Odyssey, LG UltraGear and Gigabyte Aorus and they’re all great. Acer, Dell and MSI all make very capable low cost displays.

Headset

What you’re looking for here is comfort and quality, especially if you’re going to play for long periods of time. We also recommend noise cancellation (if you’re playing in a noisy living room) and support for virtual surround sound technologies such as Dolby Atmos. This not only enhances the atmosphere of the game, but also helps if you’re playing an online shooter and want to hear where your enemies are coming from. A good, clear microphone is also essential if you want to chat with friends while you play. You should also consider whether you want a wired or wireless headset and whether the model is compatible with your console.

Recommended: Audeze Maxwell (319 pounds)




Maxwell PS5 Photo: Audeze

Source: www.theguardian.com

Ghostface Killah aspired to become a deadly Eagle! – Def Jam: Battle of NYC Marks 20 Years with a Bang | Gaming Community rejoices

'I I remember visiting Ghostface Killah. [of the Wu-Tang Clan] “He was mad at us!” recalls Darryl Anselmo, a former EA employee and art director on 2004's groundbreaking hip-hop fusion fighting game Def Jam: Fight for NY. “Ghost Face was holding four pounds of solid gold. eagle bracelet And he claimed that his character's signature move would be for the bird to come to life and peck the other rappers out of their eyes. But the limitations of the PlayStation 2's technology and its violence restrictions meant that it couldn't happen. It wasn't possible.”

“When Ghost Face first asked about the eagle, Lauren… [Wirtzer Seawood, another one of the game’s producers] He told me to just nod and smile, and when I met him again at the studio for the sequel, I apologized. [for misleading him] He quickly moved on to recording extended insults for his character for the new game, one of which I remember: “Go home and cry to your mother. And tell her you're hungry!”

Whether or not Ghostface Killah transforms into a giant killer eagle, the resulting game, Def Jam: Fight for NY, celebrates its 20th anniversary this month and remains one of the fighting game genre's most vibrant spins. It's the rare '00s game that's still dominating social media conversation despite never being remade or re-released. The 67 characters include rap legends like Snoop Dogg, Busta Rhymes, Method Man, Ice-T, Scarface, Ludacris, Flavor Flav, Slick Rick, Warren G, and Mobb Deep, and it's an improvement over the slower-paced gameplay of its predecessor, Def Jam: Vendetta, in every respect.

Vendetta was essentially publisher EA's best take on an engine made for a defunct WCW wrestling game that was mired in development hell and causing executives to lose their heads. At one stage, in their desperation, they even suggested that it could be salvaged and remade into an intergalactic wrestling game full of alien characters. But because Holmes and Anselmo had helmed the 2001 success NBA Street (which added a faster, cartoony, hip-hop aesthetic to basketball multiplayer and far outsold that year's bigger-budget (and much more boring) NBA Live 2002), they were deemed the perfect duo to turn what began as a vague boardroom idea (what if rappers wrestled each other?) into a fleshed-out, retail game.

“It was a controversial concept”…Def Jam battles in NYC. Photo: EA

This meant traveling back and forth to Japan to work with development company AKI Corporation, while also touring the US to meet with rappers signed or affiliated with legendary label Def Jam, and ultimately winning their trust. They shaped the character's mannerisms, from moves to taunts. “It's been a dream life, to be honest,” Holmes adds. “I grew up obsessed with hip-hop. As a teenager, I worked in a music store and sold a bass guitar to Flavor Flav when Public Enemy played in Vancouver. Flavor actually remembered me! It was an amazing time. Who would have thought I'd end up recording with my idols and going to Snoop Dogg's family home?”

But he acknowledges that the core concept behind Def Jam: Vendetta and its sequel, Def Jam: Fight for NY, wasn't easily embraced: “Execs had a hard time understanding the concept of a fighting game about rappers. It was a controversial concept,” says the producer, who went on to work on Halo 4 at Microsoft and 343 Industries.

“Once I explained to them that to be the best lyricist in hip-hop, it's all about arguing, dissing, and competing for the throne, they finally got it,” Anselmo reveals. “Hip-hop is full of vibrant, competitive personalities, so the character roster could have a Street Fighter II or Tekken 3 vibe.”

Def Jam: Fight for NY's concept of rappers punching each other was a huge success, and critics loved it, too, with a score of 83 on Metacritic. “We rushed to make Vendetta, but it still sold well,” says Holmes. “That success gave us the opportunity to expand on the gameplay with Fight for NY and take our time to get it right.” AKI Corporation took the ever-changing, momentum-based combat from the legendary WWF: No Mercy game, released on Nintendo 64 in 2000, and sped everything up with hyper-active Blazin' Moves (my personal favorite is Busta's backbreaker, which is more destructive than Batman's spine-crushing Bane).

The art design is somewhere between The Wire and a comic book, with an ambitious range of dynamic fighting styles (kickboxing, street fighting, martial arts, wrestling, submission). There's a storyline, with Snoop Dogg playing the cunning vampire villain The Crow, who'll hit you with a cane and cleverly taunt you with, “Do you have dental insurance?” You can wear Roc-A-Wear or Ecko tracksuits, getting increasingly better dressed as you rise through the ranks of your boss D-Mob's underground fighting syndicate, slowly earning you respect. It's as if Fight Club had been directed by glossy rap music vid…

Rappers Joe Budden vs. Sticky Fingaz compete in Def Jam's New York Battle. Photo: EA

The key mission was to choose either 128-bit's Lil' Kim or Carmen Electra as his new girlfriend, and the next day Method Man would call and ask if they'd slept together. The latter was one part of the game that Anselmo now regrets: “Lil' Kim could beat any of the male MCs, but… [reduced to that]”In 2004,” he admits, “all of the rap music videos were about objectifying women, which in retrospect is a real shame. The reality is that there was a push to make the game more sex appealing and more culturally relevant.”

As I recalled after recently replaying my dusty GameCube copy, Fight for NY is still exhilaratingly challenging. The boss fight featuring Fat Joe's crack Zangief-esque character had me hurling my WaveBird controller against the wall as a teenager. You can't beat your opponent unless you take the time to figure out how to counter their attacks, and while this process can be brutal at times, it makes it all that much more satisfying when you finally triumph.

“This game is designed in such a way that you have to sweat and really learn something new to win!” Anselmo says with a smile. “AKI's Hiro Abe (programmer) and Hiroya Tamura (artist) were geniuses. To get good at Def Jam: Fight for NY, you had to master the gameplay and get used to losing. In modern games, fighting games are just too easy. I think that's why so many people still play our game over and over.”

“Fighting games are too easy in today's gaming world”…Def Jam Fight for NY. Photo: EA

And there are still a lot of people playing Fight for NY. Not a week goes by without someone playing. Nostalgic post A gameplay video that went viral on TikTok has gone viral to the point where people can't believe it even exists. Even rappers (Including Ice TThe actor who played the character in the game(?) is still responding to tweets from fans begging for an updated version.

A$AP Rocky has labelled modern rap the “new wrestling” due to the commercialisation of petty infighting and mainstream MCs treating rap personas like WWE bad-mouthing tough guys. Holmes agrees with my theory that Def Jam: Fight for NY, with its constant depictions of MCs embroiled in diss tracks and gang politics, now feels like a documentary, especially considering how much more public conflict there has become in rap. “Rap is becoming more and more dramatic,” he agrees. “You see a lot of social media videos of rappers fighting each other, and it's interesting that the violence of the game doesn't seem so ridiculous today.”

Some will argue that a game that trivializes the conflict in hip-hop is wrong and deserves more criticism, especially with so many rappers losing their lives to violence every year. Anselmo counters: “I get that, and I don't think we could make the game right now because of drill, the environment is too tough. But Def Jam: Fight for NY was just meant to be a fantasy, escapist experience. It was like a gangsta rap version of The Warriors. It was just a little fun. We trusted that the audience would know that in real life, throwing someone through a window is not cool. We were really trying to res…tement is too tough. But Def Jam: Fight for NY was just meant to be a fantasy, escapist experience. It was like a gangsta rap version of The Warriors. It was just a little fun. We trusted that the audience would know that in real life, throwing someone through a window is not cool. We were really trying to respect the culture of hip-hop.”

The original Xbox, PlayStation 2, and GameCube discs of Def Jam: Fight for NY are highly sought-after and command high prices on the second-hand market. But there hasn't been a Def Jam game released since 2007's disappointing Def Jam: Icon, and there hasn't been a remaster of Fight for NY. Why?

The sequel may be one of the most expensive games ever made…Def Jam Fight for NY. Photo: EA

Lauren Wurtzer Seawood, former vice president of marketing for the Def Jam label, played a pivotal role in the development of the first two games, serving as the liaison introducing the timid development team to the feisty MCs, and working hard to sort out complex licensing agreements ranging from image rights to music to in-game brand partnerships.

She says this complicated business mechanic is a big reason why it's highly unlikely the franchise will ever be revived. Def Jam: Fight for NY cost about $15 million to make, but with both hip-hop and video games now multi-billion dollar businesses worldwide, licensing fees would be astronomical. “If this game was re-released today, many

Source: www.theguardian.com

Quantum Witch: The Intersection of Religious Cults and 80s Spectrum Games | A Gaming Adventure

THus’ kingdom is a rural idyll, with happy villagers wandering around the market, the young shepherd Len tending his flock and his partner Tyra repairing the shed. It’s as if they all live in a cozy farming simulator made by a benevolent game developer. But is that really the case? Or is it just an illusion cast by an evil god that has trapped them in their horrible pixelated appearance?

That’s the fun “meta” setting of Quantum Witch, a pixel-art platform game by lone developer Nikki Jay. Heavily inspired by old LucasArts adventures and the legendary Dizzy series for the ZX Spectrum, it’s a comedy game with a serious autobiographical heart. Jay grew up in a right-wing religious sect with very closed-minded views, based in the northeast of England. “They were obsessed with the end of the world,” she says. “They believed it could happen at any time, and that all evil people would be destroyed. So I Had “Being good. It was very oppressive.”




“This is not a platform game. Plot Former“…Quantum Witch.” Photo: Nikki Jay

Jay came out as a lesbian as a teenager, but was quickly shunned by her group. After a period of homelessness, she taught herself to code and found work as a software engineer, but the desire to share her story haunted her. “My mind was constantly swirling with what had happened to me,” she says. “I thought, ‘I can’t just hold onto this trauma, I have to do something about it.’ I knew there were other people out there who had been through the same thing. I wanted to tell them a story they could relate to and let them know there was something better out there.”

She initially thought she would write a novel, but found the process terrifying. Instead, she turned to games. Growing up in the 1980s, her family had a ZX Spectrum, which was her escape. “I escaped into video games because they let me create the worlds I wanted,” she says. “I was obsessed with computer-generated worlds. When I first played Trashman on the Spectrum, I thought, ‘This is amazing. This is a completely self-contained, internally consistent world that I can interact with.’ I loved it. It freed me from the fears I was facing in my life.”




“Multi-layered metaphor”…Quantum Witch. Photo: Nikki Jay

In Quantum Witch, Ren discovers that something malevolent exists beyond the saccharine pixel-art world she’s lived in, and sets off on a journey to discover the truth. Along the way, she’ll complete fetch quests and pick flowers for her partner, but ultimately must attack a god and take his throne. While the open Metroidvania-style structure suggests a standard platform game, the game is actually a “Choose Your Own Adventure”-style narrative quest. You’ll make many choices over the course of four hours of play, meeting characters and taking on optional side quests that will affect the outcome. “This isn’t just a platform game, it’s a game about discovering the truth,” says Ren. Plot Former“Your choices shape the story. There are multiple endings and, where possible, each side quest also has multiple endings. It’s a total logistical nightmare,” says Jay.

Throughout the adventure, the story is filled with the wonderfully silly humor that is typical of the ZX Spectrum development scene. Available on Steamyou encounter dancing skeletons who can see into time, a lampshade-worshipping religious group (“We’re not a cult!”), and a marketplace where all the merchants resemble famous video game protagonists, including a wordy archaeologist selling dodgy artifacts and a strange circular character trying to sell you stimulants to fight the ghosts in your mind. Naturally, Jay was also a big fan of Digitizer, the cult teletext gaming magazine known for its surreal humor. She later became friends with the magazine’s writer Paul Rose, who served as a script consultant for the game. “I had lots of ideas for storyline and character development for Quantum Witch, but I’d never written anything this long or complex,” Jay explains.[Rose] It’s really helped me organize and make it all work together.

After being blown away by how fun Thank Goodness You’re Here is, it’s great to see other developers taking cues from quirky British humor from the ’70s and ’80s. But Quantum Witch isn’t just a pun-filled comedy quest. It’s a multi-layered metaphor about game development, identity and escapism, and it’s based on its creators’ own experiences. It’s about what games are supposed to be about: making the biggest decisions that sometimes save your life.

“I wanted to introduce a theme of choice and responsibility that is really central to the story,” Jay says. “A lot of religions involve giving up your autonomy to some mysterious force you’ve never seen, heard or met. In the game, Ren reclaims that agency… It’s a queer liberation story.”

Quantum Witch is scheduled to release on PC in 2025

Source: www.theguardian.com

Review: World of Warcraft: The War Within – An Invitation to Explore Azeroth Once More | Gaming

circle
The world of Warcraft has a persistent identity problem: Once one of the biggest games in the world, it’s now approaching its 20th anniversary, and with each passing year, developer Blizzard faces the daunting task of proving that WoW still has a place in today’s gaming world.

This goes some way to explaining why Blizzard has tried to reinvent WoW multiple times. Six years after its initial release, the developers attempted to radically remake the game world with 2010’s Cataclysm expansion, in which ancient dragons ravaged and reshaped the realm of Azeroth (an experience you can relive in the recently re-released Cataclysm Classic). Since then, Blizzard has tried a variety of gimmicks to keep WoW fresh, including the now-rather infamous mechanic that saw players increase their power level for two years before losing that power at the end of each expansion cycle.

These gimmicks, combined with an antiquated approach to gameplay updates, created a sense of unease among WoW fans, as players felt unloved and taken for granted. Two years ago, the Dragonflight expansion felt like a make-or-break moment. But what was meant to be WoW’s final installment turned out to be a much-needed breath of fresh air. Dragonflight scraped away the chaff and pared WoW’s gameplay down to a tightness that harkened back to its glory days. After a gimmick-filled experiment, it seemed Blizzard had decided on the most radical of game design approaches: making a better game.

I’ll be honest, I was skeptical that this latest expansion, The War Within, could maintain its momentum. Delving into dank, dark depths in search of adventure, treasure, and intrigue is one of fantasy’s enduring tropes, and with good reason. But after soaring through the skies in Dragonflight, “Awesome… But Underground!” felt like a thematic nosedive.

But War Within tells us something great why We’re exploring the bowels of the Earth. Historically, the quality of WoW’s writing hasn’t been a strong point, but here, a fantastic cast of voice actors and surprisingly compelling in-game cinematics tell a more compelling story than ever before. The expansion also introduces a charismatic villain who, while still a bit hackneyed, is a refreshing contrast to the beefy baritone baddies WoW tends to default to.

But while a compelling story is important, an MMORPG is only as good as how you feel when you play it every day. So far, The War Within has excelled in this regard. Over the past two years, Blizzard has been steadily experimenting with a variety of new features to make players’ lives easier. These include long-awaited improvements to WoW’s antiquated menus and on-screen information, the ability to run with an AI companion as you learn new dungeons, and the new “Warbands” feature that lets you progress towards all of the in-game objectives with any character without mindlessly repeating hours of play every time you want to try out a druid instead of a rogue. All of this is smoothly integrated into the leveling experience, resulting in the most satisfying start to a WoW expansion pack I’ve experienced.




Gorgeous…World of Warcraft: The War Within. Photo: Blizzard

The flashy new “Hero Talents” tweak WoW’s complicated talent trees by adding a little stylistic flair and class fantasy. For example, my dueling giant sword-toting Fury Warrior can be transformed into a lightning-powered stomping machine under the Mountain Thane hero tree. But sadly, these options don’t have much consistency, and I’m often forced to choose what’s most powerful in combat, rather than the flashier, more exciting options. Depending on how your particular class, spec, and hero tree perform, the choice can be either an intense delight or an intense frustration. I ended up regretting demoting my Warrior from Mountain Thane to the much less exciting but higher-damage Slayer tree.

The War Within also introduces “Deeps” – shorter dungeons scattered throughout the landscape that can be tackled alone or with a group of up to five people. The game badly needed a flexible alternative to raids, which still require you to spend one evening each week with a group of 10-25 other players. Deeps are suited to players who only have an hour of freedom every once in a while, but want to feel like they’re making progress towards their character and gear goals. If the Deeps are properly maintained over the coming months and years, I can see myself spending a lot of time there.

Sure, The War Within is only just beginning its two-year lifecycle, but this is WoW’s best achievement in years, and while Blizzard will continue to grapple with Warcraft’s place in the modern gaming landscape, especially with WoW’s 20th anniversary approaching, the game still feels relevant in a way it hasn’t felt in a long time.

Source: www.theguardian.com

Concord: Sony’s online shooter is ready for takeoff, but faces obstacles in a crowded gaming market| Games

IIt’s no exaggeration to say that the video game industry is currently undergoing a period of alarming turmoil: studios are closing, development budgets are exploding, and lucrative genres are becoming saturated with a host of entirely interchangeable big-budget contenders.

Into this uneasy market comes Sony’s new 5v5 “hero” shooter, Concord, a subgenre of multiplayer online blasters in which players control characters with elaborate special abilities rather than generic special forces soldiers or space marines. Set in a war-torn galaxy ruled by a dictatorial government called the Guild, the game puts players in control of a variety of freelance gunners, mercenaries who roam the space lanes in search of work and throw one-liners at each other in the game’s highly polished cutscenes. In-game, though, they do fight.




Heroism…Concord. Photo: Sony Interactive Entertainment

All the standard characters from hero shooters are there: regular soldiers, floating witches, teleporting weirdos, sassy tanks, etc., but they don’t have the instant appeal of Overwatch’s denizens D.Va and Mei. But they bring a lot of variety to the combat zone. Lark is a weird mushroom alien who plants spores to slow enemies and heal allies. Kipps is a stealthy assassin who can reveal enemy locations to his team. A chunky robotic one-off throws exploding trash cans. I like the innate flexibility of these skills and how they can be combined between characters. The submachine gun-toting Duchess can throw up a defensive barrier, which is useful as cover, but can also be used to block objective points for the enemy team or lure enemy soldiers into an ambush. Davers can bombard an area with a napalm-like substance called Burnite, which can be ignited by other players’ incendiary bombs, doubling its effect.

The 12 launch maps are mostly super-colourful takes on the sci-fi industrial spaces we’ve come to expect from Quake: Spine Works and Sorting Hub are labyrinthine complexes, all interconnected steel corridors, shipping containers and box-like warehouse choke points; Water Hazard is an abandoned oil rig with the remains of a giant sea monster lying on top like a nightmarish, Lovecraftian sushi plate; and my favourite is Train Trouble, a post-apocalyptic railroad graveyard where Mad Max meets Tatooine.




Lovecraft Sushi… Concord. Photo: Sony Interactive Entertainment

The crux of the matter is the excitement and tension of every moment of team-based combat, and Concord really does fly at times. There’s a bit of Destiny floatiness to movement that works brilliantly on this very vertical map, with players making full use of their double jump to make combat truly three-dimensional. The guns feel great; from shotguns to laser pistols, every weapon is solid and easy to read, and the audio and visual feedback perfectly communicates each weapon’s unique capabilities. There are sublime moments when the whole team comes together and all their abilities combine in unexpected ways to create an explosive, euphoric shooter experience that rivals the best moments in Overwatch.

But the big question at this point is whether the game is enough to draw players away from Activision’s games, or Valorant, or Apex Legends, or any of the others. It’s beautifully made, but most of it is painfully familiar, not just in character types and anime-esque visual aesthetics, but in structure as well. The game modes are all the standard types: team deathmatch, one where you have to capture three objective zones, one where there’s only one zone but it’s always moving, one where you have to pick up tokens from fallen enemies to score a kill, etc. This is what we’ve been playing since Doom. Meanwhile, the dialogue and humor are the same post-Whedon, cynical aloof approach that Marvel and Netflix YA dramas have been forcing on us for a decade. Oh, I miss the dark, anarchic satire and anarchic teammate-slaughtering mayhem of Helldiver 2.

The most interesting thing about Concord is the “meta” of the game, that is, the strategic part outside the main action. The game introduces some deck-building elements, where players must organize their own crew of characters. Each character has slight differences in their normal abilities. These characters all have their own buffs, called crew bonuses, which slightly boost the health, armor, or firepower of your team every time you play in a match. These buffs accumulate throughout the battle. So, if you’re playing in an organized team, you can work together to build a strong statistical advantage, just like having a good hand in Hearthstone. It’s an interesting idea, but in the chaos of a public server, where only a small percentage of participants play as part of an organized team, it’s unclear whether it will work.

Perhaps the bravest thing about Concorde is that it’s a premium-priced product rather than a “live service” free-to-play — meaning all subsequent content will be free rather than the run-of-the-mill season pass model — and it’s also unashamedly and vociferously pro-diversity, which will likely anger players who are increasingly jaded by modern online games. Should Frankly, it pisses me off because this small group of misanthropic, gatekeeping blabbermouths are ruining the fun for everyone else.

Ultimately, Concord needs time, space, and a healthy community to gain an advantage over its older, wiser competitors. Right now, players are getting a feel for the place, but the game is choppy and unfocused, yet at times surprisingly fun. Its attitude, detail, and elaborate backstory (explorable in a visual encyclopedia undoubtedly inspired by The Hitchhiker’s Guide to the Galaxy) give it the feeling of being something the development team really cares about, and if it’s not taken off life support by publisher funding anytime soon, it has a chance of finding an audience that feels the same way.

Concord is available now on PC and PS5

Source: www.theguardian.com

Civilization 7 ushers in a new era, bringing the tumultuous history of humanity to life in a more accessible manner | Gaming

IIt’s been eight years since Civilization 6 launched, the latest in the long-running strategy game series in which you lead a nation from the first town in prehistoric times through centuries of development to the space age. Since 2016, the game has accumulated a plethora of expansions, scenario packs, new nations, modes, and systems for players to master, but Dennis Shirk, series producer at Firaxis Games, feels like he’s had enough. “It was getting out of hand,” he says. “It was time to build something new.”

“Even completing the whole game is a struggle,” says designer Ed Beach, citing a key problem Firaxis is trying to solve with the upcoming Civilization 7. While the early turns of Civilization 6’s campaign may be quick, when you’re only deciding what the inhabitants of a single town will do, “after a while you explode with the number of systems, units, and entities you have to manage,” Beach says. From turn one to victory, a single campaign can take more than 20 hours, and as you start to fall behind other nations, you might want to start over long before you see the endgame.

To that end, Civilization 7’s campaign is split into three eras — Ancient, Exploration, and Modern — with each era ending in a dramatic explosion of global crisis. “By dividing the game into chapters, we’re giving people a better sense of history,” Beach says.




Mongolian city in Civilization 7. Photography: Firaxis Games

When you start a new campaign, you choose a leader and civilization to rule, and lead your people to establish their first settlements and encounter other peoples in a largely undeveloped land. Choose which technologies to research, which cities to expand, and who to befriend or conquer. Every turn completed and every scientific, economic, cultural and military milestone passed adds points to a meter running in the background. When the meter reaches 200, you and all other surviving civilizations on the map will move on to the next era.

Choose and lead a new civilization as you move from Ancient to Exploration and from Exploration to Modern. You’ll keep all the cities you previously controlled, but you’ll have access to different technologies and attributes. This may seem odd, but it’s designed to reflect history – think of London, once ruled by the Romans, then replaced by the Anglo-Saxons. No empire lasts forever, but not all fall.

Dividing Civilization 7 into chapters also gives the campaign a new rhythm. As you approach the end of an era, you start to face global crises. In ancient times, for example, you see a surge of independent factions similar to the tribes that toppled Rome. “We don’t call them barbarians anymore,” Beach says. “It’s a more nuanced way of describing it.” These crises increase and intensify until you reach the next era. “It’s like a sci-fi or fantasy series that has a big, crazy ending, and then the next book is a calm, feel-good beginning,” Beach says. “There’s a moment of relief when you get to the next era.”

Veteran players will recognize the flow of Civilization 7’s franchise-wide offerings, but this new structure is certainly a radical change, introducing more chaotic and dramatic moments to every campaign. Whereas previously you were assured of victory (or defeat) after a few hours of play, each new era brings with it climactic crises and plenty of opportunities for game-changing moments. “Not everyone will survive,” Shirk says. “It’s a lot of fun to play.”

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  • Civilization 7 is scheduled to release on February 11, 2025 for PC, Mac, Xbox, PlayStation 4/5, and Nintendo Switch.

Source: www.theguardian.com

Building Your Own Retro Gaming Machine with a Raspberry Pi

IIn the past, whenever I’ve written enthusiastically about the latest retro consoles, like the Nintendo Classic Mini: SNES or Analogue Duo, there have been a few comments below the article asking why people don’t just buy a Raspberry Pi mini computer, download emulators, and play their favorite games for next to nothing. My answer is usually ease of use and accessibility. When you buy a mini console, you get a plug-and-play product with no complicated setups or potential compatibility issues. Simple.

However, having recently purchased a Raspberry Pi to write an article about the beautiful PiDP-10 machine, I thought I’d check out its retro gaming capabilities as well. This is what I found.

Hardware

Raspberry Pi with case, SD card, and SD card reader Photo: Keith Stewart/The Guardian

To put together your retro machine, you’ll first need a Raspberry Pi computer. It’s a tiny PC built on a circuit board a little bigger than a credit card. There are currently two supported models: the Raspberry Pi 4 Model B (£34) and the newer Raspberry Pi 5 (£58), which has a more powerful processor and is better suited for emulating later consoles. I bought the 5 model on the Pi Hut site, which offers a decent starter kit including a compatible power adaptor and HDMI cable, a cute case to house the Pi in (with a little fan to cool the CPU), and an SD card, which you’ll need as the computer doesn’t have a built-in hard drive. The kit costs £94. However, the Raspberry Pi 4 is good enough to run emulators for old machines, so if you go for it, you’ll be ready for retro gaming for around £60.

emulator

Lakka emulator. Photo: Raqqa

Here’s where it gets a bit complicated. There are a number of retro gaming apps that are compatible with the Raspberry Pi, with the main contenders being RetroPie, Recalbox, Batocera and Lakka. All of these are essentially a collection of different, mostly open-source emulators that let you play games from a range of systems, from very early home computers to later consoles like the Dreamcast and PlayStation 2. Want to experience Manic Miner on Oric or Rainbow Islands on the Wonderswan? UtopiaCan you recreate the Dragon 32 games you made with your friend John in 1987? Now you can. It also supports MAME, which runs hundreds of classic arcade games. There are differences between the two, such as how the games run and how many configuration options you have. For example, you might want to tweak the visual settings to add realistic scanlines. Here is a very good comparison. hereHowever, most people agree that RetroPie is the most versatile.

It’s all very easy to do. First, connect the SD card to your PC or Mac using a USB SD card reader and download Raspberry Pi Imager. This is a small program that will install the operating system onto the card. It’s very user friendly and has three drop-down menus to choose from:[オペレーティング システムの選択]With the click of a button, you can designate your machine as a retro console and it will automatically download the emulators. Currently, your options are limited to either Recalbox for Model 5, or RetroPie or Recalbox for Model 4 (Retropie doesn’t have a native Model 5 version yet). To get anything else, you’ll need to download their own installation imagers separately and select your custom OS in the Raspberry Pi imager.

Don’t panic, there are plenty of guides online to help you solve this problem.

game

Rev your engines… in the classic 80s driving game Out Run. Photo: SEGA

Now, this is Really Here’s the complicated part. To run retro games on these emulators you need game ROMs – software versions of the original programs, chips or cartridges. Downloading them from ROM sites on the internet is effectively copyright infringement and illegal. “Computer games are protected from copying by intellectual property law,” explains Alex Tutty of law firm Sheridans. “Generally, in the UK and around the world, games are protected by copyright and cannot be copied without the owner’s permission.

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“Copyright law has various exceptions, such as personal copying, but emulation of the games or making them available online is not permitted. Even if a game is discontinued, copyright remains in place even if it is not being used, so copying is not permitted.”

that teeth It’s possible to find games that have had their copyrights removed by their developers. These tend to be found on abandonware sites or software archives. (I won’t sue you if you download Utopia, but you might want to sue me if you play it.) In any case, I won’t tell you how to find ROMs, but I can tell you that it’s a risky business. Game files on unofficial sites might be full of viruses and malware, or they might simply not work, or be in a foreign language.

Getting the ROMs onto your Raspberry Pi from your computer where you downloaded them is also a bit complicated. The basic method is to plug the Raspberry Pi SD card into your PC and download the ROMs directly to the board, but there are more elegant solutions that use SD card shared folders or file manager apps. To be honest, I struggled with all of them.

Conclusion

Here’s how to build a retro gaming machine for under £100. I prefer the more expensive but legally clear methods – keeping your original console, buying a retro gaming compilation such as Sega Genesis Classics or Rare Replay, downloading digital versions of old games from sites such as Steam, Gog or the online store of your current gaming console, or buying a mini retro machine that runs fairly stable versions of your favourite games.

However, I’m a big fan of the Raspberry Pi, so I think it’s worth buying one and giving it a try. If you’re worried about downloading retro ROMs, Huge game library Anything made specifically for your device or downloaded Dos Box or later DosBox-X A program that lets you play hundreds of old PC games, including shareware. Alternatively, you can use your Raspberry Pi to access cloud-based gaming services such as: Xbox Cloud Gaming. you too Stream games from your PC to your Raspberry PiDiscovering games on new platforms is fun, and having something to run on a computer that fits in your pocket is a fascinating experience.

Source: www.theguardian.com

Review of Crush House: A Dark and Twisted Love Island Experience in a Gaming World

TThe Crush House developer Nerial describes the game as a “first-person shooter,” which is a surprisingly accurate tagline. On the Malibu coastline, a grand vaporwave-and-neon mansion stands. Producer Jae sleeps in a bleak little basement below. Your job is to roam the house from behind the camera, filming the reality show’s hot and sexy cast. You pick a panel of 12 for each season, chase them around the glitzy grounds, and make sure they fight, kiss, or both to boost ratings and satisfy viewers. You’re free to move around, but you’re warned never to talk to the cast. As the tagline suggests, the game certainly has a first-person shooter vibe, but instead of a gun, you’re brandishing a camera. Think sexy Pokémon Snap.

Every night a different demographic tunes in, and all of them have very specific needs. Some want to see drama, some want to see art in the house, some want to see food being prepared, and of course some want to see detailed, zoomed-in looks at feet, lots of feet, or other body parts. Your job is to satisfy them all, or risk your show being canceled.




What a surprise…Crash House. Photography: Devolver Digital

This makes the play experience a fun and surprising cinematography simulator. Audience requests scroll across the screen, telling you where the cast sleeps, asking where you shower, asking if anyone will kiss you even once. They’re weirdos, but if you don’t listen to them, you’re fired. The script is sharp, funny, and sometimes a little shocking. Definitely one of the funniest games I’ve played this year. Conversations between cast members are algorithmically executed. Each of the 12 brings something slightly different to the table, and different possibilities for getting along or clashing with the other housemates. This means every combination is a surprise. If one set doesn’t work out, you can try a different combination in the next season. The housemates don’t care. You come back fresh, as if your memory has been wiped, or worse.

At night, when the housemates have retired to bed, the player re-enters the house and adds props to make it more interesting. These props (some of which match the interests of the housemates) cost money earned by running surreal advertisements during the day. Another challenge is finding a balance between the advertisements and the viewers who might enjoy them. Of course, more engaged viewers bring in more money, which might allow you to buy a sauna, a lighthouse, a saxophone, etc. – all things that make the house more interesting.

But as you set up your props after dark, you might bump into an escaped housemate who asks you for a favor: more airtime, a specific angle, a personal request to be filmed flirting with two people to really piss your mom off. It’s up to you to decide if you want to grant it or not. Going this route will reveal the stories behind the poolside fun and deep chats by the bonfire. Of course, there’s more going on than meets the eye. What fun it will be to discover the darkness that lingers behind the neon lights.

If The Crush House was simply a smart, funny photography and cinematography game, I would have been pleased and pleased. But the game offers players much more than that. Beneath the snappy text and playful design, it also has a quirky heart. It’s worth noting that the review build still had its moments of glitches, but the strength of the idea and execution far outweighs any technical issues. This in itself is remarkable. The Crush House is so much fun that I didn’t want to turn it off, even when some parts were a little broken. It’s a great way to spend the last cool evenings of summer, and the season ahead.



Crash House is available on PC

Source: www.theguardian.com

Time for Underappreciated Gaming Gems to Shine as No AAA Titles are Being Released | Games

pictureEarlier this week, the Culture Division asked me to recommend four games for their annual Autumn Arts Preview. Readers: I’ve been struggling. The period from September to November is typically jam-packed with AAA releases as publishers compete for space in the historically lucrative pre-Christmas period. Even in the era of “live service” games like Fortnite, Destiny, and Genshin Impact (which ignore external sales patterns in favor of their own constantly-updated season passes), autumn is guaranteed to see a plethora of big-budget game releases.

But this year… not so much. September was mainly focused on The Legend of Zelda: Echoes of Wisdom (below). October brought the Silent Hill 2 reboot, Call of Duty: Black Ops 6, and Sonic X: Shadow Generations. For winter fun, the really busy blockbuster lineup will have to wait until November, including Slitterhead, Football Manager 2025, Assassin’s Creed: Shadows, and Stalker 2: Heart of Chernobyl. The highly anticipated role-playing game Avowed has been delayed until 2025, and Indiana Jones and the Great Circle is not holding out hope, with no release date announced beyond “2024.”

Why? There are a few possible explanations. 2023 was a very busy year, overcrowded with big releases like Baldur’s Gate 3, Marvel’s Spider-Man 2, Alan Wake 2, The Legend of Zelda: Tears of the Kingdom, Starfield, and Diablo IV. Meanwhile, 2025 is already shaping up to be a very busy year, with GTA 6, Death Stranding 2, Monster Hunter Wilds, and Civilization 7 coming on strong. And the COVID-19-induced surge in development activity has now subsided, as we see a disgraceful number of layoffs and studio closures across the industry. Perhaps a sluggish year was expected.


The Legend of Zelda: Echoes of Wisdom. Photo: Nintendo

The good news is that fewer big, attention-grabbing titles give smaller games a chance to find an audience. September has some really interesting original and indie titles, including the bizarre adventures Phoenix Springs (pictured above) and Demonschool, the charming retro collection UFO 50, and the Atari-era nostalgia Yars Rising. My son Zac wants to play October’s Dragon Ball: Sparking! Zero, and I’m an old fan of comics, anime, and the 1990s Konami arcade games, so I’ll enjoy TMNT: Mutants Unleashed. Life is Strange: Double Exposure should also benefit from the extra space given to its time-shifting murder mystery.

It may be comforting to have dozens of huge, multi-year video game series churn out in the space of a 12-week period. Like summer blockbusters, they inscribe the fabric of our years, informing us of where we were and what we were doing at key moments in our lives. In a world where old certainties are crumbling, entertainment rituals provide stability and shared expectations. We may no longer see people queuing around the block to see the latest Star Wars movie or lining up outside gaming and electronics boutiques at midnight to buy Call of Duty: Modern Warfare, but the spectacle of consumer frenzy has always had real meaning.

Still, a quiet year gives us other options. It gives us time and space to break from habitual purchases. 2014 is often touted as a “bad” year for games because there were no big releases. But it was also the year of Alien Isolation, Titanfall, and Shovel Knight. It was also the year I poured hundreds of hours into Shadow of Mordor, despite not being a Lord of the Rings fan. It was also the year of OlliOlli and The Evil Within, and The Vanishing of Ethan Carter. Games I might never have had a chance to play properly if I hadn’t had the means. I’m really glad I did.

Anyway, we were able to choose four games for our Fall Art Preview, but many more emerged when we thought more broadly. So this Fall, try something new, something original, something to share and recommend. These games will get you through the Fall and Winter, and by the end, you’ll have a story of your own to tell.

What to Play


Nintendo Switch Sports. Photo: Nintendo

With no dedicated Olympic games this year, it’s worth giving it another try. nintendo switch sports It’s a lot of fun, especially with the addition of basketball in the new update. Play alone or against friends (both online and locally). Shake the Joy-Con to dribble and flick your wrist to shoot. There are even mini-games to test your dunking prowess. The collection also includes five other Olympic sports, so you can easily organize your own slightly chaotic sports tournaments.

Available on: Nintendo Switch
Estimated play time: all you want

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Among Us: An unexpected lockdown hit. Photo: InnerSloth
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Question Block


How will Nintendo follow up on the Switch’s success? Photo: Chesnot/Getty Images

This week’s question was submitted by user X Dan Chambers he asked.

“Will the Switch 2, or whatever it’s called, ultimately find a product that can rival the Switch, or is it destined to be a comparable failure? And what are the key building blocks for success?”

Regarding Nintendo’s next game console, it will be released by the end of March 2025. Rumored specs It’s got an 8-core Cortex-A78AE processor, 8GB of RAM, and 64GB of internal storage, which is fine but not all that exciting, and no one buys a Nintendo console for its techy appeal.

Aside from the SNES, the company has always done best when it has made major updates to the form factor of its machines, like from SNES to N64, or GameCube to Wii, while struggling (comparatively) with more tech-driven updates, like the GameCube (beloved by some, but disappointing sales) and Wii U. The Switch 2 seems to fall into the latter category at the moment, with no fresh ideas being heard in terms of interface or interaction.

What’s needed is a highly visual, easily understood, game-changing concept. Something that can easily be shown with a few seconds of footage from a new Super Mario game. Perhaps there’s a new feature for the built-in screen, or a never-before-seen local multiplayer concept. The design philosophy of Nintendo’s great tech wizard, the late Gunpei Yokoi, still holds true: think horizontally with dead technology. A big OLED screen just won’t do.

If you have any questions for the Question Block or any other comments about the newsletter, Please email us at pushingbuttons@theguardian.com.

Source: www.theguardian.com

The closure of Xbox 360’s innovative online store marks the end of a gaming era | Gaming

TThe Xbox 360 digital store is the latest to go offline, following the closure of the Wii U and 3DS stores in March. About 220 games were shut down on Monday, according to the analysis. Video Game ChroniclesPreservationists at the Video Game History Foundation Made a funeral cake.

When it comes to backward compatibility and game preservation, Microsoft is arguably the best of the big companies. Despite the loss of 220 games, the majority of the Xbox 360 back catalogue is legally playable on subsequent consoles. It’s also worth noting that the Xbox 360 Marketplace lasted for nearly 20 years (the console was released in late 2005). It wasn’t the first digital store for the console, but it was the first one I used, and I’m sure many UK players did too. The Xbox 360 was the most popular console of its generation in the UK. Looking back, the Marketplace was astonishingly ahead of its time.

In the 2000s, brick-and-mortar video game retail still ruled the roost, and retailers had a lot of influence over game pricing and distribution. Back then, offering digital-only games risked retaliation from players like Electronics Boutique and Game. I remember reports at the time reporting rumors that some stores were threatening to not stock Xbox 360s at all, because allowing players to download games digitally would severely undermine retailers’ business models. (To be fair, they were right; video game retail had been in a protracted death spiral for years.)

The Xbox 360 Marketplace didn’t bring about a big change on its own. The transition to digital stores was gradual, with all the major players, from Steam to Sony to Nintendo, playing a role over the years. “Digital was somewhat additive to retail to begin with,” says Chris Dring, head of GamesIndustry.biz. “At the time, over 90% of console games were bought in a box that sat on the shelves of stores like GameShop or Tesco, but it wasn’t until 2019 that the majority of AAA console games (51%) were downloaded rather than boxed. The Xbox Live Marketplace was primarily where people bought DLC and occasional indie gems that were only accessible via digital stores. But it was fundamentally the beginning of the transition to the digital future we live in today. Now everyone is copying what Xbox did with Xbox Live and the Marketplace.”




Shoppers look at computer games at an electronics boutique on Oxford Street in London. Photo: Graham Turner/The Guardian

But what the Xbox 360 Marketplace really changed for console players was how Which There’s a limited number of games you can buy, and while it’s always been possible to download and play small, experimental games on PC, the same wasn’t possible on consoles before the Xbox 360. I think the Marketplace directly enabled the indie renaissance of 2010 and beyond by giving smaller game developers and publishers a way to sell their games to millions of console players without the expense and logistical issues of releasing boxed copies.

Starting with the original Xbox and gaining momentum in the 360 era, Xbox Live Arcade was revolutionary. Every week a new, small, downloadable game under £10 was released, from developers big and small. I played hundreds of games this way, and they were some of the first unboxed games I owned. Among them were Limbo, Fez, Geometry Wars, Super Meat Boy, and the greatest version of Uno ever (don’t @ me). There’s a strong case to be made that the Xbox 360 Marketplace introduced indie games to millions of console players.

As Dring points out, digitalisation also has its downsides: “In 2005, Xbox (and PlayStation and Nintendo) were platforms. Now they are the platform, the distributor, and the retailer. They control the whole chain. And they are increasingly becoming media themselves, through their websites, YouTube channels, and announcement videos.”

We’ve become so used to downloading games digitally that it’s easy to forget how refreshing it once was. Saying goodbye to the Xbox 360 Marketplace also means saying goodbye to an era of gaming where even DLC felt new and exciting. I rather miss those days, and the long hours of late-night gaming on Xbox 360 Uno.

What to Play




Short and sweet…Thank you so much for having me here! Photo: Panic

A very British slapstick comedy game Thank you so much for coming! It was released today, and the reviews (including our own) have been rave. Created by two Barnsley residents and set in the fictional northern town of Barnsworth, which seems to be built around visual gags, it’s short and sweet, but packed with great jokes and quirky situational comedy in the tradition of Monty Python and the Mighty Boosh.

Available on: Nintendo Switch, PlayStation 4/5, PC
Estimated playtime:
3 hours

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Question Block




XCOM: Enemy unknown. Photo: Filaxis

reader Akshay Question of the week:

“I recently finished Yakuza 7: Whereabouts of Light and Darkness and found myself completely lethargic for a few days after completing it. I’d spent nearly 180 hours playing the game and had developed some good habits, so it was a real shock when I had to say goodbye. What’s the best way to get out of a post-game slump?

Ah, I know that feeling! I remember beating XCOM (above) in one weekend, saving the world, then sitting aimlessly on the couch in my pajamas, not knowing what to do next. I remember playing The Elder Scrolls: Oblivion for so long that I left my apartment after the credits finished and walked listlessly around the city. TV shows and books can give you that same feeling when it’s time to say goodbye to characters and worlds you’ve lived with for a while. But games are much more time-intensive, and much more immersive. Ending a game can feel like a farewell.

And just like after a breakup, it’s not a good idea to jump right into a new game; it only invites negative comparisons. So in between big games, go out, read a novel, or grab a drink with a friend you temporarily lost because of Breath of the Wild, and really feel That you’re ready to try something new.

If you have any questions for the Question Block or any other comments about the newsletter, Please email us at pushingbuttons@theguardian.com.

Source: www.theguardian.com

Dreamsettler: Exploring the Pre-Facebook Internet Through a Gaming Time Capsule

IIt's been five years since Tendershoot's wacky '90s internet simulator Hypnospace Outlaw, and this spiritual sequel was announced two years ago. In that time, as tech moguls buy up social media giants, Reddit gets monetized (and effectively censored) against the will of its user base, and AI becomes more and more prevalent, millennials' yearning for the lawless, algorithm-free days of the early internet is only getting stronger. At least, that's how creative director Jay Tholen feels.

“I knew things were bad then, but I didn't think it would get this bad,” Thoren says of the current state of the World Wide Web.

Both Hypnospace Outlaw and Dreamsettler are set in an alternate world where people browse the internet while they sleep. In the first game, you're put in the shoes of a forum moderator, helping to keep internet users safe by fighting piracy, harassment and illegal activity. In Dreamsettler, set between 2003 and 2005, players have more powers, this time playing as a private investigator looking to make a name for themselves.

It starts with players setting up their own page and choosing which part of the web they want to base themselves in, like Camp Rowdy, which Tholen describes as “kind of like Good Time Valley, but with a bit more of a country subculture.” Low-risk deals help build your reputation. Eventually, Sleepnet, the company behind Dreamsettler, will ask you to unearth something for them, and other powerful companies will start seeking your services, too.

Imagine you've been asked to investigate a murder that may be linked to a conspiracy theorist's personal web page. You'd start by skimming the news article to find the date of the accident, then look at people's pages around that date to see if they have any clues that might lead you to the crime.

After two years of development, there's still no release date in sight for Dreamsettler. “No game I've ever made has been in this situation,” Tholen says, only half-joking. “Publishers have given up on setting deadlines. They don't like to make too specific plans because it makes it very tedious, and they don't allow for iterative design.”

Besides bumping up the game's resolution from 480×270 pixels to 960×540 pixels (if you remember Windows 95, you know that was once a huge amount of screen real estate for a Web page), one of the hardest things for Tholen was pleasing everyone: He hopes Dreamsettler will appeal to both those who lived in the early days of the Internet (many of whom played Hypnospace Outlaw) and those too young to remember what a dial-up modem sounded like.

“I always have this rule implicit in my head,” he explains. “What you need to know to enjoy Dreamsettler needs to be found within the game. There's no 'you don't know what you don't know' reference. The game needs to have that information accessible somewhere so that every player can enjoy it.”

Source: www.theguardian.com

Gaming Subscription Services Are Overly Complicated

and othersLike many of you, I deeply resent the insidious penetration of subscription services. I started with an affordable, shareable Netflix subscription years ago. Then Spotify, then Disney+ when I had kids, then Prime Video, all of which somehow made sense. Then Fitbit started charging me to unlock features on a device I’d already bought. Google now charges me a monthly fee to store the photos I take with my Google phone in its cloud. I pay a yearly fee for an app that lets me look at guitar tablature. Last week, I tried to buy protein powder only to find I could only buy it if I committed to at least a three-month supply. That’s awful.

When it comes to gaming, I’ve been an Xbox Live subscriber on and off since 2003. PlayStation Plus came later, and Nintendo Online came much later with the launch of the Switch. I don’t play many live service games, but otherwise I would have paid £8.99 for the Battle Pass. To add to this already difficult situation, last week Microsoft announced an update to their video game subscription offers that required a spreadsheet to understand.

Currently, there are two words, Game Pass Standard and Game Pass Core, but they both mean the same thing. There is also Game Pass Ultimate, and some of these options apply to PC as well, while others don’t. Some offer new Microsoft games from day one, some don’t. Some include cloud gaming, some don’t. And they all have higher prices now. I’m not stupid, so even after going through these options multiple times, I can’t 100% explain what they mean and how they differ without referring to a table.




“It’s like an Animal Crossing tax.” Photo: Nintendo

PlayStation Plus is now almost as confusing and expensive. The options are called Plus Premium, Plus Extra (also synonyms), and Plus Essential, and the linguistic clarity is enough to make you want to scream into a pillow. They all come with different perks, but you can’t play online with friends without paying. As for Nintendo Switch Online, well, it has almost no perks, so it feels like a tax on Splatoon 3 or Animal Crossing. But at least it’s simple, with only two options, and significantly cheaper than Xbox or PlayStation.

I hate feeling like I’m paying a small mortgage to every entertainment and services company in existence. You could argue that every company is an option, but it doesn’t feel that way. And outside of gaming, most of these services have proven to capture the market with a relatively cheap introductory price, get everyone to switch, and then raise prices once their competitors fall far enough behind. This is why I’m skeptical of things like Game Pass in general. At the moment you can’t claim it’s a very generous offer with a great games library, but if in 10 years’ time Microsoft has bought up the games industry further and decided to charge you £30 a month to play Call of Duty, you’re going to be in trouble.

I often affectionately tease my partner about his unwavering attachment to physical media. In addition to a record collection that’s thousands of records long and shelves of Blu-rays and DVDs, he also buys boxed games on discs and cartridges like it’s 2005. But his approach is starting to seem like an act of rebellion: At least, despite the decline of video game retail, there’s still the option to actually buy and own games.

He’ll be the only one laughing when, in future, I pay £100 a month for an Ultra Super Game Cloud Box Plus to access and play my digital library of games I bought 10 or 20 years ago.

What to Play




Short, simple and anxiety relieving…Flock. Photo: Annapurna Interactive

Under review Swarm This week’s game is super simple, short and anxiety-relieving. Ride your bird through colorful and bizarre landscapes, identifying and recruiting wildlife. They all look a bit like flying fish, but you’ll know the difference between a piper and a greaves, a bell and a droop, and some animals are hiding. Really It blends in well with the environment and feels like a puzzle game, where you’re figuring out how to find a creature based on a sentence from a field guide.

I wish there was more to the game – the creatures that follow you around don’t do much, for example – but it’s relaxing and stylistically interesting.

Available on: PlayStation 4/5, Xbox, PC
Estimated play time:
5 hours

What to Read




Prince Faisal bin Bandar bin Sultan Al Saud, chairman of the Saudi Esports Federation. Photo: Anadolu/Getty Images
  • I reported last year that the Olympics had tried but failed to include esports. The IOC has now He signed a 12-year contract New event series with Saudi Arabia eSports OlympicsSaudi Arabia is already hosting an esports World Cup, and its Savvy Games Group has made huge investments in various gaming companies, all of which can be seen as an extension of the country’s broader sports-washing efforts.

  • Listen up, all you old-school Roller Coaster Tycoon fans. Frontier has announced Planet Coaster 2A sequel to a highly detailed theme park simulation You will also be able to build a water park..

  • MobileGamer.biz speculates that: Only 2,000 people have paid Resident Evil 7The reported revenue figures suggest this is a technically impressive iOS port, which, if correct, raises the question of whether the market for premium console-style games on smartphones even exists.

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Question Block




Nintendo in Tokyo, Japan. Photo: Asker Karimalin/Alamy

The well of questions is drying up, so please send them in. I dug through the email archives for this one. Luke:

“With all of this, with game industry layoffs, the state of console gaming, and late capitalism, where does Nintendo fit in? All this? Big Because 3 is primarily a games company and not a division of a large tech company, they have quietly continued to operate without any major hiring or firings. Is this a by-product of their business culture, or something else?

There are many reasons why Nintendo is particularly resilient: it has large cash reserves, sells consoles at a profit rather than at a loss on hardware to make money on games, and has very high staff retention, allowing for the transfer of organizational knowledge. The company’s much-missed former president, Satoru Iwata, made headlines during the Wii U era when he cut his own salary to protect staff from layoffs. But this is not unusual: Japanese companies generally do not hire and fire employees repeatedly due to employment laws.

This article Gaming Industry Let me explain the labor protections that Japanese developers enjoy. It’s nearly impossible to fire employees unless a company is on the brink of bankruptcy. And this is just one of the many reasons why Japanese companies are not affected by the current flurry of layoffs. Thanks to investment from China and the size and profitability of the mobile games market, the games industry is stable and actually growing in Japan.

If you have any questions for the Question Block or any other comments about the newsletter, Please email us at pushingbuttons@theguardian.com.

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

Review: Game On – An exciting day at the interactive gaming expo

Enjoy circle as you step through the door of This exhibition. The first sight that greets you is the PDP-10, a giant mainframe computer that programmed SpaceWar, the groundbreaking video game. Adjacent to it sits a vibrant yellow Pong arcade cabinet from 1972. Moving on, you’ll encounter the classic cabinets for Puck Man (later Pac-Man) and Space Invaders, evoking a sense of nostalgia for gaming enthusiasts. While seasoned players may not discover new insights at Game On, they are sure to revel in the experience.

Game On, an exhibition that debuted at the Barbican in London in 2002, offers a captivating journey through the evolution of video games. Despite being closed briefly due to the COVID-19 pandemic, it has been touring internationally since its inception, finally opening in Edinburgh. As someone who attended the exhibition with my father 22 years ago, I am excited to now take my children and introduce them to the classic games I loved in my youth. The exhibition allows visitors to play a wide range of games, from Donkey Kong to Guitar Hero, offering a nostalgic trip through the ’80s, ’90s, and ’00s.

Puck Man and Pac-Man at Game On at the National Museum of Scotland. Photo: National Museum of Scotland

The exhibition has evolved over the years, not just reflecting technological advancements in gaming but also highlighting overlooked figures like Carol Shaw and Jerry Lawson. It also pays homage to Scotland’s gaming legacy, showcasing not just mainstream hits like Grand Theft Auto but also lesser-known Scottish indie games.

While the initial decades of video game history were marked by technological advancements, the recent years have seen a shift towards human-driven innovation in game development. Game On provides a comprehensive overview of gaming consoles and their associated games, offering visitors a nostalgic trip down memory lane.

A screenshot from the Scottish indie game “Viewfinder,” which reflects the countries the team is touring. Photography: Sad Owl Studios

Game On presents a conventional yet engaging history of interactive gaming, with a strong emphasis on gameplay. Although it may not delve deeply into the development processes or creators behind the games, visitors will delight in playing over 100 games in a lively, family-friendly setting.

Source: www.theguardian.com