Microsoft have revealed their new console, the Xbox One.
It is going to have more emphasis on content that isn’t games, such as TV and films.
Games shown at the conference were Forza 5, multiple EA sports games, and Call of Duty: Ghosts.
The system will also have a new Kinect bundled with the system.
Microsoft did not give any indication of how much the system will cost, used games will also require a “preowned fee” to be paid.
Xbox 360 games will also not be backwards compatible with the system.
It’ll be launching in time for Christmas, is anyone intending to get one? I’m not quite sold on it myself, but we’ll see what they have to show at E3.
The previous wednesday, I had atttended an awards ceremony for my university course, and I ended up being one of the award winners.
I’ve won blogger of the year for this website in particular.
I’d like to thank all of the readers, all of the people who gave their time for me to interview them for features, all the people that allowed me to join in with gaming events. It’s been fantastic working on this, and I hope to do a lot more with it.
Also, I will be live-streaming more Dragon Quest VIII at 7pm GMT. Check it out right here.
Tonight at 6pm GMT I will be attempting the first proper PixPen livestream.
I will be playing Dragon Quest VIII: Journey of the Cursed King. Hopefully you guys will enjoy watching it, and I’ll enjoy playing it.
This is a first time effort so I hope you can excuse any hiccups that occur, be sure to point any out.
Check out the livestream here at the right time.
People aren’t always aware of what goes into making a game, unlike with movies and all of those making of documentaries you can find.
It’s made personalities out of the people in the film industry, something games don’t have as much. Which is a shame because they have some nice people.
There’s nice people here at Mythic Entertainment, they must be nice to invite me, a total stranger who has had little experience writing about videogames professionally.
Paul Barnett, the General Manager had decided to invite me after finding this blog through my twitter account. It seemed rather surreal at first, initial emails I had sent back sounded a little hesitant as this is not something I’ve ever had the opportunity to do.
After encouragement from university lecturers I took up the offer and made the long trip to America to visit the studio.
The studio takes up the top floor of a big tall building, I kind of expected them to have their own building. Bearing in mind this is the first time I have been to one of these places, it is quite possible the potential scale of an environment like this may have been over-inflated in my imagination.
There’s also a lot of press about game development being an incredibly stressful job to work in with no free time, this place didn’t come across like that at all, it came across a bit more relaxed and friendly. Sure all the people working there have their own things to worry about and stress over, but they all found the time to talk to me, and they were all very polite.
Mythic are usually known for their MMORPGs Dark Age of Camelot and Warhammer Online, but recently have transitioned into developing for mobile platforms.
They had managed to sit me down with people of very different disciplines. Designers, quality assurance, art, localisation, audio and video. It was fascinating to learn more about all the kinds of work that goes into making a game.
Nick LaMartina, director of Audio and Video at the studio came across as incredibly passionate about his work. Currently he is working on the Ultima Forever soundtrack, and since the game is taking influence from Ultima IV it’s encompassing that game’s score into it’s own.
Different devices come with different challenges. Working for iPad, art now has to be scalable, Art Director Pete Lipman was telling me. Large amounts of detail could be lost when players zoom in and out, something artists now have to account for.
These people aren’t going to get so much recognition, even though they put so much work into everything. It’s a shame really.
This is of course a place where videogames are made, and I got to see some raw, unfinished prototypes. I’m used to seeing games as fully functional experiences, so it was a little different to be playing something incomplete.
With prototypes, I learned that you have to understand not everything is going to be perfect. You can come across a bug, or find that something hasn’t been quite implemented yet. What they show off are ideas that could eventually be put to good use. I’ve been made to sign a non-disclosure agreement, so I can’t really talk about everything I have seen, some of that might not even see the light of day.
One game I did see was Ultima Forever, an interesting take on Ultima for the iPad. It feels like it could be a good attempt to bring PC-style Action-RPGs onto a tablet. I took up quests and explored a few dungeons, as you do in most RPGs. It controlled rather well on the system, holding your finger on the screen to move the character, and tapping monsters to kill was fun and simple to pull off.
I got some time as the Warrior and Mage class, the Warrior being your usual hit-things up close strong man, and the Mage preferring to attack from afar.
The structure of dungeons did intrigue me as well, intending to be more bite-sized affairs around 5-15 minutes in length, as opposed to the gargantuan length dungeon raids in most MMORPGs that can last hours.
I had a great time at Mythic, and another opportunity to do something similar in the future could be very fun indeed. It was interesting to learn about what goes on backstage, see games that most of the public don’t know about yet, and speak to the people behind them as well.
Ken Wong got his first videogame job from a piece of fan-art he did on the internet.
He created a piece of fan-art for American McGee’s Alice, and got noticed by the game designer who asked him for if he wanted a job. Eventually that led to him being the art-director of the sequel, Alice: Madness Returns.
Most recently, Ken has been working on his own iOS game, Hackycat, which is a game of Hacky Sack except you kick cats in the air.
Hackycat is the first game that Ken Wong has worked on as an independent, solo developer.
He told me: “I have always been more interested in smaller more expressive games, and so when iOS came along, especially the iPad I got into these smaller tightly designed games, so that’s what I was interested in when I started Hackycat
“The barriers for entry are much lower for IOS, you can make a game with just a laptop and with some free software, and with an apple developer account, and that’s a lot easier than making a console game.”
Moving from a big project with a team, to a small indie title working by yourself can be challenging.
“you have to become very self reliant because you’re the only person there, you can’t turn to the programmer and say ‘hey can you fix this, can you work on this for the next couple of days?’ so I had to get used to not having anyone else and that often means taking on the role of producer, QA and handling marketing and all that kind of stuff.
“I was working from home at the same time, so it was really easy to get stuck in your own head. You’re working on the game design and you think it’s fun, but you’re not sure cause you know only you’re playing it yourself, so you need to get out there and have a few people play it and really listen to their feedback.
“It’s kinda hard when you know what you want and they’re just not getting it, they don’t think it’s fun, and that was challenging for me because I think I know what I want but you have to listen to the audience and analyse their feedback.”
Wong also warned those who wish to immediately want to go into indie development: “I do think that I can only do what I’m doing right now as an Indie because I spent many years working with a team of fantastic talented people who I learnt a lot from.
“I think it would be quite hard to do this without my prior experience, so I would say, if you can, work with people more experienced so you can learn for a few years.
“If you’re determined to embark on this indie adventure, listen and learn to the people around you, read as much as you can from people who have done indie games, listen to their advice, learn from their mistakes.
“I think there’s this idea of ‘I’m a game designer and I’m gonna make a game and people will like it’, it’s a more organic process than that, people will give you feedback and you have to respond to that.”
It’s too early for him to tell if it’s a big financial success, but in some ways, he’s already succeeded: “I think for me what I wanted to achieve with this game was complete the project, to make a game by myself and put it out, so I’ve done that and I’m really happy about it, so the next thing is just to see how well it does financially.”
“Games writing has a chequered history,” said Rhianna Pratchett, writer of the latest Tomb Raider reboot, Overlord, Mirrors Edge and Heavenly Sword.
“It wasn’t usually done by a professional writer, it was usually someone who just fancied a go or someone who drew the short straw.”
The last fifteen years has seen videogames bring more focus onto narrative, Rhianna Pratchett listed Portal, Half-Life 2, Bioshock, Mass Effect, Dragon Age and Dishonored as proof of this.
So when I met her at the Animex festival at Teesside University, I asked her what she considered when writing a game:
“It’s important to know how gameplay and story fit together, and how one informs another.
“With Tomb Raider we didn’t want the case that the story and gameplay were each created in a vacuum, we wanted it seamless and appear as a cohesive whole. It was important that both disciplines talk to each other to get this done.
“Tomb Raider’s not a story led game, it’s not a gameplay led game, it’s an experience led game, it’s a journey led game, so gameplay and story both come together to support that journey, to support that origin story of Lara.”
Overlord was a comedy-fantasy game, something not often seen, so I wondered why is videogame comedy not as big a thing?
“What worked with Overlord is that the humour was saturated throughout, it wasn’t just down to script, it was down to the overall premise, the animation of the minions, the voice acting and the level design. It was all very cohesive, it all kind of worked together. We had some really great voice actors.
“We sort of built the humour in from the ground up, through everything, and I think that’s kind of what you really need to do.
“If you look at something like the Monkey Island games, they take a similar way of doing things, they sort of built kind of comedy into the animation as well as the writing and the gameplay premise.
“I think comedy is hard to do in games because you can’t control the scenes in the same way as a film can. You can sort of control timing a little bit but because it’s an interactive medium you never quite know if the player is going to hit something at the right time.”
When creating stories, communication between divisions is important according to Pratchett.
“You really have to work closely with gameplay departments and level design, particularly with something like Overlord where I worked every day with the level designers.
“That meant that although it was my script, they had an input into it, it was shaped around what they wanted for their levels.
“On something like Tomb Raider which had a much bigger team, I drew reliance on creative director Noah Hughes and narrative designer John Stafford to be a conduit between myself and the team and make sure that I was aware of when things needed to change
“That’s quite a good way of working and it tends to work well.”