The night prior, current and former Epic Games employees told Polygon, a mystery meeting got added to everyone’s work calendar. There was no information included, except for a directive: Cancel any meetings that conflict with this one, because this one is mandatory. “I jokingly messaged my team and was like, ‘I don’t feel good about this meeting. Is this how we find out we’re all getting fired?’”
Yeah, that's the only thing a meeting like that ever means. Not in games, we got one of those where I work too.
Ultimately the game still had to release on Series S and Microsoft can simply say “no.” I think this is just bar talk speculation taken too far frankly. I’d be surprised if this radically changed their position.
Thing is, it didn’t ultimately have to release on series S. Larian could very well have decided it was too much work to get it to work, and Microsoft didn’t want Xbox left out of such a big release. I think as the generation goes on, you’re going to see a lot more devs and studios deciding or not worth all the extra cost to try to get a have running on S for an Xbox release, or games will get nerfed from the early development stage, unless Microsoft lighten up on their parity requirements.
Yeah but not everyone is going to be in Larian’s position, and those with that kind of clout also stand to lose out a lot of revenue they clearly wanted in the first place.
So they’ll most likely decide to completely remove features from the Xbox releases rather than try to get them to work on S, which will lead to worse gaming options on the Xbox. Which Sony will absolutely love.
Which isn’t to say that Sony hasn’t been actively trying to ruin their reputation all by themselves over the last 1-2 years. This whole console generation has mostly been about both companies getting just a little too comfortable and screwing over their customers in the process.
“It gave me space to breathe a little more,” she said. “I remember a moment where I did get harassed, I don’t know what it was, but it was either a Twitter [message] or an email. And [when I saw it], I was like, Oh, that hurts. And then I was like, Wait a minute. That hurts. That’s cool. Being able to feel again, that’s a form of healing.” And by stepping away for a bit, she hopes to keep giving herself more and more space to grow.
I learned a lot from Anita Sarkeesian’s work, and it was a nice thing to see, growing up as a girl who had to justify my existence in the space, despite gaming making up a huge portion of my youth
So first thing I notice was the top 1/3rd of the page being a blank space.
Then I remembered I had an adblocker.
That said, I rarely ever visit the website, but it looks like every generic blog/news theme format I’ve seen in the past 10 years or so lol. Never change a winning team, but it’s nothing to write home about to be honest.
What?! They have very unique squiggles and bright colors! No one else is doing that.
I really don’t get the logic of redesigns like this or The Verge. Was the design team just told, “traffic is down make it look new so we can post a blog about it”?
People pretty often completely understate the Vita’s popularity/lifespan. Less than the 3DS for sure, but early metrics were stupidly counting hardware sales when it was moving early to digital.
In Japan it stayed popular long after the USA stopped talking about it.
Haha, online games licensing sucks. It’s almost as if, when we discovered we could distribute media freely and infinitely by digital means, we should have restructured how media and licensing works for these products. but we didn’t, and now we have bizarre situations where publishers try to delete their own games from existence rather than spend some upkeep for music licensing
Like I agree with your general point but this has nothing to do with online games licensing besides its being pulled from digital store fronts. Brick and mortar stores can have product recalls as well and this would likely be in that same category of problem (its a bit weird with preowned games since publishers were already given their cut) so they can continue to sell those but a brand "new" copy may have suffered a similar fate but we have to remember Spec Ops the Line is from the 360 era so I doubt there would even been many "new" copies around. Also I can't fault publishers from just "deleting" a game from existence because spending thousands for merely upkeeping the licenses for a game they realistically haven't sold in major volumes for nearly half a decade (at minimum) seems a tad bit unreasonable. Most music labels likely aren't even going to sell a perpetual license as well, so its a can of worms of people wanting to get their cut.
The reviews so far have been fairly positive. I’m pretty eager to jump in to 2.0 tomorrow. I’ll have 5 days to get my new character ready for PL!
I just finished a playthrough a couple weeks ago with a Sandevistan+Katana build, which was SUPER fun! I was planning on going Stealth Netrunner for this play through but after seeing all the changes to the existing systems, I am tempted to go Sandy+Sword again. But I will probably control my urges and focus on Stealth to complement the “spy thriller” story of PL.
Honestly, if nothing else, I’m grateful for the fact that they give you a cyberware capacity - the extended gameplay trailer they showed implied that certain cyberwares would have a ‘humanity’ cost but the game had none of that on release, just treated like extra equipment slots, which was incredibly disappointing. Also it looks as though they’re not locking weapon upgrades behind the tech tree, which is great, because the fact that you could pick up uniques that would be useless in a few levels unless you dropped everything into tech (and even then) was also a major disappointment.
Yeah the crafting change is huge. It frees up a lot of points from “mandatory” crafting so you can really branch out more. Builds should be a lot more interesting and hard to screw up now.
The big change with cyberware that I like is 1 - You don’t have to go to every ripperdoc (or some online wiki) to find the bits you need anymore. Every ripperdoc sells everything. and 2 - You can upgrade it as you level so you don’t have to worry about “wasting money” buying low tier stuff early that you’ll have to replace later.
I hadn’t heard about those changes, but that’s quite a relief. I hated traveling to individual ripperdoc clinics to snag all the best upgrades. Especially because the best cyberware for your frontal cortex can only be bought from a VDB ripper in Pacifica, and I didn’t want to give those assholes any of my eddies.
Not to mention Fingers had the best Sandevistan and leg mods in the game and not punching him is SO HARD! Now neither of those mods are in the game anymore and you can safely beat the crap out of Fingers with no regrets.
Yeah and the new reworked Berserker cyberware to go with it! Gorilla Arms with the new relic perks to make them explode people from punching too hard… tempting indeed!
I never played BioShock 2 or Infinite, but I watched full playthroughs of each, and I thought infinite was great! Different to be sure in most ways, but it was a neat expansion of the world and themes hinted at in the first two games.
I seem to remember a lot of sideline criticism when it came out that boiled down to “NPC sidekick not love interest but hot so I don’t like game”. I thought, and think that is ridiculous, and fortunately I think that criticism has faded with time because Elizabeth is such a positive part of the game, from my view.
I really liked BioShock Infinite. I enjoyed the story, I enjoyed that it was a deviation from the previous two, I liked the characters and the dimension travel. I especially liked the “fake facade” of it all, versus the overt, grimy dystopia of Rapture (which was fine). It gets extra points for being playable with ReShade on solely a Ryzen 5600G.
I honestly felt it was weaker than both Bioshock and System Shock 2. It was stronger than Bioshock 2, but I mean… that doesn’t take a lot.
Both System Shock 2 and Bioshock built the game systems first and foremost to be fun and engaging, and then wrote an engaging story around those mechanics. Bioshock was literally taking dumbed down systems from System Shock 2 and rewriting a more engaging and thoughtful story around the familiar systems. Bioshock Infinite seemed much more like they had a story idea first and then tried to adapt Bioshock-esque gameplay hamfistedly stapled onto said story. The others feel like the gameplay came first, and the story evolved naturally to align with the gameplay.
Games like Neir Automata really show where a synthesis of game systems design and game story design are really important and become even more impactful to the story, and in this Bioshock Infinite failed in comparison to earlier installments in the series (and its spiritual predecessor, System Shock 2).
I feel like it’s hard to talk about Bioshock as a series at all without discussing System Shock 2, because that’s where Levine first pioneered his story with the engaging antagonist who speaks to you through a radio, and Bioshock is where he refined it into what comes close to literature. Bioshock Infinite marks a regression, more worried about the story that Levine wanted to tell than the gameplay to support it. Due to that the story falls flat, feels stilted, and Levine’s generic take of “everyone can be a bad guy” feels hollow, because it’s not backed up by compelling gameplay that supports it.
As McLuhan put it, “the medium is the message” and video games inherently work better through a synthesis of gameplay and story, without one dominating over the other. Games that lean too far in one direction or the other (Metal Gear Solid’s interminably long cut-scenes for instance) take you too far out of the gaming medium and too far into other, more detached mediums.
As McLuhan put it, “the medium is the message” and video games inherently work better through a synthesis of gameplay and story, without one dominating over the other. Games that lean too far in one direction or the other (Metal Gear Solid’s interminably long cut-scenes for instance) take you too far out of the gaming medium and too far into other, more detached mediums.
Absolutely banger take, I agree completely. Games have a difficult needle to thread, unlike a book or movie that can be strictly narrative-based, a video game has to somehow give the player enough agency while taking it away to allow the story to progress. And now I have DND on the mind again.
I’m reminded of a comment my older brother made about Final Fantasy X, all those years ago. He described it as basically playing a movie. Go figure, I liked the cutscenes!
I came back because I read a bunch about Levine’s new game, Judas… and it sounds like his approach to Judas is exactly what I’m asking for.
He talks about “narrative legos” a lot while developing this game, and I think that’s the kind of thing he really needed to implement to be able to tell the story he actually wanted to tell.
I found one interview (already forgot which one) where he described Bioshock Infinite’s linear story as holding him back, and that’s part of why it’s a weaker installment, because it can’t change the story in response to your actions. That’s clearly what Levine was trying to do with stuff like the choice of harvesting of the Little Sisters or not, or in Infinite, choosing to be a racist piece of shit or not. He was held back technologically, and I think the “narrative legos” idea is why Judas languished so long in development hell.
Here’s hoping Levine learned his lessons this time around.
The art style was “what if we target the uncanny valley specifically?” It was the strangest thing that seemed to target realism but without the technology that actually makes it look reasonable. I didn’t really care about what it looked like though. Just having some game competing with Maxis would have been nice. Cities: Skylines brought the city builder out of the pit it had been festering in with no competition. I was hoping this would do the same. Hopefully the other projects can do that still.
polygon.com
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