LawBreakers is an interesting game. Not really from the game part though.
So who has heard of Cliffy B? A man whose affectionate nickname stands out because of his involvement in titles such as Gears of War, Bulletstorm and Jazz Jackrabbit…okay maybe just the first one. He also worked on a lot of the Unreal series. So yeah, guy has a resume.
His latest project was LawBreakers. A competitor, not-competitor to Overwatch. Using anti-gravity mechanics, you could move in ways that differentiated the gameplay from its other hero based shooter brethren.
Unfortunately LawBreakers has been a bit of a flop. In some respects that’s an understatement and I’m sure the game itself has a lot of heart put into it, as the development team is clearly passionate, as is the publisher, but sales wise, it didn’t do well, and it’s player base is unfathomably low.
Personally the first reason I can think of this happening is obviously Overwatch. If you want to release a hero based shooter, you need to stand toe to toe with the marketing juggernaut that is Activision-Blizzard. You need to be able to outpace and match Overwatch, no matter how different your gameplay is, it’s occupying the same space and aiming for the same players.
Just like Battleborn, another game that was attempted to be sold on name alone. Sure, Gearbox software has a name to them, one of…mixed quality…but it’s still a big name. But that enough wasn’t going to stop Overwatch, which release just before it, from casting a shadow and kicking the game aside. Not even going Free To Start saved it.
LawBreakers fared even less well. It came long after Overwatch had established itself as THE Hero shooter title. Millions of players, millions in revenue, it’s a juggernaut. What hope did LawBreakers have of snatching some of that away, especially without the marketing behemoth that is Blizzard behind it?
The next thing that stood out to me, or rather, didn’t, was how under the radar this game was. Before release I was aware of a beta. I was aware the game existed, but I didn’t know much about it. All I heard, and all a lot of articles really said was that it was kind of like Overwatch, and a game from Cliffy B. What the game was certainly could have been conveyed better, especially what made it different from Overwatch, and it certainly didn’t quite grab the zeitgeist like a viral hit would.
The weird thing is, who can say why this happened? I’d certainly like to believe it is because, yet again, you can’t be a comparatively smaller publisher shouting your lungs out about a game, when there is a man with a megaphone right next to you. You won’t win that battle, not without some unprecedented windfall.
It could have just as easily been a case of not presenting the rights parts of the game.
The next point is what I think really damaged the ship. As I stated a lot of the buzz around the game was “It’s from Cliffy B!” and while that CAN sell a game, it more often than not doesn’t.
Example: Mighty No. 9. From Keiji Inafune. Game wasn’t that good really. Heck even long-standing industry veterans can’t sell a game on name alone. The name of the company behind it, or the franchise in question can certainly reach the masses. Granted the game still needs to be good. But the masses don’t know the individuals. Ask anyone who Shigeru Miyamoto is. They don’t care about that. They don’t know the people.
More so, you can certainly say “Oh, this is the man behind the concept”, but…what about the rest of the people actually making the game? Yes, Keiji Inafune could say Mighty No. 9 was his idea but the rest of the team was responsible for execution. A single name behind a game does not a good product make.
The reason I wrote this article is that publisher Nexon had a huge $32.6 million expenses hole in its financial reports, and naturally investors want answers. Apparently that was to be filled by LawBreakers, and the response the company gave was…interesting?
“…the timing of its launch turned out to be unfortunate, specifically the blockbuster PC online game PlayerUnknown’s Battlegrounds came out right about the same time, making the market environment very tough for first-person shooters in general and for LawBreakers”
Now I can understand this being the case on PC. But on consoles? Well Xbox One only just got PUBG and the PS4 hasn’t yet and won’t for a while. So this argument even if true only holds partial water. But on top of that no mention was made to the in-genre competition from Overwatch and Paladins.
But as I mentioned, even prior to launch this game didn’t really spark interest or catch attention. Nexon was banking on sailing a ship into a port already full to bursting with other similar ships. PUBG was just passing by.
This just goes to show that your name can’t sell a game on its own, and nor is throwing yourself into a crowded space without catching the eye of consumers a good idea.
And blaming a game that was passing by? A lot of other games managed to sell well this year despite PUBG being a thing. But damage control is damage control. You can’t tell investors “Our bad” otherwise confidence plummets. When you have a huge black hole in finances the last thing you want is people jumping ship.
As always I hope you enjoyed this article and that you give it a share and comment on social media! Until next time, Happy Gaming!
2018 is here, and I’m tired of the problems that companies present. A lot of them can just be sorted easily, so here are some resolutions for them all.
Firstly they need to kill off Steam Direct and start using actual staff for curation and in turn solve the highlighted problem of visibility for games, and the use of asset flips. Any platform should not be receiving 6000 games in 10 months, let alone in a few years.
Secondly, in addition to curation of games, actual customer service will be a must. They have some customer like refunds, though it has been proven that is a bit lax, and even with that they still lag behind in terms of actual customer service communication, with some queries being fast, and some taking days or weeks. This is an area any platform needs to get right and with the rise of third-party related issues, this has to be addressed.
For Steam in general, it mostly comes down to manpower and recapturing that desire to evolve the PC gaming space, however as the dominant platform in that sector, it’s unlikely at this stage unless something overtakes them.
THIRD PARTIES
So this is a big one. Perhaps the most shocking thing in 2017 outside of how good the games were in general, was how far third parties fell almost simultaneously.
Micro-transactions and lootboxes do indeed have a place in the games industry, however, it most certainly is not in full priced games, and absolutely not for progression or gameplay advantages. A pay to win structure doesn’t work in full price games. If the game was free then sure, there is your monetisation, but with already heavy season passes, full price games and additional DLC, it has become a bit ludicrous.
Secondly, PR! Perhaps Bungie has been the biggest culprit of this but that’s not the exception in recent months. Destiny 2 became an apology loop with each update and fixes for basic things, or things that should have been improved from the original game, were purely reactionary to backlash. Further to that point, EA has truly put their foot in it, with the contempt aimed at gamers being duly noted.
Finally, third parties in this coming year need to stick by what they say, and stop treating gamers like fools. Bandai-Namco and their “Show your support and maybe” approach to getting people to advertise their games for the promise of a Switch port is one thing, when done numerous times, but then the obvious tomfoolery from other companies beggars belief. 2017 was very much the year when the community bit back. Let’s hope they reflect on it.
PLAYSTATION
PlayStation is in a tricky spot. On one hand they have almost monopolised the industry, with sales left and right. One thing they need to do is keep the games coming and keep dropping fan favourites but also not lean on remasters too hard. Additionally, they need to avoid a repeat of 2016 and front loading all their first party titles.
Next, VR. 2 million sales is nice but the asking price combined with the price of a PS4 demands killer apps. Those killer apps need to come sooner rather than later, otherwise the market will stagnate. VR has a bright future, once revised and refined, but it needs to sell on concept first, and the concept needs big hitters. The catch is Sony isn’t known for supporting two platforms equally.
Next is doing what fans want. We want cross-platform play. Every other system has it. We want backwards compatibility of higher quality and frequency than we have had for the past few years. These are areas that Sony is being left behind in, and as much as they want it to be all service based in future, I don’t think other industries and infrastructures are ready yet.
Finally, don’t announce games so early anymore. The “Holy Trinity” of E3 2015 has only had one release so far and the other two are vaporware. God of War STILL doesn’t have a release date, and Spider-Man is likely to show up for the third E3 in a row. Further to this, don’t go to so many conferences, at least not within 6 months of each other. Spread them out, otherwise we end up with PSX 2017 being a repeat of Paris Games Week which was a repeat of E3, which was a repeat of the last E3.
Oh, and put a better damn battery in that controller. It’s laughable.
XBOX
This is tricky. On one hand, hardware wise, Xbox is fine for now. The One X is the enthusiast machine and the One S can live as a UHD Blu-Ray and streaming box. One thing it lacks is games.
It gets a bevy of third-party releases, but first party is terribly lacking. Most releases were pushed to 2018, but even then you can count them on one hand. I fully hope HALO 6 is a 2018 announcement at the very least. This is an area they need to heavily work on.
Second is Japanese games. Sure the brand isn’t big….at all…in Japan, but it will help reach a greater audience that the PS4 and Switch hit. As it stands Xbox is very much a Western device, and that’s its weakness.
Backwards compatibility needs to continue as is, as does pushing cross-play across platforms alongside developers and Nintendo. The PC support via Windows Store is nice and it is clear the future of Xbox is a service over a dedicated box on its own, but the focus cannot shift too far from selling consoles.
Stop shutting studios and show off that fabled (HA) AR/VR gadget you’ve got going on.
NINTENDO
So what can Nintendo do after an incredible 2017? A few things.
Firstly, mobile. Keep going as is, with not at all invasive monetisation (Seriously, Fire Emblem Heroes is VERY generous!) and two or three games a year. The view that the revenue is funnelled into game development and the games exist as an entry point to the main games is genius and seems to be working well.
Secondly, Directs. Keep the current format for Nintendo Directs and their frequency. These are amazing ways to communicate with consumers and get news out fast and in great volume. Sprinkle some Nindie Showcases and game specific presentations in the year, and the communication front is set.
On to Nindies: Don’t stop. Maybe rework the eShop for visibility purposes but keep those indies coming. The sales don’t lie and nor does the consumer response: Switch is an indie dream machine and in the wake of PlayStation apathy and Steam being a mess, this can be readily positioned as the new home for indie developers.
Regarding services, outline the Online Service at some point during the year, it’s feature set, and other aspects like the free games and discounts and such. I won’t expect Xbox Live levels of incredible, but enough to justify £20 a year. If you are feeling generous, maybe a Virtual Console service? Though that has in past damaged eShop sales for indies, so maybe stick with the Classic Mini systems instead, with an N64 one this year?
Get more third parties on board and if need to, keep paying them for games. The shining hopes are there with DOOM, Skyrim and soon Wolfenstein, as well as L.A Noire proving a hit. Now is the time to pick up steam. Ports of older games get a new lease of life and modern games can run with some effort. So bolster that library.
First party releases need to maintain speed, and the big game a month approach also should maintain. One or two months without works fine, those typically end up being third-party dominated months like November, so work around that.
Finally, slowly phase out 3DS. As I have mentioned before it is a budget option now, and with smaller titles, localizations and third-party efforts coming in 2018, it’s time to let it simmer and slowly phase out.
Maybe a Switch price cut too, towards the end of the year? That’d be cool!
And those are some gaming resolutions and a to-do list for companies this year. May we hope they all come true. Some will, as some are safe bets, others are merely hopes and wishes. If you liked this article, give it a share on the social medias, and I will see you next time! Happy Gaming!
At the end of every PS4 ad, I see that slogan. It’s the only slogan from a console maker I call bull at as well.
The PS4 got its early success from appearing “Friendly” compared to the upfront jackassery of the Xbox One reveal. Those anti-consumer practices of the launch were turned around and only really forgotten recently, under waves of good moves that are for the players of games.
Sony used this slogan early on, to show how they weren’t (But also kind of *were*) doing the things Microsoft were doing and talking about openly. At this time, the slogan made perfect sense. Position yourself as pro-consumer, all is good, and it worked. At the time, “For The Players” was very much the case.
Now readers may jump to the defence of the PS4 with “It’s just marketing” but also remember that marketing places an expectation. This is how you sell your product, this is what the buyer expects. The buyer will expect a pro-consumer experience except…nowadays, and always in reality (Though it wasn’t as prevalent back in 2014), this isn’t the case.
Before someone says “Well what about the other slogans for other systems?”, let’s look shall we?
Xbox One X: “The World’s Most Powerful Console”. This is objectively, for right now, true.
Nintendo 3DS: “There’s No Play Like It”. This is also objectively true, as right now there is no other dual screen stereoscopic 3D system.
Nintendo Switch: “Anytime, Anywhere, with Anyone”. Objectively true. You can play the console anytime, anywhere you want, with anyone you want.
Yet every time I see “For The Players”, man, it’s easy to fault it. It’s so simple to just look at what PlayStation is doing and seeing without even having to look twice, how they are right now the most anti-consumer of the three console makers.
So let’s start with backwards compatibility shall we?
So Sony with the PS2, allowed you to play every single PS1 game you owned. Straight away, no strings attached. With the PS3 they had to drop PS2 support entirely not long after launch for cost reasons which I admit is fair play. With PS4, good luck emulating the PS3.
Jump ahead to today, and we have the minimal trickle of PS2 Classics on the PS4. The rate at which these come out is frankly absurd with months between releases. Imagine the Wii U first party release schedule, but for older games. Yeah, it’s bad.
But it doesn’t stop with how fast they come. Even on PS3 some PS2 and PS1 Classics had emulation issues, or vanished from the digital store with no notice and re-appeared two years later (Crash 2 did this in the EU for no reason). The reason they once gave on the official PlayStation Blog was:
The journey from PSone disc to PSone emulation can be a long one – here’s the short version.
We make sure we’ve got a good copy of the original disk (or discs if there are localised versions), then the game is cleared for publish by our legal department.
Why are some games available on the US Store but not available on the EU Stores?
The million dollar question…
This usually comes down to either publishing rights or bugs that occur within the emulated PAL version that did not occur within the NTSC emulated version. There are several PAL titles that don’t play well with the emulator because of a PAL-only copy protection system that was used in several key releases, and sometimes other bugs occur at random.
Which is bulls***. Explain to me good sirs at Sony, why we here in the UK got the US versions of the Spyro Trilogy, two years after other regions mind you, with permanent slowdown, music playback errors, and frame rate issues? If you get the EU version of the game, why isn’t that the one we got and why is the emulation sub-par for those games?
In addition though, on PS4 in addition to the molasses pace at which old games show up, emulations issues are abound. I spent the past night with the PS4 edition of Jak X, emulated in 1080p on the PS4 with Trophy support (Hooray…) and it had frame pacing issues, frame rate issues, and combined with the games already rather loose control….this was a problem. Not unplayable, but certainly below what we expect.
But it doesn’t stop there, oh no. Remember on Wii U you could transfer your Wii stuff to the new console, and any Virtual Console games you brought were given a hefty discount on the Wii U Virtual Console if available? Sure this was clunky, but the system did have a way of making that purchase easier on you (Shame it isn’t also on 3DS mind…). Then we have Xbox One. Pop your disc in, and hey, a BC game is now there downloaded and ready to go free of charge. Or they see you have a 360 game downloaded to your account, and add it to your Xbox One queue immediately, as a free game, because you already owned the original release on your account, or in disk form.
PS4 doesn’t have this. Sure, it makes sense not to, BUT IT COULD HAVE THIS! So hear me out on this one.
When I downloaded the 4 Jak and Daxter games to my PS4, I realised, wait, I already downloaded the remasters on PS3. This is the same account. Am I not getting a discount here? Nope. To further compound things I check my trophy list, I have two separate lists now, one for the PS3 releases, one for the PS4 backwards compatibility releases! I can see this on my PS4! There is no reason this couldn’t be discounted by checking my account, or popping the disc in, as yes the PS4 can read DVDs.
But to compound this issue even further, because it goes even deeper than that, let’s hold up the PS Vita for a moment. Who remembers cross-buy? Anyone? The notion that you get a PS3/PS4 and Vita copy of a game in a single digital purchase? This is something they have already done, between systems, why hasn’t it been done here?
Again, “For The Players”. Where we see they could do it, and have done it in the past, and clearly have the capability to do it, they won’t. Still your friend yet?
Moving on let’s talk about cross-platform play. Oh boy. So the official stance from developers is that yes, they want cross platform play. Microsoft and Nintendo, will let developers do cross platform play, with no hesitation. Middleware developers like Epic Games have shown that they too want it. Sony doesn’t.
The reason why is simple. If your friend has a PS4 and you want to play a game with him so buy a PS4. It keeps them in the PS4 ecosystem, holding it to ransom basically. From a business standpoint that is sound logic especially as the dominant console. Until you meet someone like me. All of my friends are on Xbox and PC. Am I going to have them go buy a PS4 to play with me, one each, or am I going to get the game and take my multiplayer gaming elsewhere?
The answer is the latter, obviously. It’s an effective strategy until they consider people who want to play with their friends who already have another system. It won’t be logical to both go and buy a PS4, when only one of them needs to go buy an Xbox or Switch or PC. You can argue this won’t be the case for many people, but it also won’t be an insignificant number of people where this is in fact the case.
Again, this is a stupid anti-consumer move. Why would you limit this to force people into (Or away from as the case seems to be) a PS4 purchase when by all accounts the PS4 has enough merit to be a purchase of its own accord just by glancing over at its library? Funnily enough all these cross-play enabled platforms are doing just fine without gating away your friends, because their libraries are compelling. The PS4 most definitely has enough power behind it to not require this dumb move, anyone will tell you that, and given the freedom of choice, many people would pick PS4 anyway, if it interested them. Now they will be turned away, especially if their friends are on other systems.
But what really gets me is how Sony “Responded” to this at E3 2017. I say “Responded” because well…they gave several answers and didn’t stick with any of them…
Unfortunately it’s a commercial discussion between ourselves and other stakeholders, and I’m not going to get into the detail of that on this particular instance. And I can see your eyes rolling.
We’ve got to be mindful of our responsibility to our install base
Everybody has to take their own decisions. We’ll do that. Like I say, we have no philosophical stance against cross-play at all.
That said, to my knowledge, there is no live conversation ongoing at the moment.
Props to Eurogamer for this grilling, as it shows their reasoning is…well flimsy, is probably the right word. That’s all I will say on that matter, because again, they are still “For the Players”, right? Right?
Now let’s talk about indies. Hey Jim Ryan, come put your foot in it again. You were all about indie games early on, what happened?
It was just good to talk about in 2013/2014. It is less relevant now.
But that’s what is odd. Other indie developers have noted in interviews that the people leading Sony’s indie charge a few years ago have since left.
“Our contacts at Sony are not as reliable as those at Microsoft, to be honest,”…
“I don’t know them as well, they’re less engaged with what’s going on here at IndieCade — I’ve seen the Xbox people all over here all the time. I see, definitely, a difference.”
The general mood appears to be one of Sony almost withdrawing from indies as a pillar of their business and frankly doing so I think is damaging. These are the niche releases, the quirky creative games and no all of them can’t be good, but many are and they fill a much-needed gap in releases.
This rich, full and varied line up and promoting other developers (Like they promote their wonderful third-party partners in exchange for hot cash) will do nothing but promote game sales on your platform, which you get a cut from. Just look at sales of indie games when promoted by Nintendo, it fills in gaps, gets the games out there, and they sell well. Same for Microsoft.
Put your hat in the ring and push some more games and promote them during the period. Players will thank you, normally with money.
Now let’s look at basic features. External hard drive support? Took 3 years to arrive. Couldn’t tell you why, it just did. The basic feature that is expandable external storage was missing from PS4 for 3 years!
Oh and let’s quickly discuss PSN Names. You can’t change your PSN Username, unlike on every other system and platform imaginable, but I believe I have found the reason.
So in a database there will be a value, just a random string of digits, like a friend code on a Nintendo system. This value will never change. This is your account in the database.
Attached to this value are all the variables, things you can change, like your address, real name, card details, purchase history, settings, so on so forth. All those are changeable and tied to that unchangeable value. That is how the accounts on other systems are set up. Your username, your display name, is just another variable, as it should be.
On PSN, the thing all your variables are tied to is your account name. That username you are stuck with is the string of digits you can’t change in the database. That username is what holds all your data for your account in Sony’s servers. Brilliant foresight I have to sarcastically say, and though they claim they are working on it, we know that if this is the case the PSN will have to be completely rebuilt, as it’s still stuck in 2006.
To conclude, let’s talk about John Kodera. This is the man behind the PSN, PSVue, PSNow, all the services and streaming things tied to the PlayStation brand. He is now head of the branch, rather suddenly, and likely this is to leverage a service based, subscription based future for the PS4 and successor devices.
With words recently from Kazuhiko Takeda (Head of Corporate Planning) at an investors meeting, I do worry about this approach lining up a little too well with their future strategy…
Our business model involves selling both the game console and the software for it, so we’re working to get more customers paying continuously for content, for example through paid subscription services.
As Sony has said, their future for PlayStation is constant payment from you, the consumer. Tie that idea in with Kodera and his admitted enjoyment on micro-transactions, and his big focus on subscriptions and streaming things to you, as well as PS+, and it gets a bit…of a mess.
Oh and speaking of PS+ I didn’t even mention the service outage problems or the fact that they gleefully advertise that some DLC is on PS4 30 days before any other system! “For the Players!”.
Oh, and apparently what you see below happens on PS Now as well…
Seriously though, sarcasm aside, I think Sony has a lot of work to do. Their slogan was true early on with PS4 but now it holds no water, and as a tagline that is meant to sell you on something, and promise an experience accurate to those words, it falls flat in every way, outside of a good library of games.
But to their consumers, to us watching from the outside, it’s daunting. A lie on every box as it were. It has some merit, but dig just a little and you see a company that is very much against the players.
It has to change, otherwise they will find themselves where Microsoft was in 2013.
And that is our Christmas article for the year! A very long one I know but I had a lot to say and a lot of words to say it with. As always share this with your friends, leave comments here or on social media, tell me I’m wrong in every way and I will see you next time. Until then, Happy Gaming!
I never thought I would write the following words: Super Sonic is DLC.
Okay, so before we go in to this, we need context on both Super Sonic, and Sanic.
Sanic is a meme. Honestly I would love to just leave it there and have it expunged from the game entirely, but the series has decided to embrace the crudely drawn MS Paint rendition of Sonic, dubbed “Sanic”, in ways that move beyond just the TV Show as a reference (Alongside the fan-fiction of all things) and a nod in LEGO Dimensions.
Sanic is available, for free, in all copies of the game, as a t-shirt design for your custom character. Okay, at least it’s free. I mean I would honestly prefer it if the series was a little more….delicate? about being self-aware, rather than just opening the door and saying “Yes, all this mockery online is entirely just”. We all know how the mockery of a fan base can actually impact people mentally, it’s not a very smart thing to do, just let folks enjoy what they enjoy, you know?
I think there is a fine balance between being self-aware and poking fun, and straight up embracing what was a joke meant to demean the franchise and it’s titles (Because many have been lacklustre prior to 2010, and a couple since) feels like…almost giving up. Like the series has no integrity anymore. On one hand yes, nice joke, and in some loose ways it does fit the avatar creation side of things.
On the other hand, you put a reference to a meme used to demean the franchise…in Sonic Forces.
This is a game that is hardly “Good”, instead treading the fine line of mediocre to plain boring, it has obvious development problems, clear instances of things being scrapped and restarted, insanely short levels and not very fulfilling gameplay, and what do they do? Put some DLC in the game used to mock the franchise. Did they actually not see how amazingly self-fulfilling that is?
But anyway, on to Super Sonic. This little feature has been a part of the games since 1992 in Sonic the Hedgehog 2, usually as a reward for certain tasks, like clearing the Special Stages, or for the unlockable final boss throughout the mid-2000s.
Super Sonic did return to fully playable status in 2010 with Sonic 4 and Sonic Colours (The first time ever in 3D), and this has remained the case for Generations, Lost World, and Mania. Super Sonic has been there as a reward for completing the game, or certain milestones.
So Sonic Forces came along and in the PC version they found inaccessible (Though later accessed and fully playable not long after the game came out) code for Super Sonic. It’s in the game, fully playable. I assumed it was just dummied out. I wish it was.
So again, for 25 years Super Sonic has been a part of the franchise as your reward. An in-game thing meant to reward you (Or beat up a final boss in some cases). In Sonic Forces however, it’s in the game, but you can’t access it. Unless you pay up for some DLC of course.
Yes, for the first time ever, this feature of the series for over two decades, is now on-disc DLC. I am absolutely dumbfounded and also surprised. It’s free for around a month, but as of late January, cough up some dough for Super Sonic.
This is honestly a problem that goes further than the Sanic DLC, as this is removal of a series staple and put behind on-disc paywalls. It’s very egregious, and frankly one thing it does have in common with the Sanic DLC is the feeling that it’s just rubbing salt in the wound.
We had it so good, heck Sonic Mania was months ago, and this game comes along, from the team that brought us Colours and Generations, two highly loved games, and it falls flat in so many ways. To rub it in how unfinished the game feels, we get to wear a mockery of the series made official, and pay up for things that used to be standard.
At the same time though, as we have talked about here before many times, this feels like it is becoming the norm. Things you used to be able to just do are now locked behind cash, and the games mock you in the same way trolls on the internet do.
I don’t know what is worse really: Seeing Super Sonic become on-disc DLC, or having to see a meme people have almost weaponised in a game so utterly mediocre it surpasses parody and enters the realm of “Oh we know”.
I guess we can rest easy knowing Mania 2 will be a thing?
Rather than do a numbered list, we will just be posting our favourite games of this past year.
In reality, a lot of games I played this year were from years past, but I have picked up plenty of 2017 titles, so let’s dive right in, in no particular order of course.
There will be some close omissions, and a fair few popular games are ones I haven’t simply had the time or money to get around to playing this year, such as Persona 5, but I am most definitely aware of their impact and deserved praise.
Sonic Mania
Available on PS4, Xbox One, PC and Nintendo Switch
Developer: Christian Whitehead, Headcannon, PagodaWest Games
Publisher: SEGA
We reviewed this game and gave it glowing praise, granted it isn’t perfect, as a testament to what makes a great, fast paced, replayable 2D Adventure. Be it the stunning visuals in all their HD Pixel-y glory, or the jazzy retro soundtrack from Tee Lopes, there is something for any fan of platformers to enjoy. If you want some retro 2D goodness, this is where you go.
Chicken Wiggle
Available on Nintendo 3DS Systems
Developer: Atooi
Publisher: Atooi
From the 2D wizards at Atooi under Jools Watsham we have Chicken Wiggle. This game is certainly a welcome addition to the ever-expanding 3DS family that flew under everyone’s radars amongst all the Switch hype this summer. The gameplay is charming and simple, but buried within is the incredible level creation tools used to create the game with different objectives and the ability to share your creations with other players. Give this one a go if it’s your fancy. This is the prime level creation community game for 3DS!
Mario + Rabbids Kingdom Battle
Available on Nintendo Switch
Developer: Ubisoft Milan/Ubisoft Paris
Publisher: Ubisoft
Another game we have written about before, this time in the form of a Behind The Game examination, Mario + Rabbids is a game that admittedly drew me in to tactical RPGs. My wallet cries already. Where other games have lost me on overcomplicated mechanics, Kingdom Battle strives ahead with simple but in-depth mechanics, and a true to form presentation backed up by Grant “Noggy” Kirkhope (Sorry Grant, but Twitter doesn’t lie!) and his traditional jaunty tunes bringing each world to life. This is a game full of surprises and well worth picking up, even if it can beat you down without mercy!
Metroid: Samus Returns
Available on Nintendo 3DS Systems
Developer: MercurySteam
Publisher: Nintendo
MercurySteam may have a history with Metroidvania titles, but nothing quite does their talents justice than Samus Returns. Sure the game can be difficult, very difficult at times, and it’s structure being based on Metroid II Return of Samus maybe doesn’t give it quite that open-ended Metroid feel we are used to, it is still a fantastic atmospheric and well-developed title, with unique twists to really make it stand out amongst its 2D Metroid brethren. Even just as an action game, you can’t go wrong here.
Crash Bandicoot: The N. Sane Trilogy
Available on PS4
Developer: Vicarious Visions
Publisher: Activision
Crash is back, and it is truly fantastic. Faithful (At times to a fault) remakes of the original trilogy from the PSone days, this is a trilogy available on PS4 that any PSone, platformer or retro fans want to nab. Difficult, charming, and true to the spirit of the originals we remember, this is the return the Bandicoot deserved. They even threw in some little bonuses and attention to details that fans will appreciate.
The Legend of Zelda: Breath of the Wild
Available on Nintendo Switch and Wii U
Developer: Nintendo EPD
Publisher: Nintendo
So full admission going in to this: I’m not a huge fan of 3D Zelda. Something about the slower starts really turns me away. Up to the release of this game the only one I beat was The Wind Waker HD. So to my surprise, the speed at which this game lets you begin, let’s you learn and progress entirely at your own pace and gives you this huge captivating world you want to explore, even if the rewards aren’t all worth it. There are annoyances, but like many games above, this simply captivated me into continuing, just to see what was over the next ridge. This is a game I can safely say will give you an experience totally unique to you.
Snake Pass
Available on PS4, Xbox One, PC and Nintendo Switch
Developer: Sumo Digital
Publisher: Sumo Digital
One thing I always adore in games is a unique idea, and this is no different. How do you do a platformer….without the power to jump? Simply put, you use a snake. Snake Pass caught my eye from day one just as something different. Another charming almost throwback to the past, with the unique challenge of learning the physics and how Noodle works to explore the levels. There are plenty of optional challenges should you desire them, especially going for 100%, but impatient sorts will find themselves in a bit of a tangle. Stick with it though, and you’ll soon see what makes this such a gem.
Snipperclips: Cut It Out, Together!
Available on Nintendo Switch
Developer: SFB Games
Publisher: Nintendo
Yet another game that caught my eye due to its unique premise. You and a friend, or yourself on your own I suppose, co-operate and communicate in short puzzles that test your cunning, wit, and inevitable use of innuendo to refer to certain strategies. This is a game I am very happy to see get more content, if only for simple fun with friends. This is the top co-operative game this year for me, and nothing beats the blushing, laughter, and sound of gears turning in your mind when you sit down and play with friends for a few hours. You’ll be hard pressed to keep a straight face with this as your friend asks you to “Snip” them!
Super Mario Odyssey
Available on Nintendo Switch
Developer: Nintendo EPD
Publisher: Nintendo
Another for us platformer fans. Of course a successor to Super Mario 64 would be great but I had no idea I would be sinking 40 hours of my time, over a few nights, to get 100% in this game. I was unprepared for the variety, the creativity, the sheer joy at even simple actions, in a game that both looks back, and pushes forward. What it has is unique and incredibly solid mechanics and worlds, and only rarely loses focus with the sheer volume of content. This is a game you will come back to in years to come and still find new ways to approach things.
Splatoon 2
Available on Nintendo Switch
Developer: Nintendo EPD
Publisher: Nintendo
Rounding out one of my favourite years in gaming so far is Splatoon 2, a game that manages to pull me back in for an hour or two a week just to mess around with the new content. Fun, colourful, and an improvement over the original, this is my multiplayer game of the year and for good reason: It’s simply fun. Not only does it capture the perfect “One More Round” mentality, but it keeps itself fresh week after week, and the sheer abundance of modes means every time you play, you’ll catch yourself trying something new. This takes an already unique concept one step further by simply giving you more bang for your buck.
Those are just 10 of my favourite games from this year. Of course I intentionally left out re-releases like Mario Kart and Mega Man, but some genuinely amazing games were also up for consideration.
I’m very glad to have had an amazing year in gaming with both big and small companies providing the good stuff in a multitude of genres and it’s a shame I can’t play them all. I have an ever-growing wish list of 2017 games I still want to pick up and play!
Yes there are the usual suspects, but one can’t forget this year for me has been a year of unexpected gems, and indie developers absolutely bringing their A game.
As always if you enjoyed this or have any other games you personally loved this year, please let us know on social media and give this article a share, and I will see you next time. Until then, Happy Gaming!
This is an aspect of the reception of games that barely gets noticed, but one that is also noticed a lot in a different light: Programming.
So this is a discussion close to me, as a programmer anyway, as it is something that I have not only been subject to, but others have around me as well. Not just that, but you will see it regarding reviews of games or other software, or rather, it’s what you don’t see that is interesting.
So as I went through university for Game Design, a choice I completely regret (I mean that Economics degree was right there…), I realised we spent very little time learning the bit that makes games…interactive. Programming was barely a footnote amongst the art and writing aspects (And how to make the most money by selling your game piecemeal). I suppose this was the downside of the course focusing strictly on the “Traditional Western AAA methods”. I’ll write another article about the entire issue of the education I had at a later date, because it makes my blood boil.
In terms of programming, outside of the classes on Websites (Which were fine) and “Mobile Apps” (Which were really mobile websites), there wasn’t a lot. In my first year, in 2014, there was a class on “Digital Media and Design”, which from those who took said class, sounded like making games and animations in Flash. Yes, in 2014, I am just as baffled as you are.
For that first year, all I had to go on was some copy and pasted, not explained, not very well conveyed JavaScript into Unity. The few programmers there were on our own.
Second year had a class on “Games Engine Programming” which was basically C# in Unity. Now on paper this is a good idea. In practice, it was far too fast for anyone there to get anything, and overcomplicated matters without ever explaining the purpose of functions, methods or any other aspects. Just follow along, and we were expected to produce AI, procedural generation and inventory management systems. It was a mess.
Beyond that, programming was….well there is a reason they asked to see who was a programmer at the start of the course. They basically have it set up so the programmers go solo with learning, so they don’t have to, and hope the group work plays out okay.
It’s baffling there is a course on making games that barely scratches the surface of making a game interactive, there was actually more classes on micro transactions and the types of story you can tell. Don’t even ask about optimisation, or programming in any other engines that we were required to use like CryENGINE and Unreal Engine 4. That wasn’t touched in the slightest.
But this is the facts, a generation of developers is now out in the world….with no knowledge of how to make a game interactive or be coded properly, and the problem is, this means they will be seen.
So my other issue that I brought up mentioned reviews, and this is true. Look at any review for a game. How often does a review mention how glitch free, or well done the collisions are? What about how stable the game is on a technical level? What about AI praise, or so on so forth? Programming in games, especially good programming, goes in-noticed. It’s never going to draw attention to itself by being good. But art, music, visuals? Yeah, people will praise that, and rightly so, if the work is good, praise them. But programmers don’t get that luxury.
Now read some reviews. Look at some bad games. How many mention the programming issues like glitches, or dodgy AI? Yeah, it drew attention to itself. A programmer is only seen and acknowledged when the work is below average. Back in university after clearing a group project and spending many nights building a gameplay style I was told to put in instead of refining other mechanics, I didn’t get to go to the expo to show the game off. The artists, writers, musicians went. Us programmers? Stay at home, put your feet up, your work doesn’t actually sell a game.
It should, because if a game is technically sound, it’s going to be a good game to play and should be fun, right? But your part in that won’t be praised.
For a field as demanding and knowledge based as programming, one has to wonder why the unsung heroes of game development don’t get recognition, at least when their work is good, alongside their peers in development. It’s an interesting situation and one I am not sure I would know of a solution to. Sure they are in the credits, but the actual conversations beyond that, you’d be hard pressed to hear someone praise a game’s programming.
That is just the thing. As programming isn’t a spoken and praised field like art, or writing, or hell even monetization if you look at the industry today, why should it be taught to students? The people of the world won’t notice it unless it’s bad, and they figure (And I know this is the case), that people who want to be programmers don’t need the teaching. Well, we do. We all learn somehow, and there is only so much Google and books can give you without the insight.
I sincerely hope in the future as games become more demanding, programmers get the praise they deserve. They are more than the people in dark cubicles who complain a lot. They make the game work. They make your tools. They gave you the software to develop your animations and art. They are there when something breaks and they would rather be asleep.
And this isn’t even mentioning the industry where if a programming job can be found by someone cheaper, a developer will likely take it regardless of quality. That’s a thing too, I suppose. Labour turn-over is a real issue.
If you enjoyed this rather different piece, share and leave feedback on social media, and I will see you for the next one. Until then, Happy Gaming!
EA has previously stated that the game will meet targets of around 14 million by March 2018, and at least match the 2015 predecessor, but now, it looks like that won’t happen.
Analysts in the US expected the game, at retail (So physical only) to chart below the original, due to the more prominent digital scene for game distribution now. Estimates coming out before the news breaks tomorrow, is it sold less than 1 million physics units in November.
That is actually shocking, more so when that is believable, with Black Friday images showing the game going untouched in many stores. Evidently the backlash hit such mainstream presence, it damaged the reputation.
At the same time, it was also Black Friday, better deals and all that. Plus, EA did announce before the game launched that it would be discounted alongside the new Star Wars movie, so both could have had an impact. Either way, those remaining sales won’t have been made up digitally, that is for certain.
More over in Japan the game debuted…at a solid 30,000 or so, and then fell from the charts. In the UK it’s hung around the top 3, ahead of single platform release Super Mario Odyssey (Which given the circumstances some would say is a sin) but for a game on multiple platforms, not hot, especially as both Call of Duty and FIFA are outselling it still. Granted, those games aren’t innocent either.
So what does this mean? Well, we can only hope EA is re-evaluating its stance, and so is Disney most likely, now more government bodies are looking into the lootbox issue. EA has to be sweating about whatever happens next, and the rest of the industry is now being scrutinised heavily, with Destiny 2 under fire for gating off content you could access in the game behind DLC, even though you had access to it prior the DLC release date.
Battlefront II won’t hit it’s projected sales targets, and investors won’t be happy. EA had $3bn wiped from their value over the course of this controversy, and while that is small change for them, it shows investors were absolutely not pleased, at least briefly.
EA also said micro transactions weren’t necessary to the game making a profit (Despite many publishers saying they are in fact necessary to do so), but under the current circumstances, they humorously may well have been!
Either way, EA’s monumental screw up has had a huge knock on effect. No one company is safe from scrutiny now, and all it took was one last push, and EA was the one to do it. They pushed too hard too fast, though honestly, I would have expected this event to happen eventually anyway.
Whether they alter their course or not remains to be seen, but we are now in the stage where publishers are attempting tactics and having to apologise afterwards with their tails between their legs.
Plus, we get to see every other developer fire shots. That’s something amazing to witness.
If you enjoyed this piece as always share and leave some feedback on social media, and I will see you next time. Until then, Happy Gaming!
I got my Backer Code of Yooka-Laylee for Nintendo Switch in today, and I’ve spent some time blasting away at the game, so what are we looking at?
First off, I have mostly played in handheld/tabletop mode, so take that for what it’s worth.
Yooka-Laylee is presented as stated by the developers, just below full resolution on both modes. So the image is slightly softer. What is interesting about this and what I noted first, is the game simply feels better being played handheld, as though it fits the screen more than it did when I played on PS4 on my 40″ TV earlier this year.
That seems like an odd compliment but it really does feel at home here. The worlds are very pick up and play via Sleep Mode and with regards to controls, everything is just within reach.
The game is the same as it has been since launch, only some improvements not available on other systems at launch are standard here. manual camera, audio toggles, fast speech and brief voice snippets, are all welcome additions. This is very much the best version out of the box.
Performance wise, the game is interesting, at 30 FPS, it does occasionally pause, albeit very briefly, seemingly to load something, at least in handheld mode, as well as very brief, very slight, and rare frame rate drops, if only for a second.
When docked, the game runs the same, though the little frame drops don’t seem present, or at least I haven’t encountered them yet within the first world. The image is again, below full resolution of the system, but looks fine, if a little soft.
So in terms of drawbacks, the main thing is shadows and particles. Shadows are softer and particles seem paired back just slightly, but outside of those honestly minor things, the game seems as is. Maybe water effects are reduced, but those have been so brief in the world so far. It’s entirely possible other effects from elsewhere in the game are reduced further.
But yes, Yooka-Laylee on Switch certainly is technically below the other verions, but it doesn’t feel like a significant drawback to draw ire. The wait has been worth it, assuming you like this style and structure of game, as obviously that remains unchanged. Yooka-Laylee certainly feels best here.
Bayonetta is a franchise that has now gone from cult classic, to point of contention, to now having a clear home. So what happened to our favourite Umbra Witch?
Bayonetta is the brain child of Platinum Games, a studio famous for Okami and Devil May Cry, before leaving Capcom and becoming independent. Most of Platinum’s work has been on licensed titles (See TMNT, Transformers, Korra etc.) or as hired help for things like Nier Automata and Metal Gear Rising. Their own projects however, haven’t really hit the same heights.
Platinum’s games are very stylised and fast paced, full of action, but often have little caveats of detail and depth that open it up to a more dedicated audience. Bayonetta isn’t just Devil Mat Cry, it has layers, combos, weapons, upgrades, like a mini-RPG hack and slash.
So when SEGA published Bayonetta and let Platinum have a free reign with a game, it hit Xbox 360 and later (Though very inferior quality wise) the PS3. I didn’t play the game at this time, I had a PS3 late 2010 and so Bayonetta completely skipped over me. A shame too, as when I spoke to a retail employee when pre-ordering the sequel, they talked me into the double-pack (I was the only one there to order it too!).
Bayonetta across both platforms though, seemingly didn’t sell well enough for SEGA. A sequel was planned but never came to be, later revealed to be an issue with no one seeing value in the title, except for one publisher. Maybe the provocative nature of the game was a turn off, or maybe the marketing wasn’t very good. Either way, it didn’t hit internal expectations.
Nintendo of all people, stepped in, paying for the development of the game and publishing rights. SEGA still owned the IP, but at that moment when the Wii U was up and coming, the news Bayonetta 2 would be exclusive was shocking. To say some places reacted poorly would be an understatement, but the writing was on the wall: If the series was to continue, and Platinum was to be given complete freedom, Nintendo had to step in when no one else would.
So a double pack of both games hit the Wii U late 2014, to acclaim. For what it’s worth considering the system it was on, Bayonetta 2 sold well, and then the series went quiet. It became a cult hit, a must have on Wii U, and Nintendo was evidently very happy to allow Nintendo themed costumes and assets into both games. They even had Platinum co-develop Star Fox Zero, a title with mixed reception, but a solid game none the less.
What follows next is quite possibly the biggest indication of the future for the IP. With the cancellation of Scalebound at the hands of Microsoft earlier this year, another Platinum dreamed IP shafted, and some great work as hired help, Platinum was given, by popular fan vote as it happens, a chance for Bayonetta to enter Super Smash Bros. and they leapt at the chance, back in late 2015.
Personally to me and many others around the world, that moment sealed it. Bayonetta had found a home, and it was one Platinum was clearly more than willing to go with. The response to Bayonetta 2 and her inclusion in Super Smash Bros. alongside two amiibo figures, cemented her and the franchise as a Nintendo staple, which looking back on what people consider typical “Nintendo fare” is quite humorous.
Now regarding the future of Bayonetta as a franchise, I openly would have said maybe Bayonetta 3 wouldn’t happen, but Platinum was listed by Nintendo as a key developer for them, and Platinum themselves were teasing both Wonderful 101 (Another Nintendo aided project for Wii U) and Bayonetta.
Come along the Game Awards 2017, and at last, we were graced with the new that Bayonetta and Bayonetta 2 are coming to Nintendo Switch in February as a double pack. Great news for those who haven’t played the original on 360/PS3/PC/Wii U, and the many yet to play the sequel. It didn’t stop there though.
Bayonetta 3 has been the shock of recent weeks, with many now eagerly awaiting more news about the Nintendo Switch exclusive. It has become apparent where the future of Bayonetta lies, and while SEGA still owns the IP, Nintendo is once again letting Platinum make their dream, and fans around the world are now eagerly looking for the next showing.
That’s the real success of Bayonetta. The fans pushed it, getting her into Smash via popular vote, making the original such a cult hit, and showing that something Platinum made won’t be forgotten. As we move forward to the releases of the first two games, and eventually the third title, fans of the franchise are happy to see Bayonetta has a home in an unlikely place, with Platinum given the freedom they wanted for their own IP.
The future of Bayonetta is clear: Nintendo wants this franchise to flourish and develop, and Platinum is all too happy to do so. Bayonetta 3 will most probably be the best-selling entry in the series to date, and you can bet future Smash Bros. games will feature the witch in her combo based glory, and a fourth title will emerge.
If you enjoyed this look over the Bayonetta franchise with Behind The Game don’t forget to share and like the post, send it to your friends, let us know what you think of the series, and we will see you next time. Happy Gaming!
Valve created Steam well over a decade ago now, with the sole purpose of reinvigorating, restoring, and evolving the PC Gaming place. So why the hell did they stop?
I will open this by saying, while I am very much a periphery to PC Gaming and its largest audience, I have been aware, involved in, and observant of it for well over 5 years. In those 5 years, I have seen my housemates, friends, colleagues, all using it, but I never dived in. Something felt wrong.
That something, was how I was always reminded I was looking at something from the mid 2000s. Clunky, albeit robust in a way, but the impression I always got from it was the “Ma and Pa store on the high street”. Quaint. Funny. Quirky. A great idea that needs to grow. That’s what people said about it. In some ways, yeah back when it was new, that probably actually was the image it had. So why in 2012 did I still see that?
The thing with Steam is that it’s the primary digital distribution platform for PC. Sure you have Humble and GOG, but they don’t come close to the market share. If you want games, you use Steam. If you want deals, they can often offer great deals, just to keep that competition down, as they’ve been there the longest, and have accumulated a lot of wealth in the back pockets.
Valve created Steam as a way to revitalise PC Gaming. It had hit a slump when Steam first came along, it needed some solid store presence, and that was Steam. You can get refunds, you can get games with great deals, download them to your device, and pray you can play them without some additional DRM getting in the way (I mean, Steam is DRM).
In the mid 2000s, sure, that was awesome. in 2017 though, and even back when I first saw it in 2012, has it evolved much? No, not really. Steam has numerous problems, all traceable, as far as I am concerned, back to one thing and one thing only. The two main problems I want to focus on though, is functionality, and content. They have the same root cause however.
Look how far I had to go before I stopped seeing “Released on Today’s Date!”
Starting with functionality, Steam is a bit of a mess. It’s all algorithms, something now even YouTube is realising probably isn’t the best way to handle things. Games are suggested half-heartedly, there are “Alleged” content filters for you, it’s very automated. It’s mechanical, a process. That very process with some things is unrefined. Take for instance screenshots, because you can’t just PrintScreen stuff, you press F12. But to view said screenshot in your accounts gallery, listed under your account, there are steps to take.
I actually asked some PC aficionados why this is. They said it’s because you don’t want all your screenshots being viewed publicly. I told them, well like on any other platform, they should just be saved to your gallery, where you can then edit and set permissions as to whether some are private or not. Simple stuff. Turns out, you can set permissions like that, but not from within the gallery, but from within the incredibly small “Main” menu at the very top of the UI, under Screenshots, which is where you go to publish screenshots before they enter your gallery, and I have to ask, why? Why has this system been left in place when across almost every platform imaginable, it is streamlined and simple? Why did Valve simply stop evolving Steam, something they made Steam to do in the first place?
But that isn’t all. That is minor functionality compared to refunds. In the event of a refund, it is only eligible within two weeks, and two hours of play time. So why, please someone tell me, can someone live stream an entire game, just under 4 hours, and then live stream themselves being awarded a refund with a false reasons given being “I bought the wrong game”? Let’s ignore the fact they live streamed it, and question why the hell Steam awarded a refund for a play time that was out of the rules they themselves set? Do they just not care? There has to be someone on the other side right? Otherwise that wouldn’t just go through an automated system!
This is baffling. Steam has these rules in place and they can just be walked around. Casually is if nothing is wrong with that. This loops back to the problem of content now.
It has been well documented by critics such as Jim Sterling and others, that Steam has a curation issue. No one is actually at their desk doing anything, and if reports are anything to go by, Valve doesn’t have a defined structure, staff just do whatever, and having seen Half-Life get a patch earlier this year I can believe that.
Steam left curation to the community. A bold idea, back when it had the Ma and Pa store look to it, but now, Valve Corporation, you should have staff. God knows you have the cash to do it! But back to curation, Greenlight, as anyone who leaves something up to a community will know, was a disaster. Abused, broken down, and indies felt their genuinely good games are, well, buried really. They are.
Now with Steam Direct….let’s not even go there. It’s done nothing. It hasn’t helped. The entry fee is the same as it was for Greenlight, which doesn’t help matters, and it seems like there is less curation. Indies have become openly resentful of the situation, and I have to agree.
In a 10 month period where 6000 games are released on Steam (Yes 6000), which is a 50% increase over the whole of 2016 at 4000, one has to wonder why a single platform is getting triple the games that the PS3 got in its lifetime, in less than a single year. Why is this the case? Does Valve not have any concept of curation? No, they don’t, and we come to what I believe is the root of the issue.
Money. Valve is swimming in it. They evolved the PC space and made bank, competitors can’t come close to their market share as they have the funds to flash sale away and keep people in the ecosystem.
Valve even makes games! Well, I say that loosely. They made a few games, maybe once or twice a decade, and just rolls in micro transactions and DLC sales, and of course, a cut of all those submission fees they get from Steam Direct, and every game sold on Steam. Now as for why I say they make/made games in a loose manner, is because…well a lot of them they just bought, or were mods of games that they published. Valve themselves do very little, they don’t need to. They can sit and be happy.
Steam was created to evolve PC gaming. But Valve, being a corporation, as much as they like to say and act otherwise, has hit the gold rush and stopped. They don’t need to anymore. They don’t need to be proactive, keep pushing with their philosophy, or even make games! Money just makes itself now, and the rest of the world is evolving past them. Valve has become purely reactionary, you can see that with how they handle even controversy and poor games: It’s all after the fact.
Valve….I mean at this point my only suggestion is hire people. Get a corporate structure, get people to actually work. Or any day now, hopefully, someone will come and evolve the market in a way you should have done ages ago.
Thanks for reading, and if you have any comments or want to share this with friends, please do so! Thanks for reading, and Happy Gaming!
