Edge August 2019

The authority on videogame art, design and play, Edge is the must-have companion for game industry professionals, aspiring game-makers and super-committed hobbyists. Its mission is to celebrate the best in interactive entertainment today and identify the most important developments of tomorrow, providing the most trusted, in-depth editorial in the business via unparalleled access to the developers and technologies that make videogames the world’s most dynamic form of entertainment.

United Kingdom
Future Publishing Ltd
€ 3,73(Incl. btw)
€ 37,37(Incl. btw)
13 Edities

in deze editie

2 min
tea and biscuits, jellied eels and a couple little trinkets

At this time of year, the global game industry typically turns its attention to the United States: as we put the finishing touches to this issue, we’re also preparing to board our flight to E3. Despite that – or is it because of it? – there’s a distinctly UK flavour to this month’s Edge. So much of the modern-day British identity, or at least the discussion around it, is about nostalgia. But there’s nothing of the sort to be found here. In Studio Profile we visit SIE London: while it has never enjoyed the profile (or investment) of the more renowned names in the PlayStation studio family, it’s always thrown itself with gusto at whatever mad new tech Sony cooks up. It made EyePet for the PlayStation Eye; Wonderbook for PS…

5 min
mighty real

The race is on to define the future of virtual reality, and two very different philosophies of what that should entail are in play. On the one hand is Valve, driving for fidelity, believing that for VR to truly succeed it should look and feel as close to actual reality as possible. On the other is Oculus who, no doubt influenced by its parent Facebook, is all about mainstream appeal, keeping costs low and inconveniences to a minimum in a bid to get VR in front of as many people as it can. That both companies should take their biggest steps to date towards their very different goals by releasing new hardware within weeks of each other is surely no coincidence. The next generation of virtual reality has begun. Valve’s offering,…

4 min
smokestack lightning

This street, Tom Beardsmore tells us, used to be “an alley of prostitutes and drugs.” The CEO of Sunderland-based developer and publisher Coatsink is talking about a road that runs alongside the train tracks near the top of the high street in Middlesbrough; beyond it there was once a post-industrial wasteland, framed by the flare stacks of the chemical plants beside the River Tees. This area inspired the opening shot of Blade Runner, Beardsmore points out. “And it literally looked like that.” Crossing the train tracks into this part of town was known locally as ‘going over the border’. But the past decade or so has seen the area undergo a turnaround, thanks in part to Middlesbrough’s DigitalCity project. “It’s completely transformed now,” Beardsmore tells us. “And if they go ahead…

1 min
train in pain

It may be turning into a tech hub, but in public transport terms Middlesbrough is in the dark ages. “Most of our staff were in Newcastle or the area, and loads of people had an hour’s commute on public transport each way,” Paul Beardsmore says. “There’s no fast train, which is crazy. You have to take this stupid old bus-style train to Newcastle, and it’s just hilarious. It travels at a max speed of like 30mph.” The Northern Powerhouse Rail plans would see the East Coast Main Line upgraded to a high-speed network, but residents of Middlesbrough would still need to travel to Darlington on slower trains to access the fast trains to Newcastle.…

5 min
universal remote

More and more videogame conventions have popped up over the last decade, filling the calendar to the point where we now often see the same demos several times a year. Lately, some publishers and platform holders have begun to forgo conferences such as E3, wondering if they’re really worth the bother. Indeed, while there’s a thrill to the pomp and circumstance of a trade show, there are any number of downsides: certain games don’t demo well on a busy show floor, many conventions are prohibitively expensive for developers and revellers alike, and some are inaccessible for people with certain medical conditions. LudoNarraCon, held over an extended weekend in mid-May this year, was Australian indie publisher Fellow Traveller’s alternative celebration of narrative-focused games. It hosted demos and panels with some of the…

1 min
float on

A tale of someone’s inner demons becoming real under extreme stress might, to anyone who’s been around Edge during deadline week, appear a bit on the nose. But in Sea Of Solitude it’s loneliness, rather than workload, that brought out a monster. Jo-Mei CEO Cornelia Geppert was inspired by Akira, Dark Souls, her upbringing on the Baltic coast and her current home of Berlin in crafting the aesthetic of what she says is “the most artistic and personal project I’ve ever created.” The monster, Kay, is a manifestation of Geppert’s own emotions while she was writing the game’s story: “Anger, despair, loneliness, worthlessness. I imagined myself just angrily scratching with a black pencil onto blank paper.” The titular sea rises and falls to reflect Kay’s mental state, transforming the flooded city and opening…