category_outlined / Tech & Gaming

Edge April 2016

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
Read Morekeyboard_arrow_down
13 Issues


access_time2 min.
it’s terrible! and incredible! and everything in between

In the recently published Dark Souls II: Design Works, FromSoftware art director Daisuke Satake talks of how players responded to certain aspects of the game’s shimmering Looking Glass Knight boss. “I heard a lot of people say that they loved [the character’s] wings,” he says, “though my personal favourite aspect was the head. You never know exactly what people are going to like.” It’s a good illustration of how the landscape has changed for videogame designers and artists, unbound by the power of modern technology and given the freedom to express themselves in ways that were once unthinkable. Many years ago, we could be more objective: a chunky, super-low-resolution piece of art either looked like what it was supposed to represent – a shield, a postbox, a table lamp –…

access_time12 min.
virtually here

Videogames are often at the forefront of technological shifts, as has been the case with 3D visuals, innovations in interfaces or simply the drive for raw, consumer-accessible processing power. But the most striking thing about the lineup for the UK’s largest virtual reality conference to date, VRUK, taking place at London’s Ravensbourne college, is its wide-reaching diversity. Here cinematographers, educators, advertisers, visual artists, and representatives from charities and ministerial departments all rub shoulders. There are even a few game-makers in among them. It’s indicative of an unprecedented rush of support for a technology that’s yet to prove itself, but which harbours a greater potential for cultural change than any in recent memory. It’s a benevolent gold rush in which prospectors are happy to share ideas and strategies in service of the…

access_time4 min.
london calling

The UK’s capital city has long been served by events that celebrate the creative industries, such as London Fashion Week and the London Film Festival. Now games are being given their chance to enjoy the urban spotlight. A new London Games Festival will take place on April 1–10 at various venues across the capital, and its organisers hope it will share its subject matter with a broad demographic sweep, from dedicated players to families and those with little or no experience of interactive entertainment. The event is being put together by a newly formed organisation, Games London, itself a collaboration between videogame trade body UKIE and the longstanding Film London, the capital’s strategic agency for film and media. Backed by a £1.2 million investment from the Mayor of London’s London Enterprise Panel,…

access_time5 min.
cold rush

For most, the idea of creating a game in 48 hours is daunting enough, but the Finnish Game Jam association is keen to layer on more hardship. An FGJorganised event in 2014 saw teams create their games in the cramped enclosure of a moving bus, and this year the association ramped things up even further for Survival Mode, in which game creators braved plummeting temperatures, dwindling battery power and, erm, nice warm saunas. “We were thinking, what can we do that would be very Finnish?” University Of Tampere game researcher and lecturer (and FGJ president) Annakaisa Kultima explains. “There aren’t that many northern sites for the Global Game Jam – our Rovaniemi site has been northernmost for a couple of years now, and we were thinking that maybe we could go…

access_time1 min.
valley of the spinned

The dizzying image on these pages is taken from the inside of the Monument Valley soundtrack’s elaborate gatefold packaging. The design encloses a 31-track album split across blue and white 180g vinyl and features the music of Stafford Bawler, OBFUSC and Grigori. Developer UsTwo’s effort joins the increasing ranks of vinyl videogame OST releases, which include Fez, Journey and Super Hexagon, and represents the self-proclaimed digital-product studio’s desire to give its game a tangible presence beyond iTunes. “Unfortunately, being an App Store game, Monument Valley has no way of existing in a physical form,” notes UsTwo lead designer Ken Wong. “There are a lot of fans of Monument Valley – ourselves included – who want to have an artefact or a memento of the experience, something we can have in our…

access_time1 min.

“The idea of me hyping up a game, or talking about a game before it’s available to the public, I just don’t think it’s going to work ever again.” We appreciate the sentiment, Peter Molyneux, but welcome to 2010“We like phones and tablets because they offer us different experiences to PCs and consoles. The same will happen with VR.” Valve’s Chet Faliszek overlooks the fact no one’s getting a free Vive with a phone contract“It is helpful to know what you know and know what you don’t know, and in this case, I know what I think but I don’t know the answer to your question.” A move into game dev hasn’t changed former US defence secretary Donald Rumsfeld“The arts and sciences should no longer be a question of either-or.…