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EdgeEdge

Edge March 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.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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$39.99
13 Issues

IN THIS ISSUE

access_time2 min.
yes, we all evolve in haste. it’s a race you never finish

We’re sure January used to be a quiet month, but 2019 has got off to a flying start. The industry was rocked this past month by the announcement that Bungie and Activision are parting ways eight years into a planned ten-year deal, with the Destiny developer assuming publishing rights of its muddled, yet intoxicating, online shooter. In Knowledge, we unpick the implications of a shocking, yet also entirely understandable, separation. The Destiny experiment is no failure, yet nor has it been a resounding success. It is, however, an excellent case study for anyone making a living game. During its four-and-a-bit years, it has been by turns enormously generous and too stingy; adored by its players, and hated by them; and the jewel in Activision’s crown and its biggest disappointment – the…

access_time6 min.
control programme

Around these parts, letting someone take control of a story is hardly a revelatory prospect. Videogames have long understood what it means to have a player take charge of what’s on screen; films and TV series, meanwhile, have remained things you sit back and watch unfold. Fire up Bandersnatch, the first episode of the new season of sci-fi anthology series Black Mirror, and the opposite is true. Powered by Netflix’s own custom-made engine, Bandersnatch tells the tale of a developer making his first game, based on a choose-your-ownadventure book. Or, rather, you tell it – by using your remote, mouse or controller to select between choices and progress the story along various paths. It’s perhaps the first high-profile success of its kind, and with strong performances, slick execution and winking metafiction…

access_time5 min.
thought for the day

Ten dark grey bars lie in the middle of the screen, arranged like rudimentary dominos. Click on the first and it turns a creamy white. Click on the second, and it too lights up. Ditto, the third. But on the fourth click, they all reset to their original colours. It takes a while to realise what you’re supposed to do: curb your natural instinct for instant gratification, leave a longer gap between each click than the previous one and you’ll eventually light up all ten. And that’s the game. This is Tempres by Melbourne-based developer Tak, the inspiration for a yearlong interactive art project set up and curated by Vlambeer’s co-founder and staunch indie advocate Rami Ismail. Meditations is the work of Ismail, a small team of helpers, and more than…

access_time5 min.
solo traveller

There were cheers, apparently, when Bungie management told an all-hands studio meeting that it was parting ways with Activision. From the outside looking in, it’s easy to imagine why. The divorce settlement sees Bungie, which owns the Destiny IP under the terms of the ten-year deal signed in 2010, gain independent publishing rights to its shared-world shooter. It now has full creative control of a game whose near-decade in existence has been fraught with problems. No wonder that, as one source told Kotaku, champagne corks were popping. Yet it may not be as simple as that. There is much to celebrate about the notion of a 700-person studio, which gave the world Halo and Destiny, now being one of the biggest indie developers on the planet. Yet there is much to…

access_time1 min.
robot rock

The fate of the civilised world is at your fingertips in Impossible Bottles. It’s a rhythm game in which you must tap in time while a mad scientist shoots electricity through cables that power gigantic subterranean robots – and, in turn, the cities they move beneath. “I was always a fan of music games and illustrations that play with colours and bigger compositions,” art director and illustrator Rafael Varona says, citing the works of Tom Haugomat and Lotta Nieminen as inspiration, as well as animation studios such as Psyop and Moth Animation. The loops you set in motion are mesmerising: the huge mechanical beings stamp and flail to electronic beats, while the lights in the nightclub on the surface pulse in response. “Every looping animation and visual effect follows the beat,…

access_time1 min.
soundbytes

“Me little boy came home from school yesterday and gave me a number. He’s asking me to ring EA Sports… he’s been getting a bit of stick in school because his dad’s only 35 pace.”Morecambe midfielder Kevin Ellison reveals the terrible human cost of being assigned rubbish FIFA stats“In the long term, perhaps our focus as a business could shift away from home consoles – flexibility is just as important as ingenuity.”Nintendo president Shuntaro Furukawa hints at a hardware-free future for the house of Mario“What is the Mad Box? It’s the most powerful console ever built. You want 4k, you want VR at 60fps? You want a full engine for free? You have it.”Slightly Mad CEO Ian Bell goes full Soulja Boy. That studio name suddenly looks like an understatement“TV…

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