Tech & Gaming

Edge September 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
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13 Issues

In this issue

2 min.
step inside the party, disrupt the whole scene

E3 is all about expectations. The predictions, rumours and leaks start weeks, if not months ahead of time these days. Long before we head off for the airport, let alone sit down at our first press conference, we have a broad picture of what to expect from the show. Publishers and platform holders speak often about meeting their players’ expectations; their PR folks, always mindful of a potential crisis, talk about managing them. The natural downside of that is everyone has pretty much made their minds up about something before it has even happened, which threatens to rather take the buzz out of the most exciting videogame event on the calendar. E3 wasn’t quite as enthralling this year as we’d hoped; we found an industry largely content to shut up and…

1 min.

EDITORIAL Nathan Brown editor Jen Simpkins deputy editor Andrew Hind art editor Miriam McDonald operations editor CONTRIBUTORS Edwin Evans-Thirlwell, Alex Hutchinson, Andreas Inderwildi, Cliff Newman, Jordan Oloman, Emmanuel Pajon, Steven Poole, Chris Schilling, Alex Spencer, Sam White, Alex Wiltshire, Mark Wynne SPECIAL THANKS Michael Gapper, Mark MacDonald, Kat Osman, Laura Skelly, Catherine Vandier, Nathan Vella ADVERTISING Clare Dove commercial sales director Kevin Stoddart account manager (+44 (0) 1225 687455 kevin.stoddart@futurenet.com) CONTACT US +44 (0)1225 442244 edge@futurenet.com CIRCULATION Tim Mathers head of newstrade +44 (0) 1202 586200 PRODUCTION Mark Constance head of production US & UK Clare Scott production project manager Hollie Dowse advertising production manager Jason Hudson digital editions controller Nola Cokely production manager MANAGEMENT Aaron Asadi chief operating officer Paul Newman group content director Tony Mott editorial director, games Warren Brown senior art editor Rodney Dive head of art & design Dan Jotcham commercial finance director…

9 min.
those who show up

Every year, on Internet forums and social media, in website articles and comment sections, and even in the bars and restaurants around the Los Angeles Convention Center, people debate who has ‘won’ E3. It’s always been a facile question – the real winners are the ones who get to spend a week in the sunshine playing games and drinking free cocktails, obviously – and the very notion of one company beating another plays into the often troubling tribalistic relationship that videogame lovers have with the companies that make their favourite games and systems. But it’s always been instructive in a broader sense: only by weighing up the relative merits of various publishers’ and platform holders’ endeavours can we form a broader picture of where the industry is, and where it…

1 min.
dry and dry again

This was the third year of E3 being open to the public, and also the third year of the E3 Coliseum, produced by The Game Awards’ Geoff Keighley. Held in the LA Live complex round the corner from the convention centre, it’s designed to bring fans closer to developers through on-stage interviews with the minds behind their favourite games, with a few curveballs along the way: Keighley interviewing Todd Howard and Elon Musk at the same time was as weird and awkward as you’d hope. It helps give E3 week more of a festival feel, the event spreading beyond the convention centre and taking fans with them. Fair enough – at least until you try to get a drink, and find half-hour queues at every watering hole in the vicinity.…

1 min.
babe in the woods

An active imagination is part of being young. Misfortune’s is particularly vivid: in dark choice-based comedy adventure Little Misfortune, she’s headed into the forest on a quest to “beat the game” and win eternal happiness for her mother. Indeed, its art style is Natalia Martinsson’s own explorable version of her childhood passions. “I wanted to feel inside of those children’s books I loved so much when I was a little girl,” she says. Misfortune’s bobble head and big eyes play up her cuteness, while her grey-masked mother has more realistic proportions: “Differences in the textures and pen marks give a deeper feeling to an item or character.” Killmonday Games is contrasting a sweet, childish perspective with a scary world of grown-ups – but your disembodied friend Mr Voice may be more…

1 min.

“The videogame industry made $43 billion in revenue last year. The workers responsible for that profit deserve to collectively bargain as part of a union.” It seems US presidential hopeful Bernie Sanders is a secret Edge reader. We can’t find any tweets from him about new handheld Playdate, weirdly “[Lootboxes] are what we look at as ‘surprise mechanics’ … they’re quite ethical and fun and enjoyable to people.” EA’s vice president of legal and government affairs, Kerry Hopkins, gives a parliamentary committee a masterclass in spin “I wish Sony was here. E3 is not as good when they’re not here.” We agree entirely, Xbox boss Phil Spencer, but are you really supposed to say that sort of thing out loud? “Team-killing is for assholes, and talking shit to your own team members is some super asshole…