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EdgeEdge

Edge Xmas 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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13 Issues

IN THIS ISSUE

1 min.
then as it was, then again it will be

Forgive us for stating the obvious, but ten years is an awfully long time, particularly in an industry that moves so fast as this one. It has only been in putting together this issue that we have truly come to appreciate just how much videogames have changed over the course of the past ten years. In 2010, we knew nothing of PS4 or Xbox One. Sure, we knew new consoles would arrive, but we had no idea that Microsoft would so spectacularly throw away all its hard-won goodwill, or how Sony would so speedily, savvily capitalise on it. We had no idea of the new genres that would emerge as the decade progressed: the terms ‘Roguelike’, ‘Soulsborne’ or ‘walking simulator’ would have meant nothing to us back then, yet are commonly…

1 min.
edge

EDITORIAL Nathan Brown editor Jen Simpkins deputy editor Andrew Hind art editor Miriam McDonald operations editor CONTRIBUTORS Jon Bailes, Rob Crossland, Edwin Evans-Thirlwell, Alex Hutchinson, Phil Iwaniuk, Cian Maher, Emmanuel Pajon, Jeremy Peel, Steven Poole, Chris Schilling, Alex Wiltshire SPECIAL THANKS Steve Gaynor, Doug Lombardi, Kira Vesikko, Derek Yu 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 SUBSCRIPTIONS Web www.myfavouritemagazines.com Email contact@myfavouritemagazines.co.uk Telephone 0344 848 2852 International +44 (0) 344 848 2852 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 Matt Pierce brand director Dan Dawkins content director, games & film Tony Mott editorial director, games Warren Brown senior art editor Rodney Dive head of art & design…

12 min.
ten years gone

The size of the Google doc into which the Edge family threw ideas for this feature speaks volumes about the absurd clip at which the game industry moves. There has never been a truly quiet decade in videogames, but the past one was surely the busiest yet. It was one in which the traditional ruling class found themselves fighting not just each other for the spoils, but a host of new arrivals too. Traditional business models, development methods and marketing strategies were upended; players grew more invested, both emotionally and financially, in games than ever before. This was a tremendous decade for games, certainly. We’ll get into that later this issue. But it was also a fascinating, often terrifying, transformative ten years for the industry around them. Over the pages…

1 min.
bricking it

People ask, ‘Where is the local post office?’, but nobody ever asks, ‘How is the local post office?’ Buildings Have Feelings Too is set to change that: in this city-builder, you must balance the needs of the town with your structures’ own aspirations. “Old stop-motion animation has a big influence,” creative director Benjamin Donoghue says; his team has strived to replicate its magical physicality, presenting buildings as toy-like models you pick up, inspect and rearrange. Blackstaff Games is based in Belfast; its surroundings have been a key influence. “With older buildings needing to adapt to the modern era and increasingly at risk, it didn’t feel much of a jump to imagine buildings having the same anxiety around change we do as people,” Donoghue says. We hope to make their transition as…

1 min.
soundbytes

“Liberate Hong Kong, revolution of our age!” Hearthstone pro Chung ‘Blitzchung’ Ng Wai cops a tournament ban for supporting protesters in Hong Kong, and sparks an industry-wide controversy “Blizzard shows it is willing to humiliate itself to please the Chinese Communist Party. No American company should censor calls for freedom to make a quick buck.” United States senator Ron Wyden slams the Hearthstone maker for seemingly kowtowing to oppression “Epic is a US company… that will never happen on my watch as the founder, CEO and controlling shareholder.” As ever, Epic CEO Tim Sweeney simply can’t resist an opportunity to cast his company in a flattering light “If you search for anything PewDiePie-related on any Reddit-related forum in China or any YouTube related videos, it will just be completely blank.” Felix ‘PewDiePie’ Kjellberg falls to the Great…

1 min.
arcade watch

We don’t tend to cover the subgenre of arcade gaming that goes by ‘videmption’, and that’s not only because of the messiness of the term (though that’s certainly part of it). Rather, it’s because the dominant coin-op business model has had a similar sort of effect on coin-op game design as the success of free-to-play has had on mobile-game mechanics. Here, sessions are short, gameplay is basic and the reward is not in the playing, but in the strip of tickets the machine spews out at the end. We’ll make an exception for Hot Wheels: King Of The Road, however, for all that it bears the hallmarks of the videmption model: sessions are short, at just 60 seconds per race, and the mid trailer flash about winning up to 300 tickets…