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Tech & Gaming

Edge February 2017

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 More
13 Issues

In this issue

2 min.
seeking some games for the end of the world

This year may be a testing one, and it’s tempting to stew over everything we don’t want to see come to pass, but let’s be positive and focus instead on what we’d like to see emerge throughout videogames in 2017. First, there’s the small matter of an entirely new platform from Nintendo. With Sony so dominant in today’s landscape, it makes sense that Switch has been designed as a console that doesn’t attempt to battle PS4 head on, preferring to fish in the handheld waters where Nintendo has been so successful since the introduction of the unassuming Game Boy nearly 30 years ago. We want to see the portable aspect work harmoniously with the hardware’s function under the TV, we want a mind-bending new Mario title, and we want The Legend…

7 min.
touch sensitive

They say change never comes easy, so perhaps it’s no surprise that the first year of consumer VR has been somewhat rocky. The promise, and appeal, of SteamVR and HTC Vive were rather undermined by the latter’s pricetag and the former’s preference for quantity over quality – a glance at user reviews on Steam suggests many would prefer it the other way round. Sony may have launched PSVR with one of the biggest and broadest launch lineups in videogame history, but it has since lowered its estimated sales figures for what always felt like VR’s most massmarket proposition. Then, a perceived lack of focus on new VR titles at December’s PlayStation Experience had many fearing that Sony’s expertly engineered headset was destined to go the way of Vita: loved by…

5 min.
for the prayers

It was largely a reprise of last year’s PSX show with the same names filling the same roles Those of you who would like to take something positive from 2016 can look on it as the year in which the convention circuit completed its transformation from industry knees-up to fan-focused hype onslaught. Things had been heading this way for a while, admittedly, but 2016 was the year in which sales graphs were consigned to the bin, where trade shows were pretty much abandoned in favour of fan events, and where stage events were made primarily for the people watching at home, rather than those whooping their lungs out in the room itself. In that sense PlayStation Experience was a fine way to round out the year, even though it showed the good…

5 min.
festival of the lost

When the annual Independent Games Festival was founded in 1998, indie games felt like gaming’s ugly stepchild. They were often literally ugly, for starters, and usually pale imitations of what the mainstream industry was doing or had already done. No one was buying them, no one was selling them. The idea of an indie-game millionaire would have seemed laughable, let alone a billionaire. The IGF awards, held each year as part of the Game Developers Conference in San Francisco, have been part of moving the form from the fringes to the very centre of the industry, by helping unknown games find funding and secure access to digital distribution platforms on console and PC. Now, in an age where Steam Greenlight and Kickstarter exist, and where Sony and Microsoft knock on the…

2 min.
piece process

Norwegian studio Krillbite’s latest game, Mosaic, is a drastic departure for the company. While its previous title, 2014’s Among The Sleep, also set out to horrify players, the two games come at the goal from very different angles. Among The Sleep portrayed its world from the eyes of a toddler, intensifying its shapes and colour palette to represent childlike wonder. Mosaic’s protagonist, meanwhile, is a grown-up, beaten down by the trials of adult life, depicted throughout the game in a solemn visual style. “We want to show a caricature of reality that is distorted by the protagonist’s mental state – lonely, depressed and apathetic,” explains artist Karoline Oppedal Aske. “This makes the world feel cold, sharp, hard and inhuman. It’s full of repetition and patterns that reflect the systematic aspects of…

1 min.

“I do like Minecraft... That’s something we should have made. Back in the N64 days we had some designs that wereverysimilar.” Other things Nintendo’s Shigeru Miyamoto definitely thought of first: Star Wars, Netflix, and the McRib “What happened to Kojima last year was a tragedy, but he never complained. He just sat in an isolated room for months, looked inside himself and focused on his art.” Careful, Geoff Keighley: focus on your art for too long and you’ll go blind “There is no money in it. I don’t mean ‘money to go buy a Ferrari’. I mean ‘money to make payroll’… Developers made these deals because it is the only way their games could come out.” DayZ creator Dean Hall sketches out an apocalyptic landscape for VR development “We need to test harder…