Tech & Gaming

Edge January 2018

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.
where do we go from here? time ain’t nothing but time

In an ironic twist for a series best known for killing off a beloved character, we’re pretty sure Final Fantasy is going to still be around long after we’re gone. There’s just no stopping this series: it’s survived the potentially ruinous failure of a tie-in movie, and lived on after its creator moved on to pastures new. More recently, it has somehow stuck it out through the tortuous, decade-long development of Final Fantasy XV, and the near-total rebuild of the MMO Final Fantasy XIV. It is the videogame equivalent of the cockroach, if cockroaches were beautiful, and popular, and could summon Bahamut when things looked like going south. Edge has been around a while too, and we’ve been reinvented several times in our near-quarter-century on shelves. But nothing in games changes…

10 min.
face time

Not for the first time in games of late, the notch is a problem. To those in tech circles, the inch-wide indent in iPhone X‘s screen has been quite the controversy, Apple’s desire to integrate facial-recognition technology into the device’s front camera forcing something you don’t see often from this company: a design compromise. This is Apple’s first all-screen phone, a move that belatedly sees it catch up with makers of high-end Android handsets such as Samsung. Yet while the surrounding bezel is thin to the point of being almost invisible, the notch is impossible to ignore. Apps, games, and videos look as if someone has taken a bite out of them. This is the price you pay for Face ID, which captures an infrared, 30,000- point map of your face…

5 min.
délice de france

After a quiet, rather safe E3, this was a Sony that once again seemed eager to please There is, in fairness, no way to perfectly time a live show when it’s being broadcast around the world. Yet that is no excuse for Sony’s Paris Games Week show – which kicked off at 5pm local time, and as such was always likely to be watched by school-age children in the event’s home region – being quite so extreme in its content. First, David Cage’s Detroit: Become Human was shown off, if you can call it that, in a scene depicting violent child abuse. Later, in the showclosing headline slot, a sequence from The Last Of Us II showed arms, heads and jaws split apart by hammers. Yes, the watershed means nothing when…

4 min.
rush the stage

Onrush was up, running and playable internally at Codemasters within just three months We didn’t think this was supposed to happen anymore. It is barely 18 months since Codemasters announced it had given a new home to the team that made DriveClub at Evolution Studios, which had been shut down by parent company Sony. In just a year-and-a-half, this team has devised a new game concept, built a new engine to power it, and announced it on Sony’s stage at Paris Games Week. And not only that. Onrush was up, running and playable internally at Codemasters within just three months. “It’s about working smartly, more than anything else,” game director Paul Rustchynsky tells us. “We learned a lot from previous projects about how to do things in a much better way –…

1 min.
partners in time

Growing up is a kind of time travel – a very slow, awkward kind, sure, but time travel nonetheless. That might explain the surreal premise of The Gardens Between, a puzzleadventure game set across several vibrant garden islands. “We took aesthetic cues from landscape garden design, as well as contemporary illustration and photography, to create a visual language that juxtaposes natural and unnatural,” says Josh Bradbury, designer and animator. Outsized items litter levels – a tower of Jenga blocks here, a walkie-talkie there. “The oversized objects are crucial to the storytelling,” explains Brooke Maggs, writer. “They add to the wonder and whimsy of the world and are integral to Arina and Frendt’s friendship, because the gardens are formed by their shared memories.” Moving forward and backward around the spiral path of…

1 min.

“Our goal has always been to create the best possible game for all of you – devoted Star Wars fans and game players alike… Sorry we didn’t get this right.” Well, DICE GM Oskar Gabrielson, let’s hope no other EA staff ever hinted that this was the plan all along “We find the consumer doesn’t mind [monetisation]… They’re actually getting a chance to go deeper and spend longer in a game than they ever did before.” Are you sure ‘longer’ is really the word you’re looking for, EA CFO Blake Jorgensen? “We feel very good about the fact that you can earn almost everything in the game… [this] is the right way to balance the game.” Quite right, EA CEO Andrew Wilson. Following that logic, we can also earn a Maserati “[Loot] crates can be a fun…