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EdgeEdge

Edge October 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.

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

IN THIS ISSUE

access_time2 min.
he’s got to look out for what’s over his horizon

As our masthead makes clear, Edge is in the business of the future of interactive entertainment. It’s a lofty goal – and, as this issue shows, an increasingly wide-ranging one. This month we head, for the second time in as many issues, to China, where some of the biggest publishers in the west are trying to break into the most lucrative market on the planet, this time by setting up shop at ChinaJoy, the nation’s equivalent of E3. On the very next page, we hop halfway around the world to speak to Her Story creator Sam Barlow about his attempts to take interactive storytelling to the next level. Later, EA’s creative chief Patrick Söderlund explains how a publisher known for annual mega-franchises such as FIFA and Madden is, behind the scenes,…

access_time8 min.
joy unconfined

Foreign developers and publishers get permission to operate in China by partnering with a local company PAN PIPELINES ChinaJoy is attached to CDEC, a Chinese developer conference that takes place in a nearby hotel. This year’s opening keynote speeches by speakers from the Chinese government, Tencent, NetEase and PerfectWorld stressed the importance of protecting Chinese culture through the creation of original games and the promotion of Chinese heroes. ‘Panentertainment’ was the buzzword of choice – franchises built around games, comics, movies and TV. This is a natural fit for the Chinese industry, whose major players (particularly Tencent) operate in social media, movie production, games development and book publishing simultaneously. Warner Brothers’ Steven Chiang and Ubisoft’s Yves Guillemot presented their own companies as models for the Chinese games industry in this regard, with…

access_time5 min.
striking gold

“I think that, while I have my roots in hardcore games, the real opportunity is to go much wider” He worked as lead designer on Super Street Fighter II Turbo HD Remix, was running the Evolution tournament before it even bore the name, and has placed in the top eight three times at the championships as a professional player: David Sirlin is serious about fighting games. It’s perhaps surprising, then, that the one he’s currently developing is aimed at a far more casual audience. Fantasy Strike is a 2D fighter with an extremely simple control scheme. There’s a button to walk left, another to walk right, a third to jump and a fourth to attack. Quarter-circles and multi-input combos are nowhere to be found: two more buttons trigger a special attack each,…

access_time4 min.
his story

SHUTTER SHAKE-UP Barlow is clearly enjoying the opportunity to disrupt established ideas of film and TV as he brings his experience in the interactive space to bear. “It’s cool to see the look on people’s faces,” he says. “The movie and TV industries are pretty solidified in the way they do things. The way a crew is organised, the way they break down a script – it’s a very well-oiled machine, and that’s how you can have hundreds of people running around and still manage to get the shot in the can. This complicated endeavour works because they’ve had 100 years of figuring out how this stuff works. So to come into that world and give them a script and experience that changes all those rules is really fun and exciting.” “Without…

access_time1 min.
neon genesis

Produced by former Playdead CEO Dino Patti, and the brainchild of film veteran Chris Olsen, Somerville prompts awe and dread. “I’ve always loved strong graphic framing, that confidence to give something relatively still a lot of life and allow the viewer to soak it all in,” Olsen explains. “On top of that, an emphasis on gigantic scale. The monolithic paintings from John Harris, the locked-off wide shots in Evangelion – they were a great source of inspiration.” Composition is critical: like Limbo and Inside before it, Patti’s latest project is a side-scrolling adventure, though here colour is everywhere, dystopia is now apocalypse, and there is combat as well as the usual panicked escape. “I’m drawn by aesthetically pleasing games that have interesting gameplay integrated into a moving narrative,” Patti tells us.…

access_time2 min.
soundbytes

“It takes six months to create a single car. It’s over-specced for PS4 Pro. We are building for future versions of the console, [not] the one we see today.” Kazunori Yamauchi lays the groundwork for Gran Turismo Sport being delayed until PS6 “You know, sometimes life isn’t fair. Things are more interesting like that, with the blue shells of life.” Mario Kart 8 director Kosuke Yabuki puts a positive spin on the worst power-up in games “Players are very supportive of slavery, because there’s money to be made. People say, ‘Oh, it’s only a game.’ I’m sure in Roman times, people justified it a bit like that: ‘At least we’re looking after them.’” Is David Braben talking about Elite Dangerous, or a new Frontier overtime policy? “We’re driving more and more of our marketing away from…

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