Edge May 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
特別販売: Top pick! Save 40% on your subscription!
13 号


you ask for a contribution? we’re all doing what we can

Reinvention is, as the word implies, never going to be easy. And it can come in myriad different forms. In this issue’s Super Play feature, we examine the current state of emulation. It’s been thrown into something of an existential crisis by the hardware-based Super Nt console, which upgrades the SNES for the 21st century in style – and at quite a price. To lay eyes on a freshly unboxed Super Nt is to understand exactly where all your money has gone; it looks, feels and works like a dream, its maker’s labour plain to see. But around the world, game companies are reinventing themselves constantly behind the scenes, often in invisible ways. This month we head to Montreal for the Ubisoft Developer Conference, and find a publisher of videogames that…

forge ahead

There was a time, not so long ago, when it was fashionable to accuse Ubisoft of repeatedly making the same thing. In fairness, Ubi looked worryingly comfortable. Most of its games rarely deviated from a set formula: whether it was Assassin’s Creed, Far Cry, Watch Dogs or The Division, everything seemed to blend into one analogous soup of one-button takedowns, X-ray vision, climbable towers and collectibles. They say that good design is invisible; Ubisoft’s more significant achievements in videogame design over the past several years have, perhaps, gone under the radar. Until now, that is. The annual Ubisoft Developers Conference brings together the company’s various creative teams from all over the world to its Montreal studio for four days, an opportunity to share best practices and technological breakthroughs with each other…

public play

Holly Gramazio is the director of Now Play This, a festival of experimental game design, which exhibits both physical and digital games, playable on screens, as room-sized installations, and even outdoors. Beginning as a prototype festival in September 2015, it officially launched the following year as part of the inaugural London Games Festival. It continues this year at Somerset House, from April 6 to 8; for tickets, visit nowplaythis.net. How did you get your start in game design, and what led you to setting up Now Play This? About ten years ago I moved to London from Adelaide in Australia. I was only going to stay for six months or so, but I ended up playing this enormous chase game across the city. It was just really extraordinary and changed how I…

back to life

For such a young company, Paris studio Darewise has already weathered a great deal of change. Founded only three years ago by two former Ubisoft producers, it set out as a publisher of mid-tier games – but after a rocky first game launch and finding itself facing yet another tectonic shift in the game industry, it’s gone all-out into in-house development. Its first game, Project C, is an MMO with production values worthy of a creative team led by Randy Smith, director of Thief: Deadly Shadows and founder of Spider: The Secret Of Bryce Manor developer Tiger Style (and previously an Edge columnist), and Viktor Antonov, visual designer behind Half-Life 2 and Dishonored. And it’s powered by Improbable’s future-facing multiplayer technology, SpatialOS, which promises to give all its players a…

norse code

Of all the words to describe Vikings, ‘tiny’ and ‘charming’ are usually least applicable. But realtime tactics game Bad North has you defend small, isometric pastel islands from waves of miniature Norse marauders. “The Viking invaders embody the chaotic spirit of the ocean,” lead artist Oskar Ståhlberg says. “Like an inevitable tidal wave they emerge from the fog, disembark on the beaches and flood the island. Both the pathfinding and the combat simulation are spin-offs of fluid dynamics, so defending the island feels a lot like strategically placing levees to stave off a flood.” Every pint-sized isle is procedurally generated. “I came across an interesting procedural algorithm, somewhat pretentiously named Wave Function Collapse,” Ståhlberg says. “The original algorithm worked with pixels, but I built my implementation around modular 3D tilesets. Having…


“A lot of bad things are happening to young kids and young minds… I’m hearing more and more people say the level of violence in videogames is really shaping young people’s thoughts.” So is the level of unthinking lunacy coming out of Washington, Donald Trump, so let’s not point fingers “I play games… I’ve not experienced any mass murdering inclinations. You don’t become a mass murderer because of a videogame. Let’s stop passing the buck.” NRA rent-a-gob Dana Loesch, speaking in 2013, proves an unlikely ally in the war on idiocy “I have been honoured to serve as CEO of the company I founded with my brothers almost 20 years ago and have seen the team accomplish breakthrough things in that time.” Indeed, outgoing Crytek boss Cevat Yerli. We’ll never forget Homefront: Revolution, or all…