Edge January 2022

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
kr 35,24
kr 353,20
13 Utgaver

i denne utgaven

2 min
“yes, but can i use it to storm the capitol in vr?”

“Like an alien race coming to terraform the Earth and turn us into meat batteries, first, they came for our friends and families, then our schools, then our town halls and libraries and marketplaces, and then our politicians.” A lot has been said about Facebook’s plans for an allencompassing metaverse, but not much stands up to this from Internet culture writer Ryan Broderick. “They saved and studied billions of our faces and experimented on our children and our parents and figured out exactly how deeply they could worm their way into how we interact with each other. Now that they’ve reached the limitations of both our current technology and our laws, they decided it was time for an upgrade.” Because of the many controversies on its track record, we cannot expect…

9 min
like lightning

Change is afoot in the world of videogame publishing. Where once the average player might have been able to name – and count on one hand – the companies that brought to market most of the big titles they purchased, today the picture is much more complicated. Selfpublishing is on the rise, of course, as is the indie dev-pub model. But we’re also becoming aware of ever more sleeping giants: companies that have, quietly, without many of us noticing, become forces to rival the biggest publishers and platform holders. Look at Devolver Digital, which, quite apart from having one of the year’s best runs of releases, from Death’s Door to Inscryption, has just become a publicly traded company, with an initial valuation of almost $1bn. Or at Embracer Group which, despite…

2 min
selection box

1 min
new money

Through Robot Teddy, Thunderful Investment is bankrolling two funds. The first is focused on VR. “[Robot Teddy founder] Callum [Underwood] has a lot of experience in that space, having worked at Oculus,” Simonetta says. “I was a PSVR project lead in Europe for a period of time, evangelising PSVR to the development community. So there is the shared belief that VR can play an important part in our industry.” The second focuses on backing early prototypes. “Too often, for publishers, investors and platforms, it’s easier to invest in something that is farther along the line, and so developers struggle to get a prototype funded.” The idea, it seems, is to get in on the ground floor of the next big thing – though Simonetta stresses that, while publishing with Thunderful…

1 min

Agostino Simonetta spent close to seven years in charge of developer partnerships at ID@Xbox. That’s as long as Microsoft’s indie initiative has been up and running. So why leave? “I wasn’t running away from Xbox. I loved my job at Xbox,” he says. But after a career that has spanned Sony, THQ and Sega, he wanted a role that would let him apply all he’s learned, and take him closer to his roots, “in a small indie studio, working in the basement of an Italian villa by the seaside”. Now based in Woking, there might not much Mediterrenean sunshine to be found, but he does appreciate the chance to be back outside of the “corporate environment”.…

1 min
take the money and run

Having gained early access to the exhibition, we were surprised to learn it would be made available to download for free. Even if its abstractions arguably make it a relatively niche proposition, opening Kid A Mnesia up to a larger audience is a smart move from Epic’s point of view, representing another feather in its hat – and further temptation for PC owners to stray from Steam. From the band’s point of view, it’s a chance to reach a new generation of listeners, but with the only encouragement to spend a QR code at the exit – essentially the equivalent of a museum donation box – the whole thing feels more creatively than commercially motivated.…