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PlayStation Plus Sale On PS4 Heads Up Weekly PSN Deals (US)

Another week means a fresh set of deals for PS4 games on the PlayStation Store. This week the headline event is a PlayStation Plus Specials Sale, offering deep discounts on more than 300 games and DLC packs–as long as you’re a member of Plus, the PlayStation service that grants you access to online play.

The lineup of game offerings for sale include a wide array of games, especially ones from Ubisoft. If you’ve been waiting to get your hands on some of the back catalog of Assassin’s Creed, South Park, or Far Cry, now may be the time. You can also catch up with bundles for The Division and Watch Dogs franchises, and the Persona Dancing: Endless Night Collection ($60).

Other standouts include low prices on some Battlefield games and the excellent campaign for Titanfall 2 ($7.50). If you’re more in the mood for a strategy game, Mutant Year Zero ($21) is on sale. You can also pick up Burnout Paradise Remastered ($5) or Dead by Daylight ($15), or get in a more indie mood with Guacamelee 2 ($10). Some deals don’t require Plus, like Monster Hunter World which is going for $20.

See all the weekly game deals in the PlayStation Store, and check out more of our picks below!

  • Adventure Time: Pirates of the Enchiridion — $10
  • Assassin’s Creed Origin — $18
  • Assassin’s Creed Syndicate — $15
  • Assassin’s Creed Unity — $8
  • Battlefield 1 Revolution — $10
  • Battlefield 4 – $5
  • Burnout Paradise Remastered — $5
  • Dead by Daylight Special Edition — $15
  • Dragon Age: Inquisition — $10
  • Far Cry Insanity Bundle — $50
  • Guacamelee 2 — $10
  • Jurassic World Evolution — $25
  • Life is Strange Season 2 — $30
  • Mutant Year Zero: Road to Eden — $21
  • Persona Dancing Endless Night Collection — $60
  • South Park: The Video Game Collection — $24
  • Starlink: Battle for Atlas Deluxe Edition — $40
  • Titanfall 2 Ultimate Edition — $7.50
  • Tom Clancy’s The Division Franchise Bundle — $60
  • Unravel — $5
  • Unravel Two — $5
  • Watch Dogs Gold Editions Bundle — $30

from GameSpot – Game News https://www.gamespot.com/articles/playstation-plus-sale-on-ps4-heads-up-weekly-psn-d/1100-6468030/

Double Fine Boss Tim Schafer Talks About Getting Bought By Microsoft

One of Microsoft’s surprise announcements at E3 this year was the acquisition of longtime independent studio Double Fine, which made Brutal Legend and the Psychonauts series. Now, Double Fine boss Tim Schafer has spoken about the buyout and why Double Fine agreed to it.

Speaking to Game Informer, Schafer said he was initially “very concerned” in regards to the impact an acquisition might have on Double Fine’s “culture and identity.” However, after speaking with Microsoft, he determined Double Fine would be able to retain its identity.

“I was very concerned about our culture and identity,” Schafer said. “They explained the new way they’re doing these acquisitions with unplugged studios that are not integrated into Microsoft. They’re left alone, they do their own thing and stay independent, but are well funded. It sounds like a good deal.”

In the end, Schafer said it’s a “perfect” deal for Double Fine. The studio will get to keep making its “inspired weird games” but now it won’t have to worry about securing funds for its next project, Schafer said. Independent studios like Double Fine before the buyout are known to have multiple plates spinning between developing games and constantly seeking funds for what’s next.

Also in the interview, Schafer said it will decide on a “case by case” basis if other teams inside Microsoft could potentially work on Double Fine IPs in the future.

Double Fine had operated as an independent studio since its founding in 2000. Some of its popular early games included Psychonauts, Brutal Legend, Costume Quest, and Sesame Street: Once Upon a Monster, all of which were published by different companies. In 2012, Double Fine kicked off a “Kickstarter revolution” of sorts with an adventure game that would go on to be known as Broken Age. The studio’s next game is the post-apocalyptic rogue-like Rad, which is published by Bandai Namco and due for release in 2019. Psychonauts 2 will follow in 2020.

It remains to be seen what Double Fine will develop under its new ownership by Microsoft. Terms of the Microsoft acquisition were not disclosed.

With the acquisition of Double Fine, Microsoft now has 15 game studios. The big number of development teams gives Microsoft a new level of freedom to not rush games out for release.

from GameSpot – Game News https://www.gamespot.com/articles/double-fine-boss-tim-schafer-talks-about-getting-b/1100-6468011/

New Avengers Game Doesn’t Make You Play Online

The new Avengers game from Crystal Dynamics has been likened to Bungie’s Destiny in that you’ll be able to team up, online to complete missions with other players. But that is only an option. Crystal Dynamics boss Scott Amos confirmed in an interview that the game is playable offline.

“We want somebody to be able to go buy a disc and never have to go online,” he explained to GI.biz. “You don’t have to. You can have a complete experience and have fun.”

For those who do want to play online, Square Enix is promising a robust, ongoing, and evolving experience with new characters and locations added over time–and for free.

“The idea, from the beginning, is that we want you to be able to customise your hero; how they look, how they play, the gear they have and how they use it,” Amos said. “Your Black Widow could be different to my Black Widow–just a little, maybe a lot depending on what you favour and how you unlock things.”

The Avengers game will make extra money beyond the upfront cost through various microtransactions for cosmetic items. There are no loot boxes or pay-to-win mechanics, and Amos promises, “No gameplay paywalls.”

“We want people to be able to play together and go on this journey, but we also want to say if you want to over-invest in your characters and customise them, you’ve got it,” Amos said. “We also have ways for you to earn a lot of those things. We want to give players as much flexibility as possible because it’s for them. We make this for the fans. At the end of the day, we will listen to them and get feedback from them and we’ll adjust everything to serve that need… We want to reward them for the hours they’re investing in our game.”

The new Avengers game launches in May 2020 for PlayStation 4, Xbox One, and PC, while it’s also coming to Google Stadia. The game features a number of iconic MCU heroes such as Iron Man, Captain America, Black Widow, and the Hulk, but the game doesn’t use the likenesses of MCU actors. Some people were not happy about the new character designs, but Crystal Dynamics won’t change them.

from GameSpot – Game News https://www.gamespot.com/articles/new-avengers-game-doesnt-make-you-play-online/1100-6467986/

Harry Potter: Wizards Unite Generated $300,000 In 24 Hours

Harry Potter: Wizards Unite appears to be yet another success for developer Niantic Labs. According to data from research company SensorTower, the free-to-play mobile game pulled in a healthy $300,000 across iOS and Google Play over its first 24 hours of availability last week. And that number only counts revenue in the United States and United Kingdom.

According to the report, Wizards Unite also reached 400,000 installs after its first day.

Wizards Unite is nowhere near as popular or profitable as Niantic’s previous release, Pokemon Go. That title generated around $2 million in revenue after its first day, according to SensorTower.

Wizards Unite is currently featured in the iOS app store’s Games page front and center, which is surely helping its visibility and in turn profitability. Of course the game is also based on one of the world’s most popular media franchises, Harry Potter, and its free-to-play model gives a low barrier to entry. It’ll be interesting to see if Wizards Unite can succeed in delivering new content regularly to keep players interested and engaged (and spending money) on the game.

For lots more on Wizards Unite, be sure to check out GameSpot’s rundown of everything you need to know, including Wizarding challenges, wand choice, friend codes, microtransactions, and more.

from GameSpot – Game News https://www.gamespot.com/articles/harry-potter-wizards-unite-generated-300000-in-24-/1100-6467985/

Avengers Game Brings On Call Of Duty And God Of War Devs

The new Avengers game from Square Enix that was revealed at E3 this year has some big names behind it. It was already confirmed that Naughty Dog veteran Shaun Escayg is the game’s creative director and longtime EA/Visceral developer Stephen Barry is game director, and now we’ve learned a few of the other names working on the PS4, Xbox One, and PC title.

Crystal Dynamics studio head Scott Amos told GI.biz that the developer also hired Dave Fifield to work on multiplayer and Vince Napoli for combat design. Fifield worked on a number of Call of Duty games at Activision, while he also contributed to the Halo series at Microsoft. Napoli, meanwhile, recently worked on Sony where he was lead systems designer for God of War; specifically, he oversaw the development of Kratos’ axe, chain blade, and shield/bare hand combat design.

“We cherry-picked the best of the best and said: ‘Let’s put this together in a new way for something bigger than we’ve ever done,'” Amos said.

Square Enix appears to be putting a lot of muscle behind the new Avengers game. It’s assembled five studios to jointly develop the title including Crystal Dynamics in Redwood Shores, California, as well as sister studio Crystal Northwest in Bellevue, Washington. Nixxes Software in the Netherlands is also contributing to The Avengers, while Eidos Montreal is also working on it. In addition, Square Enix Japan has a “tech group” contributing to the new title.

“We’ve literally had to put these five studios together and say: ‘We’re going this far. Tomb Raider, awesome. Rise of the Tomb Raider, even better. Shadow of the Tomb Raider… and it’s like no, we’re going beyond the boundaries,'” Amos said.

The new Avengers game launches in May 2020, though an Avengers beta coming to PS4 first will kick things off before release. Square Enix’s announcement also included details like cooperative gameplay, free post-release DLC, and the all-star voice cast includes Troy Baker, Laura Bailey, Nolan North, Travis Willingham, and Jeff Schine.

In other news, Marvel is bringing Avengers: Endgame back to theatres with extra content. Maybe the re-release will help the film eclipse Avatar to become the highest-grossing movie ever.

from GameSpot – Game News https://www.gamespot.com/articles/avengers-game-brings-on-call-of-duty-and-god-of-wa/1100-6467984/

EA CEO And Other Execs Gave Up Their Cash Bonuses

Electronic Arts CEO Andrew Wilson and a series of other high-ranking executives at the publisher declined their cash bonuses for the latest financial year which ended March 31. This was confirmed in a Securities & Exchange Commission filing dated June 21 and reported on by GameDaily.

“Our CEO and his staff requested that they receive no performance cash bonus award for fiscal 2019,” reads a line from the filing.

The filing mentioned that Wilson and other executives declined their cash bonuses due to EA’s poor financial results in Fiscal Year 2019, and “in order to maintain alignment with our pay-for-performance executive compensation philosophy.”

“While we are disappointed with our fiscal 2019 results, we understand the challenges we face, and we will continue to focus on how we can apply the strengths of our Company to capitalize on our opportunities,” the statement explains.

EA made $4.95 billion for fiscal 2019, which was down from $5.15 billion during the previous fiscal year. The downturn in revenue might sound surprising given EA landed a huge hit with Apex Legends during the year. However, the title was only released in February 2019, which was just ahead of the end of the fiscal year in March. EA also had a few high-profile misses during the year, including Battlefield V and Anthem, both of which underperformed.

The other EA executives who declined their cash bonuses for the year included CFO Blake Jorgensen, CTO Kenneth Moss, chief marketing officer Chris Bruzzo, and chief studios officer Laura Miele. Patrick Soderlund, who quit EA in August 2018, also reportedly gave up his bonus. EA reportedly offered Soderlund $20 million in equity bonuses to stay at the company, but even so, he left to establish Embark Studios in Sweden. At the time, it was believed that Soderlund took the $20 million with him, but GameDaily reports that he did not; the funds are instead reportedly going into a pool to help secure new hires, among other purposes.

According to GameDaily, the EA executives declined their cash bonuses and instead put the money into a bonus pool to be paid to employees. Combined, the bonuses amount to around $4.8 million to be paid to employees, and that doesn’t count the $20 million equity bonus from Soderlund, according to GameDaily.

The SEC filing also reveals that all of EA’s Named Executive Officers (NEOs) received an increase to their base salary in Fiscal 2019. Wilson now makes $1.192 million annually, while Jorgensen gets $850,000. Moss and Bruzzo make $675,000 every year. Miele, who only just started as chief studios officer, makes $675,000 annually as well. Soderlund, who left EA during fiscal 2019, made $475,572 as a base salary. All numbers are in USD.

As you can see in the chart below, base salary is just the beginning when it comes to total compensation. Wilson’s total pay package, including stock awards and other compensation, was $18.3 million for the latest fiscal year. That is just about half of what he earned the year prior. The “non-equity incentive plan compensation” is empty for all of the NEOs, and that’s because they declined their cash bonuses.

No Caption Provided

In other EA news, Wilson says he believes BioWare’s Anthem can find success in the future following its slow start earlier this year.

from GameSpot – Game News https://www.gamespot.com/articles/ea-ceo-and-other-execs-gave-up-their-cash-bonuses/1100-6467982/

EA CEO Explains What Happened With Anthem And Why The Game Will Become “Something Great”

BioWare’s Anthem released in February this year, and it wasn’t a huge critical success. Part of the reason why the game struggled, according to EA CEO Andrew Wilson, is because it attempts to appeal to two different audiences. He talks about the game’s struggles and opportunities for future growth and success in a new interview.

“We brought together these two groups of players who were making this emotional value calculation on two different vectors,” Wilson told GameDaily. “One was traditional BioWare story-driven content, and the other was this action-adventure type content. About the 30 or 40 hour mark they really had to come together and start working in on the elder game. At that point everyone kind of went, ‘Oh, hang a minute.’ Now the calculation is off.

“It’s off because I’ve got a friend who sits in this other category of player. They want to play the game a certain way. I want to play the game a certain way. The promise was we can play together, and that’s not working very well. Oh, by the way I’m used to 100 hours of BioWare story, and that’s not what I got,'” Wilson explained. “Or, ‘I expected that this game would have meaningfully advanced the action component that we’d seen in games like Destiny before, and I don’t feel like it has.'”

While Anthem might have struggled out of the gate, Wilson said EA is committed to supporting the game in the long-run. In fact, he mentioned that Anthem could have a “7-10 year cycle.” Wilson said EA feels good about investing in Anthem in the long-run because the game has a strong foundation to build on.

“If we believed that at the very core the world wasn’t compelling people, if we believed at the very core that the characters weren’t compelling for people, or the Javelin suits weren’t compelling, or traversing the world and participating in the world wasn’t compelling then provided we hadn’t made promises to our players… we might not invest further,” Wilson said. “IP lives for generations, and runs in these seven to ten year cycles. So, if I think about Anthem on a seven to ten year cycle, it may not have had the start that many of us wanted, including our players. I feel like that team is really going to get there with something special and something great, because they’ve demonstrated that they can.”

The full interview at GameDaily is in-depth and wide-ranging, touching on a number of other subjects including loot boxes, layoffs, and a wider look at the future of EA. Go read it.

At E3 this year, Anthem lead producer Ben Irving said he believes Anthem has a “very bright future.”

“We’ve learned a lot these last few months, we really want to make the game better, we believe Anthem can be a really amazing game,” he explained. “We know we have some work to do, we just want to work with the community and build it together and make it the game that everyone wants it to be.”

from GameSpot – Game News https://www.gamespot.com/articles/ea-ceo-explains-what-happened-with-anthem-and-why-/1100-6467980/

Playing Games On Your Phone Is Good, Actually

I’m a handheld video game enthusiast. I’m sure of this, because people in the office make fun of how much I use and love the PlayStation Vita (hi, CNET!). The first console I owned was a Game Boy, and I’ve owned and loved every Nintendo and Sony portable released since (even the PocketStation). I have a long commute, so I always have a dedicated gaming device in my backpack. But lately, I’ve been spending an exceptional amount of time on a platform I had previously written off: an iPhone.

Now that your eyes have rolled, I want to clarify that I’m not talking about the kinds of games you might traditionally associate with being “phone games,” though I do love those–I’ve played far more than a healthy amount of Marvel Puzzle Quest, and I love playing the cool stuff that crops up in the bespoke iOS scene: Florence, Reigns, Threes, 80 Days, and anything by Zach Gage. Instead, my recent revelation involves the kinds of video games that I would have previously preferred to play on a home console or PC.

Florence is pretty cool. You should play Florence.

Here’s an obvious statement: There’s never been a better time to be a handheld gamer. The 3DS is filled with great, unique first-party Nintendo titles. If you like Japanese RPGs, 2D platformers, and revisiting the finest titles in the original PlayStation library, the Vita is incredibly good, I promise (that OLED screen! That d-pad!). And of course, the Nintendo Switch is a fantastic hybrid console that redefined what kinds of games I could expect from a portable system.

Now, thanks to my phone, I’m getting that same Switch-style buzz once again. I recently took a vacation, and as usual, I packed my three portable consoles to entertain me during periods of extended downtime. The thing is, you can’t always prepare for when or where extended downtime happens. For one reason or another, there were a few times where I felt like playing a video game, didn’t have a console on me, and eventually was content to see what was on my phone so I could stop looking at the ocean or whatever for 15 minutes.

Tired of what I already had installed, I browsed the App Store for anything that caught my eye, and a free demo of Sid Meier’s Civilization VI was what did it. I’d been thinking about picking it up again on Switch, and was now morbidly curious to see how it ran on an iPhone. As it turns out, pretty well. It was visually impressive enough to pop on the small screen, ran smoothly with a smartly adjusted UI, and didn’t appear to have any feature concessions compared to the PC version. It was also the perfect game to play on a portable device: slow-paced and turn-based.

Civ VI on an iPhone–it’s better than you think, but still a little pricey.

That experience was a turning point for me, and I learned a bunch of things at that moment. One: 30 bucks is too much money to pay for a second copy of Civ VI, especially when it doesn’t have the expansions. Two: Phones are capable of surprising technical performance. Three: The best console is the one you have with you. Four: The convenience of being able to download games wherever is very good. Five: I don’t have five things.

I’m very aware that all the people I see playing PUBG and Fortnite on the train, as well as the entirety of China, are eager to tell me how late to the party I am. But ever since then, I feel like I’ve reconfigured the part of my brain that decides what kind of games would be more suitable as a PC, console, or handheld experience. For certain titles, I’ve managed to overcome the mental hurdle that stops me from tackling my pile of shame with a newfound curiosity that wants to see how differently they play on a phone.

I really enjoy playing short, focused games. But I’ve missed out on a bunch because I’ve always believed that I needed to dedicate a good chunk of time in front of a monitor in order to get through one, and often by the time I get home from work, all I want to do is play more Tetris 99 or, you know, spend time with my family. But ever since I got over myself, I’ve managed to play and finish a bunch of 2018 games I’d put on hold in a week’s worth of public transit rides–games like Donut County, The Stillness of the Wind, and The Gardens Between. I recently picked up Whispers Of A Machine after resolving myself to the fact that I was never going to find the time to sit down at a PC to play it, and as it turns out, my phone is perfect for the point-and-click adventure games I love so much. These more technically conservative titles also perform virtually like-for-like with their desktop versions, which helped eliminate my fears of opting for a “lesser” experience.

Even more graphically demanding titles can impress: I already own two different versions of challenging puzzler The Witness, but never found the courage to finish it. I then bought it for my phone, and I was surprised by how decent it looked. More importantly, I found myself building a different kind of relationship with it–one that I hope will finally help me see the end. If I’m stuck on a particularly hard puzzle, I can easily put it away and mull over it while I do something else. And, because it loads right where you left off, I can take another quick stab at it while I wait for a coffee.

The Witness–I’m not going to let Jonathan Blow defeat me.

However, I’m not completely abandoning my other handhelds–Persona Q2 and Cadence of Hyrule just came out, after all. I’ll absolutely chase after any game that gets me excited, but I’m finding that the convenience of form factor also plays a big part in what I now choose to pull out. If it’s standing room only on my train, or I want to lie sideways in bed, I’m less hesitant to pull out a Switch. The Switch is great, but it’s a little too big in these instances. It really isn’t a big deal to pull out a phone. Certain games, like The Gardens Between, Elder Scrolls Blades, and various Dragon Quest ports, have the option to be played with one hand in portrait mode, which I am incredibly thankful for.

The relatively lower price points for the iOS versions of games (unless you’re 2K or Square Enix) takes the sting out of having to buy some of these titles for the second time. I’m happy to throw down a few bucks to give myself a portable version of something I know I liked, but want to find more avenues to play. The convenience of being able to download the games over a cellular network instantly helps, too. I had a sudden hankering to play a good tactical strategy game on the way to work the other day, so I redownloaded XCOM: Enemy Within on iOS. It’s not as good as XCOM 2: War Of The Chosen, but it was available and ready to be downloaded as soon as I had that impulse. I saw GameSpot’s Tamoor Hussain tweet about Pocket Cities, so I gave that a try (I liked it). While I was walking, I heard Giant Bomb talk about Brawl Stars on a podcast, so I downloaded that too (I didn’t like it). Everyone is still talking about The Outer Wilds, but it’s a game that I can’t find a spare few hours in front of my PC to download and actually play. The ability to quickly feed my whims on a phone is incredibly useful.

I came to another realization while thinking about my new habits. When the Apple Arcade game subscription was announced in March, I thought it sounded interesting, but outside of a few games that I was already planning to play on other platforms, it didn’t think it was for me. I’m not an Xbox Game Pass subscriber, nor an Origin Access person. I don’t want to pay a monthly fee for access to a bunch of games I’m not going to play. I’m a Nintendo Online subscriber, but I rarely play the included library of NES games because I forget to download them until I’m browsing the library on a bus.

Take Two CEO Strauss Zelnick recently expressed a similar skepticism over video game subscription services on an investor call, saying “people do consume video games differently than they consume linear entertainment.”

He explained: “In the case of video games, it is possible that the average user in those 45 hours might be playing one, two, maybe three titles; certainly not 70 titles. In that event, if you play one, two, or three titles and you play them for months in a row–which often happens in [the video game world]–then a subscription model may not be such a great deal for the customer.”

I’m beginning to change my mind, however. I’ve installed and played over two dozen games on my phone since my revelation, most of which I can access on different platforms–but I haven’t. It’s been a pretty positive experience that’s been assisted by the ability to easily jump between games on a whim and download them anywhere I am.

Apple Arcade is currently poised to include a bunch of games that I was already keen on–Sayonara Wild Hearts, The Pathless, Beyond A Steel Sky, Klei’s Hot Lava, and ustwo’s Repair–and if they’re all going to be readily available on my phone there’s a way better chance I’ll actually play all of them. I’ve already got early access to tactical survival game Overland on PC, but I’ll be damned if that isn’t a perfectly-suited portable game. I can totally see the reasoning behind Apple’s big push into the video game space now–they likely want to stay competitive with the likes of Microsoft and Google, of course, but they’re also capitalizing on a different kind of gaming behavior which I’m only just cottoning on to.

I can’t wait to play more Overland.

An Apple Arcade subscription will also give you access to these games on MacOS and on Apple TV, which seems handy for when I actually have a chance to sit still for a while. Additionally, Apple recently launched the ability to connect Xbox One and PS4 controllers to iOS and Apple TV, which suggests that they’re interested in keeping their platform as flexible as possible. That’s a nice touch, because if there’s one thing I still haven’t come around to, it’s playing complex action games with a touchscreen interface–I don’t know how the people who play PUBG on the train do it.

I’m surprised at how much I’ve come to genuinely appreciate my phone as a portable gaming device. The convenience of accessibility make it incredible for catering to whims, it runs a variety of the games I personally love to play (and in some instances, ones that can’t be found on any other platform), and I can use it in situations where it’d be too uncomfortable to use any other portable. I can’t believe it took me so long to take it seriously–I could’ve actually finished The Witness and become a genius by now, instead of embarrassing myself with a PS Vita for years.

(I’m sorry, PS Vita. I didn’t mean that. You’re still cool, no matter what anyone says.)

from GameSpot – Game News https://www.gamespot.com/articles/playing-games-on-your-phone-is-good-actually/1100-6467947/

Playing Games On Your Phone Is Good, Actually

I’m a handheld video game enthusiast. I’m sure of this, because people in the office make fun of how much I use and love the PlayStation Vita (hi, CNET!). The first console I owned was a Game Boy, and I’ve owned and loved every Nintendo and Sony portable released since (even the PocketStation). I have a long commute, so I always have a dedicated gaming device in my backpack. But lately, I’ve been spending an exceptional amount of time on a platform I had previously written off: an iPhone.

Now that your eyes have rolled, I want to clarify that I’m not talking about the kinds of games you might traditionally associate with being “phone games,” though I do love those–I’ve played far more than a healthy amount of Marvel Puzzle Quest, and I love playing the cool stuff that crops up in the bespoke iOS scene: Florence, Reigns, Threes, 80 Days, and anything by Zach Gage. Instead, my recent revelation involves the kinds of video games that I would have previously preferred to play on a home console or PC.

Florence is pretty cool. You should play Florence.

Here’s an obvious statement: There’s never been a better time to be a handheld gamer. The 3DS is filled with great, unique first-party Nintendo titles. If you like Japanese RPGs, 2D platformers, and revisiting the finest titles in the original PlayStation library, the Vita is incredibly good, I promise (that OLED screen! That d-pad!). And of course, the Nintendo Switch is a fantastic hybrid console that redefined what kinds of games I could expect from a portable system.

Now, thanks to my phone, I’m getting that same Switch-style buzz once again. I recently took a vacation, and as usual, I packed my three portable consoles to entertain me during periods of extended downtime. The thing is, you can’t always prepare for when or where extended downtime happens. For one reason or another, there were a few times where I felt like playing a video game, didn’t have a console on me, and eventually was content to see what was on my phone so I could stop looking at the ocean or whatever for 15 minutes.

Tired of what I already had installed, I browsed the App Store for anything that caught my eye, and a free demo of Sid Meier’s Civilization VI was what did it. I’d been thinking about picking it up again on Switch, and was now morbidly curious to see how it ran on an iPhone. As it turns out, pretty well. It was visually impressive enough to pop on the small screen, ran smoothly with a smartly adjusted UI, and didn’t appear to have any feature concessions compared to the PC version. It was also the perfect game to play on a portable device: slow-paced and turn-based.

Civ VI on an iPhone–it’s better than you think, but still a little pricey.

That experience was a turning point for me, and I learned a bunch of things at that moment. One: 30 bucks is too much money to pay for a second copy of Civ VI, especially when it doesn’t have the expansions. Two: Phones are capable of surprising technical performance. Three: The best console is the one you have with you. Four: The convenience of being able to download games wherever is very good. Five: I don’t have five things.

I’m very aware that all the people I see playing PUBG and Fortnite on the train, as well as the entirety of China, are eager to tell me how late to the party I am. But ever since then, I feel like I’ve reconfigured the part of my brain that decides what kind of games would be more suitable as a PC, console, or handheld experience. For certain titles, I’ve managed to overcome the mental hurdle that stops me from tackling my pile of shame with a newfound curiosity that wants to see how differently they play on a phone.

I really enjoy playing short, focused games. But I’ve missed out on a bunch because I’ve always believed that I needed to dedicate a good chunk of time in front of a monitor in order to get through one, and often by the time I get home from work, all I want to do is play more Tetris 99 or, you know, spend time with my family. But ever since I got over myself, I’ve managed to play and finish a bunch of 2018 games I’d put on hold in a week’s worth of public transit rides–games like Donut County, The Stillness of the Wind, and The Gardens Between. I recently picked up Whispers Of A Machine after resolving myself to the fact that I was never going to find the time to sit down at a PC to play it, and as it turns out, my phone is perfect for the point-and-click adventure games I love so much. These more technically conservative titles also perform virtually like-for-like with their desktop versions, which helped eliminate my fears of opting for a “lesser” experience.

Even more graphically demanding titles can impress: I already own two different versions of challenging puzzler The Witness, but never found the courage to finish it. I then bought it for my phone, and I was surprised by how decent it looked. More importantly, I found myself building a different kind of relationship with it–one that I hope will finally help me see the end. If I’m stuck on a particularly hard puzzle, I can easily put it away and mull over it while I do something else. And, because it loads right where you left off, I can take another quick stab at it while I wait for a coffee.

The Witness–I’m not going to let Jonathan Blow defeat me.

However, I’m not completely abandoning my other handhelds–Persona Q2 and Cadence of Hyrule just came out, after all. I’ll absolutely chase after any game that gets me excited, but I’m finding that the convenience of form factor also plays a big part in what I now choose to pull out. If it’s standing room only on my train, or I want to lie sideways in bed, I’m less hesitant to pull out a Switch. The Switch is great, but it’s a little too big in these instances. It really isn’t a big deal to pull out a phone. Certain games, like The Gardens Between, Elder Scrolls Blades, and various Dragon Quest ports, have the option to be played with one hand in portrait mode, which I am incredibly thankful for.

The relatively lower price points for the iOS versions of games (unless you’re 2K or Square Enix) takes the sting out of having to buy some of these titles for the second time. I’m happy to throw down a few bucks to give myself a portable version of something I know I liked, but want to find more avenues to play. The convenience of being able to download the games over a cellular network instantly helps, too. I had a sudden hankering to play a good tactical strategy game on the way to work the other day, so I redownloaded XCOM: Enemy Within on iOS. It’s not as good as XCOM 2: War Of The Chosen, but it was available and ready to be downloaded as soon as I had that impulse. I saw GameSpot’s Tamoor Hussain tweet about Pocket Cities, so I gave that a try (I liked it). While I was walking, I heard Giant Bomb talk about Brawl Stars on a podcast, so I downloaded that too (I didn’t like it). Everyone is still talking about The Outer Wilds, but it’s a game that I can’t find a spare few hours in front of my PC to download and actually play. The ability to quickly feed my whims on a phone is incredibly useful.

I came to another realization while thinking about my new habits. When the Apple Arcade game subscription was announced in March, I thought it sounded interesting, but outside of a few games that I was already planning to play on other platforms, it didn’t think it was for me. I’m not an Xbox Game Pass subscriber, nor an Origin Access person. I don’t want to pay a monthly fee for access to a bunch of games I’m not going to play. I’m a Nintendo Online subscriber, but I rarely play the included library of NES games because I forget to download them until I’m browsing the library on a bus.

Take Two CEO Strauss Zelnick recently expressed a similar skepticism over video game subscription services on an investor call, saying “people do consume video games differently than they consume linear entertainment.”

He explained: “In the case of video games, it is possible that the average user in those 45 hours might be playing one, two, maybe three titles; certainly not 70 titles. In that event, if you play one, two, or three titles and you play them for months in a row–which often happens in [the video game world]–then a subscription model may not be such a great deal for the customer.”

I’m beginning to change my mind, however. I’ve installed and played over two dozen games on my phone since my revelation, most of which I can access on different platforms–but I haven’t. It’s been a pretty positive experience that’s been assisted by the ability to easily jump between games on a whim and download them anywhere I am.

Apple Arcade is currently poised to include a bunch of games that I was already keen on–Sayonara Wild Hearts, The Pathless, Beyond A Steel Sky, Klei’s Hot Lava, and ustwo’s Repair–and if they’re all going to be readily available on my phone there’s a way better chance I’ll actually play all of them. I’ve already got early access to tactical survival game Overland on PC, but I’ll be damned if that isn’t a perfectly-suited portable game. I can totally see the reasoning behind Apple’s big push into the video game space now–they likely want to stay competitive with the likes of Microsoft and Google, of course, but they’re also capitalizing on a different kind of gaming behavior which I’m only just cottoning on to.

I can’t wait to play more Overland.

An Apple Arcade subscription will also give you access to these games on MacOS and on Apple TV, which seems handy for when I actually have a chance to sit still for a while. Additionally, Apple recently launched the ability to connect Xbox One and PS4 controllers to iOS and Apple TV, which suggests that they’re interested in keeping their platform as flexible as possible. That’s a nice touch, because if there’s one thing I still haven’t come around to, it’s playing complex action games with a touchscreen interface–I don’t know how the people who play PUBG on the train do it.

I’m surprised at how much I’ve come to genuinely appreciate my phone as a portable gaming device. The convenience of accessibility make it incredible for catering to whims, it runs a variety of the games I personally love to play (and in some instances, ones that can’t be found on any other platform), and I can use it in situations where it’d be too uncomfortable to use any other portable. I can’t believe it took me so long to take it seriously–I could’ve actually finished The Witness and become a genius by now, instead of embarrassing myself with a PS Vita for years.

(I’m sorry, PS Vita. I didn’t mean that. You’re still cool, no matter what anyone says.)

from GameSpot – Game News https://www.gamespot.com/articles/playing-games-on-your-phone-is-good-actually/1100-6467947/

Journey To The Savage Planet’s Lets You Make Your Own Laughs With ‘Interactive Slapstick’

Getting humor in video games right is tough. While games share a lot with the medium of film in terms of visual storytelling, the presence of a player introduces an unpredictable variable that can totally blow a joke. You never know if they will miss the gag, look the wrong way at a crucial moment, or ignore a punchline because they’re too busy running, shooting, jumping, or looking for their next challenge.

Humor is a big part of Journey to the Savage Planet, the first-person “explore-’em-up” and freshman offering from Typhoon Studios. Savage Planet puts you in the role of a space explorer hired by the fourth-best space company in the universe, Kindred Aerospace, and dumps you on a strange world where it’s your job to explore and catalog the flora and fauna. The creatures are all a bit goofy, like orb-shaped Dodo-like birds that eat slop and poop valuable resources. Interacting with them elicits one-liners delivered by your AI–which is eager to help you explore, but more eager to warn you about limits to Kindred’s legal liability should you meet a horrific demise.

The writing is part of the humor of Journey to the Savage Planet, but it’s not Typhoon’s main focus in getting you to laugh. The game primarily leverages what creative director Alex Hutchinson calls “interactive slapstick,” where Savage Planet’s systems let you create moments that turn out funny, whether on purpose or by accident.

“I think the problem with humor in video games traditionally is people have tried not to embrace the player,” Hutchinson told GameSpot in an interview during E3 2019. “You know, they basically see it as a movie. So all the humor is in the dialogue. And we have what we hope our witty one-liners happening there as well. But I think the true humor in the game is in the actions the player performs, and it’s kind of an interactive slapstick where the player can launch a joke that ends up paying off on themselves. If we get these systemic collisions, then I think it’s a new form of humor, because it’s based on decisions you made as a player and the wacky consequences that float out of it.”

Hutchinson was previously creative director for Far Cry 4, a game known for its in-game systems sometimes interacting in unexpected and hilarious ways. Moments like those served as inspiration for what Typhoon is trying to do in Savage Planet.

“In Far Cry 4, there was nothing funnier than seeing a bear on fire rush into the camp and kill your friend after you’d thrown a molotov cocktail 30 seconds earlier, and it was a joke you created,” he said while appearing on GameSpot’s E3 stage. “So we’re trying to get that sense of interactive comedy into the game, because one-liners and things are funny, but they’re funny once.”

Making A Bet On Laughs

While those moments feel random or unexpected for the person playing, they’re not completely emergent from the design side. Hutchinson said the process of creating interactive slapstick is partially about iterating unexpected moments, and partially about working systems into the game that the team knows will lead to funny moments.

Hutchinson described filling an encounter with explosive pods, for instance, knowing that one stray shot could turn a battle with a dangerous creature into a deadly fireworks display that could kill the player, or trigger other interactions they might not see coming. But the player’s options are finite, as are the behaviors of creatures and other elements in the game–so from a design standpoint, the team knows how things are going to work, and therefore, is often looking to set up ridiculous situations.

“I think there are some [mechanics and level designs] where you make a bet,” Hutchinson explained. “…You bet this is what can happen, and then we have to work on it and iterate to make sure it sort of happens. And then other [funny moments] just start to emerge and when they emerge, you can reinforce them, you know? Then you can make them happen elsewhere in the game, or encourage the player to do them.”

Mechanical jokes might be the focus of its humor, but there also is plenty in the way of comedic writing in Savage Planet as well. Kindred’s position as the fourth-best aerospace company means that it’s perpetually strapped for cash, so despite the fact you work for the corporation, you’re also bombarded with its ads.

Those commercials are largely gags–they look like those old TV infomercials in which some hapless actor catastrophically tears open a bag of chips or slams a hammer through a wall, then mugs for the camera to show us how frustrated they are with their own foibles. But the ads shown in Savage Planet’s E3 preview, for things like gross space food Grob or a mall for sea monkeys, double as world-building. They set up a satirical universe where even on a distant planet, you can’t escape the ever-present force of someone trying to sell you something.

The Gravitational Pull Of The Gun

Several of Savage Planet’s in-game ads focus on the items you wield in your left hand as you explore. Those items are meant to yield clever ways to solve problems and deal with the hazardous life you encounter–as opposed to the gun in your right hand, which provides a more straightforward solution.

Hutchinson said he had hoped to keep that gun out of your hand in favor of goofier, nonviolent solutions to problems, like using bait to draw creatures toward other things that might eat them, or planting springy pads in their paths that might send them over cliffs.

“The biggest challenge is always to rise above the noise and to offer something compelling and unique that will hopefully resonate with people,” Hutchinson said. “So, you know, we chose to be optimistic and upbeat and colorful and humorous, and also to try and get you to use different tools, you know, than just the gun. Because we’re never going to be the best shooter on the planet.”

Despite Hutchinson’s best efforts, though, Typhoon couldn’t manage to keep a gun out of Journey to the Savage Planet, he said. But the studio is still working on making it possible to avoid firing it if you don’t want to when the game releases in 2020.

“We tried really hard to emphasize that stuff, but this sort of gravitational pull of a gun was too much to bear,” he said. “A player, after playing, was like, ‘I love these tools, but sometimes I just want to shoot him in the face.’ … So the goal for the game is to say that you don’t have to use the gun, but obviously you can–we’ll see how it pans out. At the moment, we haven’t figured out a way to make it so you can beat the bosses without the gun. But that would be the goal.”

“I have a very soft spot for nonviolent approaches in video games,” Hutchinson also said on the GameSpot stage. “There’s a joke at the start of Far Cry 4, which is, essentially, if you just listen to [Pagan Min] and wait, he lets you do the thing you came for without having to murder anybody. So these things, I’ll sneak it in as much as I can–I wanted to do it again on this game. It’s very tricky but we’re getting closer and closer. I can’t promise that there will be a purely nonviolent way through the game, but there’s often a way to avoid [using a gun] if you want.”

from GameSpot – Game News https://www.gamespot.com/articles/journey-to-the-savage-planets-lets-you-make-your-o/1100-6467979/