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Found 8 results

  1. Back in June, Quantic Dream announced that it would be remastering both Heavy Rain and Beyond: Two Souls for PlayStation 4. Since 2013's Dark Sorcerer E3 demo the studio has largely been keeping to itself, and the break in radio silence excited a lot of people. Part of the hype was the prospect of playing Heavy Rain again and also playing through Beyond: Two Souls chronologically, a game mode that is being added to the PS4 remaster of the title. The French studio touted the improved fidelity of their graphics, though there haven't been screenshots or video shared with the public as of yet. After months of returning to silence, Quantic Dream reminded everyone that a release date for the remasters is coming sometime in the near future: So, we'll be getting the release dates soon, but sooner than what Quantic Dream meant three moths ago when they said the release date would be coming soon. We'll let you know as soon as we know.
  2. Back in June, Quantic Dream announced that it would be remastering both Heavy Rain and Beyond: Two Souls for PlayStation 4. Since 2013's Dark Sorcerer E3 demo the studio has largely been keeping to itself, and the break in radio silence excited a lot of people. Part of the hype was the prospect of playing Heavy Rain again and also playing through Beyond: Two Souls chronologically, a game mode that is being added to the PS4 remaster of the title. The French studio touted the improved fidelity of their graphics, though there haven't been screenshots or video shared with the public as of yet. After months of returning to silence, Quantic Dream reminded everyone that a release date for the remasters is coming sometime in the near future: So, we'll be getting the release dates soon, but sooner than what Quantic Dream meant three moths ago when they said the release date would be coming soon. We'll let you know as soon as we know. View full article
  3. Great video games aren’t random mishmashes and hodgepodges of disparate visuals, mechanics, and stories. With games that stand the test of time, those elements need to come together to create a cohesive whole. Given that video games are an interactive medium, arguably their most important component is how they allow players to interact with them. The Stanley Parable, Shadow of the Colossus, and Beyond: Two Souls, perfectly capture this concept, albeit in different ways. I’ve made a point of mentioning a game called The Stanley Parable recently. Talking about The Stanley Parable is difficult without spoiling much of what makes it enjoyable and thought provoking. However, I don’t think it is giving away too much to say that the core of the experience is built around player choice and how that relates to game design. Developer Galactic Cafe stripped down the gameplay to the bare minimum required to convey this message to players. The Stanley Parable uses similar mechanics to games like Dear Esther and Gone Home, giving players only the ability to move and interact with certain objects. One of the criticisms leveled against both Gone Home and Dear Esther was that the level of engagement afforded by the limited scope of the gameplay wasn’t interesting or necessarily fun. Where those games fell short, The Stanley Parable excels by using its mechanics to help demonstrate and complement its story through intelligent game design. Essentially, players are presented with a series of branching paths and options with an amusing narration responding to whatever the player happens to be doing. The narration urges players down a predetermined path, while other opportunities are constantly presented for players to derail the experience. This allows The Stanley Parable to not only directly talk about the struggles of developing video games but also demonstrate those difficulties through the player’s experiences. Interactivity and storytelling are difficult to reconcile with one another, as interactivity is necessarily freeing and storytelling is by nature restrictive. Shadow of the Colossus marries the two in an interesting way. Colossus’ story revolves around a young man who brings his deceased love to a forbidden land and makes a pact with a demon or deity to bring her back from the dead. At the end of their interaction, the supernatural entity nebulously states that the price might be higher than the young man could imagine. As players progress through Shadow of the Colossus, killing the sixteen colossi, players begin to notice subtle changes, both in the visuals and in the gameplay. With each defeated colossus comes a flood of dark tendrils that infuse the young man’s body and transport him back to the starting area. Each time that happens, the young man receives increased health and stamina and begins to look more haggard, eventually sprouting small horns, transforming into something inhuman. This is done with little to no dialogue, but as players, we experience the transformation ourselves and recognize that something sinister is taking place; the cost alluded to at the beginning. It is an achievement in subtlety that few games ever manage. While the story in Shadow of the Colossus remains static with no branching paths, it leaves the details hanging for players to interpret and experience differently with each playthrough. That's how you can have many players walking away from Shadow of the Colossus with different takes on what happened in the game. Was it a love story about a man going to the ends of the world for the woman he loves? Was it a dark parable cautioning against hubris? Or perhaps it was a tragedy about someone coping with grief in destructive ways? These vastly different outlooks depend on how people interact with Shadow of the Colossus and the set of life experiences each individual brings with them. On the complete opposite end of the spectrum, we have games like Beyond: Two Souls, which treat gameplay mechanics almost as a hindrance rather than a strength. Playing Beyond: Two Souls feels like watching a bad movie that grudgingly pauses every so often for players to do quick-time events and contextual button presses. The game rarely communicates when players are making important choices that are arbitrarily more important later on in the plot and plot-related decisions are essentially the only meaningful gameplay in which players can partake. Yes, it has branching storylines. Yes, it integrates player choice. Yes, it looks great. But its story doesn’t serve its gameplay and that renders the interactive element of the game inert. When players can't understand how their choices mattered, that represents a fundamental problem with a game supposedly built on player choice. Interactivity should be used to help tell a story rather than having a story draped around unrelated mechanics. When the two don’t sync up right, we get games that might as well be movies or books. If we wanted that, we would go to a library (those are still a thing, right?) or flip on Netflix.
  4. Great video games aren’t random mishmashes and hodgepodges of disparate visuals, mechanics, and stories. With games that stand the test of time, those elements need to come together to create a cohesive whole. Given that video games are an interactive medium, arguably their most important component is how they allow players to interact with them. The Stanley Parable, Shadow of the Colossus, and Beyond: Two Souls, perfectly capture this concept, albeit in different ways. I’ve made a point of mentioning a game called The Stanley Parable recently. Talking about The Stanley Parable is difficult without spoiling much of what makes it enjoyable and thought provoking. However, I don’t think it is giving away too much to say that the core of the experience is built around player choice and how that relates to game design. Developer Galactic Cafe stripped down the gameplay to the bare minimum required to convey this message to players. The Stanley Parable uses similar mechanics to games like Dear Esther and Gone Home, giving players only the ability to move and interact with certain objects. One of the criticisms leveled against both Gone Home and Dear Esther was that the level of engagement afforded by the limited scope of the gameplay wasn’t interesting or necessarily fun. Where those games fell short, The Stanley Parable excels by using its mechanics to help demonstrate and complement its story through intelligent game design. Essentially, players are presented with a series of branching paths and options with an amusing narration responding to whatever the player happens to be doing. The narration urges players down a predetermined path, while other opportunities are constantly presented for players to derail the experience. This allows The Stanley Parable to not only directly talk about the struggles of developing video games but also demonstrate those difficulties through the player’s experiences. Interactivity and storytelling are difficult to reconcile with one another, as interactivity is necessarily freeing and storytelling is by nature restrictive. Shadow of the Colossus marries the two in an interesting way. Colossus’ story revolves around a young man who brings his deceased love to a forbidden land and makes a pact with a demon or deity to bring her back from the dead. At the end of their interaction, the supernatural entity nebulously states that the price might be higher than the young man could imagine. As players progress through Shadow of the Colossus, killing the sixteen colossi, players begin to notice subtle changes, both in the visuals and in the gameplay. With each defeated colossus comes a flood of dark tendrils that infuse the young man’s body and transport him back to the starting area. Each time that happens, the young man receives increased health and stamina and begins to look more haggard, eventually sprouting small horns, transforming into something inhuman. This is done with little to no dialogue, but as players, we experience the transformation ourselves and recognize that something sinister is taking place; the cost alluded to at the beginning. It is an achievement in subtlety that few games ever manage. While the story in Shadow of the Colossus remains static with no branching paths, it leaves the details hanging for players to interpret and experience differently with each playthrough. That's how you can have many players walking away from Shadow of the Colossus with different takes on what happened in the game. Was it a love story about a man going to the ends of the world for the woman he loves? Was it a dark parable cautioning against hubris? Or perhaps it was a tragedy about someone coping with grief in destructive ways? These vastly different outlooks depend on how people interact with Shadow of the Colossus and the set of life experiences each individual brings with them. On the complete opposite end of the spectrum, we have games like Beyond: Two Souls, which treat gameplay mechanics almost as a hindrance rather than a strength. Playing Beyond: Two Souls feels like watching a bad movie that grudgingly pauses every so often for players to do quick-time events and contextual button presses. The game rarely communicates when players are making important choices that are arbitrarily more important later on in the plot and plot-related decisions are essentially the only meaningful gameplay in which players can partake. Yes, it has branching storylines. Yes, it integrates player choice. Yes, it looks great. But its story doesn’t serve its gameplay and that renders the interactive element of the game inert. When players can't understand how their choices mattered, that represents a fundamental problem with a game supposedly built on player choice. Interactivity should be used to help tell a story rather than having a story draped around unrelated mechanics. When the two don’t sync up right, we get games that might as well be movies or books. If we wanted that, we would go to a library (those are still a thing, right?) or flip on Netflix. View full article
  5. Teased during the pre-E3 Sony press conference, I was given a screening of the twelve-minute long real-time short film developed by Quantic Dream for the PlayStation 4. The tech demo itself is very impressive. The plot revolves around an actor trying to do his best to act within a video game and each take getting ruined by glitches and faux pas. The entire thing was done in real-time. Real-time graphics are all produced by the game engine, not as pre-rendered cutscenes. For people who might not understand what that means, think of it as the difference between seeing a performance live, versus a movie version. To prove that the demo was actually in real-time, we were shown a live demonstration of the tech, with a free camera moving around the set seen in the short film as the goblin moved around and lighting and other settings were changed on the fly. The character models in the demo were created using the same techniques that Hollywood uses for big budget special effects characters. The actors in the short film even performed on a stage together to get the most realistic and believable interactions possible. The team even went so far as to include details that you never see in the trailer. Zooming in close to one of the sorcerer’s eyes, the presenter pointed out that they had included blood vessels, eyelashes, and even a waterline between the eye and the eyelid. This amount of detailing is now possible, and even if you have no need of that minutia, this means you only need to create one character model during development instead of several for varying distances. If a game director wants to have the camera go right up to the eyeball, he can have that shot without creating drastically more work for the team. All this work on the character models occurs so that emotion can be conveyed in subtle ways, through facial expressions and body language instead of using words. Quantic dream has worked hard to eliminate imperfections and achieve what they call “true HD.” This means no jagged lines that appear upon close inspection of most current generation titles. The presenter told us that despite how good The Dark Sorcerer looks, there is still a lot of room for improvement. He stated that on top of using unoptimized hardware, they were only making use of about half of the PS4’s memory capacity, using the same engine from Beyond: Two Souls, and were just using hi-res character models that they plugged into the system to see what would happen. In the future they will have optimized hardware, make full use of the internal memory, a new game engine specifically for PS4, and models made for those ideal hardware limits. Quantic Dream took only six months to create The Dark Sorcerer from scratch and it is exciting to imagine what they might come up with in a full production cycle with a dedicated team. Much like Kara, which eventually became Beyond: Two Souls, The Dark Sorcerer is meant to show off the capabilities of the new hardware, not to be taken as a trailer for an actual game. That isn’t to say The Dark Sorcerer might not become something more in the future, but for now the developers assured me that they don’t have anything in the works for The Dark Sorcerer beyond the tech demo. View full article
  6. Teased during the pre-E3 Sony press conference, I was given a screening of the twelve-minute long real-time short film developed by Quantic Dream for the PlayStation 4. The tech demo itself is very impressive. The plot revolves around an actor trying to do his best to act within a video game and each take getting ruined by glitches and faux pas. The entire thing was done in real-time. Real-time graphics are all produced by the game engine, not as pre-rendered cutscenes. For people who might not understand what that means, think of it as the difference between seeing a performance live, versus a movie version. To prove that the demo was actually in real-time, we were shown a live demonstration of the tech, with a free camera moving around the set seen in the short film as the goblin moved around and lighting and other settings were changed on the fly. The character models in the demo were created using the same techniques that Hollywood uses for big budget special effects characters. The actors in the short film even performed on a stage together to get the most realistic and believable interactions possible. The team even went so far as to include details that you never see in the trailer. Zooming in close to one of the sorcerer’s eyes, the presenter pointed out that they had included blood vessels, eyelashes, and even a waterline between the eye and the eyelid. This amount of detailing is now possible, and even if you have no need of that minutia, this means you only need to create one character model during development instead of several for varying distances. If a game director wants to have the camera go right up to the eyeball, he can have that shot without creating drastically more work for the team. All this work on the character models occurs so that emotion can be conveyed in subtle ways, through facial expressions and body language instead of using words. Quantic dream has worked hard to eliminate imperfections and achieve what they call “true HD.” This means no jagged lines that appear upon close inspection of most current generation titles. The presenter told us that despite how good The Dark Sorcerer looks, there is still a lot of room for improvement. He stated that on top of using unoptimized hardware, they were only making use of about half of the PS4’s memory capacity, using the same engine from Beyond: Two Souls, and were just using hi-res character models that they plugged into the system to see what would happen. In the future they will have optimized hardware, make full use of the internal memory, a new game engine specifically for PS4, and models made for those ideal hardware limits. Quantic Dream took only six months to create The Dark Sorcerer from scratch and it is exciting to imagine what they might come up with in a full production cycle with a dedicated team. Much like Kara, which eventually became Beyond: Two Souls, The Dark Sorcerer is meant to show off the capabilities of the new hardware, not to be taken as a trailer for an actual game. That isn’t to say The Dark Sorcerer might not become something more in the future, but for now the developers assured me that they don’t have anything in the works for The Dark Sorcerer beyond the tech demo.
  7. Footage from the upcoming PS3 title from Quantic Dream, the creators of Heavy Rain surfaced on YouTube yesterday. The game aims to offer a serious dramatic narrative and was showcased at the Tribeca Film Festival. The plot revolves around Jodie Holmes, a young woman who was born with an inexplicable link to a powerful spiritual entity named Aiden. The game will take place over a span of 15 years with players witnessing Jodie's growth from youth to adulthood. Ellen Page provided voice work and motion capture for Jodie and she is supported by Willem DaFoe, who plays a government scientist named Nathan Dawkins. In the large slice of gameplay, you can watch a digitized Ellen Page cry, play guitar, beat up street punks, help deliver a baby and rescue people from a fire.
  8. Footage from the upcoming PS3 title from Quantic Dream, the creators of Heavy Rain surfaced on YouTube yesterday. The game aims to offer a serious dramatic narrative and was showcased at the Tribeca Film Festival. The plot revolves around Jodie Holmes, a young woman who was born with an inexplicable link to a powerful spiritual entity named Aiden. The game will take place over a span of 15 years with players witnessing Jodie's growth from youth to adulthood. Ellen Page provided voice work and motion capture for Jodie and she is supported by Willem DaFoe, who plays a government scientist named Nathan Dawkins. In the large slice of gameplay, you can watch a digitized Ellen Page cry, play guitar, beat up street punks, help deliver a baby and rescue people from a fire. View full article