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E3 2017: Sony’s Strong Showing Sadly Lacked Surprises



When it comes to E3 conferences, Sony has well and truly backed themselves into a corner in recent years. From killing the Xbox One before it was even released in 2013, to a continuous stream of blockbuster, show-stealing announcements in each of the years that followed, they’ve been bringing their A game for the entire generation so far. In the streaming era, Sony has successfully transformed what it means to have a compelling E3 conference, culminating in last year’s orchestra-backed spectacular that was widely regarded as one of – if not the – best E3 conference of all time. So how do you follow that up?

The answer is, as evidenced by their conference last night, you don’t. When you keep raising the bar, sooner or later you can’t raise it any higher, and that’s the situation that Sony found themselves in last night. Sony delivered a strong conference at E3 2017 chock full of impressive exclusives – but with precious little in the way of games announced to be coming this year, and with a distinct lack of surprises in comparison to years previous, it’s easy to see why some may feel underwhelmed by what was shown. In all but name, Sony’s E3 2017 conference was a sequel to their 2016 presser, complete with updates to most of the big games they showed off at that event, but never managing to top the original.

It was apparent right from the get-go that Sony had been paying attention to the popularity of their conference last year, as this one was, structurally, almost a carbon copy. Shawn Layden was the only executive on stage, and he turned up only a handful of times throughout the entire presentation, with none of the rest of the usual cast of characters like Andrew House or Shuhei Yoshida showing their faces at all. Whether this approach feels hands off and impersonal, or if you appreciate the fast pace of the show Sony puts on is largely down to personal preference, but for my money, the barrage of trailers is far more compelling than getting some guy on stage to show off a car, or hosting an interview with Pele to pad out the running time. We’re here for games, and Sony’s relentless approach to these conferences is certainly much appreciated as far as I’m concerned.

The action packed trailer for The Lost Legacy seemed to indicate that the Uncharted series will have no problem going on without Nathan Drake in the lead.

Kicking things off this year, we had a live band to provide some Eastern-influenced music to lead us into a ludicrous trailer for Uncharted: The Lost Legacy, which is coming to PS4 this summer. Showing a lot more of the story and things blowing up than we saw back at PlayStation Experience in December, The Lost Legacy looks to continue the trend of incredible graphical fidelity and jaw-dropping set-pieces that the series is famed for. It looks like everything you’d want from an Uncharted game, all for the very attractive price of $40.

Next came story DLC for one of 2017s best games, Horizon: Zero Dawn, in the form of The Frozen Wilds, also slated for release this year. Continuing the story of Aloy, and appearing to take place after the ending of the vanilla game, the DLC involves some sort of fantastically terrifying robot dinosaur living on a snowy mountain that no doubt needs to be taught a valuable lesson in being dead at the hands of everyone’s new favourite ginger-haired PlayStation mascot.

Speaking of gingers, Days Gone was the red-headed stepchild of Sony’s conference last year, seen by most as the weakest link in an incredibly strong line-up of game reveals. It wasn’t that it looked bad, per se, but rather that we’re all, like, so totally over zombies, man. The 2017 showing of Sony Bend’s open world game was far more compelling, showcasing a varied approach to gameplay and some impressive action, that looked like a happy centre-point on the hypothetical Venn diagram for Horizon: Zero Dawn, The Last of Us, and Sons of Anarchy.

Alright, settle down, lads.

In a cool moment, our biker hero used C4 to destroy one of the external walls of an enemy encampment, allowing dozens of frenzied zombies to storm the stronghold, while he hid behind a log presumably feeling very proud of himself. The sheer number of zombies on screen at any one time is a laudable technical feat, and while this writer’s boredom with zombies is second only to his utter contempt for the proliferation of open world games, Days Gone looks like it might have just enough tricks up its sleeve to warrant a little more attention than it first appeared.

It was at this point that Shawn Layden turned up to remind us that this was an E3 press conference and not just a stream of trailers, but beyond telling us how awesome PlayStation is, he needn’t have bothered getting suited up. He quickly abandoned the stage to make way for our first surprise of the conference, namely Capcom’s Monster Hunter World, coming 2018. Monster Hunter is a franchise with a serious cult following, and World looked to be above and beyond what the series has delivered so far in the name of the hunt. While there’s no doubt that there was a bunch of people around the globe doing an Irish jig in their living rooms at the very thought of Monster Hunter on PS4, for somebody who knows even less about the series than I know about basketball, it wasn’t quite the home run announcement that we’ve seen in previous years.

Coming somewhat out of left field, the next announcement was more of a touchdown; a remake of Shadow of the Colossus. Shadow of the Colossus is legit one of the greatest games ever made, and my jaw was firmly on the floor seeing a glorious re-imagining of the PlayStation 2 classic on PS4. If there’s a downside to seeing Colossus on PS4, it’s that the 2018 release date seems difficult to take seriously given the tortured route to release that The Last Guardian took. It looks amazing, but as far as I’m concerned, it’s as likely to come out in 2018 as it is to land in 2028. Still, it was a lovely surprise in the vein of the Crash Bandicoot revival seen at last year’s show.

Fair play, Sony. Didn’t see this one coming.

Next, we saw a story trailer for Marvel vs Capcom Infinite, which appears to be taking a leaf out of the Injustice playbook and giving us one big superhero story rather than individual tales for each character. The roster of characters shown seems fairly robust, and seeing Rocket Raccoon using Dante from Devil May Cry’s dual-pistols was a treat. It’s nice to see Mega Man in high-definition, CG glory, too.

Call of Duty: WWII arrived to remind us all that blowing shit up real good is even more awesome when you’re sticking it to Hitler’s boys in the name of freedom. The trailer didn’t exactly do anything new for the franchise, but then if you were expecting anything new from Call of Duty I don’t know what to tell you. You’re gonna get a bunch of macho men shooting, stabbing, and exploding their way through eight hours of cheesy heroics, and on that front WWII looks like it’ll deliver. For what it’s worth, I’ve always thought that the campaigns of these games are fairly strong, and so while the multiplayer community for the games might be made up almost entirely out of nasty people who have, apparently, had relations with my mother, the single player portion shown here at least seems to be worth a look.

It was the obligatory PlayStation VR section next, indicated by a short video showing off Sony’s headset, as humans were apparently banned from appearing on stage more than once in a thirty minute period. There were a bunch of VR games debuted here, including the whimsical looking Star Child and Moss, the most generic looking and named game ever in the shooter, Bravo Team, and Square Enix’s latest unnecessary addition to Final Fantasy XV – a first person, VR fishing mode named Monster of the Deep. The bright spots were The Inpatient – a brand new virtual reality experience from Supermassive, the developer behind the superb PS4 exclusive, Until Dawn – and the surprise announcement of Skyrim VR, making Nintendo Switch’s version of the five year old RPG seem even more irrelevant than it already did.

That was it for VR, and it was time to see what Kratos is up to in the new God of War. I was rather hoping he’d have calmed down in his old age, and perhaps he’d be spending his retirement watching reruns of Columbo and doing crossword puzzles, but it appears that you can’t teach an old god new tricks, and he’s still kicking the lips off of anyone and everyone with reckless abandon. The tone and the story seem to be a little more grounded this time around, but the action appears every bit as brutal as fans of the series are used to. We see Kratos using his axe to divorce numerous monsters from their lower halves, and then potentially striking up some sort of alliance with a giant, bearded, snake thing – presumably so they can go kill a bunch of baddies as an incredibly angry tag-team. All hopes of this one landing in November this year were dashed when the words “early 2018” appeared on screen, but despite the disappointment some may feel, it makes the most sense for Sony to hit this window, which has proved fruitful for other exclusives like Bloodborne and Horizon in the past.

Kratos has finally developed the ability to show an emotion other than rage. He’s also just started listening to The Cure.

Detroit: Become Human had another interesting trailer, further detailing the political implications of creating artificially intelligent slaves like we’ve seen in so many stories before. It beggars belief that people are still thinking it’s a good idea to create AI beings given how many sci-fi stories have acutely demonstrated just what a disaster that can be, but then it’s nice to see Quantic Dream tackling the story in a way that appears to be sympathetic to synthetic life. I’m hoping that Detroit delves deep into the politics and the philosophical quandaries at the heart of creating life, and doesn’t fall into the Heavy Rain trap of burying what could be an interesting narrative in meaningless action sequences and people taking their clothes off for no discernible reason.

Destiny 2 was up next because it’s now been made illegal for Sony to put on an E3 press conference without Destiny showing up. For what it’s worth, it looks like Destiny 2 actually has a story this time around, which is a marked improvement on the first game’s Dinklage-led narrative dud. Hopefully they’ll give players a genuine reason to shoot things in the face for hundreds of hours in the much-anticipated sequel, and by players, I mean players who aren’t me, because the chances of me buying Destiny 2 are somewhere between no hope and Bob Hope. At least I’m honest. I just can’t face another permanently online shooter when I’ve still not played games like Breath of the Wild or Nier Automata.

Somebody then went and reminded Shawn Layden that it was time to stop knocking back cosmopolitans backstage, and that the show was about to come to an end, so he walked out one last time to thank us all for watching, and to get in a not so subtle dig at Microsoft by mentioning how many “true exclusives” they’d shown off during the conference. As he left the stage, he told us there’d be just one more demo, leading into the first proper gameplay footage of PS4 exclusive Spider-Man.

Autoglass now fix broken windshields and sun-rooves while you’re on the go.

We got a ten minute look at Insomniac’s take on Spider-Man, showing off a couple of villains, plenty of swinging about, and an awful lot of people getting kicked in the face. The combat looks fluid, like a more cinematic version of the rhythmic battle system seen in the Arkham series, while traversal around the game world looks like a blast. Speaking of blasts, Insomniac has obviously been playing the Uncharted series, because half of the time spent showing off the web-slinger’s PS4 debut was stuff spectacularly exploding and collapsing around the teen superhero in a series of increasingly ridiculous set-pieces. The sequences on display here were incredible, but one wonders just what the moment to moment gameplay of the title will involve when away from the heavily scripted sections like this. Regardless, Spider-Man really looked like something special, with the only sour note to the ten minute gameplay demo being the announcement of a 2018 release date.

And that was that. All over for another year.

While I’ve no doubt that many people will be upset by the relative lack of brand new games on display in Sony’s conference, and that’s a position that is understandable given the high bar that they set for themselves over the last few years, the real story here was in Shawn Layden’s comment during his third and final appearance on the stage. He used the phrase “true exclusive” and it couldn’t be any more obvious as to the intent. Both Sony and Microsoft saved their most impressive demonstrations for last in their respective conferences – Anthem and Spider-Man – but while both of those games will be on PS4, only one of them will be on Xbox One. That’s a pattern that was shown throughout both conferences as a whole, and the biggest problem that Microsoft faces going forward.

Anthem is a brand new Xbox One X exclusive*. (*Also on Xbox One S, Xbox One, PS4 Pro, PS4, PS4 Slim, and PC.)

Microsoft’s conference used confusing language to conflate how many exclusive games they had coming up on Xbox One – 22, they said! – when in reality they actually showed no true exclusive games whatsoever. Even if you consider Microsoft’s first party games to be exclusives despite the fact that they all appear on PC, the vast majority of the games they showed will, at some point, be on PS4. By comparison, Sony had God of War, Detroit: Become Human, Spider-Man, Uncharted, Horizon, Days Gone, Shadow of the Colossus, as well as no-shows like Gran Turismo, Matterfall and Ni No Kuni II all being confirmed to be coming in 2017 off-stage. With all that, as well as games we know are coming like Death Stranding, The Last of Us Part II, Dreams (?!), Final Fantasy VII, Shenmue, and the plethora of third party offerings, the future looks very bright indeed for PlayStation gamers.

Even when they’re having an off day, the strength of PlayStation’s first party studios is simply too much for Microsoft to overcome. Sony’s conference was a notable step-down from last year, but given that Microsoft’s show was largely an advertisement for games you can also play on your PS4 alongside a definitive failure to make any compelling case for the $499 and awkwardly named Xbox One X whatsoever, it’s difficult to chalk this one up as anything other than an E3 win for Sony once again.

Still, it’s a mildly disappointing win nonetheless. With rumoured titles like Bloodborne 2 and whatever Sucker Punch is working on never materialising, and 2018 release dates for almost all of PlayStation 4’s upcoming heavy hitters, Sony, much like Microsoft earlier in the week, has delivered a showcase that wasn’t up the standard of previous years. If Nintendo turn up later today with two new Metroid games, a virtual store that doesn’t suck, and a free Star Fox game to say sorry for Zero last year, they could potentially steal this one. I wouldn’t bet on it, though.

John can generally be found wearing Cookie Monster pyjamas with a PlayStation controller in his hands, operating on a diet that consists largely of gin and pizza. His favourite things are Back to the Future, Persona 4 Golden, the soundtrack to Rocky IV, and imagining scenarios in which he's drinking space cocktails with Commander Shepard. You can follow John on Twitter at

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Game Reviews

‘Disco Elysium’: A Thought-Provoking Mystery



Disco Elysium Review

For the most part, the majority of games are easy to classify, but from time to time a game is released that defies conventional rules and resists simple categorization. Disco Elysium is just such a game. On the surface of it, it’s a topdown, isometric RPG of the oldest of old schools. It draws upon long-established systems, structures, and mechanics that make it comfortably familiar. However, beneath that patina of tradition lies something completely unexpected and utterly unique.

Developed by the small, independent studio ZA/UM, with a story penned by Estonian novelist, Robert Kurvitz, and a painstakingly detailed world crafted by artist Aleksander Rostov, Disco Elysium stands apart from most RPGs in that it is startlingly realistic whilst simultaneously being grimly fantastical. Set on an isolated archipelago in the wake of a failed communist revolution, the game casts players as a detective sent to solve the murder of a man found hanging in the backyard of a rundown boarding house/cafe. It’s a simple setup made all the more complex by the fact that the player character is suffering from a severe bout of alcohol and drug-induced amnesia. The mystery that needs to be solved concerns piecing together exactly who the player character is, as much as it involves reconstructing the chain of events that resulted in a brutal death.

Arriving at conclusions to both conundrums requires navigating complex webs of social and political intrigue. Along the way, players will encounter union bosses, disgruntled workers, war veterans, and all manner of extraordinary and mundane citizens just trying to go about their daily lives in a place that seems designed to thwart their ambitions at every turn. More than that though, players will be required to engage in continuous internal dialogues that involve the protagonist gradually putting themselves back together. The result is character customization in a quite literal sense of the word. Rather than the standard array of physical options that most games of this type present players with, the options are entirely psychological. Player actions and choices determine the overall structure of the internal workings of their character. Whether they decide to be a high-minded idealist trying to better themselves and the world around them in whatever way they can or opt to descend into anarchic, hedonistic self-obliteration such choices determine exactly who and what their version of the character is.

The foundation of stats and skills that are usually inert background components that all RPGs are based on is firmly in place. However, rather than being a numerical bedrock upon which all gameplay is based, Disco Elysium takes those sets of modifiers and statistics and makes them an active part of character progression and world development. As you progress through the game, skills points can be used for a variety of purposes. They can be used to upgrade core character stats, of which there a total of twenty-four covering a whole range of mental, physical, and social attributes, that govern player’s ability to immediately interact with the game world. However, they can also be used to learn or forget particular thoughts These thoughts develop depending on how players decide to approach situations and solve problems and can unlock semi-permanent bonuses and even penalties.

Disco Elysium Review

Much as in reality, the things the character is capable of are largely dependent on their frame of mind. If players opt to make a character that is brash and uncouth then they will find it difficult to subtly manipulate interactions to their benefit or arrive at unobtrusive solutions to various situations. On the other hand, if they elect to play a character that is more thoughtful and introspective, or cunning rather than crass, then they will find it difficult to emerge unscathed from more physical challenges. It’s an interpretation of character development and player progress that feels much more organic than in any other game of this sort. This is probably where Disco Elysium does the most to stand out from other such titles. Such a flexible approach to progress is hopefully something that other companies will emulate going forward, as it allows the character to develop a true personality that goes a step beyond the mathematically-oriented, incremental statistical increases that are usually the norm.

Disco Elysium Review

The ways in which player action, character interaction, and game reaction combine together is probably the closest it is possible to get to a truly curated dungeon master-guided play experience in an RPG. There is such a wide and unpredictable variety of moment-to-moment options that players can never be certain what exactly is going to happen next. This sense of improvisational unpredictability is a quintessential element of any RPG, but it is often lost in translation from tabletop rules to computer game mechanics. This pitfall is avoided thanks to the fact that the world of Disco Elysium was conceptualized as a tabletop game but doesn’t actually exist as one yet. As such the developers were able to implement systems without the expectation of adhering to pre-existing mechanics. This expectation has often been the downfall of many such games in the past, such as the much-maligned Sword Coast Legends which was lambasted for its apparent butchery of the 5th edition Dungeons and Dragons ruleset. It will be interesting to see if Larian Studios can avoid similar problems with Baldur’s Gate 3.

Disco Elysium Review

As intriguing and unconventional as Disco Elysium is, and no matter how deserving it is of the accolades it won at 2019’s Game Awards, it’s hard to recommend it as something to play if you’re looking for fun. It’s relentlessly grim even when it’s trying to be funny, and its stream of consciousness style makes even the most basic of interactions a minefield of potential disturbing possibilities. With its biting combination of continental existentialist ennui, pseudo-Lovecraftian undercurrents, and socio-political critique it isn’t a game that you play for the sheer joy of it, but rather for the esoteric and unusual experience that it offers. That being said, in a market that’s full to bursting point with crowd-pleasing blockbusters and oftentimes strictly by-the-book sequels or carbon copy titles, it can be incredibly rewarding to delve into a game as intricate and nuanced as Disco Elysium.

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Interview with John Staats, First-Level Designer for ‘World of Warcraft’

We recently had the opportunity to sit down with John Staats, first-level designer for the launch version of World of Warcraft.



The first iteration of World of Warcraft, often called “Vanilla WoW,” has a strong pull of nostalgia for many fans. From inspiring countless other MMOs, to imbuing an entire generation of players with memories that they will never forget, to inspiring Blizzard to re-release it earlier this year, Vanilla’s footprint is undeniable.

Recently, I had the chance to talk to John Staats, a first-level designer on World of Warcraft‘s initial launch, to discuss his recent book, The Wow Diary: A Journal of Computer Game Development, which chronicles his own personal experience with developing WoW‘s initial release.


In a lot of ways, The WoW Diary reminds me of Blood, Sweat, and Pixels by Kotaku’s Jason Schreier. Both books address the challenges of game development, including the incredible amount of hours that game developers work and the dreaded “crunch” when a project has to be delivered on time. Your section on how your colleagues described their work on StarCraft was particularly interesting. What do you think is the public’s biggest misconception about how developers work?

The biggest misconception is how expensive developers are! Most publishers and studio heads are always portrayed as the bad guys, but the truth is there’s so much risk in game development, it’s just insane. If a company is upfront about long hours, then I see no problem with longer hours to some point. Unfortunately, the law isn’t so flexible. After WoW shipped, we dropped to capped 40-hour weeks (mandatory) and it sucked. Everything was so schedule-conscious that we stopped experimenting.

Studios are all different. Some people asked if unions were the answer, and they might help in some cases, but they would make other situations worse. There would certainly be fewer games out there without crunches. I dunno. I’m from Akron, Ohio. I’m just happy to have worked in the entertainment industry!

As a developer, even at somewhere like Blizzard, fan feedback seems like it’s able to affect team morale. In the book, you mention a few cases of this. What was it like to work under the pressure of fan expectations?

World of Warcraft feedback wasn’t nearly as bad as Warcraft III, because the company was too quick to promote their first 3D title. Making a 3D game has such a sharp, painful learning curve that engine re-writes caused long delays. The fans were unfamiliar with the long waits associated in making 3D games, so they were especially angry.

The class designers definitely had it bad on World of Warcraft. People never post when they’re happy, the forums are usually very negative. And there’s strange “voodoo” where people report glitches or errors that aren’t really there. There’s a LOT of voodoo reports that designers need to verify, and that eats up their schedule.

Kevin Jordan once joked that he was going to claim to be a character artist at the launch party signing table, just to avoid being drawn into discussions about rogues versus shaman duels. For the most part, WoW was so much better looking, better playing, better running than the competition, we had it easy. Still, we put pressure on ourselves: for the most part, the fans were pretty cool.

World of Warcraft

You state in the book that you got your start in modding computer games on the PC. Did you have any prior experience with other game systems, or was your only experience with the PC?

PC only. I was actually a Macintosh user exclusively because I was in advertising in NYC. I bought my first PC in the mid-1990s. As a Mac person, there weren’t many games available (thank you, Steve Jobs), so I only played a few titles on my roommate’s machines. They always had to kick me off whenever they came home.  When I got my own, I relentlessly played FPS and strategy games.

One of the more interesting comments that you make in the book, and one that I was curious about while reading, was the following: “Writing stories is so easy it seems nearly half the people in the industry want to do it[…] it’s unreasonable to expect players to follow a storyline, detailed or subtle.” Do you think games are ever capable of delivering complex and subtle stories, or is it beyond the medium’s scope?

I honestly doubt stories will become more subtle for most genres. Most games pull the player’s attention to non-story elements like socialization, user interface, goals, and combat tactics. Looking for things is rarely fun. It’s just too hard to expect the average player to follow nuanced stories… and you never want to risk players becoming confused with your plot.

You use the phrase “computer games” throughout the book instead of the more commonly used “games.” Was there a semantic reason for this?

Ranchers and farmers are in the agricultural industry, they have a completely different set of concerns.

There’s a huge difference in developing computer games versus console games. It’s so much easier to make games for a console. They’re far more predictable, and optimized for specific types of games. Developers are influenced by all kinds of games; pen-and-paper RPGs, tabletop board games, card games, handheld devices… and all of them are very different to produce. I didn’t want to lump everything into the “games industry.”

You mention early on that you’ve suffered “a neurological problem in [your] hands that hinders [you] from using a computer for significant lengths of time.” Given the increasingly interconnected nature of modern society and how much time you spent on computers during your career in the games industry, how hard was it to adjust?

I played FPS games before I became a level designer. I played up to 14-16 hours a day when I had the time. That’s without stopping, BTW. I would eat leftovers between matches. I was nuts.

John Staats World of Warcraft

Blizzard and Nintendo have always seemed like analogous companies to the outside public. Both spend large amounts of time and money crafting games that have long-standing appeal and excellent quality. Both don’t worry about winning the public relations war and, instead, depend on the endemic quality of their games to do the talking for them. Did anyone ever make that comparison inside of Blizzard?

It was a very conscious effort to avoid distractions. There’s so much temptation for some people to jump into every conversation, there was a company-wide mandate to keep your mouth shut. We had Bill Roper for our spokesperson, and if the public thought he personally made all our games, that was fine with the developers (he wasn’t even a dev!). This lets every member of the company, as a whole, take credit for the collective products. Other industry developers will weigh in on every conversation, and journalists will seek out the same developers for opinions. On top of the risk of crossing wires with the company’s official opinion, so much exposure could create jealousy.

At one point in the book, you mention that an acquaintance of yours, Scott Hartin, had worked making console games in Japan and hated it. Was this a common complaint among those who had worked in Japan?

He’s the only person I know who’s worked there, and it was something he said in passing. I thought it such an interested idea, that different cultures tend to work in different ways. Who knows? Perhaps it might have just been the studio he was in, that made them work that way.  

Ragnaros and the Molten Core raid have emerged as a large part of the lore surrounding the vanilla release of World of Warcraft. It’s also something that you mention receiving compliments from fans about. What part of Molten Core are you the most proud of?

I’m proud that we ninja’d it into the shipping game without the producers having it on our to-do list! It was a passion project Jeff Kaplan rallied people around. I’m glad he did. We were working on so many bugs after we shipped, there’s no telling how long it would have taken to update the live servers with a content update like MC.

As a historian, having an oral history of one of gaming’s largest and most influential games is an incredible resource. In the beginning of the book, you say that you struggled with compiling your development diary because, to a large degree, you were afraid of underrepresenting some of your hardest co-workers. In the end, why do you think more oral histories, such as your book, aren’t published?

I can absolutely tell you it’s because the author needs to take notes. I can’t do a sequel to The WoW Diary because I stopped taking notes after we shipped. There’s just no way, I’d get everything wrong, or release a bland, broad-strokes version of how things went down. That’s where my book stands out, the details make the story vivid.


World of Warcraft

Blizzard released WoW Classic back in August. What are your thoughts on it?

I’m surprised they did. No one has ever done something like this before. Redoing someone else’s work doesn’t sound like a fun project for developers, who are in nature, creative people. It just isn’t fun to walk in someone else’s footsteps. I’m also keenly interested to see how it plays out. Do they relaunch expansions? Does it affect the retail version? I honestly don’t know, but my popcorn is ready!

Blizzard has been criticized recently for their communication with players. How different does it feel when you are on the corporate side of that relationship?

No one is criticized when your games stink. LOL! Seriously though, complaints never stop, so it’s never a big deal. Whether it’s about lawsuits or controversy, Blizzard usually takes the high road, and disengages from distractions; it lets them focus on what they want to be known for… making good games. I’m glad to see they’re still doing this.

Final question. As something of a hardware nerd, I’ve got to ask, how did developers handle the rapidly progressing technology of the late 90s and early 2000s, when Moore’s Law was in full effect? 

Blizzard games sell well because they target low-end systems. Most studios weren’t, and aren’t, smart enough to realize this. Most studios want to be the first kid on the block to have a shiny new feature. While the industry chased after expensive features that narrowed their audience to customers who had top-end computers, the savvy companies focused on the low-end machines. To answer your question, Blizzard avoided the Moore’s Law trap.


A big thank you to John Laats for agreeing to be interviewed and providing us with a review copy of his book. If you’re interesting in learning more about John Laats, his work, you can find him at his website.

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Indie Games Spotlight – Looking Ahead to 2020




Indie Game Spotlight

The year is coming to an end. The holidays are just around the corner. We’ve already published our list of the best indie games of 2019 and now it is time to start looking forward to 2020. In what is sure to be our last Indie Games Spotlight of 2019, we take a look at some of the indies set for release next year. This issue includes a student project that led to the creation of an indie studio; a story-rich and fully narrated puzzle game; and a comedic occult adventure game that takes place during World War II. All this and more!


Imagine, “if Limbo and Portal had a weird baby.”

Aspyr and Tunnel Vision Games announced that their long-awaited, award-winning puzzle game, Lightmatter, arrives on Steam on January 15, 2020.

Lightmatter is an atmospheric, first-person puzzle game set inside a mysterious experimental facility where the shadows will kill you. The game tells a sci-fi story about a maniac inventor who has created the ultimate power source called Lightmatter. Players must explore the facility in an attempt to discover the hidden plot while facing challenging puzzles that require mastering different light sources to survive.

Not only does the game look great but what’s even more impressive is that Lightmatter originally started out as a university project where a group of Medialogy students wanted to explore lights and shadows as the primary gameplay mechanic in a puzzle game. After creating a 15-minute prototype, the team offered it as a free download on Reddit. To their surprise, the game became an overnight success with thousands of downloads and multiple accolades from game conferences around the world. It didn’t take long before they created Tunnel Vision Games with the mission to take the light/shadow concept further and turn it into a fully-fledged game. The rest, as they say, is history.

Nine Witches: Family Disruption

Nine Witches: Family Disruption

Investigate the Occult

Nine Witches: Family Disruption is the comedic occult adventure game you’ve been waiting for. From Blowfish Studios and Indiesruption, the game takes place in a rustic Norwegian village on the fringe of World War II, where a supernatural scholar investigates the Nazi’s plan to conjure a dark ancient power and strike a devastating blow to the Allied powers. Players must investigate their plots by communing with a variety of eccentric characters from the realms of both the living and the dead. It’s your job to unravel a mystical mystery and put a stop to the Okkulte-SS’s evil schemes before it’s too late.

Nine Witches: Family Disruption was born from my desire to blend world history with magic and my personal sense of humor,” said Diego Cánepa, designer, Indiesruption. “I’m grateful Blowfish Studios are using their powers to help me bring the game to consoles and PC so this story can be enjoyed by players across the world.” If you like indie games with beautiful, retro-inspired pixel art and a comical story dripping with gleefully absurd, dark humor, you’ll want to check this out. Nine Witches: Family Disruption summons supernatural hi-jinks to Nintendo Switch, PlayStation 4, Xbox One, and Steam for Windows PC in Q2 2020.


Explore a mysterious ship.

Ahead of next year’s anticipated release of Filament, Kasedo Games & Beard Envy have revealed an exclusive look into the making of the upcoming puzzle game with the first in a series of short dev featurettes. Developed by three friends in the front room of their shared house, Filament is a story-rich and fully narrated puzzle game centered around solving sets of cable-based puzzles whilst exploring a seemingly abandoned spaceship. According to the press release, Filament lets you freely explore the mysterious ship, solving over 300 challenging and varied puzzles in (almost) any order you like.

If you’d like to learn more, we recommend checking out the short episode series which explains the complexity and variety of puzzles and offers an insight into how the game was made. Filament will release for PC and consoles next year.

West of the Dead

The Wild West has never been this dark.

Announced at X019 in London, West of Dead is a fast-paced twin-stick shooter developed by UK-based studio Upstream Arcade. The game stars Ron Perlman (Hellboy, Sons of Anarchy) as the voice of the main protagonist William Mason, a dead man awakened with only the memory of a figure in black. His existence sets into motion a chain of events that have truly mythic consequences.

Thrown into the unknown procedurally generated hunting grounds of Purgatory, your skills will be put to the test as you shoot and dodge your way through the grime and grit of the underworld. No one said dying would be easy and West of the Dead will surely test your skills. The battle for your soul will take place on Xbox One, Xbox Game Pass, PlayStation 4, Nintendo Switch, and PC in 2020.

The Red Lantern

Survive the Alaskan wilderness in this dog sledding, story-driven, rogue-lite game

We first took notice of The Red Lantern during a Nintendo Direct earlier this year and ever since we’ve been impatiently awaiting its release. The Red Lantern is a resource management game where you and your team of five sled dogs must survive the wilderness and find your way home. Set in Nome, Alaska, you play as The Musher, voiced by Ashly Burch (Horizon: Zero Dawn, Life is Strange), as she sets out to train for the grueling Iditarod race.

The game combines rogue-lite elements into this story-driven adventure game, where hundreds of different events can occur—like fending off bears, resisting frostbite, attending your dogs, or receiving a signature moose-licking. This might be the first and last dog-sledding survival game we will ever play but that’s fine by us because judging by the screenshots and trailer, the game looks terrific. The Red Lantern is Timberline Studio’s debut game and is funded by Kowloon Nights. The game will be releasing on Xbox One and Nintendo Switch in 2020.

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