It doesn't feel like it has been that long since former Destructoid reviews editor Aaron Linde moved on to work in the game industry, but it has been almost six years now. In that time, he has contributed to a number of deve...
I already liked Chucklefish. The indie developer best known for making Starbound has gone on to act as a publisher for smaller teams with great ideas. The studio has helped to release Hopoo Games' Risk of Rain, and is p...
Former Epic Games designer Cliff Bleszinski is back from his hiatus. He's been teasing his next project for a while now, commenting that he'd like to make an arena shooter for PC and dropping concept art. The mystery game, Bl...
The reveal trailer for Dreadnought pushes a lot of the right buttons for science fiction fans. It puts potential players into the right frame of mind and really sets up the scale of the endeavor. Combatants will not be darting around in fighters, they will be commanding huge, lumbering vessels that scoff at smaller ships. "Probably just debris, sir."
Despite the inherent coolness of taking control of a ship on the scale of a Battlestar, it is not something that comes up too often in games. In practice, it makes sense: the speed and control afforded by a smaller vessel is exciting, and that alone does not translate to huge ships. However, with its focus on tactical combat, Dreadnought makes it work, and it does so while remaining accessible to new players. Even though it treads less traveled ground in its subject matter, it features classes and tactics that will feel familiar to most gamers.
Hello Games' sci-fi exploration survival game No Man's Sky is looking and sounding as amazing and unbelievable as ever. Here's an in-depth conversation with founder Sean Murray at E3 2014 explaining what is and isn't possible within the procedurally-generated title.
"This isn't an ambient universe," he said. "This isn't something you just wander around and look at trees and breathe it in. There is danger everywhere. So the creatures are dangerous, the ecology. But more than that, in space, there are friends -- like the wingmen who fly besides you, the enemies who are attacking those freighters -- but in terms of gameplay systems, this is a universe and you make your own gameplay within that."
Those ships shown in the most recent trailer were AI-controlled, but the universe in No Man's Sky is shared. "You could encounter other players," Murray explained.
"The reality is the likelihood of that is tiny, basically. What we're dealing with is planet-sized planets -- so even just one planet, if a million of us played, we would still be really far apart." That said, "...there are elements where you will get crossover and interaction from other players, but that's not what this game is about ... We're the opposite of an MMO."
As high as expectations are, I have a feeling Hello Games will deliver, or come remarkably close.
Previously, we have seen Skyrim and Marvel come to Minecraft: Xbox 360 Edition, but the flagship Xbox franchise Halo has been suspiciously absent. You don't think Microsoft would pass up on an opportunity to marry two of its...
Last we saw Icarus Proudbottom, he was teaching us typing, and before that he was demonstrating his chocolate fountain. Suffice it to say, the Icarus Proudbottom franchise is all over the place, in the best way possible. Now...
As much as Jen Zee's mood paintings and art catalyzed what would become Transistor early on, so too did Darren Korb's music. The soundtrack is an important part of Transistor and while I'd like to be able to yell at you to go freely listen to it right now, there are some meaningful compositions that should first be experience in-game.
Making music is, "different at different stages of the process," Korb said. "At the beginning, there aren't a lot of other assets happening. There's not a lot of other stuff that defines the tone of the game so I'll kind of go off and try some things. I'll come back like, 'here's a thing and it feels this way,' and try to develop a center for the identity of music and the feel.
"As the process goes on, I can look at the art and look at the gameplay. That will affect and change the direction a little bit. Or I can regroup and go in a different direction. Once it's in and once we get a better sense of where the game is going story-wise, well here's a scene we need a specific thing for. It won't be blind, throwing darts and it hits something." That's when you get tracks that should be enjoyed in-game, but, like with Bastion, the early music helps set a tone.
Parts I and II of this series have touched on various elements of Transistor's design, but not one of its most striking facets, the artistry that immediately arrested many of us when Transistor was announced. We also sat down with Jen Zee at Supergiant, the artist behind this indelible style, and talked a bit about artistic influences, design process, refusing cyberpunk, and briefcases.
"We came off Bastion and Bastion is such a bright and colorful world that we kind of wanted to try something different. It was reactionary," Zee explained. "We did a fantasy world already, what can Supergiant do in the sci-fi world? What would that look like? We attempted to go for a more pallet-controlled world that would just feel a little more dark than Bastion.
"The difference between Bastion and Transistor for me, the big difference, is that I wasn't on board at the very start of Bastion -- pre-production. But I definitely got to scratch an itch where I kind of wanted to in a sense write a love letter to classical artists that I grew up really liking, like William Waterhouse or [Gustav] Klimt, or Alphonse Mucha. I wanted to inject that somehow into the art we made for Transistor because there's no other opportunity like the one that's right in front of you to express yourself the best you can. So I think that it's a combination of reactionary to Bastion, things that we wanted to do on Bastion that we never got to do, and also things that I wanted to do my whole life."
Transistor is out today for the PC and PlayStation 4! The game is pretty great, and I've been enjoying my time with it so far. I'm especially loving the music, from the soundtrack itself to the fact that there's a dedicated ...
Make sure to read Part I in this series. It deals with development crunch time, getting a game ready to launch, and the genesis of Transistor post Bastion. Now we're continuing the abrupt, jerky carnival ride through time and getting to the middle bits, to Transistor's design philosophy as it came together and the games that the people who made it love.
Come sit with us on Amir's dad's old, burgundy couch and learn about furniture utility with Supergiant's Amir Rao (co-founder), Greg Kasavin (writer), and Darren Korb (composer).
Does the "second album" syndrome exist in videogames? If you're not familiar with that phrase, it's the idea that a band's second album is much harder to make than the first. Should a band break away from the style it forged with debut or should its second effort explore new ground? In the videogames industry, a developer is usually charged with making a direct sequel to their first game, to just build on what came before.
Bastion, the first game from indie studio Supergiant Games, stood out from the crowd thanks to its sumptuous art style, haunting music, and approachable gameplay. Supergiant has followed up its debut with Transistor, which feels like a sequel despite an all-new setting and characters.
Turning down a one-way alley towards SuperGiant's downtown San Francisco office space, I noticed the fenced parking lots on either corner decorated with two sorts of barbed wire. Three classical, no nonsense parallel strands were circumscribed by much more lively spirals of metal like a sharpened, stretched out slinky.
This is the coveted San Francisco startup space over two million Bastion sales led to. Atypical out of the gate success that the team doesn't take for granted. The move from the sleepy San Jose suburb that bore Bastion to an urban hotbed would, perhaps by coincidence, bear Transistor, SuperGiant's next project.
We sat down with Supergiant's Amir Rao (co-founder), Greg Kasavin (writer), Jen Zee (artist), and Darren Korb (composer) -- on Rao's dad's old, burgundy couch from the San Jose house -- after development on Transistor had wrapped, while the team was prepping it for launch.
A lot of bygone genres have been making comebacks in recent years, like adventure games or fighting games, but a particular style of game has not yet made a return to the limelight. In today's terms, games like Out of This W...
Developer Graphite Lab has revealed that their upcoming 2D shooter, Hive Jump, is heading to the Wii U. The story is set to the backdrop of the 24th century, where mankind has colonized across the stars. Of course, alie...
When I was talking to one of the developers of Extrasolar on the show floor at PAX East, I said something that I now regret. "This looks like something I would really like, but might not appeal to a ton of other people." He responded gracefully, simply saying that they have a healthy number of players, and a good percentage of players see it through to the end.
To be fair, the presentation of Extrasolar in the Indie MEGABOOTH was intentionally muted. There, it was shown as a simple exploration game on an extrasolar planet. The player tells the rover where to go, and after a set amount of time it sends back a photo. The intrinsic value of that alone was enough to get me started, and I urge others to sign up for it now to experience it as intended. If you need further convincing, then keep reading. Prepare for minor spoilers.