Month: March 2018

These past few years have yielded an amazing roster of games that we personally love. With so many fantastic experiences out there, we began to grow curious over what games developers particularly enjoy. During our time spent at this year’s GDC, we had the opportunity to interview a wide variety of game developers and key figures in the industry, so we decided to ask what current game they find inspiring and admire the most, and why.

As you’ll see from the responses below, the games each developer adores might not come as a surprise to you, especially if you’re familiar with their work or tastes. Others had some surprising picks that you probably wouldn’t expect. What current games do you admire the most? Let us know in the comments below. And be sure to check out feature detailing the 25 best games you might’ve not heard of that we saw at GDC 2018.

Chad and Jared Moldenhauer, Directors of Cuphead

Jared Moldenhauer (left) and Chad Moldenhauer (right)

Jared Moldenhauer: I have a library of 100+ games that I’m working towards currently. But one of the earlier games that I chose and found very rewarding was Hollow Knight. It’s an interesting and challenging Metroidvania. And the visuals and the universe that they created, and the feeling within all the characters; I was happy playing every minute of it.

Chad Moldenhauer: I recently started and really enjoy The Witness. I was looking forward to that for a long time!

Yoshinori Terasawa, Danganronpa Series Producer

Yoshinori Terasawa: I love the Persona series. I adore the sense of personality that those games have. I really like how cool and stylish they are.

Rami Ismail, Producer of Nuclear Throne

Rami Ismail: So many games have really sparked me. Games that really stand out to me are Engare and Farsh, by Mahdi Bahrami, both games based on this Iranian heritage. I was very impressed by This War of Mine, which gives a unique perspective on war. Just seeing that tremendous shift in perspective translated into a game that is so powerful and poignant, that reminds me that there is so much more out there.

Tom Kaczmarczyk, Producer of Superhot

Tom Kaczmarczyk: Our game director [Piotr Iwanicki] who actually came up with the idea, he often cites an indie flash game called, Time4Cat, as one of the inspirations, because it did have the same sort of time automation mechanic. For me, I love Hotline Miami because of its action sequences. A lot of what we pick up come from action movies, and from the way people design cinematic experiences where you fall into a certain archetype of a situation, and you immediately understand what’s going on.

Tim Schafer, Founder of Double Fine (Psychonauts, Brutal Legend)

Tim Schafer

Tim Schafer: Lately, a game that really made a big effect on me–it sounds really cliché–but Breath of the Wild was a huge thing. I just loved it. Everyone loves something different about games, there’s no one game that’s perfect for everybody, but it made me realize that my number one thing is exploration. I’m constantly exploring and surprised and I just love it and I play it all the time. I also love Loot Rascals, which is a great roguelike, and I’ve recently been playing Persona 5, which is just amazing. Amazing style and tone, it’s so polished.

Jason Roberts, Director of Gorogoa

Jason Roberts: In 2017, I was a big fan of Inside and Night in the Woods; those were big games for me. I’m big on tone, mood, atmosphere. These are important to me. And I love those games. And I also, this year, I think Florence and any game from Annapurna are just very carefully, precisely created with tone and atmosphere. That’s what I value.

Dean Ayala, Hearthstone Senior Game Designer + Dave Kozack, Hearthstone Lead Narrative Designer

Dean Ayala: Dungeon Crawl Stone Soup. It’s a roguelike released back in 1997. A lot of the Hearthstone design team plays it. It’s super old-school.

Dave Kozack: It has been in continuous development; it’s one of those community projects. That’s why the name, Stone Soup. But we played a lot of rogue-likes while we were working on Dungeon Run, and that was one of our favorites. It’s just something we keep coming back to as a team. It’s a lot of fun.

Ian Dallas, Creative Director of What Remains Of Edith Finch

Ian Dallas

Ian Dallas: For me, the last game that affected me emotionally in a strong way was Universal Paperclips. A game about clicking on buttons and manufacturing paperclips that I just found myself lost in for 8 hours. It was really like a troubling emotional experience, and it’s amazing that it comes out of just text on a webpage. It reaffirms the power of video games and the way that they can teach you things about yourself and about the world that you couldn’t really internalize in any other way.

Chelsea Hash, Technical Artist of What Remains Of Edith Finch

Chelsea Hash: Hellblade: Senua’s Sacrifice. Their commitment to the multimedia format and drawing from different rendering styles to support their vision was something that I was glad to be able to experience, something that was willing to think outside the box.

Damon Baker, Nintendo Publisher and Developer Relations

Damon Baker: I can’t choose one game. It is like choosing my favorite child! There are so many different types of experiences. Most recently I am working my way through Night in the Woods. I haven’t been able to play that previously, and having a lot of flights lately has given me more flexibility to get through a lot of indie content. Of course, I totally enjoyed Celeste. I vowed not to use assist mode on that game at all and beat it; but it took me 1800 deaths or something to get through it, but it was a beautiful game.

Matt Thornson, Director of Celeste

Matt Thornson: I’ve been really enjoying my time with Into the Breach. It’s amazing!

Victor Kislyi, Wargaming CEO (World of Tanks)

Victor Kislyi: Civilization. All of them, because I started playing from Civ I. Now, believe it or not, before playing World of Tanks last night I was playing Civilization and I was playing on the plane on my way here. Civ 6 is amazing, and it was my MBA. I’m a physicist by education but, playing Civilization, all those layers, economy, exploration, politics, military, science, religion–your brain is trained to juggle those multiple layers like almost instantly, or at least very, very correctly. And, that’s a good analogy with business, people, finance, media, failures, exploration, etc., etc. I think Civilization, as a concept, as a game, actually, is more valuable to humanity than Mona Lisa.

Yoko Taro, Director of Nier: Automata

Yoko Taro: I think that Grand Theft Auto IV and Super Mario Bros. are two big games that influenced me when making Nier. But with games from the past–not modern games–I felt more freedom or challenge as a player. Let’s say we have a black background with a white dot on it and let’s call it the space. I feel like that really creates freedom, especially in terms freedom of imagination, and challenging the dev team to create a world without really being able to express that world visually. In that sense, I feel that in the past, game developers were trying to create a new frontier. They were trying to expand the world, expand the universe of gaming industry.

Yoko Taro (left) and Takahira Taura (right)

Now that the game industry has matured pretty much now, a lot of people actually go for a more safe game. They try to make all the consumers happy with that one game. I think that that actually limits to what they can do and I feel that no one is really trying to expand that arena or expand that world anymore. I am a little bit sad about that.

Takahisa Taura, Designer Of Nier: Automata + Metal Gear Rising

Takahisa Taura: When The Witcher 3 came out, we all played it and had fun with it, but we also looked at it to see what would we do if we created a game like this. We were using The Witcher 3 as a learning experience on how to create an RPG. I think that’s where it all started. Well, that’s where we came from, so it wasn’t too difficult of a task to create a JRPG.”

Like the unbelievably popular book on which it’s based, Steven Spielberg’s Ready Player One sends viewers to the incredibile virtual world of The Oasis. It’s a VR paradise in which anything is possible, you can go anywhere, and everyone is welcome. Unfortunately, it makes no sense within the movie.

The Oasis is a beautiful fantasy, but it falls apart when you stop to think about it. Unlike Ernest Cline’s book, the film doesn’t have the time to delve into the specific rules for the virtual world. It leaves some of them deliberately vague to make room for plot twists and exciting action set pieces–like whether you can harm other players anywhere in the Oasis, or just in certain areas. The movie repeats other rules–like how progression and death within the Oasis work–as if they’re gospel, then ignores them in multiple scenes.

None of this should prevent you from enjoying Spielberg’s Ready Player One adaptation for what it is: A super fun homage to all the nerdy stuff we love. But since we also love picking those things apart, let’s explore a few reasons why Ready Player One‘s Oasis doesn’t work as a video game.

Movement makes no sense

This one should be fairly obvious, even to a casual viewer: The ways that players move within The Oasis don’t really work.

The movie does just enough to try to explain this that you might not notice right away. Wade has an omni-directional treadmill in his junkyard hideout, and you see those throughout the movie. Sometimes, he sits in a chair while he plays, presumably to mimic sitting in a car and other similar activities. Other players, like IOI executive Nolan Sorrento, have big, expensive-looking rigs that look like they might be able to move in more complex ways (not that we ever see that), while Aech’s van has wires that players can hang from.

Oasis players without these advantages apparently just run around on the street with their headsets on, as we see toward the end of the movie. Besides being incredibly dangerous, that just doesn’t make sense. Players are fighting on a huge battlefield in the movie’s climax; are they actually running that entire length, throwing punches and roundhouse kicks, while out in the streets of Columbus, Ohio? How does the Oasis detect your movement if you’re just dashing around on the asphalt in sneakers?

In that same battle scene, Aech tosses Wade a murderous Chucky doll to unleash on their enemies. We only see this in the real world, where actress Lena Waithe literally balls up her hands and mimes an underhand toss in Wade’s direction. Only, in The Oasis, Aech is currently inhabiting the Iron Giant (more on that later), and Parzival is driving his DeLorean through the carnage. Did the Iron Giant just stop what it was doing in the game to physically toss a Chucky doll into Parzival’s car? There’s a reason we only see that little gesture play out in the van, and not in the game.

It gets even worse when you think about a scene like the dance club, where Parzival and Artemis go to hunt down the second clue. They spend half the scene twirling gracefully through the air, spinning and kicking like mermaid ballerinas. But as we can see when our view returns to the real world, Wade is still sitting placidly in the chair in the back of his van. Are they using pre-programmed dance move macros? Either way, the movie doesn’t bother to establish that.

Death and progression make no sense

This is a big one, as it’s one of those rules the movie repeats over and over again, yet also breaks constantly. When your avatar dies in The Oasis, you lose everything you have–all your money, loot, equipment, and items. The movie’s version of The Oasis kind of has a leveling system, as it does refer to the levels of certain magic artifacts, like the level 99 artifact The Orb of Osuvox. But it never refers to characters’ levels, so we have to assume that your gear is the only method of progression that exists.

But besides the most hardcore, niche games in existence, that’s not how video games work, and if that’s how The Oasis worked, it wouldn’t be so popular. People definitely wouldn’t be investing their life savings into upgrades or equipment that they might lose permanently the next time they log in. Most actual video games have a way to store things you earn, and purchases you make–especially expensive ones–are tied to your account so you can’t lose them.

Well, doesn’t The Oasis have ways to store things? It must, since we see multiple environments–like Aech’s workshop and virtual home–where she has everything from furniture, clothes, and posters to vehicles and half-finished projects stored. And yet, an experienced player like TJ Miller’s character I-R0k is carrying “ten years’ worth of s***” on him at all times, as he laments in the climactic scene, before being decimated by the Cataclyst.

If there was a way to store things, surely I-R0k would have used it; so then what’s going on with Aech’s stuff? It makes zero sense, and it’s even worse when you consider the next point.

Combat makes no sense

In the book, there are PvP zones–player-vs.-player areas where you can attack other people’s avatars–and non-combat zones where you can’t, like the virtual school Wade attends. Like those VR schools, the idea that there are some places in The Oasis where you’re safe from being attacked is completely left out of the movie.

I can see why they’d choose this route. The movie tries to establish only the most basic and simple rules for this game world, and leaves everything else up to the imagination. And this creates opportunities for narrative drama, like when IOI’s sixers ambush Parzival and Artemis inside the Distracted Globe, a nightclub that, in a realistic game, would be a non-PvP social space.

But that also makes the previous point–that you lose everything your character has when you die–seem even more nonsensical. If any random player could walk up to you at any place and at any time in The Oasis, pull out a gun, shoot you in the head, and steal all your stuff, the entire virtual world would be a bloodbath that makes Planet Doom look like a merry-go-round. There’d be nowhere safe.

If a place like the Distracted Globe actually existed in The Oasis, it would have to be a non-combat safe zone, or it would be impossible for players to relax and have a good time there. But the movie establishes explicitly that the Distracted Globe, like Planet Doom and the rest of The Oasis, is indeed a PvP zone (unless IOI can somehow cheat and break the game’s rules, in which case, why would they need to do any of this at all?). And that doesn’t make any sense.

The Economy makes no sense

Aech being a superstar on The Oasis’s “mod boards” is a cute little character detail that establishes that she’s handy and resourceful, setting up her later use of her custom-built Iron Giant. But I have to ask: How does The Oasis’s economy work? Because it seems like it doesn’t work at all, if you look at it logically.

In the scene where Parzival and Aech go shopping after Parzival’s first big win, we can see that Tracer from Overwatch is a purchasable skin within The Oasis. We see her zipping around in several other shots, so presumably more than one player is running around with a purchased Tracer costume on. You have to assume Blizzard is making money off those sales, since they own Overwatch and by extension Tracer.

So why is Parzival so amazed when Sorrento tells him that IOI owns the Millennium Falcon? We don’t see any visual Star Wars junk in Ready Player One for real world licensing reasons, but if something like that existed within The Oasis, wouldn’t anyone be able to buy it? Why would that be impressive?

Maybe it’s just prohibitively expensive, so few people can afford to own one. OK, so where does Aech’s game mod workshop fit in? Games that support modding don’t typically mesh well with microtransaction-driven in-game economies.

If Aech builds and sells a custom Iron Giant, or the Galactica, or The Valley Forge from Silent Running, do the rights holders get a cut? Why doesn’t Aech just build everyone in The High Five a custom Millennium Falcon, with Ghostbusters decals and the dashboard from Knight Rider, that transforms into a Gundam suit and lasts indefinitely? Why would an artifact that lets you turn into a giant robot for two measly minutes, like the one Daito uses in the final battle, even be special if you can just build your own Iron Giant and run around in it forever (or at least until Mecha Godzilla owns you too hard)? It doesn’t make sense.

The Easter Egg hunt makes no sense

Lastly, the entire hunt for the Easter Egg makes virtually no sense. This is an interesting one, because the version in the book–incredibly obscure puzzles hidden in remote corners of The Oasis where you’d never think to look–arguably makes more sense, even if the movie’s high octane race and recreation of The Shining are more exciting.

When building his ultimate Easter egg hunt, Halliday would have known how gamers operate when faced with a challenge. Therefore, he would have known that any puzzle with a solution as simple as “drive the wrong way on the race track” would have been solved on day one.

You can even ignore the fact that IOI has teams of researchers supposedly poring over every second of Halliday’s life, and that the clue Parzival discovers–Halliday literally saying “put the pedal to the metal and go backward as fast as possible”–is way, way too obvious for them to have all missed it. Just look at the lengths gamers in the real world have gone to solve massive, game-spanning puzzles like Destiny’s Outbreak Prime, the Trials Evolution riddle, or Spelunky’s infamously elusive depths. And that was without the fate of “the world’s most important economic resource,” as Sorrento calls it, hanging in the balance.

As soon as it became clear that getting past King Kong was impossible, the thousands or even millions of players hunting for the first key would have simply brute-forced the solution by trying every possible variation of every action that could be taken during the race. Driving the wrong way is way too easy to have taken five years to discover. It doesn’t make any sense.

But that’s OK

I have way more questions about how The Oasis actually works. Like, how can Ogden Morrow be the curator? When the hunt started, there must have been thousands or millions of players clamoring to access the Halliday journals, despite the fact that they’re virtually empty by the time the movie takes place. One man dressed up as a robot butler couldn’t possibly handle all their requests. Does Ogg just slip into the character whenever Wade comes around? Maybe, but the movie doesn’t feel like muddying up that emotional reveal at the end with things like “details.”

What about Parzival’s climactic live broadcast to everyone in the entire Oasis? We see that every player has a floating droid companion that can take selfies for them. Does Wade’s have special abilities? Because if not, and every player has the option to broadcast a live video to the entire Oasis at any time, then this virtual world would be constantly flooded with spam and trolling and none of it would function. If Wade somehow gained this ability through his fame or wealth, the movie never explains it.

I could go on and on. The more closely you examine this movie, the less sense it makes. But the strangest thing of all is that I ultimately don’t care. Ready Player One‘s virtual video game world was designed to be as simple and accessible as possible, not to please nitpicking gamers, but to appeal to the widest audience it can. Ultimately, Ready Player One is a blast, and no amount of nitpicking can change that–not that that will stop us.

What were your biggest gripes with The Oasis or Ready Player One as a whole? Let us know in the comments below.

The annual Game Developers Conference is where you want to be in order to place your finger on the pulse of the latest trends in the games industry. Unlike E3, PAX, or Gamescom, GDC is a far more low-key show, where indies and AAA developers behind the latest and greatest mingle together to figure out what could be next for the gaming world. While the conference doesn’t focus on the spectacle that other shows do, it’s still a great place to check out some upcoming games that may not be as well known as others.

In this gallery, we’ve compiled a list of some of the most interesting games we’ve played during GDC 2018. After exploring the GDC show floor and the conference’s surrounding events, which includes Double Fine’s Day of the Devs and an assortment of indie games from the The MiX event–we’ve narrowed things to some of the most evocative and exciting games we played during GDC 2018. Here are 25 games coming to PS4, Xbox One, PC, and Switch–which are expected to see release this year, or early 2019.