The Game Awards are done and the video game marketing machine is winding down for the year, but this industry never fully stops. This week, we’re taking a look at what The Game Awards could have done better (a few things, it turns out) and breaking down some of the biggest announcements from last week’s show.
This week’s stories
Light No Fire
We’re gonna talk about The Game Awards a lot this week, but one of the biggest announcements from last Thursday’s show was the existence of Light No Fire, a new title from No Man’s Sky studio Hello Games. It’s a planet-sized, multiplayer game about exploration and community-building, and it uses procedural generation to fill every valley and mountaintop with life. At least, that’s the promise. There’s no release date for Light No Fire just yet, but Hello Games has been working on it for five years.
The rest of The Game Awards
Also at The Game Awards, we saw the reveal of a Blade game from Arkane Lyon, OD from Kojima Productions, Windblown from Dead Cells studio Motion Twin, and Exodus from Archetype Entertainment, a studio composed of BioWare, 343 and Naughty Dog veterans.
As for the awards, best narrative went to Alan Wake 2, best debut indie game went to Cocoon, and esports coach of the year went to Potter. Indie game Baldur's Gate 3 won game of the year, while Sea of Stars won best independent game over Dave the Diver, a title that was never indie to begin with. Got it? Good. Moving on.
Free Radical Design shuts down
Free Radical
UK studio Free Radical Design, which was working on the TimeSplitters revival, laid off more than 80 people and shut its doors on Monday. It marks another round of layoffs under Embracer this year — the holding company announced in June that a $2 billion funding deal fell through, and it’s spent the last few months closing studios and firing staff at places including Saints Row developer Volition and Chorus maker Fishlabs.
We can do better
The Game Awards
The Game Awards last week ran for three hours, hosted by organizer Geoff Keighley. It was fancy and packed with movie stars — which, honestly, is pretty weird for a show that’s supposed to be about video games. Between abundant ad breaks, rushed speeches for winning developers, and ample stage time for celebrities, this year’s Game Awards didn’t feel like a celebration of the industry.
I’m not the only one who noticed the imbalance. After The Game Awards, plenty of developers, players and critics expressed displeasure with its pacing and priorities. Of the show’s 180 minutes, speeches from award winners took up just 10 minutes, and developers were prompted to ‘please wrap it up’ after just 30 seconds.
Meanwhile, Jordan Peele and Hideo Kojima were given nearly 7 minutes to talk about their upcoming project that looks like it’s more movie than game. There were appearances by Simu Liu, Matthew McConaughey and actors from TV shows based on video games. The Game of the Year award was presented by Timothee Chalamet, for some reason. Gonzo the Muppet even got 2 minutes.
Keighley rushed through most awards by reading the categories and winners directly into the camera back to back to back. Announcement trailers were indistinguishable from ad breaks, and there was no time spared for the industry’s most relevant issues, like the upheaval of mass layoffs, the fight to establish unions, and the medium's relationship with conflicts in Ukraine and Gaza.
These topics would feel drastically out of place at The Game Awards, and that alone is an indictment of the show. If there’s no room to discuss, celebrate and condemn these topics at the industry’s most public-facing event, what are we even doing here?
The Game Awards organizers have done a great job replacing the embarrassment that was Spike’s VGX with a show that looks more like The Oscars — but the video game industry is not Hollywood. Where are our luminaries? What are our issues? How are we innovating? Making video games more like movies is not the goal — unless you’re Kojima, I guess.
There are a bunch of other events that give time to video game creators and broader conversations, such as the Game Developers Choice Awards and its Independent Game Festival competition, The Spawnies from Spawn on Me, Gamedev.world from Rami Ismail, and Day of the Devs. And there are always the showcases from indie publishers like Annapurna Interactive, Devolver Digital and Panic throughout the year. But with E3 officially dead, Keighley's two big shows — Summer Game Fest and The Game Awards — are now the premier industry events on the gaming calendar. There's a responsibility that comes with that position, and his organization clearly needs to strike a better balance.
Now playing
It’s been a strangely stressful time, so I’ve been relaxing with couch co-op in Halo: The Master Chief Collection. It’s familiar and comfortable, and the toggle between old and new graphics is still an absolute delight. I’d love to discover some new couch co-op games, so let me know in the comments if you have any favorites.
This article originally appeared on Engadget at https://www.engadget.com/the-game-awards-missteps-and-light-no-fire--this-weeks-gaming-news-144549193.html?src=rss
UK indie studio Hello Games is building something that it's calling "more ambitious" than No Man's Sky. The studio's next game is Light No Fire, and it brings procedural generation to an entire planet on an incredibly detailed scale.
Light No Fire is an open-world exploration and community-building game set on a planet the size of Earth, blending RPG elements with sandbox survival. It's a multiplayer experience in an ancient and fantastical landscape, with climbable trees, hills and mountains, and secrets to discover at every turn. It's "the first real open world," according to Hello Games co-founder Sean Murray.
Light No Fire has been in development for five years, by about a dozen developers at Hello Games. In the title's first trailer, it looks like the team took an entire planet from No Man's Sky and filled it completely with life, resources and mysteries.
There's no release date for Light No Fire and no confirmed platforms, and the game was kept in complete secrecy until its reveal at The Game Awards on December 7. Given Hello Games' history with over-hyped marketing schemes, that's no surprise.
Hello Games is synonymous with No Man’s Sky, a sprawling and incredibly popular space-exploration sim that landed in 2016 and only got better with time. But before the indie studio scored a huge marketing deal with Sony for No Man’s Sky — before one of its founders was meeting with Steven Spielberg and appearing on The Late Show with Stephen Colbert — Hello Games was known for the cartoony sidescroller Joe Danger.
UK developers Ryan Doyle, Grant Duncan, Sean Murray and David Ream founded Hello Games in 2009, after quitting their jobs at major studios like EA and Criterion. This was before the modern indie boom, at a time when XBLA was just getting started and Steam had only a handful of indie games.
"Actually breaking away and doing your own thing was a stupid thing to do at the time," Murray told me in 2016.
For nine months, the Hello Games quartet worked on Joe Danger, a 3D sidescroller starring a happy-go-lucky dirtbike daredevil, and they tried to lock down a publisher. No one was interested.
"Everyone turned us down," Murray said in 2016. "Sony turned us down, and Microsoft and so many places."
Out of money and resigned to giving up on their indie dreams, Doyle, Duncan, Murray and Ream went to the pub.
"We came up with this stupid idea," Murray said. "I had a house, and so I sold my house to pay for the rest of development. … The way I looked at it was like, I had bought that house because I had worked at EA, so it was like blood money. Like a blood diamond. You gotta sell that; that's bad karma."
And he really did. Built on loans and the money from Murray’s house sale, Joe Danger came out on June 9, 2010, and it was a hit. Hello Games followed it up with Joe Danger 2: The Movie in 2012. By then, the studio was an established indie hit-maker and it had relationships with major publishers. In December 2013, the team revealed something entirely unexpected: No Man’s Sky, a multiplayer game the size of the universe and filled with galaxies of procedurally generated planets to explore.
The next summer, No Man’s Sky had a tentpole moment at Sony’s E3 press conference, and the AAA marketing machine was activated. Sony leaned heavily on Hello Games to bolster its image as an indie curator, and over the next two years, the buzz around No Man’s Sky reached astronomical heights. Spielberg, Colbert, Kanye West and Elon Musk all got involved in their own ways, and No Man's Sky was a household name years before it launched.
Hello Games
By the time the game came out, it was impossible for it to live up to the hype. No Man’s Sky promised a universe of procedurally generated planets to explore, teeming with minerals and creatures and other players to encounter, but at launch on August 9, 2016, it was buggy and empty. The bones of a fantastic game were there, but some players felt so misled by Sony's intense marketing campaign that they filed a lawsuit against Hello Games.
The team kept working on No Man’s Sky, releasing bug fixes, updates and expansions, including a VR version. Over the years, the vision that players were initially sold clarified in-game, and the online rage died down until it was fully replaced by admiration. Since launch, No Man’s Sky has won multiple high-profile awards, including Best Ongoing Game at The Game Awards 2020. This year, it’s nominated at The Game Awards in the Best Community Support category.
"It's become so much simpler two years out from launch," Murray told me in 2019. "At launch, we were so focused on trying to please the partners that we were working with, trying to market our game, trying to live up to expectations that we were really struggling to meet."
Hello Games
No Man’s Sky in particular is Murray’s brainchild, and he was the face of the game as it rose and fell and rose again in public perception. He and the rest of the Hello Games team — which is bigger than four developers nowadays — have been keeping silent about their internal projects, and it’s easy to understand why.
"They are super talented and I didn't want to just move on and let that be their legacy," Murray said in 2019. "It's really nice for them to be able to say to people, 'I worked on No Man's Sky,' and people to be really happy and positive about it now. That is something that they deserved."
This history makes today’s reveal of Light No Fire even sweeter. Fourteen years after that fateful night in the pub, Hello Games is a testament to persistence.
This article originally appeared on Engadget at https://www.engadget.com/the-makers-of-no-mans-sky-will-simulate-a-whole-planet-for-light-no-fire-035108958.html?src=rss
No Rest for the Wicked is the new project from Moon Studios, the team behind Ori and the Blind Forest and its sequel — and it looks as beautiful as you'd expect. It's a top-down action RPG set in the year 841, in a kingdom that's just lost its king. His arrogant and inexperienced son has taken over, and the Pestilence is sweeping the land. The turmoil has led a powerful religious leader to expand her influence in the region, and groups on the fringes are fighting for control wherever they can. You play as a holy warrior called a Cerim, imbued with magic and destined to fight the Pestilence.
No Rest for the Wicked emphasizes action and precision in a gorgeous medieval setting, and it includes online co-op for up to four players total. It's due to hit early access on Steam in the first quarter of 2024, and it will eventually come to PlayStation 5 and Xbox Series X/S.
Moon Studios debuted the project at The Game Awards with a cinematic trailer, promising more details during a digital showcase called Wicked Inside on March 1. Private Division is publishing the game.
This article originally appeared on Engadget at https://www.engadget.com/no-rest-for-the-wicked-is-a-medieval-action-rpg-from-the-ori-team-020119459.html?src=rss
No Rest for the Wicked is the new project from Moon Studios, the team behind Ori and the Blind Forest and its sequel — and it looks as beautiful as you'd expect. It's a top-down action RPG set in the year 841, in a kingdom that's just lost its king. His arrogant and inexperienced son has taken over, and the Pestilence is sweeping the land. The turmoil has led a powerful religious leader to expand her influence in the region, and groups on the fringes are fighting for control wherever they can. You play as a holy warrior called a Cerim, imbued with magic and destined to fight the Pestilence.
No Rest for the Wicked emphasizes action and precision in a gorgeous medieval setting, and it includes online co-op for up to four players total. It's due to hit early access on Steam in the first quarter of 2024, and it will eventually come to PlayStation 5 and Xbox Series X/S.
Moon Studios debuted the project at The Game Awards with a cinematic trailer, promising more details during a digital showcase called Wicked Inside on March 1. Private Division is publishing the game.
This article originally appeared on Engadget at https://www.engadget.com/no-rest-for-the-wicked-is-a-medieval-action-rpg-from-the-ori-team-020119459.html?src=rss
Exodus is the first game from Archetype Entertainment, a studio established by Wizards of the Coast in 2019 and staffed by former developers from BioWare, 343 Industries, Naughty Dog and other AAA establishments. Exodus is a big and bold sci-fi RPG that deals with time dilation, the idea that time passes more slowly than we're used to during high-velocity travel, causing interstellar explorers to outlive their friends and family back home.
In Exodus, humanity has been forced to abandon Earth and establish a new civilization in a hostile galaxy. Players are the Traveler, a person tasked with exploring far-off solar systems for advanced alien technology. What the Traveler counts in days, the rest of humanity experiences in decades. With this conceit, players' choices will cause butterfly effects to ripple across humanity's new planet, particularly in the lives of their own loved ones, and the Traveler will watch these play out over generations.
Player choice is a big part of Exodus, affecting individual combat moments and helping to shape the overall story arc. The game includes alien weaponry and classic gunplay, a deep progression system, and a swathe of companion characters (yes, romance is on the table). Also, Matthew McConaughey is in Exodus in some way, and he presented the game at The Game Awards, unveiling its first trailer.
Archetype, a division of Wizards of the Coast, is packed with stellar sci-fi video game talent. It includes studio head James Ohlen (Baldur's Gate, Dragon Age: Origins), executive producer Chad Robertson (Star Wars: The Old Republic), director Chris King (Halo 4), and narrative director Drew Karpyshyn (Mass Effect, Mass Effect 2). The focus on time dilation and personal loss in Exodus underscores the team's desire to build an emotional, narrative-driven game, with action as an engaging but supplementary feature — and they have the résumés to pull that off.
Exodus is in development for PlayStation 5, Xbox Series X/S and PC.
This article originally appeared on Engadget at https://www.engadget.com/exodus-is-a-new-sci-fi-rpg-from-former-bioware-343-and-naughty-dog-developers-011433508.html?src=rss
Exodus is the first game from Archetype Entertainment, a studio established by Wizards of the Coast in 2019 and staffed by former developers from BioWare, 343 Industries, Naughty Dog and other AAA establishments. Exodus is a big and bold sci-fi RPG that deals with time dilation, the idea that time passes more slowly than we're used to during high-velocity travel, causing interstellar explorers to outlive their friends and family back home.
In Exodus, humanity has been forced to abandon Earth and establish a new civilization in a hostile galaxy. Players are the Traveler, a person tasked with exploring far-off solar systems for advanced alien technology. What the Traveler counts in days, the rest of humanity experiences in decades. With this conceit, players' choices will cause butterfly effects to ripple across humanity's new planet, particularly in the lives of their own loved ones, and the Traveler will watch these play out over generations.
Player choice is a big part of Exodus, affecting individual combat moments and helping to shape the overall story arc. The game includes alien weaponry and classic gunplay, a deep progression system, and a swathe of companion characters (yes, romance is on the table). Also, Matthew McConaughey is in Exodus in some way, and he presented the game at The Game Awards, unveiling its first trailer.
Archetype, a division of Wizards of the Coast, is packed with stellar sci-fi video game talent. It includes studio head James Ohlen (Baldur's Gate, Dragon Age: Origins), executive producer Chad Robertson (Star Wars: The Old Republic), director Chris King (Halo 4), and narrative director Drew Karpyshyn (Mass Effect, Mass Effect 2). The focus on time dilation and personal loss in Exodus underscores the team's desire to build an emotional, narrative-driven game, with action as an engaging but supplementary feature — and they have the résumés to pull that off.
Exodus is in development for PlayStation 5, Xbox Series X/S and PC.
This article originally appeared on Engadget at https://www.engadget.com/exodus-is-a-new-sci-fi-rpg-from-former-bioware-343-and-naughty-dog-developers-011433508.html?src=rss
Day of the Devs is awesome. It’s a showcase that pops up a few times a year to promote promising, in-progress indie games, irrespective of publisher, genre, budget, visual style or release window. It’s curated by the folks at Double Fine and iam8bit, and they’ve been hosting Day of the Devs live events and digital showcases for the past 11 years.
The latest Day of the Devs celebration wrapped up on December 6, the day before The Game Awards, and it featured 20 marvelous and strange independent projects. The virtual show included a few world premieres and release date announcements, but mostly, it was a celebration of creativity and innovation in indie games. This is particularly relevant right now: The Game Awards reignited the debate around the definition of “indie” in November, when its jury voted Dave the Diver into the Best Independent Game category — even though the title is made by Nexon, one of the largest studios in South Korea.
Indie is more than a label; it identifies teams that are operating outside of the AAA system, without a safety net, and it helps players determine where to spend their money. We published nearly 2,000 words on the topic of defining indie games, so read that if you want more juice. But right now, efforts like Day of the Devs feel extra necessary.
Day of the Devs: The Game Awards Edition 2023 offered a non-stop flow of indie goodness, so watch the whole show if you’re into cool stuff like that. We’ve broken out the news and highlights here:
New games
Kind words 2 (lofi city pop)
Kind Words (lo fi chill beats to write to) came out at both the perfect and most upsetting time — it landed in September 2019, a few months before the pandemic shut down everyday life across the globe. Kind Words is a game about listening to smooth lo-fi beats and writing real letters to real people, and during quarantine, it served as an outlet for thousands of players seeking interpersonal connection, warmth and encouragement.
Kind Words 2 (lofi city pop) is an expanded sequel coming from the original team, Popcannibal. Writing nice letters to strangers is still a core gameplay mechanic, but players are no longer confined to their bedrooms. There’s a whole city to explore, with coffee shops for writing poetry, mountaintops for making wishes on stars, and public spaces filled with people to talk to. The sequel also introduces a social media system with no quantitative feedback — no likes, no popularity metrics, just good vibes.
The studio behind Boyfriend Dungeon is back with something completely different, but potentially just as sexy. Loose Leaf is a tea-drinking, tarot-reading, witchy experience with a serene 3D art style, and Kitfox Games is advertising it as the most in-depth tea-brewing simulator ever created. It looks like an incredibly detailed version of the potion-making minigame from Pottermore, with a side of social interaction in the form of tarot readings.
Loose Leaf is a game about patience, friendships and the magic therein. There’s no release date at the moment, but it has a Steam page.
The Mermaid’s Tongue
SFB Games, the team that brought us Snipperclips and Tangle Tower, has a new project called The Mermaid’s Tongue. It’s part of the Tangle Tower universe and stars Grimoire and Sally, the two detectives from that series. The Mermaid’s Tongue is a murder mystery game about the death of a submarine captain, and players have to interrogate bystanders, investigate their surroundings and solve environmental puzzles.
The Mermaid’s Tongue is heading to Steam and Xbox in 2024, and a Steam demo is out now.
Nirvana Noir
Genesis Noir is one of the most visually striking games of the past few years, and its sequel, Nirvana Noir, looks just as stunning. Nirvana Noir is Feral Cat Den’s follow-up to Genesis, and it offers a jazzy, psychedelic twist on the series. The main character, No Man, is caught in a cosmic conspiracy and players will use dialogue-based detective work to understand the surrounding characters, read between the lines and hunt for clues.
There’s no release date for Nirvana Noir at the moment, but it's coming to Steam, the Epic Games Store and Xbox. It'll be published by Fellow Traveller.
Release dates
Flock
Flock looks like a charming, cozy game about soaring around fantastical environments and collecting flying friends, with singleplayer and multiplayer settings. It comes from Hollow Ponds and Richard Hogg, one of the creators of Hohokum, and it is incredibly cute. Aside from befriending birds, the game includes a creature guide for identifying new beasts and there’s a wool-collecting mechanic tied to the sheep roaming the lands below. Flock didn’t have a release window until today: It’s due out in spring 2024 on Steam, PlayStation and Xbox, published by Annapurna Interactive.
Annapurna Interactive
Open Roads
Open Roads has been on the indie radar for a while now, and it finally has a release date: February 22, 2024. Open Roads follows a mother and her 16-year-old daughter on a road trip that reveals hard truths about their family and ultimately tests their bond. It looks like an emotional, moving story, and it stars actors Keri Russel and Kaitlyn Dever.
Open Roads comes from The Open Roads Team, a group of developers that split off from indie studio Fullbright. It’s published by Annapurna Interactive and it's heading to PC, PlayStation, Xbox and Switch. It'll be on Game Pass at launch.
Annapurna Interactive
These look especially dope
Cryptmaster
Cryptmaster looks like Inscyrption mixed with hell’s cel-shader, and I’m personally very into it. Cryptmaster blends word puzzles with action sequences; players build their arsenals by solving letter-guessing games with text or voice, unlocking the resulting attack skills. It comes from Paul Hart and Lee Williams, published by Akupara Games, and it’s due to hit Steam in 2024.
Akupara Games
Drag Her!
This one’s for the royalty in everyone. Drag Her! is a fighting game featuring real-life superstar drag queens and kings from RuPaul’s Drag Race, Boulet Brothers’ Dragula and beyond, and it looks like a camp ol’ time. Drag Her! stars Alaska, Asia O’Hara, BenDeLaCreme, Kim Chi, Landon Cider and Laganja Estranja, with voice acting by each performer and unique attacks based on their personalities.
Drag Her! comes from Fighting Chance Games and it’s slated for release in early 2025.
Holstin
Holstin brings horror to a small Polish town in the 1990s, with beautifully dark pixel-art scenes that swap between isometric and first-person perspectives. The developers at Sonka grew up in this world of post-communism religious influence, and they used their experiences to build a game dripping in psychological and supernatural horror. Holstein is an eerie game that values investigation and sharpshooting in equal measure, set in a rare locale.
There’s no release date for Holstin, but it’s coming to PC, Xbox, PlayStation and Switch eventually. A demo showing off its first-person combat system recently went live on Steam, and another demo is coming in 2024.
Home Safety Hotline
As a true ’90s kid, this one is weirdly comforting. Home Safety Hotline is a text-based horror game that plays out on a Windows 96 desktop, complete with pixelated icons and sad gray pop-up windows. Players log on to work at a call center, where they help their clients get rid of spooky, paranormal creatures and occurrences invading their homes.
Home Safety Hotline is heading to PC in early 2024 (a slight delay from its original release date).
Night Signal Entertainment
Militsioner
Militsioner is essentially 1984, the video game: It features a cop as an all-seeing colossus, sitting watch over a quiet town, alert and eager to throw you in jail. Players have to escape without attracting the attention of the giant policeman, learning when to sneak and how to talk their way out of capture, and exploring empty buildings and solving spatial puzzles along the way.
Militsioner comes from Tallboys and doesn’t have a release date, but its Steam page is live.
Tallboys
If you're still craving more, check out the full Day of the Devs: The Game Awards 2023 show here.
This article originally appeared on Engadget at https://www.engadget.com/heres-the-cream-of-the-crop-from-the-day-of-the-devs-game-awards-stream-174701334.html?src=rss
After a slow month in the world of video game marketing, things are starting to pick up. The past week has given us a first look at the new Fallout TV show, a few release dates and a trailer for a little game called Grand Theft Auto VI — and the Game Awards are still to come. What good timing for us to launch a weekly video game show to dig into the news.
This week’s stories
The Game Awards
The Game Awards
The Game Awards will go live on Thursday, December 7, at 7:30PM ET. Expect a few hours of game announcements, new trailers, awkward interviews and musical performances, including one by the fictional band from Alan Wake 2.
Amazon MGM Studios
Fallout, but on TV!
Amazon dropped the first trailer for its live-action Fallout series — and, man, it sure does look like Fallout. The show is set in Los Angeles 200 years after the nuclear apocalypse, and it stars Yellowjackets actor Ella Purnell, plus Walton Goggins, Aaron Moten and Kyle MacLachlan. It’s heading to Prime Video on April 12, 2024.
GTA VI is coming in 2025
The biggest news item this week, pre-The Game Awards, was the first official trailer for Grand Theft Auto VI. As of writing it's already reached 105 million views on YouTube — a pace usually reserved for only the finest K-Pop videos. GTA VI is set in Vice City, it’s coming out in 2025 and I'm sure we’ll hear a lot more about it before then.
Nexon
What is an indie game?
The meat of this week’s episode focuses on the longstanding debate about what “indie” actually means. One of the titles nominated for Best Independent Game at the Game Awards, Dave the Diver, was commissioned and bankrolled by Nexon, one of the largest video game studios in South Korea. It’s not indie, and its inclusion in this category highlights how little consensus there still is around the definition.
This is kinda my area of expertise — it’s my 13th year as a video game journalist and indie games have always been a core feature of my reporting. I’ve spent a lot of time thinking about what I mean when I say “indie,” so I sat down and formalized this thought process. There are three questions that can help define a game in an indie gray area: Is the team on the mainstream system’s payroll? Is the game or team owned by a platform holder? Do the artists have creative control? I dug into these questions this week, and discuss how having a publisher isn’t related to the indie label at all.
But when all else fails in the indie debate, there’s one ultimate question to ask: Can this team exist without my support? This is why the distinction matters: The indie label helps to identify the artists that would not exist without game sales, crowdfunding or word-of-mouth support from players. It exists to determine the teams that are truly living and dying on game sales, and it helps players decide where to spend their money. If Dave the Diver didn’t sell well, its team would likely have the chance to try again. If, say, Pizza Tower didn’t sell well, its studio could have folded.
I think this is an important conversation, so give that story a read and let us know in the comments if you think my questions help or just make things more confusing. It’s probably a little bit of both.
Now playing
I’ve been thoroughly enjoying The Cosmic Wheel Sisterhood on Steam Deck — it’s the latest game from Deconstructeam, the indie studio that made The Red Strings Club and Gods Will Be Watching. The Cosmic Wheel Sisterhood is a game about building tarot decks, manipulating elections, betraying a coven of witches and seducing everyone; it’s sexy and well-written, and I highly recommend it. Another game I’m looking forward to is A Highland Song from indie studio Inkle; it just came out this week and I’m excited to dive in.
Let us know in the comments what you’re playing! Also, we still don’t know what to call this weekly video game news show, so leave us some name suggestions, too. Thanks!
This article originally appeared on Engadget at https://www.engadget.com/gta-6-the-game-awards-and-the-great-indie-debate--this-weeks-gaming-news-153051306.html?src=rss
The Game Awards got it wrong this year. One of the titles nominated for Best Independent Game, Dave the Diver, was produced by Nexon, one of the largest video game studios in South Korea. No matter how hard you squint, it is not indie. Dave the Diver is an excellent pixel-art game about deep-sea fishing and restaurant management, but it was commissioned and bankrolled by Nexon subsidiary Mintrocket, with billions of dollars and decades of experience at its back.
When The Game Awards nominees were announced on November 13, fans were quick to point out the error, and the recurring debate over what “indie” means was reignited. Taehwan Kim, Nexon’s overseer of Mintrocket, weighed in on November 14, saying Dave the Diver “may look like an indie, but it's not necessarily the case.” The official tweet listing the nominees for Best Independent Game now carries a reader-generated context tag reading, “Dave the Diver is not an indie game. Mintrocket, the game's developer, is a subsidiary of Korea's biggest game company Nexon. They are not independent in any sense of the word.”
Nexon
A discussion around the definition of “indie” bubbled up throughout November, but it raised more questions than it answered. One common conclusion was that the media outlets who voted Dave the Diver into the independent category were fooled by its pixel art, a style that’s associated with indie games. During a live Q&A on Twitch on November 26, The Game Awards organizer Geoff Keighley argued that “independent” was a broad term with an unknowable definition, before essentially saying Dave the Diver’s inclusion in the indie category was the jury’s fault.
Specifically, Keighley said the following: “It’s independent in spirit and [it’s] a small game with a, I don’t know what the budget is, but it's probably a relatively small-budget game. But it is from a larger entity, whereas there are other games on that list that are from much smaller studios. Even like Dredge I think is published by Team17, so is that independent or not because you have a publisher? It’s a really complicated thing to figure out and come up with strict rules around it, so kinda we let people use their best judgment. And you can agree or disagree with the choices, but the fact that Dave the Diver was on that list meant that, out of all the independent games the jury looked at, or what they thought were independent games, that was one of the top five they looked at this year.”
The jury comprises 120 media outlets (Engadget has traditionally been one of these, but we did not participate in voting this year and look what happened), so Keighley is chalking the mistake up to mass hysteria and moving on. Meanwhile, there’s still little consensus on what constitutes an indie game, at The Game Awards or elsewhere.
Nexon
I’ve reported on video games for 13 years and indies are a central theme of my coverage. I ran The Joystiq Indie Pitch back in the day, and I’ve made a concerted effort to write about smaller games from creators working outside of the mainstream machine, because these are the experiences that speak to me personally. The indie scene is the source of the industry’s magic. This isn’t just a debate about language — “indie” is a distinction that identifies which games and teams need outside support to survive and expand on their innovations. Understanding the label can help players make decisions about where to spend their money, the lifeblood of any game-development studio.
All that to say, the debate over the definition of “indie” is not new, but it is constantly changing, and it’s something I’ve spent a lot of time contemplating. So, I’m here to offer guidance on the question of what makes an indie game or studio indie. It is a weirdly complicated topic and my approach is one of many, but the loose framework I use could help resolve some common, recurring arguments.
Basically — it’s all about the system, man.
I’m joking, but also I’m not. Generally, when I’m trying to decide whether something is actually indie, I rotate through three questions:
Is the team on the mainstream system’s payroll?
Is the game or team owned by a platform holder?
Do the artists have creative control?
The first question is about identifying where a studio’s money is coming from and what kind of support a game has outside of sales. If a team is wholly owned by another company of any size, it is not indie. We’re not talking about publishing deals; this opening question is about acquisitions or subsidiaries of bigger studios. Dave the Diver is a prime example here — it’s developed by Mintrocket, a subsidiary of Nexon that was created just to develop more contained, experimental games for the publisher. Dave the Diver is definitely not indie, and we’re only on question one.
The second query feeds into the first, and it’s helpful in making fine distinctions about games that exist in gray areas. What about something like Cyberpunk 2077? It’s a big-budget game built by CD Projekt RED (CDPR) — a studio that, at first glance, seems like it could be indie. However, there are two factors that take it out of the running for me. First, CD Projekt, the umbrella organization that supports CDPR’s game-making, is a publicly traded company with shareholders and a board to answer to. Second, CD Projekt is the owner of GOG, a distribution hub that allows the studio to sell its own games and DLC outside of Steam and the Epic Games Store. This ability to sell directly to players at massive scale takes CD Projekt out of the indie realm. Generally, companies with the most influence and money are console makers and platform holders like Valve, Xbox, PlayStation, Epic Games, Ubisoft, EA, and, yes, CD Projekt. They are the AAA system, and anything they own is not indie.
Nexon
Lastly, on to publishers. Sorry, Keighley, but securing a publisher has very little to do with whether a game is indie nowadays. We’re blessed in 2023 to have a thriving indie industry constantly pushing against the AAA complex with different goals, more diverse voices and a broader sense of innovation — and publishing is a big part of this system. Today, indie-focused publishers (of which there are many) tend to include clauses that protect a developer’s creative vision, preventing the larger company from interfering with artistic decisions and keeping the game indie to the core. Once upon a time, it might’ve made sense to only consider self-published games indie, but that era is long gone.
The indie scene has evolved massively since the early 2010s, when games like Braid, Super Meat Boy and Fez were carving out the market’s modern form. Back then, self-publishing was all the rage for independent developers because it was often their only option, and as a result there were more distinct lines between AAA, AA and indie games. Devolver Digital found its first breakout hit as an indie publisher with Hotline Miami in 2012, and that’s around the time the floodgates opened. In 2014, as the industry’s largest companies started funding and publishing programs for them, the number of indie games skyrocketed across platforms including Steam (remember Greenlight?), the App Store, Xbox, PlayStation and Ouya (RIP).
Today, indie games come standard on every console. There are multiple indie-focused publishers, including Devolver, Annapurna Interactive, Panic, Raw Fury, Team17 and Netflix, and most of them offer complete creative freedom as a main selling point. Meanwhile, platform holders like Sony and Xbox are hungry to sign distribution deals with developers of all sizes in an effort to score exclusives and pad their streaming libraries. It’s the most stable (and crowded) the indie scene has ever been. Having a publisher has no bearing on whether a game is indie.
Being owned by a publisher, however, changes everything (see question one). This is more of a concern than ever, as platform holders like Microsoft, Sony and Epic Games have recently been buying studios they like, no matter their size. Hell, even Devolver has dipped its toes in the acquisition pond recently — which, yeah, means those teams are no longer indie.
Nexon
The “indie” label is transitory. Certain studios can be indie but an individual game may not be, and plenty of small companies flow between states as they age and take advantage of growth opportunities. Bungie, for example, started out as an independent outfit, then it was absorbed by the AAA complex under Xbox, and then it broke free and was briefly indie again, before Sony pulled it back into the mainstream system’s cold embrace.
So, yeah, that's my way of determining if a game or studio is indie. By all means, take my triplet of questions and have fun trying to break the logic — it probably won't take long. There is no perfect structure here and there are plenty of outliers within my own framework. Alan Wake II, according to my questions, would be considered an indie game — but its developer, Remedy Entertainment, is a publicly traded company, which brings shareholders and a board of directors. This pushes the studio and the game into The System for me, but honestly, I’m still unsure about those labels as I type this. That’s OK — when all else fails, look inside your game-loving soul and ask, can this team exist without my support? (Alan Wake II, for what it’s worth, is a delicious and unique experience that’s worth playing, regardless of your feelings on Remedy's shareholders).
Does Mintrocket need my support to keep Dave the Diver and its creative team going? Probably not, and definitely not in the same way as Larian Studios, the independent developer and publisher of Baldur’s Gate 3. Baldur’s Gate 3 is an excellent, expansive 3D adventure from an indie studio and it’s up for Game of the Year at The Game Awards, but it was snubbed in the Best Independent Game category. Meanwhile, Dave the Diver, a cute title backed by billions of dollars, is up for the indie award, but not Game of the Year. It seems like The Game Awards jury made the classic mistake of seeing pixel art and immediately calling it indie. That’s an unforced error, but it reveals one point where we can all agree:
Indie is not an aesthetic.
This article originally appeared on Engadget at https://www.engadget.com/the-game-awards-raises-an-old-question-what-does-indie-mean-205211035.html?src=rss
I legitimately feel bad for anyone who bought a Steam Deck right before Valve’s surprise reveal of the new and improved OLED model. The announcement came out of nowhere and the Steam Deck OLED is a better version of the LCD original, at roughly the same price point. So, I understand why the r/SteamDeck forum was immediately flooded with new owners lamenting their life choices. To these people, and to anyone with the debut hardware, I want to make it perfectly clear: The Steam Deck LCD is one of the best handheld PCs on the market.
Valve still thinks it’s pretty good, too. The company is continuing to sell the 256GB LCD version of the Steam Deck at a reduced price of $399, with two OLED models above it. This is the review for people eyeing Valve’s entry-level handheld, and for any original Steam Deck owners who could use a little reassurance these days. (It’s OK, buddy.)
My review of the Steam Deck in February 2022 started with a delirious metaphor: “The Steam Deck is what happens when the Vita and the Wii U get drunk on Linux and make a big baby together.” Nearly two years later, I stand by this sentiment completely. The Steam Deck is portable and it supports multiple input methods, much like the Vita, but it’s so bulky that it never leaves my house, just like ye olde Wii U. It also natively runs Steam, which is a massive boon for players who value ease-of-use.
The 256GB Steam Deck is powerful enough to run most Steam games, even AAA titles like Elden Ring, Armored Core VI and Cyberpunk 2077. It has a custom 7nm AMD APU, 16GB of fast RAM, a 40Whr battery, and a 7-inch, 800p LCD with a max refresh rate of 60Hz. The handheld offers a peak brightness of 400 nits, which is about the same as the Switch OLED.
The Steam Deck LCD performs like a champ. Visually striking games like The Cosmic Wheel Sisterhood, Dave the Diver and Rollerdrome look and play beautifully on the display. It has its limitations: blacks aren’t quite as black as they could be, and dark backgrounds stand out from the bezels with a gray tinge. The Steam Deck LCD’s constrained color gamut is perceptible, but it isn’t tragic, and it's not even a consideration in the heat of a good game.
Alongside standard dual-analog inputs, the 256GB Steam Deck has a touchscreen, two haptic pads on either side of the display and four back-panel buttons that have a nice, bassy click. I tend to play indie games, generally ranging in size from 200MB to 80GB, and I currently have 22 titles installed on my Deck, with 9GB of room to breathe. Storage space hasn’t been a major issue.
Heat, on the other hand, has been an issue. The Steam Deck LCD generates enough heat to make my palms clammy after about 30 minutes, and it feels like a lot of warmth collects in the grips. The whole thing gets slightly toasty while running games, but it’s never become unbearably hot or overheated on me. The fan persistently blows warm air from the top of the machine, but not in an obnoxious way.
Battery life on the Steam Deck LCD isn’t stellar, but this also isn’t a huge issue for a device that stays in my home. Valve says the Steam Deck LCD can last up to eight hours on a single charge but, in practice, the longest run I’ve achieved is four and a half hours. Lowering brightness and refresh rate can of course help, but honestly, I’ve never had a battery emergency with the Steam Deck LCD — it’s always at home, close to a charging cable, safe and warm (probably thanks to the thermals).
The Steam Deck LCD (on the right) can't match the vibrancy or brightness of the OLED model.
Engadget
I’ve used various adjectives to describe the Steam Deck, including monstrous, massive, hefty, beefy and beastly. All of these words remain accurate, and I may even introduce some new ones today. The Steam Deck LCD is 11.7 inches long, 4.6 inches tall, 1.9 inches thick, and it weighs 1.5 pounds. For comparison, the Switch Lite and Vita each weigh about half a pound, and the Wii U gamepad weighs slightly more than 1 pound. My hands are smaller than average (but I’m not, like, toddler-sized), and the Steam Deck looks and feels freakish when I hold it. My palms get crampy after just 10 minutes of play, and even mid-game I find myself regularly searching for more comfortable ways to hold it. This is also true for the OLED model, which uses the same chassis and is essentially the same weight.
To counteract the Steam Deck’s heft, I’ve developed a strange habit. I have an assortment of stuffed animals (I like claw machines, sue me), and a few of them are perfect props for the Steam Deck, allowing me to rest the device on my lap without straining my neck. The stuffed roast chicken is particularly useful in this regard, and it’s rarely far from the Steam Deck.
There’s another, non-stuffed solution for Steam Deck neck and sweaty, crampy palms — the Docking Station. Put simply, it’s brilliant and I love it. With the Docking Station and recent software updates, Valve is leaning into the at-home nature of the Steam Deck, allowing players to connect the device to external displays, like gaming monitors and TVs. On external screens, the Steam Deck LCD supports HDR and VRR, even though the device’s display can’t sustain these features. I’ve mainly used the Docking Station in the living room, turning my Deck into a revamped Steam Machine, and every game I’ve booted up looks lovely on the larger screen. In docked mode, there’s no difference between the OLED and LCD Steam Decks — they have the same performance targets and they can both handle external HDR and VRR.
Bluetooth is hit-or-miss on the Steam Deck LCD. In my recent testing, I was able to easily pair an 8bitdo Ultimate Controller and my old Galaxy Buds Plus with the handheld, but I still haven’t been able to get my new Galaxy Buds2 Pro to connect. This has been an issue with the Steam Deck LCD since day one, so while it’s not surprising any longer, it’s still frustrating at times.
The biggest difference between the Steam Deck at launch and today is Steam itself. There are four labels for games signifying how well they’ll perform on the handheld: Verified, Playable, Unsupported and Unknown. When the device first landed, only about 10 percent of my Steam library was Verified to run on Deck, and it was hard to tell what that meant, anyway. Nowadays, 30 percent of my library is Verified, and 74 percent of it is Verified or Playable. Verified titles work seamlessly on the Steam Deck, and Playable games aren’t far off — they often have small optimization requirements that don’t interrupt the actual gameplay, like needing to use the on-screen keyboard. According to a quick Steam search, there are currently 11,229 Verified or Playable Steam Deck games. That’s a larger library than any console that’s been released to date.
Some of the recent Deck Verified titles on Steam.
Valve
Today, most mainstream games are Verified or Playable on Steam Deck at launch (RIP Starfield and Star Wars Jedi: Survivor). Generally, if a new game supports gamepad input, it tends to translate well to the handheld. Having a robust, built-in game store is huge for people who just want to pick up a portable PC and start playing, and it’s an edge that the Steam Deck specifically has over the rest of the handheld market.
The handheld PC segment has exploded over the past two years and there’s now a constant stream of new devices rolling out from the likes of Ayaneo, Lenovo, Ayn and ASUS. The Steam Deck has traditionally been cheaper than the others, with the $399 model offering unbeatable value. In the Steam Deck’s initial rollout, Valve offered just 64GB of storage at that price point, making the current deal even sweeter. While competitors are closer than ever on price — and at the high-end, ahead on performance — a handheld like the Steam Deck LCD still typically costs around $600.
Its clearest contender is, of course, the Steam Deck OLED. I’m not trying to undo all the work I’ve done here, but if you have the extra cash, go ahead and grab the OLED version. The Steam Deck OLED comes in two flavors: 512GB for $549 and 1TB for $649. These are fantastic price points, especially considering the new model features a 7.4-inch OLED display with native HDR, faster frame rates, pure blacks and a peak brightness of 1,000 nits. The new model has improved Bluetooth and Wi-Fi, better thermals and weight distribution, a longer battery life, and cute orange accents. The OLED version is the same size as the LCD edition, and it doesn’t offer upgrades in terms of actual processing power, but it is simply better inside and out. Just remember: This does not mean the LCD model is trash.
Compared with the wider handheld sector, the Steam Deck LCD offers a fantastic return on investment. It’s easy to use out of the box, it offers a variety of input methods and it’s cheaper than anything comparable in its category. The main drawbacks are its size and battery life — but if it’s not too big for you, and if you plan to play at home most often, it’s an excellent bit of hardware.
Two years on, and I’m still using my Steam Deck LCD in the same way, as an in-home portable device. My Steam Deck travels from the living room, to the office, to the bedroom, and back again throughout the week, just like it did when I first got my tiny hands on it. The main differences are that, nowadays, its library is much larger and I always have a suitably sized stuffed animal in tow.
This article originally appeared on Engadget at https://www.engadget.com/steam-deck-lcd-review-2023-still-one-of-the-best-handheld-pcs-140044516.html?src=rss