It might be late, but L.A. Noire is due to arrive on PC in a little over a fortnight in the form of L.A. Noire: The Complete Edition. Hitting shelves, both physical and digital, on November 12, PC gamers who hadn't already placed their pre-order on Steam are in for a rude shock.
As of today, the Australian Steam price is now listed as $89.99 USD, with a 10% discount for pre-orders making it $80.99 for those who buy in advance.
Until now, the Steam price for Australia had been the same as America, priced at $44.99 USD.
Thứ Tư, 26 tháng 10, 2011
Ed Boon wants Mortal Kombat vs Street Fighter to happen
To me, it’d be cool to see other characters from other fighting games, Ken and Ryu from Street Fighter or someone from Tekken would be fun ones as well.
We absolutely have thought about it. We’ve all dreamt with crossing over with Street Fighter or Tekken. Killer Instinct was also one that was coming up since they were an M-rated game as well. But I’ll tell you that we’ve had many, many conversations along those lines.
We absolutely have thought about it. We’ve all dreamt with crossing over with Street Fighter or Tekken. Killer Instinct was also one that was coming up since they were an M-rated game as well. But I’ll tell you that we’ve had many, many conversations along those lines.
Thứ Ba, 25 tháng 10, 2011
Watch Harrison Ford Play Uncharted For Almost Seven Minutes
As previously posted, Harrison Ford is appearing in Uncharted 3‘s Japanese television commercials.
The above video shows Ford playing Uncharted 3 and talking about the game. It’s the best clip of the bunch–far better than the actual commercial, which feels phony.
The commercial does feature Ford speaking Japanese as well as his calligraphy. Ford wrote “スゲェ”, which means “fantastic” or “great”, along with his name.
I like hearing Harrison Ford talk about Uncharted. It’s like hearing my mum talk about video games, which isn’t necessarily a bad thing.
Thanks, PoweredByHentai for the tip!
The above video shows Ford playing Uncharted 3 and talking about the game. It’s the best clip of the bunch–far better than the actual commercial, which feels phony.
The commercial does feature Ford speaking Japanese as well as his calligraphy. Ford wrote “スゲェ”, which means “fantastic” or “great”, along with his name.
I like hearing Harrison Ford talk about Uncharted. It’s like hearing my mum talk about video games, which isn’t necessarily a bad thing.
Thanks, PoweredByHentai for the tip!
The Prodigal Son: One Developer’s Journey From THQ Studio Australia To Montreal
fter the closure of THQ’s Australian studios, we follow the progress of ex-THQ Studio Australia Game Programmer Anthony Reddan, a young developer who recently left Australia to work overseas in Canada. Is his journey representative of a brain drain in the Australian games industry, or is the local indie development scene on the verge of a glorious rebirth?
October 5. Anthony Reddan sells almost all of his belongings. He says goodbye to his friends and family. He packs his clothes; he packs the remainder of his gear, and despite the fact that his flight disembarks in Montreal, he packs his surfboard.
August 10. Just two months ago, THQ ‘right-sizes’ three of their studios, leaving 200 men and women redundant; Anthony Reddan is among that 200 — a programmer who had spent his entire professional life working at THQ Studio Australia in Brisbane.
Now, in the wake of the THQ closures, Anthony Reddan is about to join the contingent of Australian game developers working overseas, part of a skills migration that could hamper the Australian industry as it attempts to recover from the recent closures plaguing local development.
We spoke to him about the move and the strange circumstances that led to the closure of THQ Studio Australia and Blue Tongue.
The best years of my life
October 19. Today Anthony turns 25 and celebrates his birthday in Montreal, Quebec, having just finished his first week working with Ubisoft on an unnamed project.
It wasn’t always this way. Once upon a time Anthony was putting his skills to use in an Australian studio, recruited straight from University.
“I studied a double bachelor of IT/Multimedia at Griffith University,” says Anthony. “As with most degrees, we were offered the opportunity to intern somewhere in the industry during final year. The Uni has a whole bunch of existing partners you can choose from, or you could find your own. It was mid-way through third year and I didn’t really know what I wanted to do at that point.
“I loved games, but all I’d heard about the games industry was that the barrier to entry was ridiculous, so I guess I kinda wrote it off as a career choice in the back of my mind.”
A chance lecture at Griffith by Scott West from THQ, however, gave Anthony the opportunity he was looking for.
“In my final semester we had this rad lecturer who organised for guys from the games industry to come talk to us,” explains Anthony. “We had Matt Ditton and Morgan Jaffit from Pandemic, and Scott West from THQ. These guys were super inspiring, I was blown away.
“I recorded each talk, and at the end I asked if they had any internships going. Scott said he thought the THQ Technical Director might be looking for some interns. We wasted no time. Three of us from that class ended up working at THQ as Intern Programmers.”
Eventually, THQ offered Anthony a permanent job.
“After the intern year I was offered a full time position as an Associate Programmer,” says Anthony. “I moved onto general programming for Megamind and did a bit of everything.
“I was shifted onto our final project — The Avengers — early and was one of two gameplay programmers in the pre-production team, which was an amazing experience. In production I was part of the combat strike team, working with the most talented people around. I was responsible for writing our attack framework, projectile behaviours, cameras, interactive finishers, among other things.
October 5. Anthony Reddan sells almost all of his belongings. He says goodbye to his friends and family. He packs his clothes; he packs the remainder of his gear, and despite the fact that his flight disembarks in Montreal, he packs his surfboard.
August 10. Just two months ago, THQ ‘right-sizes’ three of their studios, leaving 200 men and women redundant; Anthony Reddan is among that 200 — a programmer who had spent his entire professional life working at THQ Studio Australia in Brisbane.
Now, in the wake of the THQ closures, Anthony Reddan is about to join the contingent of Australian game developers working overseas, part of a skills migration that could hamper the Australian industry as it attempts to recover from the recent closures plaguing local development.
We spoke to him about the move and the strange circumstances that led to the closure of THQ Studio Australia and Blue Tongue.
The best years of my life
October 19. Today Anthony turns 25 and celebrates his birthday in Montreal, Quebec, having just finished his first week working with Ubisoft on an unnamed project.
It wasn’t always this way. Once upon a time Anthony was putting his skills to use in an Australian studio, recruited straight from University.
“I studied a double bachelor of IT/Multimedia at Griffith University,” says Anthony. “As with most degrees, we were offered the opportunity to intern somewhere in the industry during final year. The Uni has a whole bunch of existing partners you can choose from, or you could find your own. It was mid-way through third year and I didn’t really know what I wanted to do at that point.
“I loved games, but all I’d heard about the games industry was that the barrier to entry was ridiculous, so I guess I kinda wrote it off as a career choice in the back of my mind.”
A chance lecture at Griffith by Scott West from THQ, however, gave Anthony the opportunity he was looking for.
“In my final semester we had this rad lecturer who organised for guys from the games industry to come talk to us,” explains Anthony. “We had Matt Ditton and Morgan Jaffit from Pandemic, and Scott West from THQ. These guys were super inspiring, I was blown away.
“I recorded each talk, and at the end I asked if they had any internships going. Scott said he thought the THQ Technical Director might be looking for some interns. We wasted no time. Three of us from that class ended up working at THQ as Intern Programmers.”
Eventually, THQ offered Anthony a permanent job.
“After the intern year I was offered a full time position as an Associate Programmer,” says Anthony. “I moved onto general programming for Megamind and did a bit of everything.
“I was shifted onto our final project — The Avengers — early and was one of two gameplay programmers in the pre-production team, which was an amazing experience. In production I was part of the combat strike team, working with the most talented people around. I was responsible for writing our attack framework, projectile behaviours, cameras, interactive finishers, among other things.
Chủ Nhật, 23 tháng 10, 2011
StarCraft 2 mod tool updates to let players create custom models, UI and cutscenes
StarCraft 2: Heart of the Swarm won’t just mean a massive shake-up for the StarCraft 2 esports scene, we’ll be getting the Blizzard Arcade as well, a hub designed to show off the very best creations from the StarCraft 2 modding community. Blizzard plan to give modders more power with a suite of updates to the mod tools supplied with StarCraft 2.
Blizzard will release the full suite of art tools which will let designers export custom 3D models from popular 3D modelling software, 3DS Max. This will give modders the scope to create new buildings, units and tilesets, opening the doors to total conversions, and giving modders far more scope to create entirely new games within the StarCraft 2 engine.
Blizzard will release the full suite of art tools which will let designers export custom 3D models from popular 3D modelling software, 3DS Max. This will give modders the scope to create new buildings, units and tilesets, opening the doors to total conversions, and giving modders far more scope to create entirely new games within the StarCraft 2 engine.
All It Takes Is A Dollar And A Dream In EA Sports’ Oklahoma Lottery Cards
You can’t buy a cold six-pack* in Oklahoma, but next time you’re at the likker store for a carton of Parliaments and a fifth of Evan Williams you can buy some EA Sports-branded lottery scratch cards.
The Oklahoma Lottery teamed up with the sports video games label for the lottery’s latest sports-themed scratcher, seen above. The usual instant-win money prize is offered, with video games, consoles and “one-of-a-kind experiential prizes,” according to a news release, which makes it sound like EA is branding lotto cards in more states than just Oklahoma.
“We are pumped to be the first state to launch EA SPORTS theme lottery games,” said Jay Finks, Marketing Director for the Oklahoma Lottery. “We have been looking for a brand that will appeal to core Lottery player sports fans but also has a propensity for attracting younger adult players to the category as well. We believe that EA Sports helps us achieve this objective.”
Football-themed scratchers are available now; basketball tickets will release in November.You can’t buy a cold six-pack* in Oklahoma, but next time you’re at the likker store for a carton of Parliaments and a fifth of Evan Williams you can buy some EA Sports-branded lottery scratch cards.
The Oklahoma Lottery teamed up with the sports video games label for the lottery’s latest sports-themed scratcher, seen above. The usual instant-win money prize is offered, with video games, consoles and “one-of-a-kind experiential prizes,” according to a news release, which makes it sound like EA is branding lotto cards in more states than just Oklahoma.
“We are pumped to be the first state to launch EA SPORTS theme lottery games,” said Jay Finks, Marketing Director for the Oklahoma Lottery. “We have been looking for a brand that will appeal to core Lottery player sports fans but also has a propensity for attracting younger adult players to the category as well. We believe that EA Sports helps us achieve this objective.”
Football-themed scratchers are available now; basketball tickets will release in November.
The Oklahoma Lottery teamed up with the sports video games label for the lottery’s latest sports-themed scratcher, seen above. The usual instant-win money prize is offered, with video games, consoles and “one-of-a-kind experiential prizes,” according to a news release, which makes it sound like EA is branding lotto cards in more states than just Oklahoma.
“We are pumped to be the first state to launch EA SPORTS theme lottery games,” said Jay Finks, Marketing Director for the Oklahoma Lottery. “We have been looking for a brand that will appeal to core Lottery player sports fans but also has a propensity for attracting younger adult players to the category as well. We believe that EA Sports helps us achieve this objective.”
Football-themed scratchers are available now; basketball tickets will release in November.You can’t buy a cold six-pack* in Oklahoma, but next time you’re at the likker store for a carton of Parliaments and a fifth of Evan Williams you can buy some EA Sports-branded lottery scratch cards.
The Oklahoma Lottery teamed up with the sports video games label for the lottery’s latest sports-themed scratcher, seen above. The usual instant-win money prize is offered, with video games, consoles and “one-of-a-kind experiential prizes,” according to a news release, which makes it sound like EA is branding lotto cards in more states than just Oklahoma.
“We are pumped to be the first state to launch EA SPORTS theme lottery games,” said Jay Finks, Marketing Director for the Oklahoma Lottery. “We have been looking for a brand that will appeal to core Lottery player sports fans but also has a propensity for attracting younger adult players to the category as well. We believe that EA Sports helps us achieve this objective.”
Football-themed scratchers are available now; basketball tickets will release in November.
The Best Quotes Of GDC Online
Last week, I attended the Game Developers’ Conference Online in Austin. I was there to give a talk about game storytelling, but I stayed for the entire event, and caught a good number of talks, workshops and keynotes. On Monday, Gamasutra (who helps put on GDC each year) ran a fun collection of quotes from the event, which do a great job of capturing the vibe and overarching messages of GDC Online. I thought I’d add a few of my own favourites, and share some of theirs as well.
“GDC Online” is a bit of a confusing name, since it implies that the conference itself takes place on the internet. At least, when I first heard the name, what’s what I thought it was — a sort of remote GDC, similar to the one held each year in San Francisco but available online. But of course that isn’t the case; GDC is a standard convention, but one aimed at online games. For the most part, the talks are given by developers working in social and online games, from Facebook titles to iOS games to MMOs. There is also something going on called the “Narrative Summit,” in which game writers meet to discuss the challenges of their trade and to workshop game writing.
The bulk of the sessions I attended were in the narrative summit. Video game storytelling is something I’m really interested in, and I feel like sometimes I’m overly hard on game writers when they aren’t actually at fault for a game’s lackluster story. Often, the problem is that writers are brought in at the last minute to “fix” the game’s story, and it’s far too late for them to do anything more than apply a veneer of narrative over an already finished game.
One of the talks I most enjoyed was the one given by Deus Ex: Human Revolution‘s head writer Mary DeMarle, who showed the entirety of Human Revolution‘s story in spreadsheet form. When Eidos was getting ready to make the game, DeMarle said, they did something very smart: “They hired me.” It was a bit of a laugh line, but throughout her talk, she made it clear how integral her ground-floor presence had been to making the game have a story that was coherently crafted. DeMarle also shared that the outsourced boss fights and the somewhat tacked-on ending were both sacrifices that the team had to make due to a lack of time. “We did want to have a deeper level of choice than just being in a room and hitting a button,” she said, “but unfortunately that also came down to scheduling and time.”
Here are a few of the quotes from Gamasutra’s collection that I, too, enjoyed:
“I’m inherently super-duper lazy, so if I think of something, it’s going in.”
Valve writer Eric Wolpaw responds when asked if he has a larger vision of his games’ worlds than what players experience on screen. Teammate Marc Laidlaw agreed, saying that creating things that don’t make it into the game is “kind of counterproductive”.
“You click through everything until it explodes with blood and treasure.”
-Blizzard’s Kevin Martens’ mantra for the upcoming Diablo III. He, along with several other writers and designers, provided a fast and off-the-cuff talk about their inspirations and what makes a great gaming moment.
“Writers don’t often get to sit at the adults table.”
-Game writer and Extra Lives author Tom Bissell calls for writers to be ingrained deeper in the development process.
“A few Kotaku articles and IGN front pages do not make a hit game.”
-BioWare San Francisco’s Ethan Levy, from an insightful and open talk about how the studio’s social game Dragon Age Legends attracted a lot of temporary Facebook likes, yet wasn’t a big hit.
“GDC Online” is a bit of a confusing name, since it implies that the conference itself takes place on the internet. At least, when I first heard the name, what’s what I thought it was — a sort of remote GDC, similar to the one held each year in San Francisco but available online. But of course that isn’t the case; GDC is a standard convention, but one aimed at online games. For the most part, the talks are given by developers working in social and online games, from Facebook titles to iOS games to MMOs. There is also something going on called the “Narrative Summit,” in which game writers meet to discuss the challenges of their trade and to workshop game writing.
The bulk of the sessions I attended were in the narrative summit. Video game storytelling is something I’m really interested in, and I feel like sometimes I’m overly hard on game writers when they aren’t actually at fault for a game’s lackluster story. Often, the problem is that writers are brought in at the last minute to “fix” the game’s story, and it’s far too late for them to do anything more than apply a veneer of narrative over an already finished game.
One of the talks I most enjoyed was the one given by Deus Ex: Human Revolution‘s head writer Mary DeMarle, who showed the entirety of Human Revolution‘s story in spreadsheet form. When Eidos was getting ready to make the game, DeMarle said, they did something very smart: “They hired me.” It was a bit of a laugh line, but throughout her talk, she made it clear how integral her ground-floor presence had been to making the game have a story that was coherently crafted. DeMarle also shared that the outsourced boss fights and the somewhat tacked-on ending were both sacrifices that the team had to make due to a lack of time. “We did want to have a deeper level of choice than just being in a room and hitting a button,” she said, “but unfortunately that also came down to scheduling and time.”
Here are a few of the quotes from Gamasutra’s collection that I, too, enjoyed:
“I’m inherently super-duper lazy, so if I think of something, it’s going in.”
Valve writer Eric Wolpaw responds when asked if he has a larger vision of his games’ worlds than what players experience on screen. Teammate Marc Laidlaw agreed, saying that creating things that don’t make it into the game is “kind of counterproductive”.
“You click through everything until it explodes with blood and treasure.”
-Blizzard’s Kevin Martens’ mantra for the upcoming Diablo III. He, along with several other writers and designers, provided a fast and off-the-cuff talk about their inspirations and what makes a great gaming moment.
“Writers don’t often get to sit at the adults table.”
-Game writer and Extra Lives author Tom Bissell calls for writers to be ingrained deeper in the development process.
“A few Kotaku articles and IGN front pages do not make a hit game.”
-BioWare San Francisco’s Ethan Levy, from an insightful and open talk about how the studio’s social game Dragon Age Legends attracted a lot of temporary Facebook likes, yet wasn’t a big hit.
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