In 1998, someone gave Roland Emmerich $130,000,000 to make a Godzilla movie. This was not because Emmerich was a fan of the storied Japanese Kaiju film franchise, but rather was down to the fact that he had earned a reputation for producing popcorn spectacles in less time and with smaller budgets than other directors.
Unless you’ve been living under a rock (or have real things to worry about) you know that the venerable game maker Nintendo has been having trouble making money lately. Now, I’m not a financial analyst. And I’m not really an expert on the Japanese game development or hardware business either. In fact, I’m not even that huge of a Nintendo fan any more. I kinda don’t like those Super Mario Galaxy games. BUT! I did beat Super Mario Brothers 3 back in the day (and I have a column due) so I’m pretty sure that makes me qualified to opine
If I was a bat – like a real live, nocturnal, flying mammal who navigates the sky with the help of sonar – I’d have real problems with the way my species was portrayed in videogames. I mean, movies already give bats a bad name. You’d think all bats do is fly noisily out of caves, like a cloud of vermin sending the womenfolk into a tizzy. Never mind the vital ecological contributions of plant pollination and seed dispersal that bats do every day with nary a “thank you.”
I can’t quite remember when I started following Paul Alexander on Twitter – probably some time during the early development of République, the newly launched stealth game by Camouflaj, the independent studio formed by Metal Gear vet Ryan Payton. I probably pressed follow and forgot, but over the last year or so, I’ve found myself to be somewhat simpatico, for lack of a better word, with the young designer. So when Alexander queried me about an interview (wait, is that how it’s supposed to work?) I didn’t think twice. I knew he’d be somebody I enjoyed talking to about games, art and ambitions. I hope you enjoy reading our chat and are inspired to
The following is the latest in a series of journal entries chronicling the author’s descent into next-gen gaming degeneracy and assorted geekery – from getting his first television in years to trying to figure out why the @$@$&@@ you need two goddamn directional pads just to walk down an effing hallway.
Last week, the Los Angeles Times informed me that I am weird. This, I already knew, but it is nice to see the confirmation in print. It turns out that only 1% of married couples with children of a certain age include a stay-at-home dad. Since this March (more or less), I have been one of that particular one percent. I wrote a little bit about what it’s like to be my particular flavor of new parent before. It involved much moaning and wailing about finding time to play videogames. I can report that a couple of months on, things
BROOKLYN, NEW YORK – A loose-knit collection of programmers, anarchists and baristas launched an indie gaming console to little or no fanfare Thursday. The collective chose not to give the gaming device a name, a standard set of specifications or even a price point. “We’re trying to avoid the whole gaming hype train,” said hacker/forestry science major Arturo Gutierrez. “I mean, when I think of a brand, I think of cowboys searing the flesh of innocent cows. This isn’t about cattle capitalism.”
It is easy to forget that games don’t spring forth fully formed, like Minerva from the head of Jupiter. That isn’t true, though. Games, unlike most other mediums, are constantly changing, like a snake perpetually shedding its skin. Every version is called a build. There are thousands of builds for Jostle Bastard. In terms of scale, it isn’t a game on par with Skyrim or Red Dead Redemption, and yet, there are thousands of iterations that chart its evolution from inception to completion. Every meaningful change to the game spawns a new build. Some seem hardly changed, others are hardly
One of the most interesting things about the creative process is the artifacts is leaves behind. I’m not talking about the art itself – the value of that is intrinsic. I mean the physical byproducts of process. Painters make sketches. Sculptors build maquettes, filmmakers leave behind elaborate sets. With videogames dwelling almost entirely in the digital realm of builds and iterations, what remnants mark the progress of their designers? For Pippin Barr, it is the scribbles and doodles in an unruled reporter’s notebook that mark the birth and refinement of Jostle Bastard.
Towards the end of the development of Jostle Bastard, I received an email from Pippin Barr that said: Have also pulled out all my diary entries on the subject [of Jostle Bastard], which I’m attaching. They sound a bit disjointed because they’re pulled from my actual diary, which of course includes a bunch of stuff unrelated to this game! The attached document was a kind of poem of doubt that oscillates between the heights of triumph and the depths of despair. After reading through it, I replied: The diary is great stuff. It kind of reads like Dracula or a
The following is the latest in a series of journal entries chronicling the author’s descent into next-gen gaming degeneracy and assorted geekery – from getting his first television in years to trying to figure out why the @$@$&@@ you need two goddamn directional pads just to walk down an effing hallway.
Last weekend we buried my friend Carlos Batts on the side of a hill in Glendale. It was the magic hour, so the sun and smog conspired to give mourners a Tony Scott panorama of downtown Los Angeles while we pondered the loss of a friend gone too soon. In attendance were the bent and burnt of Hollywood. I counted more than a few pornographers in black, models with tattoos spilling from dress sleeves too. One dude looked like a East L.A. biker. More than a few bore the cultivated look of art collectors and gallery owners – pricey-looking clothes
Knowing something is one thing. Grasping it can be something entirely different. I have long known that parents are hard-pressed for time. There’s a lot that goes into keeping a small child alive. You must feed them, change their diapers, stop them from crying and keep them from accidentally killing themselves in a world pretty much designed to harm small, incompetent creatures. These mandatory tasks don’t leave room for things the childless might take for granted, such as an afternoon spent playing a videogame or an unhurried bowel movement.
There it was, shattered as if by a falling tree branch, except there were no trees nearby to do the shattering. Someone had pulled into my driveway to turn around and hit the corner post of my fence. They hit it so hard that they dislodged the concrete mooring and the force shattered the top crossbar, splaying the pickets out like pick-up sticks. Then they drove off. It was the middle of the afternoon.
The following is the latest in a series of journal entries chronicling the author’s descent into next-gen gaming degeneracy and assorted geekery – from getting his first television in years to trying to figure out why the @$@$&@@ you need two goddamn directional pads just to walk down an effing hallway.
If you’ve been anywhere near the ocean, you’ve likely seen barnacles – the hard-shelled crustaceans that crust over wharves and rocks and the hulls of boats by the hundreds. Once they attach themselves to a solid surface, they are there forever, resting when the tide is out, feeding on plankton when the tide is in.
