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Sony refocuses on games with “One Sony” plan

It all started with Sony’s announcement that they would layoff 10,000 workers globally which accounts for six per cent of their global workforce.

The “One Sony” initiative, is Sony’s attempt to reorganize the company and bring it back into good standings with its investors.

Part of that plan lead them to basically lop off the gangrenous arm of the ailing company by cutting back on chemical and small to mid sized LCD production.

Sony was essentially bracing for the end of a terrible fiscal year in which the company expected a $6.4 billion dollar loss, the biggest in the company’s history.

“We consider the current situation to be very serious,” said Masaru Kato, chief financial officer for Sony Corp. “We will take resolute measures to transform our business without protecting any sacred cows.”

A surprise announcement of the cancelling of Qore, a digital Playstation magazine with a four year run had people scratching their heads on what might be on the chopping block.

This was followed by Kaz Hirai who had recently ascended to CEO and Executive Deputy President came out and said that the company was refocusing on it’s mobile, digital imaging and video game businesses.

Sony is hoping that the profitability of it’s video game businesses will help to dig it out of the rut the company is currently in.

This also means Sony is putting more money in technology development so it can offer more downloadable titles for PSN, as well as more Playstation Suite compatible devices.

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Vagary Plays: Dustforce (Character Guide and Intro)

Welcome to the first edition of a new feature we’re trying, Vagary Plays. These videos highlight the gameplay of new and interesting titles. In today’s video, we take a look at the characters of Dustforce, an indie platformer from Hitbox Team, released in January.

Playing the game conjures thoughts of Super Meat Boy, League of Evil, and other diabolically difficult, retro-inspired jumping games. What makes this one stand out, though, is the fluidity with which you control your character. You’ll run along ceilings upside down, wall jump, double-jump, and generally flow through each level. Also you get to bear up small animals and angry rocks. Did I mention you play a janitor? That too.

Have you played Dustforce? What did you think?

Download the high resolution version here

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GDC: Quantic Dream’s “Kara” shows new engine

The uncanny valley seems to be getting smaller as developers rally for more realistic character models, facial movements and acting in video games.

The latest volley comes from Quantic Dream, developers of Heavy Rain, as they debuted a video showcasing their new engine which was running in real time on a PS3.

The video shows a robotic woman being constructed and becoming self aware, something which the creator of the robot didn’t intend.

Kara does something most other engines don’t. Rather than splitting the audio and facial capture from the motion body capture, it pairs the two successfully.

This way the full performance can be given in one swoop allowing for a better overall effect without disrupting the performance in doing two different takes.

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Just In Bailey: Time to Say Goodbye

My wife loves to read.  She decided after three of George R.R. Martin’s books from the Song of Fire & Ice series that she would take a break and read the first book in the Hunger Games series.  Believe it or not, she finished all three books in just three days.  And as much as she loved the books, my wife was sad at the end.  It wasn’t the ending itself that made her sad.  For her, the adventure was over.  This happened with the Harry Potter series as well.  Here was a series my wife grew up with, and then before she knew it, it was over.  The books finished a few years ago, but the final movie came out just last year.  In the blink of an eye, a big part of her high school and college years was over.  She told me it was like a piece of her was gone.

That got me to thinking of similar experiences I had.  I’ll admit, I was sad when Harry Potter was finished.  I came in around the sixth book.  As late to the party as I was, the series created some great memories for me.  Video games are no different.  You spend hours, days, weeks, even months, immersed in a game just to see it end.  But, it isn’t the end that matters.  As cliché as this may sound, it’s the journey that is the important part.

Take Final Fantasy VI as an example.  People will argue until they are blue in the face, or even passed out from lack of oxygen, that Final Fantasy VII is the best in the series.  To me, FFVI had the best cast of characters and a storyline that was touching AND made sense.  From the moment Terra’s Theme hits and you see her walking in Magitek armor with Biggs and Wedge, the story takes you in and holds on for dear life.

You follow a multitude of compelling characters through a revolution, world-changing catastrophe, and loss of loved ones.  It hits you again and again with emotional moments that make you laugh and cry and do both at the same time.  Then there’s the epic final battle with one of the craziest antagonists in gaming, Kefka.  Once you beat Kefka, the game ends with each character’s story wrapping up nicely.

The game itself can take 60-80 hours if you decide to tackle every bit and do an extensive amount of level-grinding.  80 hours, that’s around 3 and a half days over a few months of playing the game.  That is a lot of time to spend with these characters.  But, when it is all said and done, do you remember what really happens at the end?  Aside of saving the world, I don’t have very fond memories of the ending.  I remember meeting Cyan’s dead wife and son.  I remember Kefka poisoning the water and killing General Leo.  It’s the moments like these that get me excited to play the game again someday.

Games with a compelling story have a tendency to grow on the player.  I don’t think every game needs a story.  Sometimes you just want to play and not think too much.  And then there are games that have a great story that is diluted through unnecessary sequels.  After finishing Assassin’s Creed: Revelations and hearing Ubisoft wants to keep making games for the series, I am worried.  I really enjoy Assassin’s Creed’s storyline.  But with yearly releases I’m growing tired of playing games that are more a small expansion to the story than adding any real meat.  This is a case where I wouldn’t mind if they took a break.  A year or two off would serve the series well, allowing it to come back refreshed and renewing the journey.

Then there are the games that allow the player to dictate how the story goes.  The single greatest achievement in this to date is the Mass Effect series.  Each decision the player makes has an impact on the overall story.  Something you say to someone in the first game could severely impact the ending of the third game.  As such, the journey becomes extremely important.  Unlike most games though, this journey doesn’t just lead up to the ending, it creates it.  So, the ending becomes purely incidental.

Some games even have a journey that has a tendency to lose track of itself.  It gets twisted and convoluted and can’t seem to find itself.  I’ve heard tell that Final Fantasy XIII-2 suffers from this, but I’ll reserve judgment until I play it.  The series I see that suffered the most from this is Resident Evil.  What started out as a zombie outbreak has exploded into a strange tale that spans into Europe and Africa.  Somehow the U.S President’s daughter gets involved and then there’s a plant with a new version of the original T-Virus.  It goes on and on.  The series even lost sight of the genre it created going from survival-horror to survival-action.  I love the Resident Evil series and can’t wait for the next few games.  I only hope these games can put the series back on track.  Even a reboot wouldn’t hurt.  Really, the more you think about it, this journey may actually need an end to make sense of it all.

This leads me to one of my favorite beginning-to-end journeys (as much as I love The Legend of Zelda, there is a questionable timeline and the series hasn’t ended yet).  Metal Gear Solid has one of the best journeys I have ever taken in video games.  Is the story crazy and convoluted?  Yes, it is.  But, in the end, it makes sense.  This is the first series to get me near tears.  When Solid Snake is trying to get through the thermal area in Outer Haven near the end while Akiba and Meryl are fighting for their lives, I was mashing the square button, standing up, yelling at Snake to keep going.  I had been with him since his foray into Outer Heaven on the NES and I was not about to see him die like this.

Not only did the MGS journey have a great storyline, it also had an unbelievable cast of characters.  From Psycho Mantis to The Boss, from Otacon to Raiden, each character made the journey that much more special.  And Snake, be it Naked Snake or Solid Snake, was caught in the middle, trying to survive through lies and betrayal while doing everything he could to save the world from disaster.  His story is one that is masterfully told and has a clear end to it (at least until some wise guy tries to change that.  Please, Konami, let Kojima-San go on to other projects).

So, what is the moral to my story you ask?  Why, it’s the story itself.  We gamers put a lot of time and effort into video games.  We grow attached to the characters and the stories.  Some are short and easily understood, while others can span multiple games and become convoluted.  What is important isn’t how these games end.  It’s the journeys they take us on that matters.  So, while you may feel like a piece of you is lost when you put 80 hours into a game and finally get to the end, just remember the incredible moments you experienced and the characters that joined you on your quest.  Not every fantasy has to be final.

Just In Bailey –an homage to the secret code from Metriod, which allowed you to play as Samus Aran without her suit– is an editorial column at Vagary.TV brought to you by Joey Alesia. Each week Joey will challenge you to look at a different perspective of the characters, gameplay, and/or plot in your favorite games. Chat up your thoughts below, or send Joey an e-mail at Joey.Alesia@vagary.tv and remember to follow him on Twitter @wrkngclsswrtr.

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Vagary.TV’s 2011 Game of the Year Awards

You don’t need to listen to some of the podcast deliberations on the site to realize that 2011 has been one of the finest years for gaming in a long while. The year had downloadable titles like Bastion sit next to or above high profile retail games like Portal 2 and surprises like Rayman: Origins and Saint’s Row: The Third. The seldom appreciated and often dust ridden Wii was graced with the latest Nintendo dungeon adventure of Zelda: Skyward Sword.

With all of those games in mind, we locked ourselves in a Google Document and threw emails at each other until we came up with a list of Vagary.TV’s games of the year. Enjoy.

 

The Don Parsons Award for Best Flying Game: Ace Combat Assault Horizon

Don comes down from his mountain to review flight games. In his spare time, he reviews flight games

By: Don Parsons

2011 was a stellar year for flight combat game enthusiasts (see: Me). From the great story-telling of Air Conflicts: Secret Wars to the fantastic plane modeling and dog-fighting of Jane’s Advanced Strike Fighters, there was one that really stood out. Ace Combat: Assault Horizon exceeded all expectations, and not only delivered some great combat in the skies, but also gave us an epic and cinematic story. As if that wasn’t enough, it actually had people playing the game online. Both other games had online modes but, sadly, not a soul could be found playing them. Assault Horizon blew me away with its presentation and deserves to be called the Flying Game of the Year.

 

Best Xbox 360 Exclusive: Gears of War 3

Marcus' du-rag finally comes off. 'Nuff said.

By: Chris Scott

No other series, sans Halo, means as much to the Xbox brand as Gears of War. Knowing that, developer Epic Games had a lot of weight on its shoulders for the finale of the Gears saga to begin with, and Microsoft’s first party lineup of games in 2011 was oddly devoid of many big name games.

Fortunately for both Epic and Microsoft, Gears of War 3 not only delivers on the expectations for the series, it handily exceeds them. The single player campaign, which is also playable in four player co-op, is the best in the series and actually delivers some emotional characterizations to characters many people thought had none. Horde mode was drastically remodeled and delivers one of the best co-op experiences this year and is complimented by Beast mode, an incredibly fun reversal of the Horde formula. The competitive multiplayer is deeper, more balanced, and more fun that it has ever been. Additionally, the game controls better than ever, the new weapons are a ton of fun, and it’s more visually improved and diverse than any Gears game to date. Everything about Gears 3 feels incredibly polished. No game offered the complete package that Gears of War 3 did but, most importantly, it was a hell of a lot of fun to play.

 

Best Playstation 3 Exclusive: Uncharted 3 Drake’s Deception

Drenched in hopelessness and vulnerability without a drop to drink

By: Kyle Baron

Uncharted 3 had plot holes and some contrived sequences that existed in service of gameplay, but none of that even entered my mind when I was playing it. Nathan Drake’s latest and possibly last venture on home consoles is a technical marvel that has you travelling across the world through acrid tombs, under the glaring suns of deserts, and through the often exploding and crumbling action set pieces of ocean liners and ancient castles.

Beneath all of that, Uncharted 3 tells a subtle yet pervasive story of Nathan as a man who is always close to what he wants while he’s about to lose everything else in the process. In and out of all of the gunfights, we see that his love for adventure and treasure is threatening to take the ones he loves away from him; it might be a narrow escape by a friend or the love of his life mumbling about her wedding ring, but that underlying battle is what stuck with me until the end of the game. Uncharted 3 beat out Infamous 2 for this award by one measly vote, and that really speaks to the level of emotion that both games subtly meter out with great effect.

Sure, the Playstation Network outage was an absolute mess, but Playstation 3′s had a great year for great exclusives.

Runner Up: Infamous 2

 

Best Shooter of the Year: Battlefield 3

It's best to just vault over single player into the rest of the game, really.

By: Don Parsons

The battlefield for modern shooters was rough in 2011. There were two camps split down the middle, with a small margin enjoying both Call of Duty: Modern Warfare 3 and Battlefield 3. After our staff voting, there was clearly one winner: Battlefield 3. While not a bad thing at all, most people feel like Modern Warfare 3 is just “more Call of Duty,” whereas Battlefield 3 took what made Battlefield: Bad Company 2 great and expanded it.

Everything that makes the Battlefield series great is here. The Conquest and Rush game modes, developer DICE-designed maps [that are always amazing], squad-based teamwork, and epic vehicular combat are all great. There’s also been a few changes that are just grand enough to stand out and make this feel like a step forward instead of the “same old thing.” The biggest of those changes is to the weapon progression system, which has kept me personally invested for dozens of hours. Smaller things like jets and being able to go prone also enhance this beautiful collective package.

Runners Up: Gears of War 3 and Call of Duty: Modern Warfare 3

Game of the Year:  The Elder Scrolls V Skyrim

Not all of our staff were psyched about Skyrim being our game of the year

By: Tony Odett

Over the past few years, I’ve developed what I like to call “video game restraint.” When I was younger, time seemed to disappear when I put a game in my console. I’d forget to eat and sleep. I’d think about the game I was obsessively playing while at work that day, while of course trying to function on the three hours of sleep I had gotten because I had needed to beat just one more level, complete one more quest, or take one more city.  But then I became an adult with a wife, kids, and a big boy job. My gaming obsession was curtailed, and those feelings of addiction were forever lost. Even Mass Effect 2, which I thought was the best game I had ever played, found itself chopped into two hour increments, and never played past 1:00 a.m. I was until complete control.

Until Skyrim.

The real crux of a game, the thing that really matters, the most important factor for anyone isn’t storyline or graphics. It’s not even gameplay. No, the most important quality a game has, deep down, is how playing it makes you feel. Skyrim makes me feel like a kid again. It takes me back to a place in my life I had thought gone forever, where time melts away and I am lost in a new, amazing world.  Skyrim has moved me from jaded disillusionment to utter gaming joy. With deep lore, an addicting leveling system, loads of quests, and the deepest, most populating gaming world I’ve ever seen, I give you Skyrim, Vagary’s 2011 Game of the Year

Runner up: Super Mario 3D Land

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Just In Bailey: Brought to You By the Number “R”

Happy New Year, Gamers!  I hope everyone had a great holiday season, whichever one you celebrate.  2011 was definitely a good year for video games and I hope you were able to partake in some of the biggest releases in gaming.  2012 looks to be another good year to be a gamer with the release of the Playstation Vita, maybe the Wii U, and a good line-up of games, including the final chapter of the Mass Effect trilogy.  I hope it’s also a big year for the Just In Bailey column.  I have some good ideas in the works and hope to provide you with quality reading material at least 52 times.  Now, down to brass tacks.

The video game industry has grown by leaps and bounds.  With 3 major home consoles, PCs, 2 major handhelds, and now mobile devices entering the fray, there is no shortage of choices.  But there is a shortage of money.  Unless you have an unlimited supply of disposable income, deciding what to spend your [parents'] hard-earned money on can be daunting.  So, how do you decide what system to buy?  Well, for the most part, a system is judged on the quality of the software.  But, what games do you buy?  How do you know if a game is worth spending upwards of $60 on (more if you buy collectors editions)?  Like so many people in today’s fast-paced world, you don’t have nearly enough time to research every game out there.  So, you put your trust in someone else to tell you if a game is worth your time and money.  You look to the reviews done by sites such as Vagary.TV, monthly magazines, and even television shows.

Game reviews are pretty standard fare.  The reviewer plays the game with a critical eye, judging everything from storyline to sound.  They write up an article, giving their opinion of the game and maybe even throw in a few jokes so the review doesn’t read like stereo instructions.  This is all fine and dandy.  I like to read other opinions.  There’s a benefit to getting another person’s perspective.  And then they go and do something that really doesn’t help matters.  They assign a score.  Sometimes this score is on a five point scale.  Sometimes it’s on a 10 point scale.  And then there’s Metacritic, which gives an average of multiple review scores and converting the numbers to fit a 100 point scale.

Video games, like movies, books, and pretty much anything creative, are subjective in nature.  My opinion of a game may be completely different from your opinion.  I liked Final Fantasy XIII, and I hear that’s a pretty exclusive club.  There are a lot of people that don’t like it.  Maybe they dislike the gameplay or the story.  Or maybe they are completely against anything Final Fantasy.  So, what if the reviewer is one of these people?  How can they be completely objective?  This goes double for those reviewers that are extremely cynical (or act that way because they think it’s funny).  You can also read in their eyes and words that they relish hating on certain games just because they are part of a particular brand or genre.  In order to throw my cash a certain way there needs to be a bit of trust between me and the reviewer.  If the reviewer is going to hate on a game just to get a rise out of their audience, why should I trust them?  Given the nature of the medium, I wouldn’t expect absolute objectivity.  I just want the reviewer to tell the truth.

Then there’s the scoring system.  Again, as a creative medium, video games need to treated subjectively.  Is there really much difference in a 9.3 or a 9.4 rating?  Or between a 3/5 and a 4/5?  How does the reviewer come to the conclusion that a game just doesn’t quite make the 7.5 rating and gives it a 7.0?  And to give a game a perfect score?  Is any game truly perfect in every way?  Numbers have a way of just muddling things up.  I really had to laugh when the reviews came in for Uncharted 3 and the game did not get perfect scores across the board.  The outcry was hilarious.  Did it stop the game from selling millions of copies?  Not by a long shot.  Was it a great game?  Definitely.  Why didn’t it get perfect scores across the board?  I can think of two reasons.  Reason the first, a review is purely subjective and not every person sees the game the same way.  Reason the second, it wasn’t a perfect game.  But, fans everywhere were in an uproar over the lack of perfect scoring from the different reviewers.  Would they have been as upset if someone just told them the game was awesome?  Instead, they got heated over a digit.

My point is simply this:  video game reviews aren’t going anywhere.  Nor should they.  Like I said before, I like hearing other perspectives on games.  And let’s face it, people have way too many other things going on in their lives to test drive every game that comes out to find out where to spend their money.  I just take issue with the numbers game.  You can’t do the reader justice by placing a score on something that can be seen as art and is, therefore, subjective.  Last time I checked out the Art Institute of Chicago, I didn’t see critic scores next to the paintings and sculptures.  If I were a game  reviewer and had some freedom in the way I “rate” a game, I would do it as follows:

Is the game a purchase? A rental? Or, should you just not waste your time?  If I thought a game had enough content to warrant the sticker price, I would recommend it as a purchase.  Or a used purchase if I didn’t think the game was worth the full freight.  If I thought the game was worth giving a try but didn’t warrant spending $40 to $60 US on, I would recommend it as a rental.  With GameFly, Blockbuster, Redbox, and soon, Netflix, there are still options for those of us who want to try a game without spending a lot of money.  Then, if I thought a game was a waste of time, I would advise the reader not to bother with it and move on to something better. And when offering up my opinion, I would also give some comparisons to games the reader may have already played so they know what to expect.

It isn’t a perfect system, but I think it’s pretty effective.   Like the subjective material we play for fun, and sometimes profit, reviews are an opinion.  All I want is for someone to tell me their thoughts and the truth.  I don’t need a number to tell me whether or not I should play a game.  All I want the numbers to do is create the game and I’ll, in turn, be their judge, jury, and executioner.

Just In Bailey –an homage to the secret code from Metriod, which allowed you to play as Samus Aran without her suit– is an editorial column at Vagary.TV brought to you by Joey Alesia. Each week Joey will challenge you to look at a different perspective of the characters, gameplay, and/or plot in your favorite games. Chat up your thoughts below, or send Joey an e-mail at Joey.Alesia@vagary.tv