Tag Archives: Zelda

Value of original gaming IP

When my mind designed the sequels to a new Elder Scrolls game, Far Cry and Watchdogs I did not care about the revenue, I did not care about the revenue factors in gaming franchise, I was merely one creative mind devising new ways and new stories, because the story is everything, it really is. 

Consider the intro and staging of Far Cry 3 against Far Cry 5, the stage of Assassin’s Creed 2 versus AC Unity, or AC Origins versus AC Odyssey and you might get a glimpse of that setting. In all honesty, I never considered revenue in any of it, but I realise that it is a driving force of the houses that publish them. Lets face it, would Mario exist if we did not consider the value of the $650 million it represents? In that same light Call of Duty, GTA, FIFA and Zelda, they all represent a serious level of coins. As such I see the need to continue some franchises, yet  wonder when we test their push for the storyline, how far will some get?

Consider in all this that the Elder Scrolls represent less than a billion, Skyrim alone represents half a billion dollars and has sold over 20,000,000 copies. And let’s face it, we always want to do better than the previous one, which is what drove me to set the story design of Elder Scrolls: Restoration.

Yet even as we see more versions of a game, Apple and Google are driving the need for original IP, it is the larger drive in gaming, not because it is Apple and google, but because the makers see that the original IP can be the beginning of a massive drive towards a system. There is also the fact that when we get a new system we do not want to play the same game over again on that system. 

Yet there are exceptions and they tend to be System driven. The Last of us on PS3 and PS4. Skyrim xbox360 – Xbox one and PS3 – PS4. Pretty much anything involving Mario, and the list goes on, yet Google and Apple do not have that yet and they need to rely on original IP to get the people in. That part was shown all the way back to the Nintendo 64 and the first PlayStation. 

IP that is owed is easier to evolve and more important, when the first game is a hit, it tends to be easier on revenue expectations as well. However, as we look at Apple, we see the need and the logic to have the subscriptions, yet when we see a game like Pilgrims with a mere 14,000 subscribers, the path for Apple is still less than stellar. Now we can push franchises like No Man’s Sky (Hello Games) there, however if Apple is to make a name for itself, it needs original IP, an original RPG, and original racing game and so on. that will drive sales, that will drive longevity in gaming and in a $120 billion industry last year alone, it makes sense to carve a name for yourself.

Yet there is also the stage where the expected and the non-considered walk. When I started to first design an original IP, was it truly original? It was (for the most) and I even added a new game mode that none had considered. Arcade is the way we consider, yet who has considered ‘historically accurate’ as a game mode? 

In this I wanted a more original RPG were the stage is Scandinavia (Norway and Sweden mapped), where you start in the land and get a choice of three places to start, from there you grow your village, grow your interest on the terrain and grow, after which you need to plunder, need to destroy your neighbours and add to your place (and take it from there), an RPG where you can set the rune tone to one god and receive the back handed prayers in success. Yet how can we link ‘Arcade’ and ‘historically accurate’? Well there we get the test of how good a person can play and basically they play two games. Even as a person buys provisions (with real cash) to get an advantage, they buy more, because the purchase in an arcade also comes with a ‘boon coin’ in the ‘historically accurate’. So if a person buys a load of fish in Arcade, they also get a boon coin with a fish in the historically accurate, which sets the chance to find a fish shoal to 100% there. Get two for the price of one. The same for weapons where a kart is bought for one side and the other side gets the smithing coin, giving them a 100% chance of a quality forged weapon. I even set out the stage that an actual player in one village would influence the growth in the virtual version where another player is a neighbour (like choice of stone, location and direction of growth)

I also wanted to make sure that ‘historically accurate’ was there to show that life is not a game and when we slice and dice like in Viking: Battle for Asgard, yet I thought that the game was too small, it was too easily defeated (except the boss at the end) and even as the game had good points, I wanted to see this game in a much larger setting. I wanted compelling to translate to addictive and I wanted a lot more to stand out, I also wanted to make sure that the choice of a god rune had a much larger impact, so over time as people played the game, they would have a new experience if the village rune stone was not set to Odin, but to Loki, Thor, Balder, Frigg, Vidar, or Tyr. What benefit do you want to see? And when chosen in Arcade it will be the set stone for ‘historically accurate’ as well. As such as the history of your village evolves we see that people realise that the impact one would hope for in Arcade would have a different term in the ‘historically accurate’ (HA), we forget in playing that famine was a real think in those days, as was disease and that could go from village to village. We could push it to Greece on the same premise and see where this leads, yet Scandinavia where the weather would have a much larger impact seems to be a more preferred personal feeling in this. So how many games take that into consideration? 

Yes, games like Fallout have a survival mode and there we see “The only means of physically saving the game is to sleep in a bed, on a mattress or in a sleeping bag. The exit save function is still available, but is a temporary save that is deleted automatically upon loading“, it is almost like hardocre mode in Diablo, how many times did you have to die before you figured out that running into batle is as stupid as it could be? As such the HA mode will give the player a much larger consideration to what he’s doing, it is not intend to drive microtransactions, which is why you can optionally only buy stuff in the arcade mode and only the real gamers and winners will get through the game without ever buying anything, that is why I would add an achievement named ‘no purchase required’, how many games heralded the need to not embrace microtransactions? 

It was a stage that my mind evolved over a few days and that is the easy part of the creative element in a game, I wonder how many creative minds are out there in the gaming industry, because I feel personally that people like Sean Murray and David Braben are as rare as it gets in this industry (no insult to other game makers intended), for me it is a stage where I see where places like Apple Arcade (and Google Stadia) are and where they go, so far I am actually not that impressed, not when it comes to companies this big.

 

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A BAFTA for controllers

Yes, another event is taking place; this time it will be the BAFTA for games that is up for some to grab. The competition has been fierce in the past; I actually did not choose God of War in the Games Awards 2018. I would have given it to Forza Horizons 4, who had blown me away on several fields, even as there was no dispute, it was close, really really close. So as we see the Artistic Achievement mask, God of War wins, not by much as the competition was fierce.

With Audio achievement, God of War wins, it will also win the Music; the soundtrack is overwhelming and amazing. They also have the benefit that AC Origins and Arkham Knight are not on that list; these three are the best soundtracks gaming has ever produced. Bear McCreary, a musician who already earned his stripes with Battlestar Galactica (and several others) is now the one favourite for that mask, as I personally see it.

Yet best game is interesting, with Forza Horizons missing, only God of War remains; in my personal view the others will not make it a nose length fight. Yet all is not lost for Microsoft, with the British game, we see a win that clearly goes to Forza, racing through Britain is just too much fun and too amazing.

I have to pass on debut game; too many are unknown to me, making my voice not a fair one. As Evolving Game, Elite is the one for me. I have skin in the game there, having loved the game since its initial release on the BBC Micro B and my own copy on the CBM 64 (I did not have the BBC Micro B myself). I still remember that day as I had to take a 90 minute train trip to get to the one store in 1985 that had it. When it comes to Family, my view is skewed. I do not think that Pokémon is a family game, it is family friendly, that is true, but true family game implies engagement by all and there I merely see Super Mario Party as the one option, perhaps it is most likely that my view of the Family category is wrong, but perhaps it should not have been given a category that comes across as dubious in its interpretation. As for Game beyond Entertainment, 4 are unknown to me, so I skip that category. The same would apply to Game Design was it not to the fact that God of War is sublime in all ways, so I reckon they will get it. Yet, I am happy to be proven wrong due to a game I had not seen. The same can be said for Game Innovation, yet when it comes to innovation the entire idea of creativity and cardboard to be added to a console and gaming is just so whack that it should win. I never saw the appeal, yet the appeal to see kids fold a piano and then play it making the switch play music is just slightly too strong on the side of magic beating that horse named science. Only Nintendo could ever be that one player who does not know what a box is, and therefore not being hindered by one.

I skip several but then halt at Original Property, which only as it ends up being slightly flawed Subnautica wins. I have been testing it since its early release and it is by far the most immersive (submersive too) and innovative (as well as original) survival game. The fact that it is almost all on water makes it weird, strange and it never stops being weird and challenging.

For me personally the Performer mask should be Christopher Judge as Kratos in God of War his performance of Kratos is iconic, yet the voices: Danielle Bisutti as Freya, Jeremy Davies as The Stranger and Sunny Suljic as Atreus are all worthy nominees. I believe that the voice of Kassandra failed in AC Odyssey, not due to the actress though, which is a shame for her, because all nominees clearly worked their asses off to get the top achievements in the games, this is one part where the software makers can intervene and slightly screw it up, yet in God of War the work on any level remained 5 out of 5 all over the board giving 4 nominees a clear advantage.

As for EE mobile game of the year, there is no way of telling. An audience will vote personal and emotional giving Pokémon go the home field advantage, but in the end it will be anyone’s guess and Fortnite is on that list too, so I wonder if that voice will be impacted by the PC and console gamers, I actually do not know. I am not surprised that I did not elect Red Dead Redemption 2. I was never into Westerns. I do acknowledge that everyone tells me that it is the best single player experience ever, but so was God of War, so was Forza Horizons 4 (if you are a racer). You see, some might hide behind the marketing of ‘the most powerful console in the world‘, yet when the awe is not in the hardware, but in the excellence of game design like Super Mario Odyssey and The Legend of Zelda: Breath of the Wild. We see it when the least powerful console overwhelms you with graphics, music and gaming experience. When the noise of ‘jing jing’ when you switch on a console does not do it, but your heart flutters when you hear the ‘Yahoo!’ of Mario grabbing another Power moon and your mind races where more can be found. When you get that part, then you also understand why Microsoft ends up having their most powerful console in the world in the number three position of consoles. And it gets to be worse for them soon enough (optionally). When the people at Google realise what makes gamers tick, they might end up being a mere number 4 contending party in 2021. It is the adaptation of a French expression; I think it came from the French revolution. The adapted expression is: ‘Change is valuable it turns the leaders into underdogs’; it is a lesson that Microsoft will just have to learn the hard way. Their unwillingness to listen to gamers is coming at a very steep price and it will look optionally a lot more expensive soon enough.

How does that matter?

It matters as we see the gamers move to other consoles, at times keeping the old console around, but the funds (if they have any) will go towards the games that they are drawn too, Microsoft seemingly forgot about that. They pushed for backwards compatibility so that could ride on the coattails of the Xbox 360 a little while longer, but that too will lose steam and the game awards as well as the gaming Bafta gives us where the need for new games was at, and in that respect God of War truly delivered, the fact that a Sony Exclusive game is a nominee in most categories also gives us a tale of where Microsoft dropped the ball (yet again), and now Google Stadia is just around the corner biting into the multi gamer and streaming services fruit that Microsoft thought they had secured for themselves. I admit that they went about it the right way and anyone into gaming and online not getting a Game Pass is pretty much insane, yet that horse has other jockey’s and Google as the late arrival is about to walk into the ring.

We will be ready with Irish jokes as the awards will be presented by Dara O’Briain on April 4th, so we should hope that Milton Jones walks in to have a bit of a go at Dara on stage, but that is just wishful thinking.

I like game awards as it shows to some extend what games achieved and who were the ones teaching us what gaming can be about. We tend to look at the large games, the large players, yet in that world we might not have noticed Minecraft, a labour of love that became an addiction for millions, for many it still is. In this day and age it seems impossible, but who has played Subnautica? When you look will you suddenly realise that you missed out on something? That is actually the best art of the show, until one award night I had never heard of Threes! That can happen to us all, and for those seeing that one game that makes you buy a console, that is the moment you open another door to multiple worlds.

Game awards also give rise to new directions, at present more often than not instigated by small indie developers, but pushes like that can be game changers. Even as I contemplated an entirely new direction for changing difficulty levels in a game like Watchdogs 3, I suddenly considered that this path had never been considered ever before (optionally a slight exaggeration), and it could have an educational impact as well. The added value goes towards the replayability that a game has, changing the value of a game and the bank for your buck. Now, we can all agree that not everyone might like it that was and that path is not for every franchise; yet the realisation that no one has ever taken it into that direction is also food for thought, especially when you realise how many games have been published and I have been involved with and around gaming since Mirrorsoft.

And in finality, this is the first year that where it is my feeling that the Gaming awards had a better impact and was appreciated better and more than the academy awards, implying that the ascending star for gaming will continue for some time to come.

 

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