Troubles After Journey


“The company was at the most dangerous time when we finished Journey…We didn’t know where the money was coming from, and we couldn’t afford everybody from that point on until we found the money – we basically went into hibernate mode. We had vacation for everybody for a couple of weeks and then we just let go of most of the people, because we couldn’t pay salary.”

Jenova Chen on the days following the completion of Journey. (Edge)

Downloadable Console Games = Small Sales


“During this console generation, there were only a handful of million-selling downloadable games, which is surprising to me as the console installed base for PlayStation Network and Xbox Live Arcade games is well over 150 million today. There are probably between 300 and 400 retail titles that sold over 1 million units, if not more.”

Housemarque CEO and Super Stardust developer Ilari Kuittinen, (GamesIndustry)

Rein Calls BS on Next-Gen Claims


“I call bullshit on this one. The article said ‘highest-end PCs currently available’ which isn’t even close to true, it’s miles away from true. They are ‘architecturally’ more advanced but performance levels aren’t as good. Maybe that’s what he meant?”

Epic’s Mark Rein calls out EA’s tech chief Rajat Taneja on recent claims about next-gen hardware. (Twitter via CVG)

Project Titan Reboot


“We’ve come to a point where we need to make some large design and technology changes to the game. We’re using this opportunity to shift some of our resources to assist with other projects while the core team adapts our technology and tools to accommodate these new changes.”

Blizzard’s Shon Damron explains the Project Titan reboot, with significant job losses. (GamesBeat)

Can Games Fight Dyslexia?

“I was the first to develop the idea that you can use video game technologies to build specific neuroprocessing exercises that capitalise on the brain’s remarkable ability to change with experience – which is called neuroplasticity. We’ve been able to work out what variables drive neuroplasticity most efficiently. They have to do with intensely focusing on information that individually adapts to your own abilities, that gets harder and harder, requires sustained attention, and offers timely rewards and immediate feedback. Video games are the perfect vehicle.”

Dr Paula Tallal, Co-director of The Centre of Molecular and Behavioural Neuroscience at Rutgers University, studying the positive effect of videogames n children with Dyslexia. (IGN)

Curiosity’s Cut


“I’ve got the meeting with the financial guy and the legal guy tomorrow to settle on how we calculate the percentage and what the percentage will be. I think this is one of those areas where we have to get Bryan’s sign-off. He has to agree to share what that number would be. I don’t think it would be legally correct for me to say, “It’s going to be this much” without him. How much money he receives is kind of a private issue to him. The only thing I’d say is my ambition, absolutely, is for it to be percentage points, not fractions of a percentage. Definitely not.”

Peter Molyneux figures out the Curiosity winner’s prize in his own fashion. (RPS)

Sane Working Hours

“My goal was to build a company that could survive for many, many years. For 20 years, for longer. And the only way that any company’s going to be able to do that well is by retaining staff. And I looked at the waste of talents leaving other studios. And I was just like, that’s super expensive; you guys are so shortsighted. That’s how I felt, so shortsighted. It’s such a waste.”

Klei co-founder Jaime Cheng, on the studio’s normal working week policy. (Polygon)

Frustrations of a Games Writer



“The part that’s most frustrating for me as a creative is that the industry tends to attract people who are really interested in technology, because you need a ton of programmers to make a game. You don’t need a lot of writers to make a game, or animators, even. The percentage of the creative in the game versus the percentage of technologists you need is totally out of whack. A lot of times, what ends up happening when you have a room of primarily tech-oriented [staff], it becomes like a software development environment.?”

Games writer Susan O’Connor. (Gameological Society)

Australian Game Development


“I really do want to stay in Australia and try and overcome the drive which is leading everyone to Canada or the like. I want to stay here and make games and hopefully be able to sustain a small studio, provide employment and jobs here.”

Alex Carlyle, former design lead at Team Bondi, who has helped set up new Sydney studio  Intuitive Game Design. (MCV)

Used Games Dominate the News


“The ability to trade in and resell games is important to gamers and to Xbox. Xbox One is designed to support the trade in and resale of games. Reports about our policies for trade in and resale are inaccurate and incomplete. We will disclose more information in the near future.”

Larry Hryb manages to not really clarify things. (Major Nelson)

The Appeal of Tales of Xillia


“I would like players to experience the fantasy adventure of swords and magic, which we developed based on our unique Japanese culture. For Tales of Xillia specifically, I would like players to pay attention to how we characterize the cast and the messages relating to the themes throughout the adventure. Please enjoy playing through the game and experience what “conviction” means at the end.”

Tales of Xillia producer Hideo Baba. (GameInformer)

Xbox One’s Billion Units Claim

Games Xbox

“Every generation has grown approximately 30 percent. So this generation is about 300 million units. Most industry experts think the next generation will get upwards of about 400 million units, over the next decade. We think you can go broader than a game console, that’s our aim, and you can go from 400 million to potentially upwards of a billion units.”

Microsoft senior vice president of Interactive Entertainment Business Yusuf Mehdi. (OXM)

A False Divide


“There’s a false divide that gets created in people’s minds sometimes, as though hardcore gamers don’t also consume other forms of entertainment and wouldn’t appreciate those things being made more seamless and more integrated into a more elegant experience. I think that’s all that you’re seeing here. To me, as a gamer, I’m excited by it.”

Activision’s Eric Hirshberg. (GamesBeat)

Summing up Xbox One’s Strategy


“If we had just introduced a game console, I think our market overall would grow. But by having a game console combined with reinventing TV, making your TV really smart, [and] making the entertainment you love easily and readily accessible all in one device, I think we give permission to a whole new set of consumers to adopt our technology. By making it simple and instant and complete, it means we can get men, women, old, young to enjoy playing and interacting with the device. It’s not just about core gamers; although, they are incredibly important to our future. It’s also about finding entry points for all members of the household.”

Phil Harrison (GamesBeat)

PS4 vs Xbox One


“The PlayStation 4 environment is definitely more mature currently, so Microsoft has some catching up to do. But I’m not too concerned about that as they traditionally have been very good in that area. The specs on paper would favour the PS4 over the Xbox One in terms of raw power, but there are many other factors involved so we’ll just have to wait and see a bit longer before making that judgment.”

Avalanche’s chief technical officer Linus Blomberg. (Edge)

Xbox One and Indies


“XBLA was a trailblazer last generation, so it’s sad to see Microsoft not announcing dedicated support for independent developers on the Xbox One. Refusing to concentrate on easier submissions and discoverability leaves the way clear for Sony to capture the most innovative market in gaming right now.”

Curve MD Jason Perkins. (GamesIndustry)

Saving Fire Emblem


“Truth be told, sales are dropping. The sales manager of Nintendo, Mr. Hatano, told us that this could be the last Fire Emblem. Due to this progressive descent in sales, they told us that if the sales of this episode stayed below 250,000 copies, we’d stop working on the saga. I remember when I came back from the meeting and told the team, ‘My God, what are we gonna do?! The end has come!’ Our reaction was clear: If this was going to be the last Fire Emblem, we had to put everything we always wanted to include.”

Fire Emblem Awakening co-producer Hitoshi Yamagami. (Hobby Consola via Destructoid)