Dark Souls 3 returns the player to the series’ grim world, again tackling the endless problems of the undead peoples of Lothric. Your task this time, as an undead hero, is to defeat the corrupted Lords of Cinder and return them to the throne room that now sits inside the Firelink Shrine. It’s an unusually clear remit for a Dark Souls game, and it’s matched by the game’s revamped mechanics.
These early applications could be paralleled with the Lumières’ The Arrival of the Mail Train, utterly impressive when shown in the late 1800s (the audience reportedly panicked with the large train coming towards them on the screen), yet where the media creators are still testing the basics of their techniques for presentation and communication. Like all VR developers, The Assembly team are still working out how these machines work, step by mistep. One thing is certain; a VR simulation today is going to be unrecognisably primitive compared to one in half a decade’s time.
Microsoft knows it missed the boat with Windows 8. But the team also think they have a fair idea of what they did wrong, and they think this forwarding looking smorgasbord of integration, accessibility and standardization is their solution. They’re providing an OS designed for VR and AR; support for any major VR or AR device; and their own high-end, high-detail AR device.With that OS being supported across PCs, mobile phones and the Xbox One, and featuring a tied-down app store in a way that PC users are unused to, Microsoft has set a very alluring trap to snare the VR market.
Kickstarter isn’t what it was. Back in 2013, the pitch “Dungeon Keeper in space” garnered Maia £140,000. Skip ahead three years and another charming pitch – “Dwarf Fortress meets Elite” – barely scraped £10,000. That’s absolutely no reflection of the quality of the product. After all, despite being a one-man game, Sol Trader is well on course to hit its release window of June 2016 as a stable, intriguing game. It’s just a reflection on the changed times for indies; today, the determinant of success seems to be a tightening social web of ‘in’ indie developers and press, and its creator Chris Parsons isn’t part of that web.
Video games don’t often do subtle or literate. Games like Gears of War and Call of Duty succeed with no philosophical hinterland or characters worth talking about. Cutesy games are sickeningly so, shooting heroes speak in single syllables, and sincere indie games beat you over the head with how much everyone is suffering. Few seem to learn from the thousand years of fiction at our fingertips. And then there’s The Count Lucanor, which might be the purest distillation of the Gothic novel as a game.
I’ve killed these men, many many times. Every character in this French palace is known to me, from the bickering chefs in the basement kitchen, to the magazine editor desperate to stymie her collapsing sales, to the diva show manager to the laconic camera crew at the front of the building, whose report I photobomb. Hitman has turned from the antisocial murder simulator par excellence into Groundhog Day, where your infinite lives allow you to track and poke each and every person’s life.
Trent Oster may have founded BioWare and Beamdog, but the best place to find him isn’t in a high-powered boardroom, a swanky hotel, or on an exclusive beach. Instead, you’ll need to head to the university district in Edmonton, Canada, where you’ll probably find him in the Next Act pub, munching on a peanut butter and bacon sandwich or a ‘Class Act’ burger. If he’s not there, perhaps he’ll be in his office nearby with the rest of the Beamdog team, playing through their latest 5th Edition D&D campaign.
Source: 01_06_Beamdog: The Story So Far