Microsoft isn’t selling Kinect for Windows anymore
Given that Microsoft has consolidated so many other parts of how it operates lately, word that it’s discontinuing the new Kinect sensor for Windows shouldn’t be much of a surprise. From here on out, Redmond will no longer sell the now redundant desktop-specific version and instead point app developers toward the “functionally identical” Xbox One unit and its necessary adapter cable instead. The Xbox One sensor was apparently pretty popular amongst desktop developers and Microsoft couldn’t keep up with demand in some markets, so rather than keep producing two incredibly similar units, it’s likely focusing its efforts on producing more of one. Should you already own a Windows Kinect don’t fret — Nadella and Co. promise that support for it isn’t going anywhere. For a peek at how we put the console do-all sensor to use with a Windows PC, take a gander at the video just below.
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Filed under: Desktops, Gaming, Home Entertainment, Software, HD, Microsoft
Via: WMPowerUser
Source: Kinect for Windows Blog
Sony buys what’s left of OnLive, service shuts down April 30th
Sony Computer Entertainment is buying the remaining patents and assets belonging to OnLive, the cloud-computing service that some might say was ahead of its time. OnLive as a service will shut down on April 30th and the company won’t collect any more subscription fees. On April 30th, all OnLive player data will be deleted, though any Steam games purchased through the service will continue to reside on Steam.
“It is with great sadness that we must bring the OnLive Game Service to a close,” OnLive writes. “Sony is acquiring important parts of OnLive, and their plans don’t include a continuation of the game service in its current form.”
Sony bought game-streaming service Gaikai for $380 million in July 2012, and it’s since turned all of that tech into PlayStation Now. OnLive was purchased once before: A venture capital bought the company for $4.8 million in 2012, after the company accrued roughly $30 million in debt. OnLive hung in there for a few more years, in 2014 announcing a new cloud-based enterprise.
Regarding its closure, OnLive says, “We thank you from the bottom of our hearts for being an OnLive customer, and we wish you all the best.”
It is with great sadness that we must bring the OnLive Game Service to a close. Sony is acquiring… Read More: http://t.co/WGaO1IsrmY
– OnLive (@OnLive) April 2, 2015
Source: OnLive
Pong, Pac-Man and Space Invaders meet in mega mashup
We may have reached peak video game nostalgia. Mega-hybrid game Pacapong takes Pong, Pac-Man, and Space Invaders and crams them into a two-player mish-mash extravaganza. Players launch Pac-Man from Pong paddles through his maze hoping that he makes it to the other side without running into a ghost. If a player does launch the gobbling hero into a ghost, the other player gets to serve. Meanwhile, the players are also battling Space Invaders with the same paddles. It sounds confusing, but after few minutes, you’ll be wondering when someone will build a mashup of Galaga, Joust, and Dig Dug.
The game was built for a Mini Ludum Dare challenge where developers could build a Pong-inspired game using any engine, language, framework or art a developer desired. In fact, the only real rule was that developers could not build an exact duplicate of the original.
The two player Pacapong supports gamepads for a slightly more authentic arcade feel. More importantly it’s available for Windows, OS X and Linux, so you can enjoy a second childhood on whatever computer you happen to have, without burning through your parents’ quarters.
[Image credit: kingPenguin]
Filed under: Gaming
Via: Mashable
Source: kingPenguin
‘Binding of Isaac: Rebirth’ reborn on 3DS, Wii U and Xbox One
Prepare your consoles for ritual sacrifice. An edited version of The Binding of Isaac: Rebirth, the adorably disturbing roguelike from Super Meat Boy co-creator Edmund McMillen, is on its way to 3DS, Wii U and Xbox One. This is really happening, despite a few years of uncertainty about the game’s fate on Nintendo consoles. Back in 2012, McMillen said that Nintendo had nixed The Binding of Isaac (the version before the Rebirth expansion) on 3DS because of the game’s “questionable religious content.” It is a game about God compelling a mother to murder her own child, after all. However, Rebirth has since launched on PlayStation 4, Vita and Steam, and McMillen has remained optimistic about working with Nintendo. In July 2014, he noted that a 3DS version was still on the table.
Now, McMillen has laid out some of the edits that make the 3DS and Wii U versions possible.
“Now you know how I am about artistic integrity and trust me when I say I’d never compromise my art to make a quick buck,” he writes on his blog. “But after thinking outside the box a bit I came up with a few minor edits to the game that got more than a few suits on my side when it came to getting the green light. I’ll list out the edits below and I think you’ll agree they are so minor none of you will even notice.”
Before we dive into some of the changes, it’s worth noting that this blog post was published on April 1st. We double-checked with McMillen that this wasn’t all a cruel, cruel joke. “Something’s [sic] are true some aren’t but I’m happy with the edits we made,” he wrote back. Microsoft’s Xbox One version will be the same as the PS4 game, meaning no Nintendo-level edits, but it will “feature the green Xbox ‘X’ carved into Satan’s head (a lil’ gag to MS).”

On to the edits for 3DS and Wii U. McMillen notes three major areas that Nintendo found problematic: nudity (Isaac is a baby and is cartoonishly naked), use of the word “God” and Christian imagery. To fix the nudity issue, there’s now a fig leaf between Isaac’s legs, over what McMillen calls “questionable underage dingle dangle.” We meant it when we said this game was truly adorable and disturbing.
“God” is now “Dog” in the Wii U and 3DS versions, offering a bit of wordplay and a Son of Sam reference for good measure. As for the Christian imagery, McMillen replaced all of it with another, commonly ridiculed religion: Scientology.
“By switching out one mainstream belief system with a smaller one that’s more socially acceptable to mock in the media I turned the tides and created a game that is more socially acceptable but still brings home the strong message the game always had,” McMillen says.
There’s no release date for The Binding of Isaac: Rebirth on Wii U, 3DS or Xbox One, but McMillen says it should be “soon.” Overall, he’s happy with the edited game on Nintendo consoles.
“A few easy changes to get the game into the hands of Nintendo fans around the globe!” he writes. “An easy compromise that took us longer than a year to do… but was well worth it, artistic integrity intact.”
Filed under: Gaming, HD, Microsoft, Nintendo
Source: The Binding of Isaac: Rebirth
A peppy, neon look at ‘Shin Megami Tensei x Fire Emblem’ for Wii U
“Thank you for waiting, everyone.” That’s how Nintendo capped the new trailer today for Shin Megami Tensei x Fire Emblem, a Wii U game it’s developing with Japanese publisher Atlus, announced back in January 2013. While the video is fairly gorgeous and shows off some gameplay, it doesn’t offer a release date. We did, however, get the following description: “The role-playing masters at Atlus are developing a truly modern RPG where everyday life exists alongside a secret world of fantasy.” Watch the trailer below.
‘Xenoblade Chronicles 3D’ starts its new 3DS chapter on April 10th
Xenoblade Chronicles, the Japanese role-playing game that launched to great success on the Wii in 2010, is on its way to Nintendo’s latest handheld hardware, the new 3DS, on April 10. Nintendo announced the date during today’s Nintendo Direct live stream. Also in the Xenoblade series, Xenoblade Chronicles X is due out for the Wii U in 2015.
The maker of ‘Eve’ is betting big on VR and it might pay off
It’s been a very rough 18 months for the makers of Eve Online, CCP. The company has lost money, canceled the long-delayed World of Darkness MMO, laid off well over 100 employees and said goodbye to two high-profile execs. It also hasn’t released any financial statements or subscriber figures since revealing a drop in revenues in June 2014 — in this case, no news is unlikely to be good news. But there’s a plan to turn things around at CCP. It’s making substantial changes to Eve Online in an attempt to attract new players, and has poured money into research and development with a big focus on virtual reality. Now, it’s gearing up to release Eve Valkyrie, a AAA, competitive multiplayer shooter for Oculus Rift and Sony’s Morpheus PS4 headset. The stakes are high, but this big bet on VR might just pay off.
At its annual fan convention, CCP showed off two things from Valkyrie: a playable multiplayer demo, and a gameplay trailer from a dynamic, truly gorgeous single-player training mission. If you haven’t seen that video yet, you should watch it right now:
Leaving the single-player mission to one side — CCP isn’t letting anyone play it, unfortunately — the multiplayer demo showcases the core of Valkyrie: dogfighting. Gameplay, at its simplest, involves flying around and shooting any ship that’s flagged as hostile. Of course, there are variables and additional layers like turrets and drones that will aid you in battle, but the objective is almost always to destroy enemy spaceships. It’s definitely not the type of game I’d usually be drawn to, but playing a few rounds of Valkyrie with a VR headset was enough to win me over.
OMG I’m in a spaceship
Valkyrie‘s strength is in its presentation. There’s no real standard for what VR games should look or feel like, and CCP has put a lot of work into getting things right. You’re given a first-person view, looking out through the cockpit of a spaceship. There are no overlaid maps or radar readouts crammed into the corners of your display. Instead, the interface is the spaceship. Shield levels and ship health are displayed through bars of light projected onto your ship’s front window. Details on your chosen target can be found on a dedicated screen above the (virtual) flight controls. Readouts on additional, less crucial equipment sit elsewhere in the cockpit, at the periphery of your vision. It’s a system that wouldn’t make sense if this game wasn’t played on a VR headset, but because it is, it works really well.

This is what you see looking straight out of the cockpit.
The carefully considered UI had me fully immersed before I’d even launched into outer space. Every battle starts with a countdown to launch inside a larger ship. If you want to, you can look all around your ship in relative safety, including what’s directly behind you. There are some neat little details there, like a little “clean me” message etched into the dirt of one of the side windows.
Playing on a PC with the Oculus Rift and a wired Xbox controller, piloting the ship is dead simple. If you’re even a casual gamer, you’ll be flying around with ease in no time at all. Actually shooting and targeting ships takes a little longer to get used to. In the ship class I chose (Wraith, the standard fighter) I had two options for destroying my foes, both based on line of sight. The standard weapon is a machine gun, and because your crosshairs are centered, you need to move your head around while steering the ship in order to effectively target enemies. The secondary weapon is harder to use, as you have to keep the enemy firmly in your crosshairs for a few seconds in order for your systems to lock on and fire away high-damage missiles.

Here, the player is aiming at an enemy to the left of center, which puts half of the UI out of view.
Once I grasped this line-of-sight offensive gameplay, the interface turned from beautiful into genius. I was either aiming at a fighter or checking if my defensive turret was ready to shoot down an incoming missile. I was barrel rolling away, looking helplessly for an aggressive enemy I couldn’t see, or keeping tabs on my rapidly depleting shield levels. Just like in real life, you can’t focus on multiple things at once. It’s captivating.
CCP wants to build the world’s first AAA-quality game for VR.
Granted, I’ve only experienced a single game mode, and a single map, but for what’s described as a “pre-alpha build,” Valkyrie is ludicrously polished already. CCP is aiming to make the world’s first AAA game for VR, perhaps not in budget, but certainly in terms of quality. Now that the core mechanics are in place, the task is to add all the progression and game modes needed for long-term success, and it’s reaching out to eSports professionals to build in the addictive hooks and balanced gameplay necessary for competitive multiplayer games to thrive.
From demo to game
On its own, the demo is impressive. It’s definitely the best VR experience I’ve had in the three years since I put on the first Oculus Rift prototype. But it still felt like just that: an experience, a fragment of a potential game (albeit a very good one) to add to a long list of cool stuff that VR can do. It wasn’t until I saw the single-player footage, and talked to the team behind the demo, that I truly understood the potential for Valkyrie, and what CCP wants to achieve with this game.
The footage from the gameplay trailer is from the first single-player level that introduces the world and its characters. It’s one of a number of training missions that are being created to orient players in the game’s intricacies, rather than throwing them straight to the wolves.
“For me, the new player experience is more about that awesome ‘wow’ moment and the excitement without them being totally nailed by other players straight away,” explains Owen O’Brien, executive producer for Valkyrie. There’s some continuity between the early single-player missions and the multiplayer experience as well: The aftermath of the battle shown in the gameplay trailer, for example, becomes the debris-strewn map I tried in the demo.

Right now, the official line is that the game’s multiplayer modes will be competitive and simple, much like the demo I played. But O’Brien’s team has more ambition. They’re trying to bring those early game “wow” moments to the multiplayer modes, as well. “We’re trying to work out how to make that work,” says O’Brien. I retort: “But that’s not going to be ready for launch, right?” To which he replies, “We’ll see; I want it pretty bad.”
I want it pretty bad too. I’d buy Valkyrie regardless, for sure. The single-player training missions look solid, as do the multiplayer dogfights, but a title that encompasses both is a way more compelling proposition.
Banking on success
While Oculus Rift has been by far the loudest voice in VR so far, it could be argued that Sony has the best shot at bringing VR to the mainstream right now. There are already over 20 million PlayStation 4 owners out there who only need to buy one of the company’s Morpheus headsets to be VR-ready. It’s a low bar of entry for an already captive audience, but gamers will only buy into Morpheus if great experiences are there to be had. CCP wants Valkyrie to be that experience. “We want to be the Halo or Mario for the Morpheus and Oculus,” says O’Brien. “I’m biased, obviously. … Time will tell.”
“We want to be the ‘Halo’ or ‘Mario’ for [VR].”
I ask O’Brien how CCP will achieve that goal. Will we see Valkyrie bundled with headsets? “I would love as many people as possible to have access to Valkyrie. Whether that’s an option or not at this stage I can’t really say, but we have a very good relationship with Sony; we’re a launch title with Morpheus. … We’re going to be very prominent.”

Sony’s Project Morpheus headset.
CCP could be launching Valkyrie from stronger footing. CEO Hilmar Pétursson describes Eve Online subscription numbers as “stable now.” Not growing, not boisterous, but stable. And “now,” implying that, for a while at least, they weren’t. Subscriptions are CCP’s primary source of income, and with the cancellation of World of Darkness (and the resulting write off), one thing that definitely isn’t boisterous is the company’s bank balance.
CCP has learned a lot from past failures, says Pétursson. Rather than throwing all of its resources at Valkyrie, it’s being made by a team of around 30 people, “a similar size” to the whole of CCP when it first built Eve Online over a decade ago. I ask Pétursson if CCP can afford another failure, or if Eve Online‘s future is tied to Valkyrie‘s success. He says that it can, that CCP has “a good financial standing to take some risks.” It’s hard to believe there won’t be some knock-on effect if everything falls apart.
The importance of Valkyrie could be seen at the company’s Fanfest, an annual event that invites players and press alike to see what’s new from CCP. While Eve Online was still the focus of most of the smaller developer roundtables, it’s Valkyrie and the promise of VR that owned the opening keynote, and it’s Valkyrie that attendees were encouraged to play on-site.

Fanfest attendees queue for the opportunity to play ‘Valkyrie.’
CCP admits the game will act as a gateway drug to Eve Online, and that Eve Online players will also pick up Valkyrie. This time last year there were around 500,000 active subscribers. Who knows what that figure is now, but it’s clear that the opportunity to drive paid subscriptions is far more valuable than having a few Eve Online players pick up Valkyrie.
The gamble
The problem with this big bet on VR is Valkyrie‘s fate isn’t entirely in CCP’s hands. While the potential market is demonstrably huge — quite literally anyone with a PS4 or gaming PC could pick up a headset — we really have no idea if mainstream gamers will actually be willing to put down an as-yet-unknown amount of money for a VR headset.
VR needs well-considered, purpose-built games like Valkyrie to succeed, and vice versa, but history has proved that great games are not always enough to sell systems. Shenmue and Skies of Arcadia didn’t save the Sega Dreamcast, and Nintendo’s big names haven’t stopped the GameCube and Wii U from being eclipsed by their competition.
Valkyrie may be shaping up to be a great game, but if Sony can’t convince its users to buy into Morpheus, no one will buy the games made for it. CCP can’t just predict the market. If any game can push this to the masses, though, if any game is going to be VR’s “system seller,” then right now it looks to be Eve Valkyrie. And CCP needs that to happen way more than it’s letting on.
‘Un Chien Andalou’ inspires a surreal indie game from Russian devs
In 1929, famed artist Salvador Dalí and filmmaker Luis Buñuel awoke from a night of strange dreams, Buñuel recalling the image of a razorblade cloud slicing through the moon as if it were an eyeball, and Dalí describing a human hand covered in ants. They turned these images into a silent, surrealist short film called Un Chien Andalou, which opens on a woman with one eye held open, a cloud cutting across the moon and a blade slicing through the eye of a dead calf. The hand, crawling with ants, also makes an appearance. The film has no plot, but it’s rife with emotive and disturbing imagery.
Cut to 2014, when Russian game developers Ilya Kononenko and Yuliya Kozhemyako decided the first scene of Un Chien Andalou would make the perfect setting for their entry in a local game jam with the theme “Phobias.” Their completed game is now due out on April 3rd, called The Tender Cut.
“We want players to dive into a surrealistic dream, where emotions overlap each other — disgust and arousal, fear and curiosity,” Kononenko and Kozhemyako say in an email. “The game contains a set of tiny experiences, and everyone has a chance to get at least one of them.”
Like its source material, The Tender Cut doesn’t provide a clear path forward. There are no instructions and the game takes place in a sparsely furnished, black-and-white room. It’s first-person, allowing players to directly interact with various objects, including a tube TV set playing bits of Un Chien Andalou, a cigarette, a lighter, a razor and a few crooked paintings hiding creepy secrets. The moon beyond the balcony winks down on a potted plant that has something other than roots buried in its soil.

Kononenko and Kozhemyako say The Tender Cut is a game, though just barely. It’s short — roughly 20 minutes long — and early in development they called it an “interactive installation.” Now, it’s an exploration game, even though there are no “right” actions and only a vague sense of winning or losing. After observing the confusion of beta players, the developers added two different endings, new cursors and some achievements to make it more approachable as a game.
“An interactive format makes you an actor instead of viewer,” they say. “It makes it possible to experience the scene from the other side and get another emotional message.”
“We want players to dive into a surrealistic dream, where emotions overlap each other — disgust and arousal, fear and curiosity.”
Kononenko and Kozhemyako are interested in the “almost-game” industry, pieces of interactive software that straddle the definitions of “art,” “experiences” and “video games.” In November, they (as their studio, No, Thanks) helped form the Not-Games segment of NextCastle Party, a gaming festival in St. Petersburg. Kononenko and Kozhemyako say that Russia’s indie game industry is on the rise, driven by support from experienced developers, large events and local game jams. Many fresh developers started their own projects last year, they say:
“And this is not about industry in Russia separately, it’s more about [the Russian-speaking] industry. A lot of events are based in Kiev and Minsk; we have many friends and colleagues from Ukraine and Belarus. There are strong communities in Twitter and other media resources. It is not so good with game journalism here. There are some major titles which write about mainstream games, but more specific products are not covered well enough.”
Art-house games about classic, creepy, surrealist films do indeed inhabit a specific category. The Tender Cut will be available for download on April 3rd via its official site; feel free to take a few days to mentally prepare.
Nintendo squashes browser-based Mario tribute game
While Nintendo proper might be willing to let some folk make a Mario game, we’re a long way from that extending to free browser-based versions of the company’s best-known franchise. As such, that Super Mario 64 HD tribute that popped up last Friday is (perhaps predictably) no more. Now back to work, the lot of you.
Original Work: The copyrighted work at issue is Nintendoâ€[TM]s Super Mario 64 video game (U.S. Copyright Reg. No. PA0000788138), including but not limited to the audiovisual work, computer program, music, and fictional character depictions. The web site at http://mario64-erik.u85.net/Web.html displays, and allows users to play, an electronic game that makes unauthorized use of copyright-protected features of Nintendo’s Super Mario 64 video game. Nintendo requests that CloudFlare, Inc. immediately disable public access to http://mario64-erik.u85.net/Web.html We have provided the name of your hosting provider to the reporter. Additionally, we have forwarded this complaint to your hosting provider as well.
Filed under: Misc, Gaming, Nintendo
Via: TNW
Source: Roystan Ross
A ton of great indie games take over Kyoto at BitSummit 2015
BitSummit has been at the forefront of Japan’s independent gaming scene for the past two years, hosting an event that shows off projects from small studios and industry veterans alike, plus live music and an awards show. Last year’s showcase attracted 5,000 fans and 130 game developers, including Mega Man designer Keiji Inafune, Epic Games, Sony and Microsoft.
For the 2015 show, BitSummit has partnered with four studios — 17-Bit, Vitei, Q-Games and Pygmy Studio — to establish the Japan Independent Games Aggregate, which will oversee all event planning. Plus, one of the leading indie-game promotion houses in the Western world, Indie Megabooth, will help organize BitSummit 2015, lending it an extra layer of delicious credibility. Indie Megabooth President and CEO Kelly Wallick joins JIGA on its board of advisers, and she spoke with us briefly about the new collaboration.
First, we need to establish one fact: Indie Megabooth lives up to its name. It premiered at Boston gaming convention PAX East in 2012 with just 16 developers, and has since exploded in popularity, at times hosting up to 80 games at a range of huge events throughout the year, including GDC in San Francisco, PAX Prime in Seattle and the largest show of the year, Gamescom in Cologne, Germany.
Two hundred developers applied to be in the Indie Megabooth in 2013 alone, and the team had to create a new “shared space” section to accommodate all of the selected games. Historically, these include The Talos Principle, Super TIME Force, Dungeon of the Endless, Hyper Light Drifter, Hotline Miami 1 and 2, Guacamelee, and other high-profile projects.
Indie Megabooth is a big deal in the Western world, and now it’s taking that expertise to Japan’s rapidly growing indie-gaming scene.
“There’s plenty of events in the US and Europe that focus on specific sub-sections of the gaming industry, but only a handful that reach a wide consumer audience all at once (such as PAX),” Wallick says. “We wanted to help established communities work together to push forward into brighter spotlights. In the case of Japan — where the indie development scene is starting to define itself and what that means — it’s more beneficial to help build that foundation and community so it can grow in its own way first.”
BitSummit 2015: Return of the Indies takes place in Kyoto, Japan, at the historic Miyako Messe from July 11th – 12th, and with help from Indie Megabooth and JIGA, it’s poised to be a bigger event than ever. BitSummit has established itself as a leading voice for indie games in Japan, Wallick notes, and she says it’s already had “a tremendous impact on how not only local developers see their own community, but how the greater international community does as well.”
Source: Indie Megabooth













