Just played it in co-op during lunch. Seems pretty intense.

I think I’ll be playing this for a good while yet…

(Yeah, cheap I know but I couldn’t resist! )

Tomorrow’s soundbite will be how Cliff isn’t a PR man.

Ho ho

I’m not sure I play games to ‘believe’ in their world. For me, so long as the world I’m playing in is consistent in it’s portrayal and ruleset then that’s pretty much good enough for me. In that regard, Space Giraffe has as believeable a world as Katamari Damacy or Gears of War.

I wonder what pearls of the bleedin’ obvious Mr. B will honour us with tomorrow. Maybe he and fellow non-PR man Peter Molyneux (now a little on the quiet side, fancy that!) should have a pow-wow.

After my success with DJ Hero header recommendations, may I humbly suggest that this image be used for all Bleszinski articles in future. Very The Princess Bride don’t you think?

Not the first time, but when I’m replaying the game.

It’s annoying that in most games you have to sit through the same dialogue over and over again, each time that you play and you don’t even have the option to skip.

I just end up constantly tapping START or A, even though I know that it won’t make it go any quicker.

I see plenty of casual gamers that try to skip through as much story / cutscene / etc as possible so that they can get back to the meat.

If what Bleszinski says is accurate, then why do you see a high value placed on art books, as pre-order bonuses? How would it be, that, in an interview on ubi.com an Ubisoft Montreal team member working on Prince of Persia explained that the strongest reaction, in terms of media that they received from the fans, was when they started releasing concept sketches? (which then, strongly inspired the art direction for the new game.)
I also think that he’s way off the mark, on beta testing, as far as enthusiastic fans of the game being tested, go.

Just because your game has all the depth and substance of a flan, doesn’t mean you should start making broad, sweeping statements about the value that games fans place in the worlds that designers work hard to create. Some games would be a lot less than they are, without the work of environment artists and lore scribes, to create a compelling location, and situation around which to play.

To me, it seems like you’re whining about not having a decent stable of writers and you’re worried that people will be bored by the kind of place-holder script nonsense that Crysis suffered with.

You don’t need to worry about people skipping the dialogue so much if the dialogue is, well, interesting. Do you? And it’s not that hard to find decent script-writers, plenty of games out there are proof of that. Fable II was a particularly nice example of that, and though Molyneux was a bit whiny and overapologetic, at least he was humble.

Pro-tip: You only need to make excuses for something if there’s something to make excuses for. If you’re making excuses for people wanting to skip the dialogue, that means you’re trying to brush some exceedigly poor dialogue under the carpet. Smart people will pick up on that. That’s not good marketing, Cliff. Not in the least.

Come on Mr Postman!!!

Still not art mind