http://news.yahoo.com/playstation-4-games-warn-ps-style-surveillance-135426994.html kinda reminds me of how MS' kinect may work on the "720" I keep seeing one too many reasons to oppose both systems
The PlayStation Meeting: Under the Microscope
Kevin VanOrd and Martin Gaston go head to head on whether or not the PlayStation 4 announcement was a success.
The PlayStation Meeting: A Giant Leap Towards Nowhere In Particular
by Martin Gaston, News Editor Follow
On Wednesday, as Sony unveiled its PlayStation 4 in New York, an assembled trove of developers leapt one-by-one to Sony's stage before muttering about the creative constraints of old technology in their multimillion dollar productions of yesterday. They were here to pledge their total allegiance to Sony's new machine, and their current multi-multimillion dollar productions of the future. This overlong sales pitch was, perhaps unsurprisingly, very much a case of down with the old, and in with the new, the social, and the innovative: the PlayStation 4.
Before long the ceaseless procession of executive prattle became so cloying it seemed like the PlayStation 4 was being designed to transmogrify simple button inputs into intense bursts of concentrated adrenaline, but perhaps this is to be expected from any product launch in today's hyperbolic technology industry. The PlayStation 4 was to be such a leap of innovation and creativity, intimated Sony with its mighty buzzwords and rhetoric, that its gamers/consumers (that's us) would end up so empowered by such rousing sentiment that we might as well stomp our PlayStation 3's into a dozen pieces this very second.
Don't Panic: The Hardware Was Exciting
At times, underneath the thick layers of honeyed narration, the idea of the PlayStation 4 felt perfectly designed for the future. Perhaps the most significant symbol of the whole night, in retrospect, was Mark Cerny announcing his own game Knack. Admittedly Knack hardly amazed, but the sight of the PlayStation 4's lead systems architect using the fruits of the machine's engineering labour to make a genuine video game is about a hundred million miles away from spirit of the PlayStation 3. Seven years ago Sony embarked on an ill-fated decision to snub developers by opting for a wholly confusing and awkward system architecture that managed to baffle some of the world's most talented coding minds, and the company was clearly working overtime to assure developers that such an action was not happening again.
Other features, too, left a good impression. Having a part of the machine dedicated to background downloading will help fix one of Sony's most oft-criticised mistakes of the PlayStation 3. Making the PlayStation Store more immediate and predictive should help developers with the problem of visibility in these increasingly-crowded digital marketplaces. And the Share button, as far as I'm concerned, will likely become one of the most oft-used parts of the console for today's new generation of gamers who digest a vast majority of their gaming media from Let's Play videos.
The more I think about the specifics of what Sony announced, the more excited I get. The PlayStation 4 could quite easily end up an utterly fantastic machine, and Sony seems to be doing its best to shed the problems that have afflicted it for the last generation. I'm hugely excited to see the finished product.
Panic: Where's The Software?
But for all these laudable new features, what was the first harvest of software from Sony's latest machine? The exhibited nuggets of Sony's developer-led, developer-focused, developer-friendly mentality managed to produce, at first glance, some of the finest examples of box-ticking, laundry list games publishing I've seen since the last time new hardware was announced.
Sony's Evolution Studios took to the stage to say that it's taken a decade for technology to catch up with their dreams of making a social-led driving game, one which could integrate the very kind of social features we've been seeing and using in driving games for the last four years; Sucker Punch presented another entry in the inFamous series; and Guerrilla Games stood up to present a visually stunning demo of Killzone: Now With Blue Skies And Ropes, albeit one which proudly exhibited almost every single trope of the modern first-person shooter in the first three minutes of screentime.
The folks at Sony in charge of actually making the games seem to lack the same conviction of those presenting the hardware. Before the show I fully expected Guerilla Games to unveil a new IP for a new hardware generation, free from the stigma of their dampening Killzone franchise, at the very time in a console's lifecycle where new IP has its very best chance to flourish and thrive. It's a massive shame it didn't, though of course Killzone looks like a real work of technical accomplishment from the engineers at Guerilla.
Ubisoft knows the power of new IP better than most, having ran away with E3 2012 by showing off Watch Dogs for the first time. Carried aloft on this wave of hype, Ubisoft managed to steal the show once again with its second showing. While it was fantastic to get another glimpse at one of the most promising upcoming games, Watch Dogs is hardly a system seller--I'd be utterly amazed if we don't see the game again as soon as Microsoft decides to announce its next Xbox. The same goes for the other third-parties on show.
I find it very hard to feel particularly positive about a game titled DriveClub, though its gorgeous aesthetic managed to pique my interest. The game feels like SCEA's shot across the bows of Gran Turismo developer Polyphony Digital. with Sony's American publishing arm likely wanting a successful racing franchise it can crank out at a bare minimum of every other year, and Polyphony Digital only managing one entry in its vaunted Gran Turismo series for the entire lifespan of the PS3 thus far. DriveClub is a game clearly more about franchise and function rather than form, and that's fine. But it's hardly exciting.
Red Alert: PlayStation Move Sighting
But, still, Sony's software on show considerably let down the promise of the hardware. And then Sony decided to parade a string of its more eclectic developers to validate the machine's innovative credentials. An intriguing presentation by Jonathan Blow gave the line-up some promise and hope, and Media Molecule were wheeled out to remind us that nobody, nobody at all, cares even remotely about the PlayStation Move.
Between the two was time for Heavy Rain director David Cage to confidently dismiss an iconic, medium-defining movie--1903's The Great Train Robbery, considered a milestone of filmmaking--before singling out the need for emotion in the next-generation of games and showing a floating old man's head as if it was the missing piece in gaming's puzzle. In many ways Cage was inadvertently retreading the same path Sony took in 1999 when it unveiled the PlayStation 2, its Emotion Engine processor, and another floating old man's head as a tech demo. Cage, in his attempts to convince us of the future, ended up reminding me about the past, though he was by no means the only one guilty of this during Sony's PlayStation 4 unveiling. The more things change, it seems…




