Santa Monica Studio Head Now Helms Second Stadia Games And Entertainment Team

The biggest eye-opener when discussing the Stadia first-party lineup is that there is only on unique property available currently, Gylt. Developed by Tequila Works, the Spain-based game studio, however, is not a first-party team for Google. Instead, there is Stadia Games and Entertainment: the first project coming from the developer still is unknown following five months since the release of the platform. It is also worth mentioning the previous acquisition of Typhoon Games, the team behind the recently released Journey to the Savage Planet. Even then, it is undetermined where exactly or what the newest addition to the Stadia first-party network has planned for the stream-based service either. Regardless, while we still have no new information to gather on the matter regarding exclusive games on Stadia, Google has announced to be forming a second studio. This new team sharing the Stadia Games and Entertainment name will be posted in Playa Vista, California. However, Santa Monica Studio’s head Shannon Studstill has be given the position to run this new division for Google. The new Playa Vista studio will focus on delivering exclusive games, using new gameplay mechanics, creative ways to play together and unique interaction models that we’re just starting to explore. While we’re not ready to share specific game plans yet, rest assured we are listening to what gamers want and adding our own Stadia twists to create new IP and experiences. Jade Raymond, Vice President and Head of Stadia Games and Entertainment This happens to be the second instance that Google has acquired a very notable face in the gaming industry. Studstill is responsible for the previously released God of War (2018) Game of the Year recipient. The first instance being industry veteran Jade Raymond who was revealed to helm Stadia Games and Entertainment in Montreal during the platform’s announcement nearly a year ago. Google has continued to pursue new possibilities for Stadia as of lately: most notably with the addition for support to Galaxy, Razer, and ASUS smart phones. You can read the full report by heading here. What do you think Studstill will offer to the table now working under Google? Source: Stadia Games and Entertainment
Report: Stadia’s Lacking Library Is Due To Low Funding And Initiative To Port Titles

Since November, Google’s home-built Stadia streaming service has presented to bring different issues in contrast to the promises made by the company either it regarding how titles would perform on the young platform or the amount of support that launched with Stadia initially. Regardless, there is more that continues to unearth that developers are anonymously revealing according to a new report. Intercepted by Business Insider, the market-focused outlet spoke with a handful of independent game makers on the matter of projects coming to Stadia. As of now, AAA entries like Borderlands 3, Metro Exodus, Red Dead Redemption 2 and the likes are available now for Stadia owners to stream to their devices. But the question raised is where are the smaller, yet impactful properties that many users might even rank higher than the big budget titles? “If you could see yourself getting into a long term relationship with Google?” A developer describing the firm’s patterned habits says. “But with Google’s history, I don’t even know if they’re working on Stadia in a year. That wouldn’t be something crazy that Google does. It’s within their track record.” One statement that seemed to be repeated among many studios is that ‘incentive’ is missing to port their projects to Stadia. “There are platforms you want to be on because they have an audience and you want to reach that audience. That’s what Steam is, or that’s what [Nintendo] Switch is. They have big groups on their platforms, and you want to be with those groups so they can play your games.” This is just one instance that was shared on Stadia not sharing the same of energetic pursuit as competing storefronts. “When we’re looking at these types of deals, we’re looking at ‘Is this enough money where we have the resources to make what we want, or is this an exclusivity deal that gives us security?’” The topic also turned to the amount offered from Google, disclosing that what was on the table is not an efficient enough portion for developers to tackle on. “It’s that there isn’t enough money there,” one publisher executive told Business Insider: the employee describing the offering to be “so low that it wasn’t even part of the conversation.” And while this does draw concerns that continue to reinstate why there is even a reason to buy Stadia, Google actually fuels the fire further more. In a tweet elsewhere, the official Stadia Twitter account even laughs off the limited amount of games as there is not one starting with an “I” when spelling the brand’s name. Indirectly, this also looks to be something that Google has been prevalent on some occasions: being unsure why things happen. Validating the argument, Stadia points the blame towards developers to be the root of issues regarding underperforming aspects going against the platform’s advertised 4K & 60 frames per second. On the topic, Patrick Seybold representing Stadia explained that the teams/publisher that the platform has collaborated with has been “very supportive, and want Stadia to succeed.” Continuing, Seybold explained there are still more to be announced so this connotation could possibly change as time develops for Stadia. What is your opinion on Google’s approach with independent developers according to their statements? Source: Business Insider
Third Segment Of Platinum4 Initiative Is The Opening Of New Studio In Tokyo, Japan

Reflecting back to the beginning of February, PlatinumGames announced that the team will be pursuing self-publishing through the ranks of a newly launched initiative, Platinum4. What will be comprised of this new guideline that the Japanese developer orchestrated will offer insight on the steps that the team is taking for upcoming projects. First, this came with the announcement of The Wonderful 101: Remastered which would be crowdfunded through the means of a Kickstarter campaign. Fortunately in contrast to the sales of the initial Wii U version, the remaster received roughly $2.25 million thanks to backers and donators even after the funding process closed earlier in March. The other being the vague Project G.G. A Go-Go which we can only dissect from the announcement trailer shared. Now in light of the third announcement, we learn that Pltinum4 extends beyond just software projects. PlatinumGames announced that the third portion of the initiative is the opening of a new studio in Tokyo, Japan. In December 2019, PlatinumGames entered into a capital alliance with Tencent Holdings. This allowed us to start work on Project G.G., our first entirely original IP, in earnest. It also contributed to our decision to establish PlatinumGames Tokyo – a pillar of our new commitment to building our power as a developer. Between our Osaka office and PlatinumGames Tokyo, we’re poised to make use of the sharpest creative minds in games in both west and east Japan, and expand to even greater possibilities. Kenichi Sato, PlatinumGames President & CEO In reference to the “capital alliance” provided by Tencent Holdings, the PlatinumGames CEO is referencing the capital investment made by the Chinese-based firm last year. This decision ultimately swayed the team to fully pursue self-publishing and essentially birthed the Platinum4 initiative as well. One interesting aspect from the announcement further in the post is The Platinum 8: a list of guidelines that help assist the creators at the developer with “challenges of our daily work.” The game studio has already stated to go beyond and experiment with new elements now given the financial freedom to do so, with a metric to assist team members will surely further accomplishment of upcoming projects. Project One ‘The Wonderful 101: Remastered’ is primed for release in May & June for Nintendo Switch, PC, and PlayStation 4. Source: Platinum4
“I Want To Make Everything,” Hideki Kamiya In Response To Highly-Requested Sequels

When it comes to the discussion of whether PlatinumGames Director Hideki Kamiya is a radical regarding working on older properties; that happens to not be the case. Despite how obtuse it might come out to be, Kamiya legitimately wants to make new entries for older series that fans have been asking for practically generations to become a reality. As of recently, PlatinumGames has foretold of ambitions to work on prior projects either through the means of a new installment or simply porting the project to newer hardware. For instance, studio head Atsushi Inaba shared hopes that PlatinumGames would pursue continuing development for the now-cancelled Scalebound alongside publishing new titles for Bayonetta. However, through licensing ownership and funding, these endeavors come to be almost impossible. Regardless, this does not stop the anticipation for some sort of agreement with PlatinumGames and the respected publisher. According to Hideki Kamiya himself at the ‘101 things You Didn’t Know About PlatinumGames’ panel during PAX East last month, the Director disclosed that he “wants to make everything” in response to developing an Okami sequel or restarting development for Scalebound. Okami 2… Scalebound… Viewtiful Joe 3… Dante vs. Bayonetta… Devil May Cry 0: The Episode of Sparda – I want to make everything! Please email Capcom. Brushing aside the joking atmosphere Kamiya created at the moment, he does sincerely share to be interested in making new titles on older work – the decision just isn’t up to him. We have witnessed fans vocally requesting games at Capcom successfully: one being the approaching release for Resident Evil 3 Remake which the team suggested fans to ask for to get their wish. We shall see how this will develop as Kamiya among the entirety of PlatinumGames will surely continue to make their message clear on the matter. Who knows, perhaps the developer’s new approach to self-publishing could open new opportunity to what they are exactly asking for, Which PlatinumGames title do you want the team to return to first?
The Wonderful 101: Remastered Achieves Final Stretch Goal Post Campaign Closure

It has been well over a week since Japanese developer PlatinumGames finally met the end of its Kickstarter campaign to self-publish a remaster for 2013’s The Wonderful 101. Don’t worry, the team managed to accumulate enough in funding to make the project a reality – about forty times the amount of the requested pledge. The team managed to receive more than $2 million in backings from fans ecstatic to see the property to return to newer hardware. PlatinumGames with the amount received has listed that the full game can expect Time Attack, Luka’s First Mission, Remix Soundtrack, and Luka’s Second Mission. However, that left the following stretch benchmark for $2.25 million for the remaster to receive ‘Orchestral Recordings’ for two major songs from the game. In a post earlier today, Hideki Kamiya announced that the initially unachieved goal has later been reached thanks to donations from the Closing Stream for the Kickstarter campaign. We know there have been questions about whether or not we hit the Orchestral Recordings stretch goal, and we’re overjoyed to announce that with the inclusion of the revenue from Twitch that we earned during our closing stream, we’ve officially hit that stretch goal and those orchestral recordings will be coming to the final game! In the midst of the news, PlatinumGames also disclosed that the studio will be sending out a survey to all backers on the crowdfunding campaign and plans to distribute the rewards to those who supported the cause. PlatinumGames’ The Wonderful 101: Remastered stands as the first of four titles for a new initiative to pursue self-publishing for the game developer. The second was revealed at a later date with the alias Project G.G. A Go-Go. You can read the full report an the announcement by heading here. Did you assist in the funding for remaster of The Wonderful 101? The Wonderful 1010: Remastered is scheduled to release for Nintendo Switch, PC, and PlayStation 4 on May 19, 2020 in North America; May 22, 2020 in Europe; and June 11, 2020 for Japan. Source: PlatinumGames
PAX East 2020: Skate Story – First Impressions

It has been a topic to discuss whether or not the gaming landscape is prepared to take on another skateboarding sim to any degree. Although properties like Tony Hawk with 2015’s Pro Skater 5 have attempted to reiterate on the basis of the arcade-like formula of generations before for current console hardware, the game failed to do so atop of the plaguing problems that the title was shipped with. Disregarding the nostalgic grab that happened then, players were introduced to a different subgenre altogether which redefined the definition for a skateboarding game even earlier on. I’m talking about the Skate series: implementing more tangible controls with stick-flicking maneuvers and ergonomic gameplay mechanisms is a foundation that many are anticipating to be on the verge of an announcement. But inching close to a decade now, there are no positive signs that fans will experience a fourth entry. Regardless of the current expectations that players hold for the ecosystem of related titles, I feel it’s time that a new approach is taken to reinvigorate this genre once again. In particular, this conversation is directly referencing Sam Eng’s Skate Story. During PAX East at the beginning of the month, I got the chance to demo the very early build of the game available on the show floor and wanted to express the potential this new and upcoming project holds ahead. What makes this new indie-developed title so unique, to me at least, is the linear approach that is given to the player on how the game is structured. While this does shed to be primitive at the surface, it is how Eng translates the experience for the player. In contrast to currently available and upcoming alternatives that follow the already-established route, Skate Story does something different and pursues to be an experience of its own with no set objectives or any laid out text telling you what to do. While the basis through my interpretation shows to be the ‘punk rock’ of skateboarding games, the design itself is sleeker and negates the gritty streets of a metropolitan city. This being the most evident aspect of the project, seeing it in action is an entirely separate encounter. The environments laid ahead are geometrically-structured with high doses of monotone colors painting the area. Designed with jagged platforms for you to jump over progressively becomes more intuitive with how complex later levels evolve into. The technical infrastructure of the game also matures into a striking impression through the overtone lighting and developing otherworldly traits of tall-standing columns and the basking moon in the skyline. When completing a select number of levels, a brief clip will play telling a story of the main character’s ambition towards touching the moon. Illustrated very vague, it is appreciated utilizing a different approach while simultaneously fueling the ‘a e s t h e t i c’ that is easy for the eye to grab. Playing certain levels also harbors unique perspectives: one when hopping a fenced gap will freeze the camera position when finishing the segment while another following the player through a maze of marble columns close to the ground mimics the appearance of a skateboarding promo. Even more, the player them self is blanketed with this congruous appearance depicted with a full crystalline anatomy. As you would expect from the likes of delicate-looking objects, when bailing on your board will turn you into a pile of scattered pieces. However, the slightest bump into a wall or curb resulted with the same outcome, but being an early build is understandable with expected calibrations to come in later iterations. Concerning the control scheme, button layout actually returns to the structure introduced by Neversoft, i.e. B to ollie rather than using the analog stick to perform the action. The demo itself is fairly straightforward only teaching the core essentials to reach the end. It wasn’t until after playing when speaking with Eng himself that tricks are in the game, but aren’t mentioned throughout the duration of the demo. While my experience with Skate Story was brief, the impact is truly one that keeps me anticipated to learn more later on. Especially noting that the demo available is still an early build of the finished product, witnessing the development form together in the coming future will ultimately be one worth checking up on. Eng posts daily updates on the game’s development via @skatestorygame on Twitter. Interested users can also sign-up for the project’s beta on the game’s website here.