Gilbert Cruz in The New York Times: The Morning newsletter:

The world of video games is large indeed. Last year, it encompassed difficult open-world dark fantasy titles like “Elden Ring” (for many, the game of 2022), surprisingly Zen experiences like “PowerWash Simulator” and this one, which I started just before the holidays and am slowly making my way through. “Pentiment” is set in 16th-century Bavaria, and you play as a manuscript illuminator who must eventually investigate a murder. (It sells itself, right?) With a look that tries to approximate medieval art styles, this is a largely text-driven game that becomes more engrossing the longer you play it.

In 2018, Pentiment developers Obsidian Entertainment were acquired by Microsoft, so it doesn’t seem fair to call recognition by a widely circulated mainstream newsletter “indie love”. But I think it’s fair to say Pentiment is a niche game. Within games media, it’s been widely discussed/praised — immaculate art design and impressive moral system — but it doesn’t seem like a title that would typically garner such placement. “Books-level boring” (in a good way) per The Besties.

I have yet to play Pentiment, but the more I hear about it, the more I’m itching to invest in it (after the three books on my nightstand). Very cool placement from The New York Times. Congrats, Obsidian.

Stephen Totilo, Axios:

Video games will move to the center of the entertainment and pop-culture universe next year.

Why it matters: Streaming services, Hollywood studios, tech giants — even the Saudi government — are racing to capitalize on gaming’s vast and ever-expanding popularity, and its lucrative intellectual property.

…

Between the lines: This is what happens when a subculture has been deepening its roots for a half-century.

• Many of the first kids who grew up with gaming become gamer parents, ready to pass gaming to the new generation.
• Power takes notice. Outside elites elbow in.
• Inside, young workers and players look around and see their once-rebellious pastime as an establishment that needs to be challenged.

The bottom line: From World of Warcraft to Wordle, it’s a game-lover’s world.

I’d been thinking a lot about why my blogging on Zero Counts has steadily slowed down. A lot of it has to do with the a busier work-life. Some of it has to do with my duties as a new parent. But I can’t help to think that it’s simply harder to have unique takes on games and the games industry, and for good reason. Not only has the mainstream popularity of gaming skyrocketed, but so too has solid coverage from mainstream media — Totilo (formerly of Kotaku) writing for Axios as an example. I touched on this one year ago in ’NYT: Making Video Game History‘.

The odd bits of coverage I found in mainstream media was an inspiration for Zero Counts. I captured what I could to elevate said pieces, but I didn’t feel the gaming space was being covered in a way I wanted to see. I’m no business expert, but I did what I could to fill the gap. Now video game coverage from top-tier veteran games journalists, critics, and analysts is ubiquitous at major media outlets. Meanwhile, traditionally games focused outlets seem to be leaning into the surrounding media (movies, tv, anime, comics, conventions, etc.) more than ever, which makes sense seeing that media at large is incorporating more and video game IP into it’s catalog.

None of this is a bad thing. In fact, quite the opposite. I love how big this hobby of mine has become. It’s important. It influences so much of the world around us from technology to entertainment to education to culture to art, and it’s not getting smaller. There is obviously a huge dark-side to Big Business — “elites elbow in” creating “an establishment that needs to be challenged” — I’m just glad (read “hope”) press coverage has grown to a level to hold it accountable.

Or perhaps this new father who grew up with gaming is just happy to see the medium proliferate, is optimistic about the new generation, and was giddy to see this piece published on his birthday.

Playstation.Blog:

Through conversations with accessibility experts and incredible organizations like AbleGamers, SpecialEffect and Stack Up, we’ve designed a highly configurable controller that works in tandem with many third-party accessibility accessories and integrates with the PS5 console to open up new ways of gaming. It is built to address common challenges faced by many players with limited motor control, including difficulty holding a controller for long periods, accurately pressing small clusters of buttons or triggers, or positioning thumbs and fingers optimally on a standard controller.

This is the most exciting news I’ve seen out of CES this year.

Project Leonardo comes nearly five years after the Xbox Adaptive Controller was announced, but much better late than never. And coming in at a distant second means Sony has surely incorporated a lot of feedback about the Xbox Adaptive Controller into the design of Project Leonardo.

Project Leonardo can be used as a standalone controller or paired with additional Project Leonardo or DualSense wireless controllers. Up to two Project Leonardo controllers and one DualSense wireless controller can be used together as a single virtual controller, allowing players to mix and match devices to fit their particular gameplay needs, or to play collaboratively with others.

For example, players can augment their DualSense controller with a Project Leonardo controller or use two Project Leonardo controllers on their own. A friend or family member can also assist by helping to control the player’s game character with a DualSense controller or a second Project Leonardo controller. The controllers can be dynamically turned on or off and used in any combination.

The design of Project Leonardo is radically different from the Xbox Adaptive Controller. The sheer fact that hardware itself is highly customizable, from physical button layout to analog stick distance and size, let alone the ability to map buttons together and pair this device with a DualSense for individual comfort or collaborative, assistive needs, the combinations are seemingly endless. I’d be stunned if some curb cut effects don’t come out of all of this flexibility.

So Morimoto, Designer, Sony Interactive Entertainment:

“Because players can customize Project Leonardo according to their needs, there is no one ‘right’ form factor. We want to empower them to create their own configurations. The controller can also flexibly accept combinations of accessibility accessories to create a unique aesthetic. I am excited that the design will be completed through collaboration with players rather than presenting them with a single form factor.”

Competition fuels innovation, and the accessibility space can never receive enough innovation. I’m eager to see the informed reception and comparisons between Project Leonardo and the Xbox Adaptive Controller, and how accessibility in gaming evolves from here.

This is a seriously impressive fan-made Mega Man project. Gorgeous Mega Man X art. Multiple missions. Metroidvania style level design. And incredible soundtrack by Dominic Nimark. (I hear fan-made Mega Man projects are typically high caliber.)

Perhaps foolish, but I find it inspiring when creators invest in their fandoms to breath new life into beloved franchises. I don’t know if or how projects like this survive, but I’m certainly rooting for it. Worst case, I hope this catches the attention of Capcom and these folks get picked up for their talents.

David Yee, posting on Mastodon:

Something dissonant about the way that my Twitter feed is currently fully in desperation over the terrifying critical injury of Damar Hamlin, a 24-year-old football player, on a field in Cincinnati—a communally-experienced condemnation of the NFL—and how my feed here is… just not? I want to leave that place with an urgency, but the transition is teaching me a lot about network effects and the nuances of specific communities and the intention of spaces and I mostly just want that kid to be okay.

My heart goes out to Hamlin and his family. The footage is ghastly.

Had I not followed Yee on Mastodon from Twitter, I fear I would have no idea about this heartbreaking injury in such a timely and communial manner. I don’t follow sports much, and seemingly I don’t follow many sports enthusiasts on Mastodon. For as much as I praise Mastodon’s tech and positivity, the insight into periphery or even foreign communities through Twitter’s algorithm, its large userbase, and (dare I say) its “town square” ethos was a huge draw for me. I felt more informed about topical stories on Twitter than I do on Mastodon. This is a chilling insight from Yee.