Jordan Erica Webber, The Guardian:

In that demo, a sprite called Yoska teaches the player how to use their hearing to hunt a bird and shoot it down with a bow and arrow and fight bandits and goblins with a sword. It sounds like something you’d expect to do in a modern big-budget RPG, which Willey says is intentional: “What we’re really aiming for is an audio game that has a kind of AAA [those with the highest development budgets and levels of promotion] feel about it.”

That should appeal to vision-impaired players such as Harlow, whose experience of “real video games” before he lost his sight has led him to consider many audio games “kind of bad, and just not entertaining”. But Willey and Satizabal both hope sighted players will enjoy the game too, so that they can have a shared experience with those who are vision-impaired.

Sounds extremely interesting and like a great focus for game development. Start any piece with the words Super Mario 64 and you’ll have my attention.

https://www.youtube.com/watch?v=32nV2PKIv5Y

In June 2014, during Nintendo’s E3 Digital Event, a short, minute long trailer for Captain Toad: Treasure Tracker was tucked between two larger developer interviews for Yoshi’s Woolly World and the much talked about Legend of Zelda for Wii U. Not only was the trailer a bit hidden, it was never verbally acknowledged throughout the course of the 45-minute event. It was a curious trailer, but was the one that stuck with me long after E3. A splinter in my mind.

For those unfamiliar, the origin of Captain Toad is rooted in bonus stages strewn throughout the Super Mario 3D World world map. As players collect stars and progress through the game, Captain Toad stages are unlocked. More from the Super Mario 3D World Wikipedia entry:

Additional Green Stars can be earned in Captain Toad levels, where players control the slow Captain Toad as he navigates puzzle-like stages using the GamePad’s functionality, and Mystery Houses, where players must clear a series of challenges with short time limits.

Not only is Captain Toad slow, he does not have the ability to jump; a staple in the Mushroom Kingdom. The player is forced to keep their wits about them, outsmarting the level design by means of the camera, shifting their perspective over the tiny cube-shaped levels. This imposition of limits is integral to great game design. It makes for gameplay that almost feels foreign amongst the landscape of current shooters and platformers. Strategy becomes the emphasis.

In late August, in an interview with EDGE Magazine, Shigeru Miyamoto made comments about the state of “core” vs. “casual”. The interpretation from Rob Fahey at GamesIndustry.biz hit the nail on the head:

At the same time, though, Nintendo itself has a conception of “casual” and “core” that probably isn’t shared by the majority of sites reporting Miyamoto’s comments. Miyamoto talks not about themes but about enjoyment of challenge as the distinction between the two groups. To him, a supposedly “adult” game full of blood and ripe language could be utterly casual if it spoon-feeds players with dull, linear gameplay. Meanwhile, a brightly coloured Mushroom Kingdom epic could qualify as “core” if it challenges players in the right way. Consequently, Nintendo’s family-friendly IP and the broad appeal of its themes is entirely compatible with a focus on “core games”, to Miyamoto’s mind. What he’s talking about changing is something at the root of design, not the thematic wallpaper of the company’s games; he wants to challenge people, not to force Nintendo’s artists to remove all the primary colours from their Photoshop palettes.

I think this is exactly what we can expect from Captain Toad: Treasure Tracker.

On top of great level design, the aesthetic design preserves the same gorgeous caliber we’ve seen in Mario Kart 8 and Super Mario 3D World. The levels are lush and appear to be brimming with tiny details, animations, humor, and secrets. I will echo my Hail Mario piece and say that “Nintendo is unabashedly gunning for Disney-level aesthetics; a tactic to win over most demographics.”

To add, filling out a Toad with unique characteristics rather than the ambiguous, multi-colored placeholders they have traditionally been known as (see New Super Mario Bros. Wii) brings more definition to the Mushroom Kingdom. And with this new, unique character comes new, unique gameplay. Captain Toad: Treasure Tracker shows that Nintendo is looking to explore the depths of the Mushroom Kingdom, and proves that there is more there than just simple platformers. We haven’t seen much of this dynamic since the Luigi’s Mansion series; a stand-alone IP centered on a familiar character with unique gameplay and design.

When playing Super Mario 3D World, I race for every  Captain Toad level the instant they are unlocked. They are clever, challenging departures from the platforming world Mario inhabits. Something tells me I am not the only one of the few million Super Mario 3D World players to do so. For those unfamiliar with Captain Toad, they will be pleasantly surprised with the over 70 gorgeous, challenging, classic Nintendo designed levels to explore. For those few million that have already had a taste of Captain Toad, you can bet they are itching for more of the playful puzzle mini-game. And assuredly, with Nintendo’s move to DLC (Mario Kart 8) , there will be plenty more to come.

Captain Toad: Treasure Tracker debuts in Japan on November 13, 2014. Subsequent release dates as follows:

NA: December 5, 2014
EU: January 2, 2015
AUS: January 3, 2015

https://www.youtube.com/watch?v=ah8mhDW6Shs

Anita Sarkeesian, XOXO Festival:

For these detractors, it is easier to believe that I’m a skin-bleaching, mind-controlling, video-game-hating, scam artist involved in a masterful long-con than it is to believe that the tide is turning in gaming. That larger numbers of developers and fans are challenging the sexist status-quo and embracing the ideas and critiques expressed in my work and the work of many other women doing the same cultural criticism.

That about sums up #gamergate. We are extremely fortunate to brave folks like Sarkeesian facing this head-on.

Deadline:

“Cyan’s goal in working with Legendary is not just to create a compelling TV drama but to develop a true transmedia product that will include a companion video game that extends the story across both media,” the company said. “Seventy percent of tablet owners use their device while watching TV at least several times a week. Cyan sees the potential to push the boundaries of interactive storytelling to a new level.”

Seems like good timing with the return of Twin Peaks and the nostalgia surrounding the LOST 10 year anniversary.

That said, I don’t feel the second-screen experience has been the revolution that hopefuls (HBO, etc.) had cracked it up to be. I have a difficult time pulling myself away from a good story to send an email, text, or surf the web. I have a hard time believe that “70 percent” is enjoying good TV. While a new Myst companion game sounds enticing, I have extreme reservations that I’ll be able to enjoy a world as rich and mysterious as Myst simultaneously on TV and iPad. The best I can picture is a children’s TV-esque situation where the actors on-screen “wait” for you to complete a puzzle before proceeding.

On the other hand, I love Myst and have very vivid memories of talking through the games with both my step-father at home and father 400 miles away. I enjoyed the game so much that I convinced my grade-school teacher to allow me to write a book report based in the strategy guide. Needless to say, I’ll be tuning in.

Earlier this evening, I had the very fortunate privilege of attending The Morris Series: Leadership and Innovation, featuring Walter Isaacson put on by The Aspen Institute. Even more fortunate that today is the release date of his latest book, The Innovators.

The introductory illustrated timeline of innovation in the book reads with the following dates:

• 1993 (Mosaic, AOL)
• 1994 (Web log and directory, Pathfinder)
• 1995 (Wiki Wiki Web)
• 1997 (Deep Blue)
• 1998 (Google)
• 1999 (Blogger)
• 2001 (Wikipedia)
• 2011 (Watson)

The decade long gap between 2001 and 2011 is a bit alarming. Was it glazed over as said decade has been under careful watch by Isaacson’s primary audience and may read as redundant? Is it simply that he aims to address said decade within the book? I’m hoping for the latter.

Not only did the late ’90s account for the blossoming of the Internet as we know it, but 2001 marks the year of the September 11 attacks. Two critical events intersecting on a single timeline. Add in adolescence (the insane flourishing of ideas, rebellion, and independence — this particular generation referred to as “millennials” by some), and you have the perfect mixture for… something…

If not from himself, this “something” is what I hope someone of Isaacson’s stature addresses. A large majority of the fresh engineering talent, and possibly the next round of innovators, moving into the professional workplace witnessed both the late ’90s blossoming of the Internet as well as the September 11 attacks during adolescence. That must shape the philosophical and social ideas surrounding up-and-coming technology in a profound way, and I would love to know how.