This week I’m talking to Rich Lambert, Creative Director of Elder Scrolls Online. Rich has been working on the title since its inception, which makes it a 13 year journey working on the game. Keep in mind it was in development for seven years before its official release in 2014.
The game struggled for a while but it has carved out a unique patch in the MMO space after some big changes a few years back. We discuss this and other aspects of what defines Elder Scrolls Online and how the big story arcs like we find in the new Greymoor expansion help to keep its fans coming back again and again.
Greymoor is now available and while this latest expansion has a cost, you can dive in and try ESO for free and enjoy an awful lot of the game without ever being forced to pay.
I’m a long-time WoW nerd and I’ve spent some time in ESO lately and after some initial confusion found the different combat and deeper approach to storyline built into the quest lines to be a really refreshing angle. It’s always a good thing for there to be diversity in the MMO category.
Nic shares a baffling experience from a recent online shopping expedition, and Seamus explains the Mixer mess and what it means for having a viable live streaming ecosystem that isn’t just the one backed by Bezos billions.
Seamus looks at the big news from the WWDC 2020 keynote, analysing his top new feature picks and exploring the potential of some new ideas.
From the chips to the best features in the 2020 updates to iOS, tvOS and macOS, it’s always a fun time of year for Apple fans to think about what’s next. And few changes come bigger than a whole new chipset underpinning it all.
In an already very weird year, this undoubtedly takes the trophy with six months left to play. It’s got cockroaches, pig masks, and senior executives of one of the biggest tech companies in the world. What a journey this one is. Expect the movie in 2022.
Plus Nic and Seamus look at the latest Playstation 5 news now that the big reveal has happened, and offer up their two tips of the week.
This is a great wireless headset for gaming and at a great price point for the quality on offer. But Seamus can’t help wonder if every wireless solution is really solving the cable problem if it’s introducing a separate charging problem along the way.
And somehow he makes it about brushing his teeth too? Anyway, just listen, you’ll get it by the end…
Philip Mayes is the founder and CEO of Mighty Kingdom, an Adelaide games studio closing in on its tenth anniversary. The studio was named Studio of the Year at the 2019 Australian Game Developer Awards, with a super successful focus on developing games for big brand licenses including the likes of Disney, Lego and Conan. Their games reach tens of millions around the world and they’re one of the biggest studios in the country in terms of both head count and output.
This is another fantastic conversation, exploring Philip’s big desire to see more studios really extending themselves toward bigger ambitions, wanting to see more small-to-medium studios pursue bigger and bigger ideas to chase the dream of becoming big studios in their own right.
It’s really great hearing Phil talk with a clear mission to create a big and successful business in the games industry, and the desire to develop positive competition and look to lift all ships along the way.
This week I’m chatting to Dylan Miklashek from Gameloft’s offices in Brisbane. He’s the Studio Manager and has been with the company since it founded its Australian operation. This is a longer chat than usual, but Dylan was super insightful and really candid about both the studio and the wider industry so it was a chat that I was happy to just dig deeper and deeper into.
Dylan has a really interesting background that led him to arrive where he is today and he has strong opinions about the need for government schemes like tax incentives as part of building a thriving and globally competitive ecosystem. While he’s not from Australia originally, and perhaps because he’s not, he’s got some great thoughts on why this is such a great country to be a game developer in, but also looks at the difficulties of finding the right staff when running a development studio in Brisbane and we explore what’s needed to help train developers, to get more of them to the right tier of experience, and to spread the industry around the country and not just always talk about how great things are down in Melbourne.
It’s an honest mix of the difficulties and the opportunities in the scene today.
When Sonos launched the Playbar in 2013, it was not the first of its kind but it was certainly the most fascinating product I’d seen at the time. A soundbar – a reasonably new idea of the time – that also played music from various streaming media services – something Sonos was still miles ahead on.
A lot has changed in seven years. Wi-Fi standards have upgraded twice. Broadband speeds have improved. And we’ve moved from HD plasma as the best screen money could buy to 4K OLED smart TVs with most major streaming services built directly into the TV.
Our expectations of home entertainment fidelity have grown. The Sonos Playbar has kept on delivering a great experience, but it’s not capable of keeping up with the newest audio standards people want from premium living room entertainment – and the coolest kid in town is now Dolby Atmos.
That’s why Playbar and its 3.0 audio setup is saying farewell and Sonos Arc is stepping into the spotlight with a dazzling 5.0.2 speaker array.
The social media problems with no easy answers keep Nic and Seamus clawing for answers.
Plus pandemic and protest dilemmas for the games industry, Zoom the big winner in its latest financial reports while self-driving cars face big issues in a more hygiene-focused future than anyone was expecting.
Ready to Binge the latest shows and movies? Or is there still a commitment issue behind Foxtel’s latest streaming service? Seamus and Nic think back on Presto, Foxtel Now, Foxtel Play, Foxtel Go, and where you’ll go to play now. Wait… And then they rabbithole about all the little quirks and issues they have with what all the streaming services keep getting wrong!
Plus Twitter adds a ‘Get the facts’ link to some Trump tweets. Is it enough or too little too late? How do the socials fix the misinfo problem from here?