Why I won't be buying an Xbox One or a PS4

As a veteran of many Console Wars, Alan Williamson believes that the best console is the one you have with you.

This year brings the most boring games console launch in history. I don’t mean that in a hyperbolic, share-this-incendiary-link-with-your-friends way: having lived through and been an active combatant in four generations of console wars, like many former soldiers I have now become an advocate for peace.

The First Great World Console War broke out in the early Nineties between Sega’s Mega Drive and the Super Nintendo Entertainment System (Nintendo’s progress in the 1980s was more a swift annexation). Both manufacturers were then broadsided by the introduction of the Sony PlayStation in 1995. Since then we have descended into effective Cold War, an ever-escalating technological arms race between equally weighted armies with few casualties. While there was isolated fighting in smaller Handheld Console Wars, a gaming Vietnam where Pokémon waged a guerrilla war for children’s minds, the Fourth World Console War ended with over eighty million consoles sold for each belligerent. I’d make an analogy about PCs and the United Nations, but I think the metaphor is already stretched to breaking at this point.

Each generation of the Console Wars had its own innovations, each console its own personality and fan base. The second saw the birth of affordable 3D graphics and some of the most critically-acclaimed games of all time, such as Legend of Zelda: Ocarina of Time, Metal Gear Solid and Final Fantasy VII. The third was dominated by Sony’s PlayStation 2 (don’t blame me, I had a Dreamcast) but also saw the beginnings of online play and the rise of Xbox megabrand Halo. We’re now at the tail end of the fourth generation, which has brought consoles mostly up to speed with PCs through high-definition graphics and digital distribution of games.

The war has reached a stalemate: Sony and Microsoft still rule in their home countries, while a Nintendo Wii gathers dust in every living room of the developed world. As a consequence of the global recession, game publishers have tried to extract even more revenue from a squeezed market. Witness the rise and demise of the loathed ‘online pass’, now replaced by the euphemistic ‘season pass’; paid downloads on day one that unlock content already on the disc; pre-order bonuses; and free to play games - or as I like to call them, pay to play games. History will show this generation as one that expanded the monetisation of games as much as the experiences themselves, often to the detriment of fun and artistic merit.

So here we go again with two new omnipotent wonderboxes, the PlayStation 4 and Xbox One. The games look much the same as the old ones: of course, similar criticisms were levelled at the Xbox 360, but even a layman could appreciate the beauty of Project Gotham Racing 3 compared to its predecessor. Perhaps it was the somewhat-sweaty razzmatazz of Earl’s Court at Eurogamer Expo in September, but I just couldn’t tell the difference between Forza Motorsport 5 and Forza 4, and I’ve played over fifty hours of Forza 4. With big franchises like Call of Duty and Assassin’s Creed launching on both consoles, as well as their predecessors, the choice is based more on ideology and available funds rather than real quantifiable differences. In fact, with so few games available, it makes less sense to buy a PS4 than a PS3.

Games journalists are in a difficult position. Those who haven’t been invited to New York for a complimentary gold-plated PS4 (I’m writing on a train travelling through Slough, but thanks for asking) will have pre-ordered the expensive new consoles to support their job, adding buyer’s remorse to an increasingly-dominant business model of offering their words online for free, funded by advertising. This model relies on hyperbole: every month a new ‘best game ever’, every day an announcement of something on the horizon, every minute a constant stream of rumour posts. It focuses on sensationalising games and the machines that play them, rather than criticising them. It encourages critics to follow the zeitgeist rather than dwelling on the games that linger in our minds. It blurs the lines between editorial and advertorial: after all, what is a news post about a PlayStation TV commercial if not advertising?

The YouTubeisation of publishing elevates every berk with a webcam and an opinion to the same level as the seasoned journalist. The Twitterisation of news encourages news-breaking, but not fact-checking. This isn’t unique to coverage of videogames, but the medium is entangled with technology and therefore at the forefront of innovations in publishing. Meanwhile, channels like PlayStation Access and Nintendo Direct show that publishers can successfully skip the middleman and advertise directly to customers. A new generation of games consoles deserves newer, deeper ways of looking at them - something outlets like Press Select, Boss Fight Books and my own Five out of Ten are trying to address. But we may be at the stage where readers are better served by the groupthink of their peers than the proclamations of journalists, where real decisions are made and discussions are had below the line.

While we’re keen to proclaim that videogames now generate more revenue than cinema, few have asked whether that was sustainable or even desirable. While digital distribution has led to a bigger market for indie developers, especially on the PC and smartphones, the biggest successes like Call of Duty and Battlefield are better for their publishers than the people that make them. In the UK we’ve seen the closure of much-loved studios like Blitz Games and Sony Liverpool, while other British studios like Rare have lost their lustre; the team that made the charming Banjo-Kazooie and Viva Piñata now produce bland sports titles, a reflection of the wishes of their corporate overlord Microsoft. The industry undervalues its creators and programmers, encouraging a ‘crunch’ culture with unpaid overtime and ridiculous hours. This system where distributor-takes-all reminds me of the Hollywood visual effects studio Rhythm and Hues, which won an Oscar for Life of Pi before declaring bankruptcy. If videogames really are such an important industry, they can do a lot better than emulating Hollywood in content and working culture.

Some pundits believe this may be the last console generation. I’d like to believe otherwise. I have fond memories of consoles and continue to make more: they provide a cheaper entry point into the fantastic worlds of fiction that games offer, without the expense or complexities of a PC. Yet perhaps games have outgrown the traditional model of consoles: the exponential growth of indie games is better suited to the less restrictive system of a personal computer, mobile phone or even the Ouya ‘microconsole’. Valve’s SteamOS promises the power of Linux married with their friendly distribution platform. While Sony and Microsoft are taking steps to open development on their consoles, their revenue model is built on strict control of the system: they focus on making money off the games they sell, not the platform itself.

Even more exciting are devices like the Oculus Rift, a virtual reality headset that offers a sea change in the way we play games. However, according to its creators it requires tremendous computer horsepower to be convincing - more than even the Xbox One and PS4 can provide. For years, consoles offered the best way to play games, but with that advantage gone they’re like digital cameras in a world where everyone has a camera built into their phone. I choose that analogy carefully, because I think portable consoles like the Nintendo 3DS are much better than an iPhone for games, but there’s a trade off between quality and the utility of having an all-in-one device. The best console is the one you have with you.

“War never changes,” mused Ron Perlman in the introduction to 2008’s Fallout 3. But this is a war that needs to change if games consoles are to expand, or merely retain their cultural relevance. Consoles used to represent inclusivity and the comforts of socialising with friends, but now they are targeted at an audience - and a medium - which is growing up and leaving them behind.

What should I buy?

I don’t play games, but I’d like to start

Nintendo’s latest console, the Wii U, is an underrated box. It’s cheaper than the competition and can play older Wii games as well as its new, shinier ones. Nintendo still make the best games, appealing to both children and adults like the videogame equivalent of Pixar. Unfortunately, also like Pixar, they release one great product every two years. Super Mario 3D World and Legend of Zelda: The Wind Waker are better than anything PlayStation and Xbox can offer this year.

Not only is the iPad a great computer, it’s also a great way to play games. But please avoid the mainstream tosh like Candy Crush Saga and instead try innovative titles like The Room, Year Walk and Device 6.

As an alternative, the website Forest Ambassador lists free five-minute games that work on most computers, and has the feel of a hippie art gallery. Hopefully, that last sentence will tell you whether you’ll like it.

I play games on my phone and want something better

The Nintendo 3DS goes from strength to strength with life absorbers like Animal Crossing and Pokémon X, plus the usual Mario, Mario Kart and Zelda. Since you probably won’t use the retina-bursting 3D functionality, you may as well buy the cheaper 2DS. It can also play games from the vast library of DS titles.

Steam is a free download for any computer running Windows, OS X or Linux and has an unrivalled library of games, from the biggest new releases to smaller (but no less compelling) games like Spelunky, FTL: Faster Than Light and Redshirt.

I want the best gaming experience available

PS4, Xbox One or a monster gaming PC. Choose a side, then spend the next five years of your life attacking the option you didn’t pick in internet comment threads.

Alan Williamson is Editor-in-Chief of the videogame culture magazine Five out of Ten

The new controller for the Xbox One. Photo: Getty
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How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.