In the bouncing, growing world of videogames, Microsoft has found its home, uniting art and tech. But while the market roars for bigger, better games, the tech company wants to aim for the elite: the $60 one-disc game. It’s a story that shows Microsoft’s ambition to stop playing games as we know them.
This is at odds with the tumultuous operational changes we were seeing take place at Microsoft, which included a cry for more, smaller award-winning games, after shutting down studios including the much celebrated Tango Gameworks, the makers of Hi-Fi Rush, which was well-received by players and critics alike.
In a long email to employees, Jeff “Digitally Remastered From The Original Masters” Eisen, head of Xbox Game Studios, and Jill Braff, vice president of communications at ZeniMax, were even more expansive: Something for everyone is nice but it leaves the Xbox brand without a clear identity. We need a clear allocation of resources. As you make your 2021 plans, be sure to consider publishing only games of a certain calibre. We’re not looking for blockbusters, but games that get the highest rating and akovation of the year in our publications and across all the major review outlets – the kind of games with a clear and unique identity that are easy to talk about and market. Weeks later, a palpable sense that Microsoft had pivoted away from blockbusters towards funding more smallish but laureate-baiting games emerged in threads of internal correspondence.
Even if Tango Gameworks closed down, Microsoft leadership was sure to praise Hi-Fi Rush, which, for better or worse, set a precedent for the type of game Microsoft will be looking for to follow up these big successes. Hartsough and company might have settled on a niche with Hi-Fi Rush – a rhythm-action mashup that turns rock concerts or city raves into whole-body thuds – but it reminded Xbox fans that something small can still have a significant impact.
Decisions to cull some of its studios raised questions about what it might be aiming for. ‘The simplified structure allows us to focus on storytelling, reorient resources and invest in innovation,’ Booty explained. ‘We have evolved a look forward to aid us in creating lightweight, super flexible creations that unlock more stories and experiences in this fast-growing entertainment environment.’ What Microsoft is talking about is a future in which games are cultural artifacts, valued, awarded, and shared rather than flushed away like passing entertainment.
What seems to be going on inside Microsoft represents nothing less than the project of turning gaming into a realm of artistic creation, narrative complexity and artistic expression that could one day nudge gaming closer to high art and cinema.
Despite the bold vision, there are few signposts on the road and the balance between the commercial and the artistic is precariously placed. As Microsoft hovers choosing its future path, it will have much riding on proving that the gaming landscape is just as ready to celebrate smaller award-winning games as it is to shout ‘by Gamers, for Gamers’ about its headline-grabbing behemoths.
To understand what’s going on with Microsoft’s move into gaming, we first have to place it within the ecosystem that it is working in. For example, Microsoft is a tech behemoth whose influence on the culture of work, technology and innovation cannot be understated. When Xbox Game Studios says ‘let’s do that’, it is doing more than deciding on a fun game. It is deciding how popular narratives and technologies will mix and how digital experiences will come together. The decisions Microsoft makes today about what games to make could affect their industry for decades – if their Azure cloud-streaming service takes off. Microsoft wants to do more than simply participate in the gaming world, more than just compete against Sony, Valve and others who are driving how games are played and imagined. The company wants to reinvent how games are made, so that they are richer, more diverse, and more awarded.
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