The trend for re-issuing last-gen games on PlayStation 4 and Xbox One has attracted fierce criticism. We take a look at how developers can turn this into a positive for the whole industry.
The sales charts in August were completely dominated by one game: The Last Of Us: Remastered. Naughty Dog’s updated PlayStation 4 iteration of last year’s PlayStation 3 triumph further energises an industry-wide trend for reissuing popular last-gen titles on Xbox One and PSA, and was only knocked from its perch by the re-release of Diablo III: Reaper Of Souls Edition.
This comes hot on the heels of similarly repackaged titles in Tomb Raider: Definitive Edition and Ray man Legends, and arrives before a veritable onslaught of more that include Metro Redux, Grand Theft Auto V and, if persistent rumours are to be believed, Beyond: Two Souls.
Unsurprisingly, this approach has generated a considerable amount of criticism. In lieu of significant, triple-a publisher-backed new-gen exclusives released on PlayStation 4 and Xbox One, early hardware adopters have bemoaned what they believe to be a cynical approach to making a fast buck from recycled software. But are they right to be aggravated? Is there an over-reliance on this next-gen upgrade business model? And why should we care about it so much?
It’s a question of value. There’s a clear and damaging disparity in perception that exists between developers and consumers in not just how much these products cost, but what they are worth. The Last Of Us: Remastered on PSA is retailing for around £35, which isn’t much cheaper than the original on release, and offers improved graphics alongside previously released downloadable content. There’s a clear saving to be made here given the volume of additional material that previously cost PS3 owners a premium. However, it’s all existing content presented with a visual upgrade. It’s a coup for PSA owners who missed out during its original release, but what about those looking to double-dip? With the lack of backwards compatibility, loyal patrons deserve better, and there’s a lack of meaningful incentive to revisit games on improved hardware.
No doubt that won't matter for some fans, and that’s fine. It’s one of the most popular games of all time, and looks better than ever. But we should expect more. Where are the deleted scenes? What about a new game mode, a behind-the-scenes documentary or an art book? At the moment, the passion is one-sided; the effort a little lazy.
It's not a new situation, of course. The last generation featured a collection of series remasters (Splinter Cell, Tomb Raider), not to mention particularly iconic titles like Resident Evil getting an update every few years to keep up its relevance. But there’s something more immediate and immature about the current approach to the concept, and it appears that only a select few understand how to make it both sustainable for the industry and immediately gratifying for the gamer.
Metro Redux excelled in this regard. Not only does the combo pack offer both Metro games in 4A Games’ underrated series of atmospheric shooters, but 4A Games has made important changes to both the gameplay and design to enhance the original experience, implementing new modes and features that change the game on a fundamental level.
More importantly, it gave something back. For all those that spent hours soaking up the rich ambiance of AA’s bleak apocalyptic world, Redux delivered new and exciting features - an altered experience that refreshed the world.
The post-recession industry has suffered, with the inflated cost of development on newer platforms becoming a risk. Take the Tomb Raider reboot that, on its debut, was reported to have failed to meet the sales targets set by Square Enix. But given the popularity of the franchise and the demand for a sequel, a second opportunity at retail for Crystal Dynamics may have helped secure the funding needed to make Rise Of The Tomb Raider a viable financial investment.
There’s no denying that Beyond: Two Souls was a risk for Sony. It was a new platform for David Cage to explore the possibilities of interactive storytelling and subvert traditional videogame mechanics. If a successful re-release meant that Cage got another opportunity, isn’t that something to rally around? What if The Last Of Us: Remastered didn’t just help Naughty Dog make another Uncharted, but pushed them into developing another original tale set against the backdrop of another richly evocative world we’ve yet to see?
The challenge that lies ahead for developers is to not take their audience for granted. Fandom is one of the most powerful weapons on our industry’s side, and rewarding those that wield it takes a lot more than some neat particle effects; it takes effort, resources and an appreciation from the people that inspired it in the first place. If we can get that right then this burgeoning trend could be a positive for everyone.