Around the 1950s, an idea sometimes called the "auteur theory" emerged in moviemaking. It was a tidal shift that emphasized the vision of the director as the key component to a movie’s identity, as well as its success or failure; before this, directors were hired guns and producers ran the show. Some credit the French New Wave with driving this concept home, but whoever popularized it, it’s become mainstream. Video games have not experienced this; audiences do not look to a mythical man behind the curtain when they play a game they love. We do have a concept of important studios, however; organizations that consistently release idiosyncratic and effective products. In some ways, the relationships we form with them are more satisfying than a bond with a single person, they are not prone to the sophomore slumps or crazy meanderings that celebrity artists seem incapable of avoiding.
And so, I find it necessary to do a little probing and present my list of the ten best game developers of the past few years. This is by no means authoritative, and I welcome all corrections/suggestions/angry accusations, but I feel it does represent an A-team of video game talent. I’m also not doing an "all time" list, we’re just sticking with the guys and gals who have been making waves lately. This isn’t because the past is unimportant, it’s because I don’t feel like doing the bloody research. I’m sure you can sympathize.
HERE WE GO!
10. Criterion Games. Started in 1996 with the aim of popularizing 3D middleware, Criterion Games took a while getting its footing. In 2001, they launched a frenetic arcade racing IP called "Burnout." Like the developer that made it, "Burnout" had a stumbling start, but by the time "Burnout 2: Point of Impact" hit the shelves, there was no denying it. Running against the grain of realistic or tuner-culture oriented racing, "Burnout" became legendary for a sense of speed that made the competition look like whimpering suckers. It wasn’t just fast, it was insane. Add to that the gleeful destruction-based game play modes and you had a truly unique beast that caught on fast.
The series trail-blazed again in 2008 with "Burnout: Paradise." Even though it was a smashing success right out of the box, "Paradise" was only beginning to form its legacy. Criterion began energetically supporting their product with waves of DLC, some of it free and the rest competitively priced. Gamers were getting boat-loads of new content, almost more than they could handle, and they were paying what seemed like pennies for it. Unlike the crass map packs that populate shooters these days, Criterion seemed to craft each new add-on as a love letter to the fans, and they responded with equal adoration. "Paradise" became an organic, living thing–a gift that kept on giving. It set a new standard for videogames that are no longer static products, but platforms all their own. For this reason, Criterion is one of the most important game developers around.
9. Irrational Games. Never underestimate sleeping giants. Irrational Games was formed from the remains of the esteemed Looking Glass studio, and their opening salvo, "System Shock 2," was a complete revelation. Merging heavy RPG elements into a shooter without getting lost in them, "Shock" also succeeded as a captivating science fiction story and an utterly terrifying horror game. The critics frothed at the mouth, and rightly so; very few games have ever done so many different things right at once. And then, silence. Legal issues and abandoned projects haunted the studio for years. What they did produce, from "SWAT 4" to "Freedom Force," could hardly be put in the same league with their greatest work. The studio had sent shockwaves with its horror-tinged shooter RPG, and then abandoned the genre out of nowhere. What was going on?
Out of the depths came "Bioshock," a steampunk spiritual successor to "System Shock 2" that dropped on the Xbox 360 and shattered the world. Taking narrative innovation to a completely new place, Irrational (annoyingly re-dubbed 2K Boston) left the video game world with its jaw on the collective floor. Hundreds of gamers sat in front of their TVs, staring down at their controllers, feeling manipulated and exposed in a way that no one realized the medium was capable of. In spite of the sequel’s tepid retread of the same material, the dual achievements of "System Shock 2" and "Bioshock" remain hard evidence that Irrational (which has since reclaimed its original name) is as influential as they come.
8. Epic Games. It’s hard to imagine the same creative staff that gave us "Jazz Jackrabit" becoming the rock-stars they now are, but truth is stranger than fiction. Epic, like Criterion, wandered for years in search of a calling, but once it found its place it dug in hard. They went up against "Quake" in 1998 with "Unreal," achieving mixed results: the critical reception was warm, but their new IP was too derivative to make a mark against its competition. A few years down the road, Epic brazenly beat its old rival to the punch by releasing "Unreal Tournament" mere days before "Quake III: Arena’s" debut. A bold move, but they had the goods to back it up: UT was a better game than Q3, and it wasn’t long before vicious schisms in the gaming community began forming over brand loyalty (http://www.penny-arcade.com/comic/1999/12/15/). The "Tournament" franchise flourished with a wave of hot-selling sequels, while "Quake" shuffled back to the drawing board (they have not recovered to this day). Epic was now a major player in the shooter game.
And yet, their greatest achievements were still ahead. Within a few years, the "Unreal" engine became the hottest ticket in town, outpacing competitors year after year. Even now, Epic’s ingenious architecture forms the backbone of dozens of games from "Batman: Arkham Asylum" to "Mass Effect." I’m not saying it’s the best and most versatile engine in existence, but I’m not saying it isn’t either. This alone would earn them a spot on the list, but they weren’t done yet. Epic sensed that they had not really brought enough new ideas to the FPS market, and moved to change that with 2006’s "Gears of War." The futuristic horror-shooter was built around a revolutionary cover system, the likes of which had never really been seen in the action/fantasy world. The impact was tremendous, soon even "Grand Theft Auto" had a cover system. What’s more, few doubt that "Gears" was the game that made the Xbox 360, single-handedly selling millions of consoles. Microsoft’s former darling "Halo" was now put on notice, and Epic yet again dug in its heels on a worthy adversary’s turf. Any studio that hoists an entire gaming platform up on its shoulders–especially with a single game–deserves recognition as one of the greats.
7. Rockstar. Few names were ever more appropriate. Rockstar games set out from the beginning to be controversial, and that’s exactly what they were. Still, controversy is not their true legacy. "Grand Theft Auto" and "GTA II" were fascinating games, but their birds-eye view felt like a concession to technology that held the series back. Frustrated, Rockstar went back to the drawing board and invented a new genre: the sandbox game. The next iteration would take a massive technological leap forward, a bold and terrifying gamble that no one was sure could work. It worked. "Grand Theft Auto III" opened up an entire city before the player, and gaming was never the same again. No one had ever seen that level of freedom successfully implemented before; it opened eyes, spurred imaginations, and demanded imitators. Nearly a decade later, sandbox games are still relentlessly en vogue, and Rockstar remains the best producer of them in the world.
While GTA is certainly their crown jewel, Rockstar has dabbled with great success in everything from horror to racing. Their throwback noir action piece "Max Payne" pioneered "bullet time" game mechanics, another revolutionary trend that has persisted since. "Bully" relocated the sandbox genre to a prep school with great success, "Midnight Club" created a racer with genuine cultural personality, and "Manhunt" courted infamy with its horrific violence. Wherever they go, Rockstar seem to set trends that the industry is helpless to resist. No one could call them makers of family games, and their shock tactics have a way of wearing out their welcome, but Rockstar has nonetheless been as influential as any other studio in existence in steering the direction of hardcore gaming. If they don’t belong on this list, no one does.
6. Sony Computer Entertainment Inc. The Playstation’s impact on the gaming world can probably never be accurately calculated. And yet for all the talk of switching to discs from cartridges, or implementing DVD players and wireless technology, none of it would mean anything without a solid software foundation to build on. SCEI embraced that challenge head-on, entering a market nearly dominated by Nintendo and insisting on a seat at the table. They were unintimidated by Mario and Link, and fought tooth and nail to develop their own IPs, which would give them their own legacy. At first they tried to imitate Nintendo too directly, winding up with still-birthed IPs like "Crash Bandicoot" (which has hobbled on ever since, miraculously). When this led them nowhere, they were forced to stop thinking of themselves as "the other Nintendo" and start making a product their competitor couldn’t. Now the hits started coming in: the unstoppable "Gran Turismo" franchise, "SOCOM," indie darling "Shadow of the Colossus," and mega-hit "God of War" to name just a few. Sony positioned itself adroitly as the game developer for grown ups, offering more hip and sophisticated fare.
Today, SCEI’s diligence, and eye for talent has saved the freefalling PS3 from oblivion. New franchises like "Killzone," "LittleBigPlanet," "Resistance," and especially "Uncharted," have given second wind to the flailing platform, swinging it around on its heels and guiding its hand to a vicious haymaker across Microsoft’s jaw. Few other companies have steered such a vast empire of creativity with so much success. Sony may have gotten to the party a little later than Nintendo, but they made up for lost time, and along the way managed to become one of the most important companies in their field.
5. Bioware. Video games have yet to earn the respect they deserve from the outside world, but if anyone is going to get the job done, it’s probably Bioware. This Canadian developer has been hammering out novel-worthy fantasy narratives ranging from space operas to medieval wars since the mid 90s. They adopted the JRPG focus on elaborate plots and intricate combat, but updated it with Western cinematic storytelling techniques and brisk, exciting visuals. Simply put, they kicked RPGs squarely in the behind. Furthermore, Bioware’s is a legacy of consistency across platforms and party lines: "Neverwinter Nights" dominated the PC RPG scene, "Star Wars: Knights of the Old Republic" was second only to "Halo" in securing Xbox’s success, and now "Dragon Age: Origins" has seen a warm reception on the PS3 and 360. Few developers have built a product so well in so many different places.
Technology is not the heart of Bioware’s importance, however. Their true mark on the industry is their unerring focus on characters, ideas, and story, and their fascination with giving the player choices. "KOTOR" is generally regarded as the prequel that "Episode I" should have been, "Mass Effect" single-handedly birthed a whole new science fiction universe, and "Neverwinter" is still spoken of in hushed tones. Morality systems had been played with in games before "KOTOR," but no one can deny that Bioware led the charge and revolutionized narrative techniques with their Xbox exclusive. Furthermore, Bioware may be the single most important studio in the fight for the respect video games have always been unjustly denied. Their rich, character-focused narratives and thought-provoking moral conundrums prove that this artistic medium has more on its mind than collecting power ups. They have simply never put out anything less than a stellar game, and their career hasn’t been short. There are many RPG studios out there, but only one Bioware, and its place is here on this list.
4. Bungie. Once upon a time, "Halo" was a meek little RTS/3rd person action game that was headed for release on the Mac. But someone at Microsoft had an eye for talent, and they saw in this new space-marine shooter the kind of quality that could build a gaming empire. A few years later, "Halo: Combat Evolved" launched with the Xbox and, against all odds and predictions, put Microsoft in the game for good. The cinematic scope of the game was breathtaking, but its smooth controls were even more impressive, proving once and for all that consoles were a fertile ground for the FPS genre. "Halo" was Xbox specific, it not only worked on its chosen platform, it actually did some things better than a PC shooter could have. When the inevitable PC port of "Halo" was released, it was now the console players who snickered at PC guys, correctly observing that the essence of the game simply didn’t translate. No one would ever be able to sneer at the console crowd again.
And yet, compared to their next achievement, this seems almost trivial. "Halo 2" was practically the maiden voyage of Xbox Live, and it single-handedly brought the service to the forefront of the industry. Smooth matchmaking allowed for a level of competition and socializing between "Halo" fans that was unheard of on the console. You can debate the quality of the single-player all you want, but the multiplayer aspect of "Halo 2" ran like a Swiss watch right out of the gate. It was a game-changer. Again, Bungie had taken something PC elitists claimed for themselves and given it to the people. "Halo 3" pushed the Xbox 360 to its limits with unprecedented four player campaign co-op, absurdly innovative design features like the Forge, and the awe-inspiring ability to record entire matches verbatim. It also trailblazed community interaction with the developer, especially on the esteemed Bungie.net website. All of this adds up to Bungie being one of the most important and legendary (get it?) game designers in recent history.
3. Valve. In terms of quality and innovation, Valve is probably the greatest single hardcore game designer in history. Nothing they make even borders on casual, and in an age of watered down motion control junk, that’s a badge of honor. They started with "Half Life" in 1998, which set the standard for immersion-style FPS. No cutscenes, no ammo boxes or med packs where they wouldn’t naturally exist, a completely tactile and cinematic game environment. "Half Life" became a monster all its own thanks to Valve’s open-door policy with amateur designers. Because of their unfailing support of and love for their customers, Valve’s games were adapted into breathtaking new franchises like "Counter Strike" and "Team Fortress" by everyday people. Valve cheered and embraced them, and as a result these IPs would go on to make millions for the company. They displayed that they trusted and cared about their fans in a way that no other studio ever had, and they were rewarded triple fold.
"Half Life 2," released after a lengthy seven year gap, also changed the landscape around it, but Valve was not done yet. In 2007, they unleashed "The Orange Box" for Xbox 360 and Playstation 3. Simply put, this was the best bang for your buck any gamer had received ever: "Half Life 2," "HL2 Episodes I and II," "Team Fortress 2," and "Portal" were all included for the price of one. Not a single offering in the bunch was anything short of masterful, but the titan was meek little "Portal," a revolutionary puzzle game with a wicked sense of humor. It was so good, no one cared it only lasted three hours. Valve broke down barriers again with "Left 4 Dead," a revolutionary cooperative zombie shooter that implemented an AI "Director" who built the game around the player’s performance. Throughout it all, they simply refused to sacrifice the quality of their content or their love for the average gamer. Add to that their pioneering digital distribution network "Steam," and you have a company that stands as the last vanguard of the old school video game. When everyone else has gone the way of Wii Sports, these guys and gals will still be holding it down. They are class acts, they are champions, and they have no peer.
2. Nintendo. When the Wii was released in 2006, the world collectively scoffed, and some wondered if Nintendo had finally lost it. Then those same people beat an old lady with a Wiffle ball bat in a Toys R Us on Christmas Eve to try and get their hands on one. The Wii signified what Nintendo called "Blue Ocean" strategy, veering away from the Xbox-Playstation turf war and snagging the casual gamer by the throat. Many had tried to entice the mom/girlfriend demographic, but Nintendo understood that they had tocommit to that market fully before they were going to see results. That meant taking a risk. It also meant inventing a new kind of gaming, one that wouldn’t scare off newcomers. Hence, motion control.
Like George Lucas discovering you could make toys from movies, some of Nintendo’s groundbreaking work is ignominious at best. Many wonder aloud if they aren’t corrupting the medium with throwaway software aimed at people who don’t care about gaming. Others accurately gripe that an honest appraisal of the Wii’s catalogue comes up short of quality selections. Nonetheless, Nintendo has rocked the landscape of electronic entertainment, and proven yet again that no one does it better than them. Video games will simply never be the same again. Many of us counted Nintendo out of the race, and now they lead the pack by an embarrassingly wide margin. The lesson is well learned: never bet against these guys, they were doing it before you were born.
1. Blizzard. Less a company than a living, breathing monster, Blizzard’s death grip on its gamers borders on the downrightmaniacal. They have a keen eye for IPs, pretty much every new franchise they’ve launched has become a money-making factory, and their stubborn refusal to commit to release dates means they get treated with a Hitchcock kind of respect and deference. Everybody, and I mean everybody, sits and waits patiently for Blizzard to feel like releasing a new game, because every time they do, they destroy everything around them. Their gift is not innovation, but perfection: they take what others have done and make it cleaner, faster, better. Each Blizzard game, from the point-and-click dungeon crawler "Diablo" to the space age RTS "Starcraft," is the definitive member of its respective genre. Every time they come to town, they conquer.
And then there is "World of Warcraft," the single reason they are in the number one spot as opposed to number two. WoW is not simply a game, it is a full-on cultural phenomenon, and it has absolutely no precedent. WoW costs over $130,000 to maintain per day, about the equivalent of purchasing a new Audi S8 every 24 hours. It has more players than New York City has residents. Americans log over 20 hours in it per week, and we’re not even the most addicted nation. China has laws about how much it can be played. It produces more revenue than the entire country of Samoa. People have died playing it. At some point, all of this information builds up until "World of Warcraft" is not a game anymore. It is something other, and whatever that thing is is a little terrifying. It is design perfection pushed so far to the extreme that it ensnares entire lives, consuming whole human beings into its magical realm. It is a technical marvel, an 8th wonder of the world, and it will come to be a defining moment in human existence. No game, and no game developer, has ever ascended to that level of prominence. Matter of fact, very few things produced by human beings, period have either.
The funny thing is, MMO experts will tell you that there’s nothing revolutionary in the design of WoW. Like every Blizzard game, it is simply the perfect culmination of a genre, the defining essence that every other studio has labored towards but never achieved. Blizzard’s success stems not from setting trends or introducing new mechanics, but by engineering their products to a point of precision that resembles the singularity of a black hole in its absoluteness. Every developer on this list is a modern legend worthy of respect and admiration, but only Blizzard has the ability to actually frighten the gaming community. They have shown us the dark side of our past time, its ability to consume us into a world so beautifully designed we prefer it to reality. Blizzard is a monster, and God help you if you’re in their path. (http://www.pixlmonster.com/gaga/wow/)
