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Red Dead Redemption 2 sets the bar high for the next generation of open world games – TechCrunch

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It’s been nearly a decade since Rockstar Games introduced Red Dead Redemption, a massive open world game with a story about as reflective of American culture as the Grand Theft Auto franchise.

Tomorrow, Red Dead Redemption II goes live after months of breathless speculation. And yes, it’s as good as you dreamed it. That’s not to say that the layers of interactivity, which are a huge step forward for the next generation of open world games, are not without their faults. But the level of attention to detail, the way that the various components of the game work in conjunction, and the intricacy of even the most mundane activities makes playing Red Dead Redemption 2 feel as authentic as being Arthur Morgan yourself.

But before we dive into the review, it’s worth noting that Devin and I each spent less than a dozen hours playing this game before sitting down to write. In fact, according to the progress bar in my game, I’m less than 20 percent of the way through the story, with even less completed of the challenges and the Compendium (index of items discovered/found). This game is so massive, it would be impossible to bring you thoughtful analysis of the story. We haven’t finished it yet.

We do, however, have some early impressions of the game below. For those looking to avoid spoilers, don’t worry — everything we talk about takes place in the first couple hours of the game and we’ve shied away from naming places, characters, and missions.

A world of details

For a game this big, it kind of makes sense to start with the details. It’s evident that this is an environment not just crafted with care, but presented with directorial intent. That’s important to say right off the bat — this isn’t just a big chunk of land for you to wander, but the stage for a story, and a stage that has been dressed with more care than perhaps any game to date.

It’s easy to talk about square mileage, about how many buildings can be entered, about the hours of dialogue you may encounter. But those are quantitative measures when what matter are the qualitative ones.

The details are what set RDR2 apart. Everywhere you look there are details, from the seams and rips on the dozens of coats you’ll see and wear, to the fact that you have to clean and oil your gun regularly, to how the items you buy are actually on the walls of the general store you visit. The dialogue too is remarkably consistent and well acted, and largely free from anachronism while retaining personality and a sense of humor.

Look at that SNOW.

Although it’s difficult to forget that you’re playing a game, these details make it very easy to fool yourself that the world in which you’re playing is a real place. Nearly everything you do, and how you do it, retains the conceit of the Old West.

I can’t even begin to wonder how much work it took to put this together. I had similar thoughts when I was playing Assassin’s Creed: Odyssey, but while the scale and visual grandeur of that game impressed me, RDR2 hits those same notes while also hitting home in the much more difficult areas of authenticity, believability, and consistent direction.

From RDR to L2

One of the loveliest characteristics of RDR2 is how reminiscent it is of the original Red Dead. Riding my horse along a beaten path, normally near a railway, takes me back to 2010. All the things players have done before — shooting, riding, walking through the world — feel similar to the last game, albeit slightly smoother. The cinematic camera (a page out of the GTA playbook) is particularly delightful, especially in autopilot alongside NPCs leading the way.

The world itself is far more alive and full of detail, and this time around, there is something deeper behind each item, NPC, and animal in the game. Red Dead Redemption taught us that our left trigger button was about aim, and aim only. In the next iteration of the game, L2 opens the door to everything else that this immersive world has to offer.

And it’s this untethering of every single object and character in the game that pushes RDR2 steps toward reality, and leaps forward for gaming.

During Story missions, Arthur can use L2 to make real-time decisions about how to ambush a camp. If he focuses on an item on a shelf in the store, the player can open up a menu through L2 to buy or inspect that item. Focus on an NPC walking around camp, and L2 opens up the options to greet or antagonize them. Approach Arthur’s horse, and L2 opens up a larger menu to feed the horse, brush the horse, or pat the horse. But these aren’t just empty actions. Feeding and cleaning the horse fill her health and stamina cores, and patting the horse increases her bond with Arthur, all of which affect the quality of the horse as a tool.

It’s important to note that, if Arthur gun is equipped, L2 defaults to aiming down sights, which sure can frighten a horse or an innocent NPC.

Like a crow bar, L2 cracked open the whole world of Red Dead Redemption. If you can inspect a letter on a nightstand, flip it over and read the back, and put it down again, what should stop you from inspecting a live animal to see if it’s worth hunting. L2 brings up information about the animal like its name, its quality, and what you can get from it.

Intuitive until it isn’t

You can look up from a treasure map (handy) but have to dig through menus to pull it out in the first place.

Not all of the game’s interfaces are so fluid and convenient. Trotting along through town in my horse, I tap L2 to see if I can sketch a bird flying by, or study a farm dog, or hail a passerby (“hey, pardner!”). But then I see my horse is tired and I want to feed it an apple.

To do this I have to hold L1 to open the radial menu, then simultaneously hit R1 twice to get to the horse menu. Then I hold the right stick down in the direction of the item category I want to use, then (while holding L1 and the stick direction) pull the right and left triggers to find the item I want, and let go of L1 (but still hold the stick!) to use it (X and other normal “OK” buttons don’t do it). Are you kidding me?

Meanwhile time continues to pass in the background, albeit slowly, so you’re doing all this under pressure. Hell, someone might even be shooting at you and you’re trying to quaff a health tonic before returning to the weapon menu to pull out the rifle from your horse storage before you get gunned down.

It seems to me that although much of the world and your interactions with it are smoothed and interpreted from context, whenever that wasn’t possible the developers crammed it into this overworked radial menu system. I’ve gotten more used to it as I’ve played, but it still feels like something that started simple and quickly lost its elegance as it turned into a catch-all bucket for “video game stuff.”

There are also systems that are inadequately explained even when there’s opportunity for it. An early mission has you traveling with one of your bandit companions to hunt a big bear he saw a day’s ride away.

I happened to succeed in killing the bear, and loaded my ‘legendary bear pelt’ on the back of my horse. What was I supposed to do with it? Make a rug? I’d heard a little about pelts but precious little. Then I saw on my map that there was a trapper nearby — surely he would provide the tutorial I needed! But although the item’s description specifically said a trapper could turn it into a talisman, the trapper seemed to be able to do no such thing

Did I need to park my horse closer and hail him with it nearby? Did I “have” the pelt, or did it need to be there? Did I need to sell it to him first? Did I have to craft something on my own? Did I need to talk to my mission guy, or the cook who handles pelts in the camp? I had no clue and the game gave me no indication either. I couldn’t just keep it, since it took up valuable space on my horse — I had to turn down giving a lady a ride home because I’d have had to leave the pelt behind.

Ultimately I brought it back to camp, but couldn’t make anything out of it there either. Carts and boxes were everywhere but I couldn’t store the pelt in any of them. I dropped it on the ground and found myself and it teleported to the edge of camp; a message told me that “items dropped in camp will appear in a convenient place” or something. Oh, so the whole camp is a storage area! Nope. As soon as I rode away I was told I’d “abandoned” the pelt and some of its parts would go to the nearest trapper. What?

I don’t envy the developers and the info dumps they have to place like mines throughout this enormous world and story, but it felt like this was just one stumble after another, with relatively core gameplay elements that were almost completely unexplained. It’s an unexpected and forgivable failure given how much goes right, but the contrast is all the more jarring when it happens.

Nothing mundane about it

Eating stew with a beautiful view

RDR2 sets the bar high in a number of ways, but the overarching achievement is how closely this game tries to mimic reality. In some ways, this opens the world up, and in others, it limits you.

Arthur can’t carry around seven guns at once, so his horse stores the guns he can’t carry. If he forgets to equip his guns before running into a shootout on foot, he’s probably in trouble. Likewise, if Arthur goes hunting and loads a bear skin on the back of his horse, there isn’t any room to bring back a bounty target.

But Arthur isn’t just hunting for sport, or even for food. Whereas the last Red Dead focused on hunting as a way to make money, eat, or simply collect animals in the index, hunting now comes with its own system similar to Dead Eye and is paired together with crafting (which I’ll get to shortly).

The hunting system is called Eagle Eye, and it’s slightly reminiscent of the Instinct mode in Hitman. This system lets Arthur track animal trails, paw prints, animal dung, etc. to find his desired prey. Clicking L3 and R3 simultaneously activates Eagle Eye, and then pressing R1 lets you follow the track without remaining in the slow-mo world of Eagle Eye.

Tracking doesn’t work so well for aquatic animals like fish and alligators, but fishing is an easy, laid-back way to gather food or turn a small profit.

Inspecting animals, via L2, ensures Arthur is targeting the right size and quality of animal, and the method by which Arthur hunts affects the quality of the skins. This seems unimportant, but in the exotic world of crafting, you might find yourself caring a lot.

Crafting allows Arthur or other NPCs (like the Trapper, or the camp cook Pearson) to create new items from stuff they’ve gathered in the wilderness. That could mean mixing up some meat with an herb to create a specific dish, which would have its own specific effect on health and stamina, or bringing back a few pelts to have more comfortable and colorful accommodations around camp.

Again, this method of hunting and crafting is more in line with how an outlaw might actually live off of the land in 1899. And in adding Eagle Eye and the ability to craft, the more mundane parts of Red Dead Redemption have come alive. In the last game, hunting was something you stumbled upon. The most interactive piece of it was buying and setting bait. In RDR2, hunting big game like bears and buffalo is nearly as enjoyable an activity as the story missions.

Stone cold or heart of gold?

The honor system from Red Dead Redemption is alive and well in RDR2, but with some added flare. Because the game tries to mimic real life, with all its opportunities and limitations, the honor system is even more consequential now.

Deeper interactivity through L2 allows you to interact with almost every NPC, even those that aren’t involved in challenges or side missions or story missions. What’s more, those NPCs remember you.

In one instance, a man had been bit by a snake and was screaming out nearby a road. I stopped to help him, sucked the poison out, and went on my way. Later, when I rode into town, he was sitting on a bench outside the gunsmith and he called out to me. He said thanks and offered to pay for any gun I’d like to buy inside the gunsmith. My decision to save him, instead of killing him and looting his body, not only gave me honor points but resulted in a reward.

In another instance, I accidentally pulled out my knife when I got in a bar fight. Instead of innocently beating a dude up, I killed him. The townspeople mentioned the murder the next time I came into town, and the only way to get rid of the bounty on my head was to pay it off at the Post Office.

These decisions and their respective results are pretty straight forward. More nuanced, however, is the effect that Arthur’s honor has on the atmosphere of the game. Honor level changes the way that the story plays out, affects the kill cams, alters the music in the game, and changes the way Arthur dreams and writes in his journal.

In the short time we’ve been able to play the game, it’s hard to tell how extremely this affects the game. I did notice, however, when my honor was at its highest level that one of the shootouts was accompanied by up-tempo (almost celebratory) banjo music, and that kill cams had a goldish tint to them. It’s unclear if that was directly related to my honor or not, but it felt like a subtle dynamic change.

This game offers no shortage of customization options, from your horse to your gun to your clothes to your camp. But there is perhaps no more influential factor that separates one player’s experience of the game from another than Honor.

Dear diary

I want to give an especial callout to the detail lavished on the catalogs and books in the game, as well as Arthur’s journal. The tongue-in-cheek period-style descriptions of equipment and clothing items sometimes run to multiple paragraphs, and as there’s no particular hurry for much of the game, why not take the time to read them?

Arthur’s journal is a treat as well. Although it is in some ways just a way to recap the story for you, it’s a pleasure to read the hand-written entries and the main character’s thoughts on events as they played out; missions will be described differently depending on how they ended or choices you made. And meanwhile every place you visit, and every critter you “study” will be sketched in the book in the order you see them.

This isn’t explained or anything, and I was tickled when I figured it out. I had made a long trek back from a mission and stopped by a few places, scoped out a squirrel, some chickens, a deer and some other things in passing. When I went to my journal a few game days later, there they all were in order, as if (as is the intent) Arthur had in fact been jotting them down while I wasn’t looking.

It’s a shame the journal and books aren’t more prominently presented — the journal is in your horse’s pack, or that’s where it ended up for me (or you can hold left on the d-pad — that’s one of the shortcuts briefly mentioned and never brought up again). Take the time to read it and anything else you come across; as much effort was put into the writing here as it was everywhere else in the game.

Not-so-final word

Needless to say RDR2 gets a hearty recommendation from us despite some nitpicks and even a couple serious cracks in the carefully-constructed facade. It’s a landmark game in the open world genre and an artistic achievement in its own right. It’s worth your money.

That said, our limited time with the game, and choice to play it as though we were regular players and not blast through to the end, means we’re unable to evaluate the entirety of the game. I find it exceedingly unlikely that the game gets worse — if anything, it likely gets better as the story and gameplay concepts progress.

Still, there are a few specifics we should mention that we plan to look at over the next few weeks.

Online isn’t live yet and won’t be for a while. This isn’t core to the main game but will surely be a huge draw as the game ages and its quality will affect whether it’s worth picking up again or recommending to a friend a year or two from now.

The honor system, though we touched on it, is pretty hard to test thoroughly even with two people playing in parallel. We haven’t been able to experience how the game changes significantly to accommodate your choice of amorality or virtue.

The story is in many ways just beginning, not to mention the side stories of your camp members and other figures you encounter. Did Rockstar frontload all the good acting and setpieces? Does it fizzle out at the end? Doubtful but we can’t say one way or the other. Once we’ve both finished the game or gotten far enough to feel confident in our opinions we’ll issue a followup review and link it here.

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HTC’s newest headsets signal end of Vive’s 5-year “VR for the home” mission

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Today’s VR-centric ViveCon 2021, presented by HTC’s Vive division of VR headsets, kicks off with two new headset models slated to launch this year.

That’s probably the headline HTC wants VR fans to focus on—hooray, new stuff to strap to faces—but a closer examination of both headsets (and feedback directly from HTC’s executive team) puts a damper on that, at least for any average consumer interested in buying either.

The Vive Focus 3, HTC’s newest “all-in-one” untethered VR headset, competes directly with the Oculus Quest 2, but it costs a whopping $1,000 more than the Facebook-branded option, at $1,299 MSRP. And the Vive Pro 2, a long-overdue spec bump to 2018’s Vive Pro, resembles the earlier model all too much while costing either $799 by itself or $1,399 for its “full kit.”

Those high prices aren’t accidents, as the HTC Vive department is full-speed ahead with a focus on business, enterprise, and public entertainment centers (aka “VR-cades”).

HTC doesn’t want to go downstream

When pressed, Vive General Manager Dan O’Brien confirmed that this month’s event has zero announcements in store for its Vive Cosmos line of headsets—which he also admitted is the company’s “consumer offering for PC-VR.” That’s not great news for VR fans outside the enterprise sphere. The Cosmos’ default inside-out tracking remains wonky, even after getting firmware updates, and its default controllers are an unfortunate mix of heavy and power-inefficient. Something like ViveCon would’ve been a great time to offer assurances for either current or future Cosmos customers. The silence there, as far as I’m concerned, speaks volumes.

When pressed about Oculus as VR’s top-selling consumer option, O’Brien was frank: HTC wants to make its VR money from upfront purchase revenue, not from “downstream” opportunities. He described at length the business model of “some brands” subsidizing expensive hardware at a lower MSRP “with the hope of monetizing downstream on shared services” and “maybe using data-mining tactics to understand user behavior and then run a program that also generates downstream income.” (It’s not hard to piece together who he may be talking about.)

O’Brien is instead bullish about targeting companies in the manufacturing and intensive training sectors who “can find the return-on-investment (ROI), their savings on efficiencies, and time to market, within six months of buying” Vive headsets.

But follow-up questions reveal that HTC isn’t necessarily interested in consumers who are willing to spend more for untethered Quest-like options. On paper, the untethered Vive Pro 3 sure seems like a sexy jump from Quest 2. The only spec they have in common is the Snapdragon XR2 as an SoC. Vive Focus 3 is otherwise an across-the-board jump: a 120-degree FOV (compared to Quest 2’s 92 degrees), a default refresh rate of 90 Hz (up from Quest 2’s 72 Hz default, which can scale up to 90 Hz and beyond), 8GB of RAM (up from Quest 2’s 6GB), and a “5K” display that offers a 170 percent jump in pixel resolution over Oculus’ latest model.

Plus, its granular interpupillary distance (IPD) slider will be great news for many head shapes and sizes that don’t conform to Quest 2’s backwards, cost-saving IPD slider. (That remains a sticking point for me, since every time I use Quest 2, its ill-fitting IPD leads me to headaches within 30 minutes of strapping in.)

Vive Pro 2: Resolution, and little else

I’m cautious to call Vive Focus 3 superior to Quest 2, since I’ve yet to test the headset, but I can already call out one major issue: HTC’s unwillingness to unlock its tethered, Android-powered software suite for consumer-facing software. O’Brien confirms that this decision has enterprise in mind, because HTC “doesn’t want to put any concern for our business customers… that their users would access consumer content.” Womp, womp.

With Quest 2’s rise in sales of both hardware and software, it’s no secret that VR apps are shifting away from dedicated PC-VR and toward Android-based ecosystems. Focus 3 will support both tethered PC-VR via a USB 3.0 cable and wireless PC-VR via the Wi-Fi 6 protocol, which is great news for consumers with libraries on PC storefronts. But its Android software restriction will make Focus 3 a tough sell as a future-proofed Quest rival. (That high cost includes a full HTC warranty, repair, and customer service package, to be fair.)

Meanwhile, Vive Pro 2 only improves upon the original HTC Vive Pro by boosting its frame rate and pixel count—and that’s good news for anybody who has stayed within the Vive ecosystem (complete with its tracking boxes and compatible accessories) and simply wants to jump to 120 Hz refresh and a 260 percent higher resolution than 2018’s Vive Pro. But that assumes you’re a fan of the Vive Pro’s design, weight, strap, FOV, and built-in speakers—and that you’re not interested in perks found in 2019’s eye-tracking Vive Pro Eye.

I’ve yet to test Vive Pro 2, but on paper, its resolution is arguably the only real selling point compared to the Valve Index headset, which retails for $499 by itself (and, in my humble opinion, surpasses the original Vive Pro’s elements in every way imaginable, especially FOV). When pressed on one of the Vive Pro’s worst aspects—its dated, heavy wand controllers—O’Brien basically tells consumers to buy Valve’s Index Controllers. I’m not kidding: “Customers have gravitated to the Knuckles, and we want to be supportive of that,” he says. (Sadly, this means anyone buying the $1,399 “full kit” is getting saddled with the old wands—and that means the kit in question is arguably targeted to non-gaming customers by default.)

There’s no place like home?

HTC could astound us all by announcing another Cosmos headset or update by year’s end—or maybe resurface its augmented reality-minded prototype, the Vive Proton, though O’Brien didn’t mention the latter in our call. Even if that were to happen, I was left with a clear indication that HTC is done with the consumer-facing sector. He had much longer answers to offer about business strategy and enterprise customers than he did about consumer-facing products and plans.

If you’ve been holding out for a great, forward-thinking home-VR option from the HTC Vive division, think of this year’s ViveCon as a very, very loud breakup letter. It’s over.

Listing image by HTC

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It’s the battle of the alien symbiotes in Venom: Let There Be Carnage trailer

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Tom Hardy returns to the big screen as the lethal protector Venom, taking on Woody Harrelson’s villainous Cletus Kasady/Carnage, in Sony’s forthcoming film Venom: Let There Be Carnage.

Tom Hardy (Mad Max: Fury Road) returns as intrepid reporter Eddie Brock, infected with a parasitic alien symbiote that gives him super powers, in Venom: There Will be Carnage. Directed by motion-capture icon Andy Serkis, it’s the sequel to 2018’s box-office smash, Venom. After being delayed for nearly a year due to the ongoing pandemic, Sony just dropped the official trailer, in which Brock/Venom must battle serial killer Cletus Kasady (Woody Harrelson, Zombieland), infected with another alien symbiote dubbed Carnage.

(Some spoilers for first film below.)

A Venom film was in development at New Line Cinema back in 1997, although the project didn’t really get off the ground until Sony acquired the rights to the character, as well as Spider-Man. Sony initially planned for Venom and Spider-Man to inhabit a shared universe, given their history in the comics. (Spider-Man was Venom’s first host, before moving on to Brock, and the character gradually evolved from villain to more of an antihero.) The disappointing box office performance of 2014’s The Amazing Spider-Man 2 changed those plans, and Venom was re-conceived as a standalone film, with Tom Hardy signing on as the star and Zombieland director Ruben Fleischer agreeing to direct.

That first film served as an origin story for our antihero. A bioengineering firm called the Life Foundation discovered a comet covered with symbiotic lifeforms and brought four samples back to Earth. Brock’s then-fiancée, Anne Weying (Michelle Williams, Fosse/Verdon), shows him classified documents revealing that the foundation is conducting human/symbiote experiments. The symbiotes need oxygen-breathing hosts to survive, but they invariably end up killing those hosts.

Hot on the story, Brock breaks into the research lab and ends up infected with one of the symbiotes, named Venom. Venom reveals that the symbiotes are intent on taking over Earth by possessing/devouring all humans, but Brock ultimately strikes up a bargain with Venom, and they decide to protect Earth instead. Together, they take on Life Foundation CEO Carlton Drake (Riz Ahmed, Sound of Metal), infected with a symbiote called Riot.

Venom was released in October 2018 and was roundly panned by critics, several of whom specifically bemoaned the lack of a Spider-Man connection. Audiences, however, begged to differ. Venom racked up $856 million globally and was the seventh-highest grossing film of the year. Hardy had already committed to two sequels, and a midcredits sequence featured Harrelson’s Cletus Kasady taunting Brock (who is interviewing Kasady for a story) from his cell. Kasady vows to escape and bring “carnage,” leaving little doubt as to the villain’s identity in a sequel.

Audiences particularly responded to the burgeoning relationship between Brock and Venom, who remained secretly bonded at the film’s end as a kind of hybrid vigilante. One scene in particular—Venom giving Brock a lingering French kiss while transferring from Anne’s body back to Brock’s—launched a thousand ships for “Symbrock.” Sony embraced the fan response by marketing the home release with ads playing up romantic-comedy overtones.

The trailer for Venom: Let There Be Carnage plays up more of a bromance/odd-couple angle, opening with Brock and Venom preparing breakfast—with mixed results—as Venom raspily sings along to “Let’s Call the Whole Thing Off.” Brock’s friendly neighborhood convenience store owner, Mrs. Chen (Peggy Lu, Always Be My Maybe), is back to provide comic relief, Williams reprises her role as Anne Weying, and Naomie Harris (Skyfall, Moonlight) plays a secondary villain named Shriek—because even serial killers like Kasady need a love interest, and this one can manipulate sound.

Other than Kasady’s escape and emergence as Carnage, the trailer gives little away as to the actual plot, although there do seem to be elements from the Maximum Carnage storyline. Chances are, if you enjoyed the first Venom film, you’ll like the sequel, too.

Venom: Let There Be Carnage opens exclusively in theaters on September 24, 2021.

Listing image by YouTube/Sony

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Sony says PS5 could be difficult to find into 2022

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Enlarge / This Sony engineer can get a PS5, but millions of others can’t, thanks to short supplies that are likely to continue.

Sony thinks demand could continue to outstrip supply of the PlayStation 5 into 2022. That’s according to a Bloomberg report citing a number of unnamed analysts who listened in on an explanatory call following Sony’s recent earnings report.

“I don’t think demand is calming down this year, and even if we secure a lot more devices and produce many more units of the PlayStation 5 next year, our supply wouldn’t be able to catch up with demand,” Sony CFO Hiroki Totoki reportedly said.

Sony has been warning for months that worldwide shortages of semiconductors and other components have made it hard to increase production for the PS5. But this is the most direct sign that those shortages will extend past this year and into the next.

Sony President and CEO Jim Ryan said in February that he expected PS5 supplies would “get better every month throughout 2021,” leading to “really decent numbers indeed” by the second half of this year. But Totoki amended that statement in April to say that it’s “not likely” Sony could “drastically increase the supply” before the company’s fiscal year ends in March 2022.

Supply problems aside, demand for the PS5 seems to be matching that of the early days of the PS4, which has sold over 115 million units to date. The PS5’s 7.8 million sales through March and 14.8 million additional projected sales in the current fiscal year are broadly in line with sales of the PlayStation 4 at the same point in its life cycle.

But while the PS4 was in short supply in the early months of 2014, by August of that year, Wired was citing the lack of retail PS4 shortages as one reason behind the system’s unexpected success at the time. In other words, the difference between shelves full of PS4s and shelves empty of PS5s is due to the supply, not demand, levels between the two systems.

Totoki reportedly told analysts that he “can’t imagine demand dropping easily” for the PS5, and that situation would continue to put pressure on Sony to increase supplies in any way it can. But with the company already taking a loss on every system sold, spending more money to secure scarce chips over competitors could be difficult (if it’s possible at all).

Put it all together, and you have a situation that could mirror that of the Nintendo Wii, which remained hard to find on store shelves for well over a year after its late-2006 release. That situation got so bad that former Nintendo of America President Reggie Fils-Aime had to actively deny that there was a conspiracy to keep Wii supplies artificially low.

Today, of course, Nintendo is facing the same semiconductor shortages as Sony in trying to keep up with demand for the Switch, as are many carmakers. All told, it looks like the “big scramble” for silicon chips is set to continue for a while.

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