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March 13, 2010

Best Of Indie Games: Taking to the Skies

[Every week, IndieGames.com: The Weblog co-editor Tim W. will be summing up some of the top free-to-download and commercial indie games from the last seven days on his sister 'state of indie' weblog.]

This week on 'Best Of Indie Games', we take a look at some of the top independent PC Flash/downloadable titles released over this last week.

The goodies in this edition include a turn-based aerial dogfight game, a puzzle platformer by Karoshi creator Jesse Venbrux, an interactive fiction game about the Russian Roulette, a visual novel, and a game about gardening that doesn't feature zombies in it.

Here's the highlights from the last seven days:

Game Pick: 'Steambirds' (Andy Moore and Dan Cook, browser)
"Steambirds is a turn-based aerial dogfight game that is viewed from a top-down perspective, where players are given command of a squadron of planes with their own unique abilities to deploy. Fans of strategy games like the Advance Wars series would feel right at home here, with the only differences being that combat takes place in the skies and rigid tile-based movement has been done away with."

Game Pick: 'Redder' (dessgeega, browser)
"In Redder you play as an astronaut forced to make an emergency landing on an alien planet after finding out that she has run out of crystals to power her ship. This 2D platformer features a world map, regular checkpoint locations, and an unlimited number of retries to assist players who are unaccustomed to difficult challenges."

Game Pick: 'Maru' (Jesse Venbrux, freeware)
"Maru is a simple platformer that plays rather similarly to Jesse's other creation called Frozzd, although the tone in both games are practically on different ends of a spectrum. The adventure basically involves leaping from one planet to another to collect the spirits or souls of other creatures that look just like the protagonist, then figuring out how to get to the portal that will transport you to the next area and continue with your mission."

Game Pick: 'Six-Chamber Champion' (C.E.J. Pacian, freeware)
"Six-Chamber Champion is a single-room IF game created by C.E.J. Pacian in under two hours for a 371-in-1 Klik & Play Pirate Kart event held last weekend. This particular adventure should be tried out without reading anything about it at all, since every screenshot and mention of it only serves to spoil the best bits. Suffice to say that the story involves a gun and trying to avoid killing yourself."

Game Pick: 'Air Pressure' (Bento Smile, freeware)
"Bento Smile's Air Pressure is a visual novel with original graphics and music, featuring quite a number of branching story paths but only three endings to discover. The entire adventure takes about ten minutes to play through, and Terry Cavanagh (developer of VVVVVV) even liked it enough to recommend the game to everyone."

Game Pick: 'Extreme Gardening' (Jan Willem Nijman, freeware)
"Extreme Gardening is a short puzzle game about trimming hedges. On each of the fifteen levels, players are shown how the hedge should look, then given 10 seconds to cut it into shape using the mouse to click and drag the hedge away."

March 12, 2010

GDC, The Fantasy of Control, Part IV

[In a GameSetWatch-exclusive set of blog posts for the week of GDC 2010, Magical Wasteland blogger and Game Developer magazine columnist Matthew Burns continues his journey through the show. Previously: Part 1, Part 2 and Part 3.]

My energy is starting to flag; my feet are complaining and my voice is growing hoarse. I have ingested so much about video games in the past few days that I feel overfull and ready to burst, wishing incoherently that I want to read a book or play the piano or just do something, anything, but think about video games.

It is not to be, though: today the expo floor opens, even more game developers fly in to San Francisco, and the giant inexorable train of video games barrels along towards its fabulous secret destiny.

I move towards the Unity booth and instantly collide with yet more former co-workers. We reference hellish older times before catching up– one is a gameplay programmer now– many steps up from the PS2 memory card save/load state issues with which he was saddled last I worked with him– and another is the principal in an iPhone game startup. He shows us an early build of his first game before excusing himself on account of his hangover.

At the edge of the north hall floor I speak to a man from TechExcel about his production management software products (DevSpec and DevPlan and DevTrack) with their technical requirements and task trackers and bug lists.

I mention that a lot of game developers take umbrage at this kind of software– not personally, but at the attitude this sort of product often comes with– and that bringing it in can be a political battle because the databases and workflows and boxy user interfaces smack of top-down institutional sclerosis. “I don’t think we’re doing our job right if we’re trying to make it sexy,” he says. “Part of the point is to not be sexy.”

Close by, the exposition floor’s career pavilion is mobbed by recent and soon to be graduates, who are queueing up to talk to representatives of well-known companies like Insomniac or Blizzard, while the booths of less well known studios, right next door, are awkwardly barren. It is again impressed upon me what a buyer’s market it is and I start to worry that video game degrees will be the next film school degrees, acquired in search of a dream, deferred somehow into a retail job at Starbucks or Barnes and Noble.

Konami has a desk there too, and in the interest of continuing the theme of what I’d written yesterday about the Japanese game industry I examine their open positions in Tokyo. A notice is included that fluent Japanese is required. I ask the person behind the desk, How many applicants do you get? “A lot. Many hundreds,” she says. And how many of those can actually speak Japanese fluently? She laughs. “Pretty much none of them.”

So is it worth it to fly out to GDC in search of the one person in all of the industry who can do the job, speak Japanese, and is willing to accept the pay and position that Konami is offering? Yes, she says– it’s important to get the ideas of foreigners in order to make games that appeal internationally, before confiding that many of the people most suitable for these roles are Japanese who have gone to college in the US and who are looking to return home.

In the early evening I meet up with Brenton Woodrow, Chris McCarthy and Kyle Murphy, the other developers of Planck, the game I’m working on, and we converse for almost four hours. We talk about our plans and the future, throwing ideas at each other, our enthusiasm infectious and self-affirming.

My tiredness fades, my voice recovers, and I am yelling over the music– yelling about how our game is going to be awesome, yelling about the nuances of FPS mission design, yelling stories about dodgy code. Much like game playing, there is something about game development that naturally begs for discussion; there is a tremendous hunger for knowledge, feedback, and argument.

The night continues in another stuffy hotel bar, where I meet some television producers and watch a girl smearing her lipstick on a hapless game school student’s face. The late, late evening takes place in a hotel suite and is difficult to remember. I collapse on a couch and wake up on the floor.

DIY: Toddler-sized Guitar Controller

Instructables user ProfMuggs has been playing The Beatles: Rock Band with his two-year-old daughter, but he noticed that she was having trouble reaching the buttons on the guitar controller's long neck. Rather than kick her out of his band until her arms grew long enough to play in a few years, he modified the controller for his little girl.

He's also posted instructions for other Guitar Hero/Rock Band-playing parents who want to get their kids involved. They seem simple enough -- you just needa Torx driver, a Phillips-head screwdriver, a hacksaw, epoxy, and a few mending plates -- and he's even uploaded photos for each step. You can read the full guide at Instructables.

Eliss Creator Demonstrates Faraway

One last iPhone game piece for the day! With a year passed since he released revered iPhone puzzler Eliss, developer Steph Thirion has debuted his next project for the system, Faraway, a one-button arcade game that has players swinging a comet around stars, flying across space, and forming constellations in star clusters.

Though it's a simple concept, challenging players to form as many constellations as possible to pump up their score before time runs out, the game makes sure the stages never feel stale by randomly generating where the stars are.

Thirion is releasing the game under his new company Little--Eyes. He didn't give any details on pricing or when to expect Faraway's release, but he did provide a demonstration for the game alongside five other one-button Gamma IV titles at GDC.

GDC: 'Phaedrus' Returns From Beyond To Give GDC Lecture?

If you've been paying attention to the official GDC Twitter feed over the past few days, you will have noticed a couple of intriguing, if out of place messages.

The first one, posted on Wednesday, simply said: 'Non semper ea sunt quae videntur'. Those looking around on the Internet will have noticed a WikiQuote page sourcing the quote to 'Phaedrus'. Apparently, he was "a Roman fabulist, by birth a Macedonian and lived in the reigns of Augustus, Tiberius, Gaius and Claudius."

The English translation of that Latin quote is 'Things are not always what they seem', and if you've been following other Twitter discussion of Game Developers Conference, you'll know that writer/designer Ian Bogost recently Tweeted: "Does anyone know, what is this GDC talk with no description: "Metaphysics of Games" by "Phaedrus"? Lurid."

And indeed, a new Official GDC Tweet directs interested parties to a previously programmed talk scheduled for tomorrow, Saturday at 3pm, in Room 134 of North Hall at the Moscone - the last talk slot of the entire event.

It's called 'Metaphysics of Game Design', it's by 'Phaedrus', and that's all the info we've got. There's some other Twitter rumblings about whether the Roman fabulist is back from 2000 years of exile. Or whether it might be something or someone else entirely. Guess there's only one way to find out...

[UPDATE: In addition, 'Phaedrus' references the Socratic dialogue of the same name, since it deals with rhetoric and suchlike. Which game creators do we know who like talking rhetorically? Guess we'll discover the answer in due course...]

Follow (Japanese) Tweets From Suda51, Shinji Mikami

If Hideo Kojima's Twitter feed has you looking for more high-profile Japanese game designers to follow, two other notable figures joined the microblogging service last week: Resident Evil creator Shinji Mikami and Grasshopper Manufacture CEO/No More Heroes director Goichi "Suda51" Suda.

Unlike with Kojima's feed, however, Mikami and Suda51 don't have a team of translating their tweets into English text. Suda51 has at least put up some machine translated updates: "With Babel Fish in the midst of translation. As for me natural bone three day monk. twitter third day and thrust. Tomorrow is climax."

Mikami's tweets, though, are all in Japanese, which is a shame as there are some curious updates in there, according to Andriasang's translations: "Actually, this month I started a new company," and "I'm eating ice cream."

Sword & Sworcery's Gorgeous Pixelart, Gameplay

We've had very little to judge Superbrothers: Sword & Sworcery EP by the past few months other than a few screenshots, a short clip, and the promise that very talented people are involved in the iPhone project -- developer Capybara Games (Might & Magic: Clash of Heroes), singer-songwriter Jim Guthrie, and pixelartist/animator Craig "Superbrothers" Adams (Alpinist).

Hearing S:S&S announced as the winner of IGF Mobile's Achievement In Art award made it worse, as a collection of judges got to see what all the fuss was about while the rest of us could only guess what the rest of game looked like. Thankfully, we can now see more of S:S&S, as the group released two gameplay clips from the much-anticipated title.

The above video really shows off shows the game's atmosphere with Superbrothers's brilliant scenes and Guthrie's sublime music as S:S&S's hero explores the first area, meets a minstrel, and chases a bear. The video after the break shows how S:S&S handles combat, turning the handset to a vertical positioning for a Punch Out!!-style battle. This game can't come out soon enough!

GDC: Monaco Takes Grand Prize at 12th Annual IGF

Pocketwatch Games' stylish co-op caper, Monaco, was the big winner at the Twelfth Annual Independent Games Festival Awards, which was hosted by the Game Developers Conference 2010 at the Moscone Convention Center in San Francisco.

Monaco received the top award at the ceremony, earning the $20,000 Seumas McNally Grand Prize for Best Independent Game, as well as the award for Excellence in Design.

Other IGF award recipients for 2010, as judged by over 170 industry veterans, independent developers and indie-friendly journalists, also include PlayDead's starkly beautiful silhouetted platformer, Limbo, which won the awards for Excellence in Visual Art and Technical Excellence. Closure Team's puzzle platformer, Closure, earned the award for Excellence in Audio.

Noted independent developer Cactus received the inaugural Nuovo Award for his abstract visual puzzle game, Tuning. The Nuovo Award honors "abstract, shortform, and unconventional game development which advances the medium and the way we think about games."

The Nuovo Award was judged by a separate, smaller juried panel of notable game and art world figures, including previous IGF Innovation/Nuovo Award winner Jason Rohrer (Passage), Area/Code's Frank Lantz, N+ co-creator Mare Sheppard, EA division head and art-game creator Rod Humble, and more.

The IGF was established in 1998 by UBM TechWeb Game Network to encourage innovation in game development and to recognize the best independent game developers, in the same way that the Sundance Film Festival honors the independent film community. The IGF offer finalists both global exposure and over $50,000 in cash prizes to each year's winners.

Previous breakout IGF award-winners include titles such as Braid, Audiosurf, Castle Crashers, and World of Goo, and this year's awards saw 301 Main Competition entries from all over the world, coupled with the record-breaking number of IGF Student Showcase entries and IGF Mobile entries, for a total of nearly 650 entries. S2 Games' Heroes Of Newerth won the Audience Award, after receiving the largest share of thousands of public votes cast at IGF.com in recent weeks.

To ensure the highest-quality judging for the IGF, more than 170 leading indie and mainstream game industry figures -- from 2D Boy's Ron Carmel through Spore's Soren Johnson to ThatGameCompany's Kellee Santiago and beyond -- were recruited to choose finalists via a carefully constructed empirical process.

Finally, the award for the Best Student Game went to Ragtime Games' shifting-tile puzzle platformer Continuity, IGF Mobile Best Game was awarded to Tiger Style's Spider: The Secret Of Bryce Manor, and download partner Direct2Drive's $10,000 D2D Vision Award was won by Press Play's Max & The Magic Marker.

"This year sees an impressive array of visually arresting, emotionally challenging and fun games," said Simon Carless, IGF chairman. "And after extensive, in-depth playthroughs from a panel of influential games industry figures, the cream of the crop were chosen to receive honors at the IGF. We're extremely proud of the record number of amazing entries this year, and very grateful for the independent teams who put their hearts and souls into creating captivating, addictive and original gameplay experiences."

The IGF awarded the following games in each category of the main competition — each received a cash prize of $2,500 as well as sponsor-related prizes, apart from the Grand Prize of $20,000 and D2D Vision's $10,000 award.

Seumas McNally Grand Prize:
Monaco, by Pocketwatch Games

IGF Nuovo Award:
Tuning, by Cactus

Excellence in Visual Art:
Limbo, by PlayDead

Excellence in Audio:
Closure, by Closure Team

Technical Excellence:
Limbo, by PlayDead

Excellence in Design:
Monaco, by Pocketwatch Games

Student Showcase Award:
Continuity, by Ragtime Games

IGF Mobile Best Game:
Spider: The Secret Of Bryce Manor, by Tiger Style

Audience Award:
Heroes Of Newerth, by S2 Games

D2D Vision Award:
Max & The Magic Marker, by Press Play

For more information about the IGF, the finalists and the winners, please visit the official Independent Games Festival website.

March 11, 2010

GDC: Uncharted 2 Wins Big At 10th Annual Game Developers Choice Awards

Naughty Dog's critically-acclaimed Uncharted 2: Among Thieves was the big winner at the 10th annual Game Developers Choice Awards, presented at a ceremony this evening at UBM TechWeb Game Network's 2010 Game Developers Conference (GDC), receiving a total of five awards, including Best Writing and the coveted Game of the Year award.

Another major honoree, 5th Cell received the award for Best Handheld Game and the Innovation Award, for its creativity-fueled portable game, Scribblenauts. Zynga, creators of the wildly addictive and popular Facebook game, Farmville, received the honor for Best New Social/Online Game, marking the first winner for this inaugural category.

Other winners include Rocksteady Studios' dark and gritty adventure, Batman: Arkham Asylum, which won for Best Game Design. The Best Debut Game went to Runic Games' Torchlight. The Best Downloadable Game award went to thatgamecompany's Flower, marking the second such award for the developer, following their win in 2008 with fl0w.

The Game Developers Choice Awards, which honor the very best games of the year, created for developers and voted on by developers. The finalists were chosen via a combination of open game industry nominations and the votes of the leading creators in the Choice Awards Advisory Committee.

Starting this year, winners were selected by the Game Developers Choice Awards-specific International Choice Awards Network (ICAN), which is a new invitation-only group comprised of 500 leading game creators from all parts of the video game industry.

This year, John Carmack, the technological patriarch and co-founder of id Software was presented with the Lifetime Achievement award for more than two decades of groundbreaking technical contributions, and his role pioneering and popularizing the first-person shooter genre with the groundbreaking Doom and Quake series.

The Game Developers Choice Awards also honored Jerry Holkins, Mike Krahulik and Robert Khoo, the crew behind the popular webcomic Penny Arcade, with the Ambassador Award.

The trio, who have also created and spearheaded the Child's Play Charity and the Penny Arcade Expo, were awarded the honor for their work creating their genuine, gamer-friendly empire by skewering video game culture and developers while building up a following, events and an industry-leading video game charity that help epitomize the positive elements of 'gamer spirit.'

Finally, Gabe Newell was given the Pioneer Award for his work in co-creating PC key digital download service Steam, and helping to make possible some of the most important video games of recent years -- from the Half-Life series through Portal to Team Fortress and beyond.

The recipients of the 10th Annual Game Developers Choice Awards are:

Game of the Year
Uncharted 2 (Naughty Dog)

Best Game Design:
Batman: Arkham Asylum (Rocksteady Studios)

Best Writing:
Uncharted 2 (Naughty Dog)

Best Debut Game:
Torchlight (Runic Games)

Best Technology:
Uncharted 2 (Naughty Dog)

Best Handheld Game:
Scribblenauts (5th Cell)

Best Visual Arts:
Uncharted 2 (Naughty Dog)

Innovation Award:
Scribblenauts (5th Cell)

Best Audio:
Uncharted 2 (Naughty Dog)

Best Downloadable Game:
Flower (thatgamecompany)

Recipients for the evening's special awards were:

Lifetime Achievement Award
John Carmack

Pioneer Award
Gabe Newell

Ambassador Award
Penny Arcade (Jerry Holkins, Mike Krahulik, Robert Khoo)

"This year has seen some incredible titles across platforms and genres -- big-budget blockbusters like Uncharted 2 and Batman: Arkham Asylum and addictive online games like Farmville all made for an amazing year in games," says Meggan Scavio, event director of the Game Developers Conference.

"The winners at the Game Developers Choice Awards have exhibited that they can create compelling experiences that set the bar even higher for other developers to follow. We'd like to thank all the winners and the nominees for their countless hours furthering the art of game creation, and crafting some awesome experiences for gamers the world over."

For more information about the awards and all the recipients, please visit the official Game Developers Choice Awards website.

[NOTE: Due to a technical error, Brian Min's name was left off Brutal Legend's nomination for 2009's Best Audio award. Choice Awards organizers apologize to Brian for this, and are happy to credit him here as a key part of the Double Fine team that received the nomination.]

Play: Finding Where Games End And Reality Begins

Futurestates is a collection of digital shorts from up-and-coming filmmakers sharing a "vision of American society in the not-too-distant future". In this episode, "Play", director David Kaplan and game designer Eric Zimmerman (Gamelab) imagine how we might play -- or try to escape -- video games years from now:

"Play imagines a not-too-distant future where video games have become indistinguishable from reality. These fully immersive games are nested inside each other like Russian dolls — each new game emerging from another and connecting backwards with increasing complexity.

One moment, a player is a Japanese schoolgirl embroiled in a pillow fight with her girlfriends — and the next moment, the player has suddenly morphed into a scandalized state senator defending himself against a throng of angry reporters.

Synthetic experience competes with real experience as dream, fantasy, and memory begin to collapse into each other. Identities become elastic as the players consecutively inhabit completely different genders, ages, and ethnicities."

The film and its games hope to provoke questions from gamers like "Who are the players?", "What is the purpose of these games?", "What is the point of winning?", and "Where is it all leading?". It's an episode that looks to use video games as a metaphor for the human search for meaning and identity.

You can watch more digital shorts from Futurestates: Season 1 here.

[Via fort90]

Teacher Builds Atari 2600 Space Shuttle Simulator For 8th Graders

Looking for a fun and immersive way to teach his 8th grade students about space, science instructor Chad Shumaker brought Activision's 1984 sim Space Shuttle: A Journey into Space to his classroom. He wanted to do more than just have kids play the game, though, so he decided to build on the experience by housing the 27-year-old game in a cabinet.

He teamed up with a fellow teacher/woodworker at the school and constructed a 3' x 5' x 4.5' wooden cabinet cabinet, spending around $250 on the project. Students sit on a chair with a joystick attached to an arm, as they navigate their ship. A strip of LED lights and a battery operated fluorescent light positioned over the console provide limited lighting inside the simulator.

For added realism, he has students wear headsets while piloting the game, and he guides them through with instructions delivered from a walkie-talking outside the cabinet. The rest of the cabinet consists of a 19-inch Zenith Space Command Television sitting on top a cabinet.

All that work has paid off, as his students have really taken to the setup. "The space shuttle simulator is amazing," says eighth-grader Dylan Sterling. "Even though the graphics weren’t very good, it still seemed very realistic thanks to Mr. Shoe talking to you from outside. The whole setup is great. I hope we keep toying with it for the rest of the year."

Shumaker says he plans to eventually use the simulator with Absolute Software's Tomcat: The F-14 Fighter Simulator.

[Via Dr. Kwack. The Times-Reporter]

GDC, The Fantasy of Control, Part III: Wednesday, March 10, 2010

[In a GameSetWatch-exclusive set of blog posts for the week of GDC 2010, Magical Wasteland blogger and Game Developer magazine columnist Matthew Burns continues his journey through the show. Previously: Part 1 and Part 2.]

People are getting used to the fragmented chatter, refining their personal stories and business pitches down to the fewest succinct words, skipping past pleasantries and context-setting. Some stand in line listlessly, murmuring about being hung over and needing sleep, only to spring into manic animation when they see someone they know or want to speak to in the crowd.

In the morning I have a series of long, wide-ranging and interesting one-on-one conversations. Nels Anderson of Hothead Games discusses team structure, management and technology. Kevin Gadd of Arena.net chats about Asian MMOs versus Western ones, and we segue from there into an appreciation for the unusual development of the American-made Square game Secret of Evermore, bringing it right back around to his current project Guild Wars 2 by mentioning Jeremy Soule, the composer of both. Robert Alvarez of Joymax tells me about the ins and outs of free to play communities.

The fact that tens of thousands of game developers have descended on downtown San Francisco is not lost on its local residents. As I’m walking on Market Street a woman notices my badge and approaches me. “You make games?” she says. I nod, leery that I may be getting a sales pitch.

But she just wants to talk. “What kind of games you make?” I used to make big budget, complex games, but I left recently to make smaller, simpler ones– “So I like the smaller simpler games,” she says, “And y’all should make more of those. I can’t play that crazy new stuff you guys put out with all the nonsense in it. I want more games like Mario Brothers. You know what I mean?” I tell her I totally know what she means, and she laughs and shoos me on.

Later in the day I meet with some developers from Japan. How is business?, I ask. In so many words, they say business is pretty goddamn terrible, and their stoic, resigned gloom is a sobering counterpoint to the exuberance on display elsewhere at the show.

Japan’s domestic market is shrinking along with its population and the Western market largely continues to elude while rivals with vastly lower operating costs pop up all over Asia. I express worry about the companies with their newly concatenated names: Namco Bandai, Tecmo Koei. Are they really going to be okay like this? Are they going to stay relevant? They shrug opaquely: we don’t know.

The theme of decline feels reinforced later when I stop by the former “Sony Metreon,” now just the Metreon. This claustrophobic shopping mall feels like a tombstone of sorts to Sony’s global, industry-crossing mindset in the 1990s when its influence was at its zenith. Back then the PlayStation was the unquestioned top video game platform and brand, Sony Pictures was going to integrate, somehow, with their electronics, and everything seemed set for the grand networked entertainment convergence to be a heavily Sony-centric affair.

Today, however, the Metreon consists of unhappy corridors that lead nowhere, full of metal caging where stores ought to be (among the recently absent: the long-suffering Sony Style boutique). Its ignominious capstone is the defunct “Walk of Game,” a self-conscious but un-ironic aping of Hollywood’s Walk of Fame minus the outdoors and any semblance of import.

There, one can walk on top of metal plates that read “Halo,” or “Lara Croft,” or, in a particularly poorly lit cranny near an electrical closet, “Shigeru Miyamoto,” all of them with a URL in the corner– walkofgame.com– that when entered into a browser unceremoniously redirects the user to a generic page about the shops and restaurants of the Metreon by the international property management firm that now owns and runs it. No information on what these “stars” are, or mean, or why they pointlessly dot the floor inside this nondescript urban shopping center is given.

As the evening begins I wind up in a hotel bar with about a dozen Infinity Ward employees, representing their studio in force with their logo jackets and t-shirts. My curiosity gets the better of my restraint and I say, “So, how’s work?” Fine, they answer, smiling– really just fine.

One of the group there is Mohammad Alavi, a longtime employee and the designer of Modern Warfare 2’s infamous “No Russian” level; I ask about his goal in creating that mission. He gives me an answer and then tells me not to publish it. Too bad. It was a good one.

Righteous Quest: Adventure Time Flash Game

No one answered my call last month to create a Doki Doki Panic ROM hack with sprites based on Adventure Time with Finn and Jake, but someone did get around to creating a free Flash game based on the upcoming Cartoon Network animated series.

Righteous Quest is a simple 2 platformer in which you hop over spikes, dispatch ninjas, and collect gems and other items scattered across three themed stages. There are also a few areas that take advantage of Jake's special powers (he's a shape-shifting dog), prompting him to stretch his legs and grow super tall to climb over obstacles.

You can play Righteous Quest for free at Cartoon Network's site. Don't forget that the show makes its premiere on the channel on April 5th!

Mama Puts Off Cooking To Make Quilts, Birdhouses

Out to prove that her talents extend well beyond cooking and gardening, Mama is taking on arts and crafts with a new game headed to Nintendo DS this fall. Majesco's Crafting Mama will have the minigame matron jumping into 40 different crafts projects as she puts away her wooden spoon and spade for scissors and a bottle of glue.

Mama will help players sew, mold, glue, cut, and paint a wide range of crafts: patchwork quilts, earrings, candles, birdhouses, and even mini-Mama dolls. Players can use their creations within the game, too, dressing up mama in a handmade apron or flying a folded paper airplane. Crafting Mama will also feature multiplayer support to allow gamers to make crafts together.

"Crafting is a natural extension of our most successful franchise," says Majesco CEO Jesse Sutton. "Much like last spring's Gardening Mama, Crafting Mama combines the award-winning Mama formula of addictive stylus-based activities with a popular pastime that has been underserved in videogames. We're looking forward to sharing Mama's newest hobby with her vast and diverse group of fans this holiday season."

[Via Joystiq]

Plum's SA-77 Silpheed Kits Flying Out In May

If you've ever wanted to have your own SA-77 Silpheed fighter after seeing the prototype craft on its Sega CD game cover -- or on its much more awesome Mega CD box -- Japanese kit maker PLUM (Pretty Lovely Unique Mechanism) will soon sell the detailed model you waited so many years for.

This 1/100th scale ship looks like the first release in PLUM's new SFG (Shooting Fighter Game) series. The company intends to release it in Japan this May at a suggested price of ¥5,460 (around $60); hopefully the SA-77 will also appear on import hobby shops! You can see several shots of the elegant Silpheed ship after the break.

Missus Raroo Says: Falling in Love with Samurai Shodown II For All the Right Reasons

Missus Raroo Says Logo[In honor of the Neo Geo console's recent 20 year birthday, the GSW column regulars The Raroos dug back into the archives of their print zine to present us with Missus Raroo's classic article from 2005 about why she loves SNK's peerless Samurai Shodown II. Not only does her write-up give love to a great fighter, but it also sheds light on the artistry and details that help make it such a timeless game. Plus, her illustrations are really cute!]

A Disclaimer From a Non-Gamer

I am, self-admittedly, every fighting-enthusiast’s worst nightmare. I am a button-masher. I know enough to realize that various direction and button combinations are supposed to result in special attacks, but I never manage to get the combinations quite right when I attempt them on purpose. I either don’t have enough fine motor coordination, or I just have really bad timing. Whatever the case may be, when I try to fight with some intentional strategy, I always die the fastest. Thus, it’s not like I button-mash out of stubbornness, it’s a matter of survival.

Given this background knowledge of my fighting-game skills, or lack thereof, you may be wondering what I could possibly add to a discussion about fighters. Your concerns are definitely valid, because I have not played very many fighters and even the ones I’ve played, I’ve barely clocked in more than a few rounds. I have, however, seen my fair share of fighters come and go, thanks to my time spent with Mister Raroo.

And, after years of exposure to myriad fighting games, there is one fighting game that stood out from them all. I couldn’t remember the name of the game, but I did remember how there were a bunch of cute barnyard animals in the background in one fighting scene. I was also able to recall there being characters with animal tagalongs, including one with a bird and one with a dog. This was enough information for the Raroo to identify the game immediately as: Samurai Shodown II, known in Japan as Shin Samurai Spirits.

If you want a “real” review that comments on attack combos and the like, then don’t bother reading any farther. If you want to know the place that Samurai Shodown II holds in relation to the other titles in the Samurai Shodown series, I couldn’t tell you. There are plenty of fan sites out there that can provide you that information in lengthy FAQs—I found quite a few when doing a little background research for this article.

What I didn’t really find, though, were write-ups that mentioned all of the reasons why I happen to love Samurai Shodown II, and so at least I don’t feel like I’m replicating what’s been written a million times before. So, without further ado I present…Falling in Love with Samurai Shodown II For All the Right Reasons.

For Its Japanese Flavor

As soon as you power up Samurai Shodown II, you are immediately treated to cherry blossom petals falling over the the Gairyu Isle background, complete with a path of red Torii gates leading to Mount Fuji, one of the most recognizable settings in Japan. Next, you are presented with a flurry of the game’s characters flashing against a scrolling Japanese art screen, the same pattern that also serves as the background during player selection. Finally, the title screen comes on, accompanied by characteristically Japanese music complete with the sounds of shakuhachi, shamisen, and taiko drums. Thus, even before you even get to play the game, you are immersed in the wonderful Japanese ambience that permeates all of Samurai Shodown II.

The playing options in the game allow you to select the regions of Japan, Spain, or USA. If you select Japan, the gushing blood during battles is colored in red, but if you select Spain or US, the blood color is palette-swapped and appears green instead.

Green Blood!

Also, if you select Spain, the game text changes to Spanish, and if you select USA, the text changes to English, or as some like to say Engrish, due to the improper, but oh so satisfying, translations (For example, you’ve got to appreciate Kyoshiro gloating with a comment like “Fight like dance, and win. That’s the soul of Kabuki.”). Luckily, regardless of region, none of the character voices or audio narration is dubbed or changed from the original Japanese. Even though I can’t understand the Japanese comments throughout the game, the dramatic, guttural voices add such great feeling that would be completely ruined by English dubbing.

To complement the Japanese sounds, the visual references throughout the game pay homage to some great popular culture and history. The most obvious character connection is Hanzo, based on the historical ninja master Hattori Hanzo. In the game, Hanzo plays on a war torn battlefield that includes such wonderful details as a sideways leaning cement lantern and a broken Japanese-style battle flag.

Although less obvious to me, I found out through research that Ukyo is based on the swordsman Sasaki Kojiro Genryu, Nicotine was most likely made after the Buddhist monk Takuan, and Haohmaru after the samurai Miyamoto Musashi. In the game, Haohmaru also happens to love the Japanese alcoholic beverage sake. He drinks sake to taunt his opponent, and he even uses a sake bottle as a weapon at times.

Japanese Kabuki theater is weaved in with Kyoshiro and the Japanese card game Hanafuda with Genjuro. The samurai servant Jubei snacks on rice balls to taunt his opponent while competing in a beautiful snow-covered bamboo forest that leads to a home built with traditional Japanese architecture. Two of the bamboo stalks stand out in foreground and can be cut by players in the heat of battle, a simple yet satisfying instance of interactive backgrounds.

Finally, I love the presence of Kuroko, the judge who dutifully referees every battle. Supposedly Kuroko dresses in the tradition of a Kabuki stagehand, while using the red and white flags to referee as in a kendo match. Of course, Kuroko also throws confetti, and I suppose that is neither customary in Kabuki nor kendo.

For Its Humblest Heroes

Throughout my life, I’ve always been a champion of the underdog. I’ve always rooted for the underdog, and I’ve always been the underdog, you know, the kid who tried her hardest, but still spent a lot of time cheering from the bench. So, what can I say, I love the humblest heroes of Samurai Shodown II the most! First, take Earthquake. This is one obese man who is not afraid to flaunt it. He bares his belly in all of its glory, wearing nothing but a flimsy vest, and when he wins a battle he’s not too shy to take a gigantic bite of chicken leg.

Earthquake's Chicken

Next, consider the attractiveness of Gen-An the green monster. Gen-An is a worthy adversary with his sharp Freddy Kreuger-style claws, but in the end, he’s a guy who scratches his butt when he wins a battle. That leads us to the small but ever mighty Nicotine. You find out when he battles that halitosis is no longer something to be embarrassed by. A puff of his bad breath can send his opponent down for the count. Even in victory, though, Nicotine doesn’t get away with gloating. Sometimes he’ll laugh so hard that his back will give out, revealing that even after taking down his rival, he is still vulnerable to old age.

Throughout the game, you will find other small details that reveal the humanity characters have through their weaknesses. Sieger, for example, has the most ridiculously large fist cover for a weapon. It’s a weapon that has got to give poor Sieger some confidence since, after all, he has all the pressure in the world to fight before the king. Taking up half the screen, the fist is so large that you might hardly notice how it compensates for Sieger’s puny legs and pointy-toed boots.

Sieger’s masked weakness is further revealed when he loses a battle. The king has to stand up in disgust to shame him, and at times you will find Sieger falling down and grabbing his shoulder. To me, it’s the classic “pretending to be hurt” scam that people play all of the time when they fail at something. I can just hear him blaming the shoulder, “Darn you, shoulder! If it weren’t for you, I could have won the honor of the king!”

Finally, perhaps the most sympathetic hero of all is Ukyo, our very own tuberculosis case. The poor guy perseveres even while coughing up blood. His taunt is to kneel down and cough, and when winning a battle he sometimes collapses all of the way to the ground while his girlfriend finally emerges from behind the torii gate post to help him. If that isn’t a departure from the regular victory dance, I don’t know what is.

For Its Fan Clubs

While the heroes of Samurai Shodown II may be unconventionally humble, they don’t often lack the support of fans rooting in the background. Some levels in the game are set in locations without the presence of spectators, like Charlotte’s empty palace or Nicotine’s foggy temple grounds. Nevertheless, there are definitely some memorable fan clubs worth noting.

First, there are the standard fan clubs. When Ukyo wins a battle, for example, he is sometimes showered by a pack of adoring women dressed in kimonos. Nothing out of the ordinary there. Then, there’s the kabuki star Kyoshiro who is constantly being rooted for by members of his cast. There are about a dozen men in the background who wave their arms around with fans or with instruments in hand. Again, no big surprise.

Stirring the PotNext, you have what I like to think of as wannabe fans. These are fans who look a lot like the fighter. Now, they might just be relatives, but even so, it’s funny because they are just choosing to root for whoever shares their resemblance. I guess it’s not so different from what happens all of the time in real life, but I still find it amusing for some reason. In this category, there is Gen-An who is being supported by two fellow green monsters on either side of a giant and ominous-looking cauldron.

The goblin on the right is busy stirring the pot and the goblin on the left is too busy waving his giant spoon above his head to help with the stirring. The established work ethic of the goblins carries over to the end of the battle. The goblin on the left gets so emotionally caught up in the action that if Gen-An loses, he falls down. Meanwhile, the goblin on the right is the responsible one who keeps his spoon in the pot, but gets a stern look on his face, probably upset not only that Gen-An lost, but that he’s the only one doing any work.

Another character with a wannabe fan club is Earthquake. If you play Earthquake’s level, you can’t help but notice that all of the guys in the background are bare-chested and big-bellied just like Earthquake. In particular, there is one look-alike fan who is busy chowing down chicken, one of Earthquake’s favorite snacks, and there is another guy standing with very proud posture in the back. This guy in the back cracks me up the most, because he spends the whole time continuously spinning a chain much like the one that Earthquake uses as a weapon. You can’t help but guess that this guy adores Earthquake and wants to be just like him!

This leaves me with the most bizarre fan club of all and that is the fan club for Galford. Galford is a ninja with a husky who fights at a shipyard in San Francisco! There is no indication of what he could possibly have in common with a bunch of muscle-toned men who work with fish on a dock, and yet this is exactly the colorful bunch that Galford finds rooting for him.

Among the crowd, there is a guy choking and head butting another man, an old man teetering with a cane, a guy just rubbing his belly, and one reclining with his arm behind his head, his legs crossed, and his fist up to cheer. There is also one man distracted by a cute dog, another one cheering with his butt sticking out, and yet another sitting so excited that he has to tap his feet and cup his mouth to cheer all the louder. It is totally bizarre, and I love it!

Throughout this section, I didn’t mention Nakoruru’s fan club, but that is because I pay special tribute to them below. Read on.

For Its Animals

Animals Love NakoruruI mentioned earlier that my lasting memories of Samurai Shodown II were of the animals. The “barnyard” scene that was seared into my memory is the level for Nakoruru, who also happens to be the character with the bird sidekick, a hawk named Mamaha that can be used in attacks. While Mamaha may be the main animal star people associate with Nakoruru, I love all of the animals that adorn the background of her level, which turns out to be more of a forest/straw-thatched roof cottage scene than a barnyard scene.

To the best of my visual discernment, I have been able to spot the following animals: numerous deer populating the forest on the right side of the screen, a big standing brown bear carrying Nakoruru’s sister Rimururu on its shoulder, a white parrot sitting atop the head of a black cow, kittens cleaning each other under the watchful gaze of three huskies, a group of red chickens to the left of a posing white rabbit and a hopping white rabbit, a couple of bounding foxes, a trio of yellow birds building a nest in a barrel, a white horse chilling behind a low fence, a couple of monkeys roughhousing on a shelf and a couple more clapping wildly on the cottage awning, beavers surfacing by logs in the river, and even what appears to be a hamster running in a wheel inside the building!

Although the level of nature-loving Nakoruru takes the cake when it comes to animals, there are others thrown in throughout the game. Akin to Nakoruru’s hawk, Galford has a husky dog Poppy to aid in attacks. Before battle, Galford calls out, “Let’s go and defend the justice, Poppy,” and throughout the fight, Poppy doesn’t disappoint with his intimidating fighting stance and snarling expression. Sound effects of his growls and barks liven the scene, and at the end of fights you might spot the animation of Poppy’s eye twinkling, Poppy licking Galford’s face, or even the guest appearance of Poppy’s three adorable puppies: Poppa, Puppa, and Pippa.

To top it off, Galford’s level includes the treat of a naughty gray cat trying to paw its way into a blue bag that probably contains fish, a brown bulldog-looking pup that is continuously being scratched under the chin, and arguably the star of the background: a prize-winning shark that hangs in humiliation, twirling around with a hook through its nose so that its neck is left arching back and its mouth hanging wide open to reveal a big red tongue.

Cham Cham also has an animal companion in her monkey Paku Paku. Paku Paku doesn’t get involved in attacks, but it does liven up the action with silly antics such as making “ooh ooh ooh” noises, beating its chest, or jumping on Cham Cham’s head after a battle, which by the way, leaves Cham Cham looking none too pleased. In the background of Cham Cham’s level, Paku Paku has a fan club consisting of a monkey that cheers with a stick in hand and a mommy monkey that appears to have kid monkeys flanking her sides. Cham Cham’s level also features a silly alligator that laughs, some dead fish hanging from a pole, and a good showing of flamingoes that I guess aren’t too intimidated by the alligator to stick around.

Although much more minor in detail, Genjuro’s beautiful level with the flowing waves of grain is made even more picturesque with geese flying by in the sky and Gairyu Isle is livened up by the circling of a seagull up high. Similarly, the black crows in Hanzo’s battleground level add to the feeling of desolation, and the black feathers that fall across the screen in close-up view when some crows are forced from a falling gravestone are a great touch. In my everyday life, I love animals for enriching my days, and similarly, the animals of Samurai Shodown II breathe special life into the gaming experience. For them alone, I will forever love Samurai Shodown II.

[Missus Raroo doesn't consider herself to be a "real" gamer, but between listening to her husband excitedly talk about games on a regular basis and trying her hand at a select few titles herself, she knows a thing or two about video games. She served as the co-editor-in-chief of the Game Time With Mister Raroo print zine and was called the "heart and soul" of the publication by readers. She lives in El Cajon, CA with her husband, son, daughter, and pets. You may reach Missus Raroo at koopaboo@yahoo.com.]

March 10, 2010

Marooned On Mars: Anna Anthropy's Redder

After months of teasing the game (and a slight delay in development due to a computer meltdown), indie developer Anna "Auntie Pixelante" Anthropy has released Redder, her biggest project yet in terms of scale and time. The Mighty Jill Off/When Pigs Fly designer notes, "It's the biggest game world I've ever built."

In the 2D platformer, you control an astronaut who has crash landed on Mars and needs to gather a batch of crystals to get her ship back in working order. To do that, you need to explore the planet's ruins, avoid enemies, and solve a number of increasingly difficult switch puzzles to reach the crystals.

Redder's controls are simple -- walk with the left and right arrow keys, and jump with the up/shift/z/space key -- keeping most of the focus on timing the astronaut's hops. The planet's lower gravity allows you to jump higher and float in their longer than you typically would in most other platformers, but if you've played Anthropy's other games, you should be used to this by now.

You can play the Flash game for free right now on Newgrounds!

Soulcaster: 8-Bit Adventure/Tower Defense On XBLIG

Released last week on Xbox Live Indie Games by developer MagicalTimeBean, Soulcaster combines three great ideas, hoping to catch your interest with at least one of them: 8-bit graphics, Gauntlet-style top-down dungeon crawling, and tower defense mechanics.

As you explore dungeons, discover treasure, and encounter a variety of enemies, your wizard deploys a collection of archers, warriors, and alchemists (each with their own strengths and weaknesses) to dispatch enemies. As you progress, you can upgrade those units and purchase equipment.

You can purchase Soulcaster for just 240 MS Points, and there's also free demo available should you need more convincing.

[Via GamerBytes]

GDC, The Fantasy of Control, Part II: Tuesday, March 9, 2010

[In a GameSetWatch-exclusive set of blog posts for the week of GDC 2010, Magical Wasteland blogger and Game Developer magazine columnist Matthew Burns continues his journey through the show. Previously: Part 1.]

It’s the first real day of GDC. The surging crowds are at first seemingly counterintuitive to the oft-repeated phrase that the industry is a small place. Just how tiny it is, though, becomes fully apparent as I stand in a hallway seeing person after person I recognize, by name or by face.

The moment I enter Moscone South I spot a former co-worker, and have a catch-up conversation with her before I can even get my badge. The newly-built studio she’s joined is “interesting,” she says, and briefly describes some of the disconcerting politics already going on there.

I’m on a press pass this year, which is turning out to be an “interesting” for me, too. I had always thought certain people became suspiciously friendly towards me when I started working for Bungie three years ago, but that’s nothing compared to being in the system as a game journalist.

Even without any prior credentials to this particular vocation I’m bombarded with e-mails and calls asking for my time– often starting with off-putting affectations of casual camaraderie. On some level I understood that this is how things work, and that I should not be surprised, but I can’t help but feel drained by all the noise.

In the face of a thousand false friends, what is one to do? Getting fifty e-mails and ten voice mail messages about startups that are going to “revolutionize the social gaming space” makes me second-guess myself, and wonder if maybe there isn’t something to this stuff after all, and that maybe I’d better write something about it lest I miss out on the next big thing (whatever that actually turns out to be).

This press mentality distorts my perception, too, such that the weight of all the clamoring results in an impulse in the opposite direction, the desire to fly in the face of the “public relations” people and pick something obscure and contrary to write about, just to prove that I am in control of myself.

The crowd at the Independent Games Summit yields about a dozen people I have known before only online in the space of twenty minutes. We all understand there is no time for any sort of deep conversation, so we are content to say hello face-to-face for the first time and move on for now, promising each other we will see each other later in the week. Everyone pours coffee into their bodies, still in the mode to gear up for what promises to be a long, interesting and mindbending day.

I soon meet Ben Abraham, game writer and academic. He is brand new to GDC and this country in general, but the first words out of my mouth are about our shared game of Neptune’s Pride, a web-based light strategy title created by an ex-Irrational developer, that has been eating away at our time for the past week. Laptops side by side, we compare tactical notes before we think better of ourselves and go on to discuss more serious matters: the conference here, the writing-about-games scene (such as there is one), life in Australia as opposed to here.

Then, out of the corner of my eye, I catch the nametag of Chris McCarthy, one of the people who I have been working with on my independent game project as he randomly walks past us. I shout his name, and he immediately joins a rapidly growing lunch outing agglomeration– from four to six to ten people– in search of a good place to eat.

The train gets moving only to break up after it becomes clear there is no actual destination in mind; the two splinter groups end up in the same food court of the same mall anyway, and a large table is shared by all. Chris ends up talking to Ben about Australia’s Classification Board, and I’m drawn into a conversation with two soon-to-graduate game programmers, Kyle Murphy and John Holland, and another artist, Chris Matuszek, about Torque, Unity, and the video game program at Champlain College.

As we walk back to the conference the streets are packed with people shouting passionately about ambient occlusion, how to compete with Zynga, or the game company t-shirts they possess. I head to the W Hotel, where I’m to meet with some old friends in the game audio business (Tom Hays and Julia Bianco, of Technicolor Interactive Services).

The lobby bar is packed even at this time of day and we’re lucky to find a seat; during our conversation one of our group excuses himself to take a call and comes back fifteen minutes later to announce he’s just made a sale. We reminisce about old times, compare studio buildout notes, and exchange current information.

A few hours later, I’m on my way to meet with Jenova Chen, and Ben, who I run into again, joins us. We discuss game business (the Infinity Ward news, the development scene in Shanghai), before moving on to other, more important topics. Jenova must be off to make an appearance elsewhere, and on the way back from our meeting place I explain to Ben why I think Flower is so important.

It’s starting to become party time, and while there are many tantalizing gatherings that have been heard of and spoken of in hushed tones, there are markedly fewer with actual concrete locations and invitations. We are on our way to one when students we met the previous day spot us, and like a Katamari ball we absorb them, the whole thing rolling along Mission Street towards the closest open bar.

I manage to find yet another former co-worker, who hands me a business card so thick it could be a coaster, and who keeps talking about how he needs to get back to his room so he can actually write the slides for his presentation later this week. It is the deepest part of the crunch cycle at his workplace right now, and he has had no time, he says.

He also describes how he was explicitly instructed by his management not to talk about certain recent industry events about which everybody is talking; I make up for this by ranting at him on the subject while he nods and quietly drinks his Scotch and beer.

The night finally ends two or three establishments and last calls later. Ben Abraham, who had earlier said he was going to bed, is found chatting with Clint Hocking past midnight, and I spend a good fifteen minutes reeling at the size of Ubisoft Montreal, which one of the guys has pegged at almost 2,500 people. Much is said– some of it to be forgotten– and we head back to our respective hotels to collapse for a few brief hours. “That,” says newly-elected IGDA board member Darius Kazemi, “Was the first day.”

Special: The Best Of The 2009 Demoscene, Part 4 - Wild

charts_wild.jpg[In the latest of an occasional series of demoscene-related posts on GameSetWatch, AteBit's Paul 'EvilPaul' Grenfell presents a multi-part retrospective on 2009's best demos - continuing with the best 'wild demos' - some of the more out-there efforts from the scene last year. Previously: best demos, best 64kb/4kb intros, and best oldschool demos.]

After a bit of a break, I'm back with more of my favourite demoscene productions from 2009. This time I'm looking into the Wild category. Wild is a bit of an odd category whose definition often depends on the demo party you're attending.

At most parties, though, Wild means anything that doesn't fit into any of other competition or category. This usually includes demos on really obscure or home-made hardware as well as live-action, animated or CG short films. I'm also going to extend this definition to include some tiny intros that were too small to fit into the 4k chart.

1st: Puls by Rrrola

64k demos too big? Can't wait for the next great 4k intro to download? Then try this 256 byte demo from Rrrola. Yup, that's right, this effect was created with just two hundred and fifty six bytes of hand-crafted assembly code. And if that blows your mind, check out what other amazing things 256byte demo authors have been up to over the years.

2nd: Untraceable by TBC

Next we take a bit of a leap to 1024 bytes with this 1k fractal exploration from TBC.

3rd: Demovibes 9 mixed by Willbe
demovibes9.jpg
I love the Demovibes compilations, expertly compiled and mixed by Willbe, and this edition is no exception. Perfect background music for democoding.

4th: I Felt the Earth Breathing by Quite
ifelttheearthbreathing.jpg
"Procedural Graphics" is a fairly recent demoscene category. Authors must write an executable that produces just a single image. So why not just write a program that decompress a jpeg? Because most competitions put a limit of 4096 bytes on the size of the executable. This example from Quite shows just what can be achieved.

5th: Shader Toy by RGBA
shadertoy.jpg
IQ of the group RGBA is not just responsible for great demos like the stunning 4k Elevated. He's also maintains a website (www.iquilezles.org) that is an authority of many aspects of democoding. And on top of all that, last year he released Shader Toy - an online tool to lets you edit and preview GLSL shader programs in any WebGL-enabled browser.

6th: Turbulence by LFT

Back after his success with Craft in 2008, Linus "lft" Akesson returns with another home-made demo platform.

7th: Julie by Nuance

Necessity is the mother of invention, they say, and if you can't afford the tech that Hollywood uses to make "bullet-time" effects then you'd better figure out a cheap way to do it yourself. The result is this short film, mixing live and computer generated footage and released by Nuance at Breakpoint 2009. You can also check out the story behind this demo as a PDF document.

8th: The Death Grind by A Halalkoszor

Another short film, though this time it's entirely computer animated.

9th: Subtle Confusion by Pistoke

More computer animation in this humorous piece from Pistoke.

10th: Pixel by Pixel by Outbreak & Darklite

And finally, want to tile your bathroom with a mosaic but can't decide on a pattern? How about starting a topic on the demoscene site Pouet asking for suggestions, picking the best, then filming yourself in time-lapse as you apply the winning image to your walls.

Capy Reveals Clash Of Heroes HD For XBLA, PSN

Toronto indie studio Capybara Games announced an HD port of its acclaimed Nintendo DS puzzle/SRPG hybrid Might and Magic: Clash of Heroes for Xbox Live Arcade and PlayStation Network, releasing later this year.

This downloadable edition will feature a number of changes and additions, such as replacing the game's super-deformed 16-bit style sprites and scenes with hand-drawn artwork, throwing in new idle animations for heroes and combat units, and other visual improvements.

Also, seeing as the dual screened version only supports two-player local multiplayer, Capy is taking advantage of the ports online battles by adding four-player versus and co-operative modes, as well as new multiplayer-specific artifacts.

The single-player experience will see enjoy new tweaks, too; you can now revisit previous chapters to complete outstanding side-quests or find secrets they might have missed. You can see several more screenshots from the Clash Of Heroes HD port, courtesy of IGN, after the break:

Denny's And Drawings: Indie Art Jam 2010

Hopefully I'm not ruining the event by calling too much attention to it, but if you're looking for some entertainment after tomorrow night's Independent Games Festival awards show, Canabalt creator Adam Atomic and Flashbang's Ben Ruiz are organizing a post-IGF tradition, the Indie Art Jam, that might interest devs:

"Every year after the IGF Awards go down, the indies stumble into the filthy bowels of the Denny's that is sort of across the street from Moscone, and draw naked pictures of each other and eat disgusting food. Last year we pretty much filled the entire Denny's, they had no idea what hit 'em.

So this year, once you escape from the awards hall, grab your trophy (as if you'd ever let it go anyways) and your sketchbook, and join us at the Dirty D for an evening of stomach aches and artistic license!"

If you've no idea where this particular Denny's is, you can jump to this Indie Art Jam 2010 page for a useful map.

That '70s Show's Hyde Remixes FFXIII Theme

I had no idea Danny Masterson had a career outside of his acting roles and his role as Steven Hyde in That '70s Show, but apparently he's also a DJ who performs at night clubs under the name DJ Mom Jeans (formerly DJ Donkey Punch).

Here, you can see DJ Mom Jeans performing at Square Enix's Final Fantasy XIII launch party, giving the new RPG's theme music a dance remix as scenes from FFXIII play behind him. If you like the song enough to want to throw it on your iPod or add it to iTunes, Siliconera even has a downloadable (and sort of low quality) MP3 from the live performance.

GameSetLinks: From The Alpha To The Omikron

[GameSetLinks is GameSetWatch's semi-regular link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

While we're way into a super hectic GDC week, and in fact, the GameSetLinks haven't got busted out for a long time, we still have a few in our back pocket for moments like this - and here's some fun results.

Among them: 1UP on fanfiction, a neat good interview with Wadjet Eye Games' Dave Gilbert, a Sonic retrospective of some classiness, a retrospective on David Cage's early piece of semi-insanity that is Omikron, and rather more besides.

Eff bee eye:

Fan's View: Inside the World of Fanfiction from 1UP.com
'Our first part in a series on game fan culture looks into the controversial art of weaving non-canonical tales.'

Retrospective: Omikron: The Nomad Soul Article | Retro | Eurogamer
'I will argue with you that Fahrenheit is one of the most exciting games I've ever played, even though it's broken in about 657 ways.'

1UP's Retro Gaming Blog : Report: "The Game Maker" Vol. 2: Sunsoft
Nice, the Game Center CX guys doing new retrospectives...

WoSblog: Weird or Standard? » Blog Archive » Games mags in a coma
Presumably to be sung to Morrissey/Smiths? But sad :(

Bestower of Blackwell, Repossesser of Emerald City – INTERVIEW with Dave Gilbert » A Hardy Developer's Journal
Great interview on the adventure game dev, who has transitioned from casual portal-supported to self-supported status in terms of distribution, interestingly...

1UP's Retro Gaming Blog : Lost Levels: Sonic and the Secret Games
Great retrospective from Frank.

March 9, 2010

Final Fantasy Airship Miniatures

Mark Hoffman, who posts some amazing and intricate miniatures at Musings of Metal Mind, recently shared a set of custom miniature airships inspired by Square Enix's Final Fantasy series, each craft fashioned from bits of other small figures.

His airships include Setzer Gabbiani's Blackjack from Final Fantasy VI, the High Wind from Final Fantasy VII, Ragnarok from Final Fantasy XIII, and the Hilda Garde III from Final Fantasy IX. I hope Hoffman eventually gets around to creating a miniature for Cid's Lindblum in Final Fantasy XIII!

[Via Toycutter]

Toy Robots Invade Shatter's Amethyst Caverns

For those of you who can't get enough of Shatter's soundtrack -- we must have mentioned how great it is here at least half a dozen times already -- have a look at this music video for "Amethyst Caverns", one of several tracks from the PSN (and soon-to-be PC) game.

The scenes in the video really don't have much to do with the game, but it does feature an appearance from composer Jeramiah "Module" Ross halfway through. It was also shot and edited by Sidhe's lead artist Corie Geerders.

Again, you can stream for free or purchase/download Shatter's "electro rock and retro beats" soundtrack, which earned the game a finalist spot for the 2010 Independent Games Festival's "Excellence in Audio" award, at Bandcamp.

[Via Mario Wynands]

Game Developer March Issue Showcases Uncharted 2, Dirty Coding Tricks

[Here's info on the latest issue of the evergreen Game Developer magazine - and it's a bumper GDC-distributed issue, actually, which you'll get in your attendee bag at the show this week, if you didn't get a copy in the mail already!]

The March 2010 issue of Game Developer magazine, the sister print publication to Gamasutra and the leading U.S. trade publication for the video game industry, has shipped to print and digital subscribers and is available from the Game Developer Digital service in both subscription and single-issue formats.

The cover feature for the issue is an exclusive postmortem of Naughty Dog's cinematic action game Uncharted 2. The article, crafted by designer Richard Lemarchand, offers insight on the challenges and successes experienced by the Sony-owned studio. It is introduced as follows:

"Uncharted 2 is Naughty Dog's latest foray into what they call the cinematic action genre. The game released to nearly-universal acclaim, and here they discuss everything from multiplayer mechanics, to over-ambitious scope, to the power of playtesting."

Also featured in the issue is the second roundup of dirty coding tricks, straight from the programmers who have employed them:

"In our second installment of Dirty Coding Tricks, programmers share their last-minute kludges and hacks all in the name of getting a game out the door. Lessons abound for coders and the non-technical alike."

In addition, experienced producer Matthew Burns talks to numerous studios to get the lowdown on the various production methods employed throughout the industry:

"Production methodologies differ from company to company. Here, Matthew Burns explores the disparate tactics of Harmonix, Treyarch, and Valve, to determine some best practices."

Other notable features include Brent Friedman's proposal of a simple scripting language to power conversation systems, and an interview with Blade and Soul art director Hyung-Tae Kim.

And as usual, our regular columnists contribute detailed and important pieces on numerous areas of game development -- this issue, we include Bungie's Steve Theodore on the art job market, Jake Cannell on virtual textures, Maxis' Soren Johnson on theme versus meaning, LucasArts' Jesse Harlin on SoundSeed, Matthew Wasteland with his monthly humor column, the Good Job! column on industry career moves, and more.

Worldwide paper-based subscriptions to Game Developer magazine are currently available at the official magazine website, and the Game Developer Digital version of the issue is also now available, with the site offering six months' and a year's subscriptions, alongside access to back issues and PDF downloads of all issues, all for a reduced price. There is now also an opportunity to buy the digital version of March 2010's magazine as a single issue.

BitComposer Releasing Jagged Alliance 3 In 2011

bitComposer Games, an independent publisher operating out of Eschborn, Germany, announced that it's secured the full rights to the Jagged Alliance license from Strategy First and hopes to release Jagged Alliance 3 some time in 2011.

Though the tactical RPG series has enjoyed a devoted fanbase since its debut by original developer Sir-Tech Software in 1994, Jagged Alliance hasn't seen a numbered release since 1999. Strategy First eventually acquired the license and even released the Wildfire expansion pack for Jagged Alliance 2 but has struggled to put out a full follow-up.

Strategy First announced that it was working with Russian developer MiST Land South to develop two sequels in 2004, Jagged Alliance 3D (essentially Jagged Alliance 2 using a new 3D engine) and Jagged Alliance 3, both of which were eventually cancelled due to conflicts between the companies and MiST Land South's closure.

The publisher then announced in 2008 that it was working with two other Russian studios, Akella and F3games, to create Jagged Alliance 3, but development on that project was cancelled, too. Since then, the cult series has remained dormant for the most part, other than a Nintendo DS port for the original Jagged Alliance released last May and a movie licensing deal several years ago.

bitComposer acknowledges the issues Strategy First has faced with releasing a new Jagged Alliance installment but clarifies that it's taking over future development work under the license, with the exception of a social network game based on the franchise under development by Strategy First.

The German publisher's previously released games include S.T.A.L.K.E.R.: Call of Pripyat, The Void, and Scorpion: Disfigured. It says it has plans to preserve the basic concept of previous Jagged Alliance games while placing it in a contemporary setting.

"Although Jagged Alliance 2 was published over ten years ago now, the game still represents a milestone in the genre and boasts a huge following of loyal fans," says biComposer Games CEO Wolfgang Duhr, Managing Director of bitComposer Games.

"We are delighted to acquire this classic game for bitComposer, and want to continue the success of the previous titles in the series, while giving the new version a contemporary look, bearing in mind the strong features of its predecessors."

GDC, The Fantasy of Control, Part I: Monday, March 8, 2010

[In a GameSetWatch-exclusive set of blog posts for the week of GDC 2010, Magical Wasteland blogger and Game Developer magazine columnist Matthew Burns starts off his journey to the show with some intriguing fellow travelers.]

I thought the flight I would take from Seattle down to San Francisco would be full of developers, so I am on the alert for the telltale signs of the game industry: the jeans, the hairstyle, the low-slung bag.

When the person next to me on the flight stashes William Gibson’s Pattern Recognition in the seat pocket, I am absolutely sure I am in kindred company. I blurt, “So, going to GDC?”

My neighbor nods and identifies himself as one of about thirty developers from CCP that are on board this flight, which has served as a connection from Reykjavik, Iceland. We exchange cards– he’s Vigfus Omarsson, Lead Technical Artist– and I can’t help but quiz him like an overeager policeman doing his first interrogation.

Do you guys use Max or Maya? (Maya.) How is EVE Online doing these days? EVE is doing rather well– much better now ever since CCP took control of its own destiny from erstwhile video game publisher Simon & Schuster. Some in Iceland look at the company with a certain amount of jealousy, he says, since the rest of the country is still digging its way out of a financial crisis that has made headlines for years yet has yielded no easy answers.

We spend most of the flight talking shop– about Python versus MEL, facial animation middleware, how far one can push normal maps– with a few asides about Icelandic culture (“Vodka is more of a Finnish or Russian thing– many of my friends drink Captain Morgan and Coke”) and a discussion of what actually went wrong with the country’s economy and how it feeds into the global economic situation.

“Everyone in Iceland is like a PhD in economics now, due to the coverage on television or in the newspapers of what happened,” he says. When I suggest that EVE Online, with its unusual focus on economics, has some odd synchronicity coming from a place like Iceland, he gestures towards a sleeping figure in the seat in front of me. “He is the official EVE Online economist,” he says.

Dr. Eyjólfur Guðmundsson has written papers on what happens in the economy of EVE when, for example, certain players were able to game the system and create money out of nothing.

When I suggest this has a certain parallel to events that have happened in real life across the world, Vigfus smiles and demurs– but goes on to explain how CCP offered to pay its employees in Euros instead of Icelandic Króna in the wake of the country’s banking collapse.

Our plane is stuck in a holding pattern over San Francisco, and as we peer out the window trying to discern when we might finally land, I mention how smart I thought the buildup of EVE Online was– a slow but steady ramp-up that led to the self-sustaining, company-driving game of today. “I’m not sure that could ever happen again,” he says.

Launching an MMO today means serving as many players as possible on Day 1; growing over time gives early players advantages that late joiners often resent. We talk MMO business, about how its seductive quicksand has ensnared publishers and venture capitalists into the quagmire time and again. Then he mentions Activision, and its focus on the bottom line, and its legal battle with the former leaders of Infinity Ward– and the person in the third seat immediately comes to life.

He had been silent up until now, but he was obviously going to GDC too (his in-flight book was Ellen Ullman’s “The Bug”), and this mention of the new Evil Empire of games somehow made him pop like a bubble. “It’s the packaged goods mentality,” he says. I nod and compare the branding of Activision’s annualized titles to toothpaste, an analogy he instantly both accepts and reviles. “You buy the same toothpaste over and over,” he says,” But you don’t play the same game over and over.”

After we finally land and go our separate ways at SFO, I settle into a seat on old tailbone-rattling BART, typing into my iPhone; a kid behind me ventures– “Hey, you going to GDC?” (I’m as obvious as any other game developer on the train.) He’s here on the West Coast for the very first time, he says, recently graduated from Full Sail University, and looking for a job.

I tell him the job market is terrible right now, and launch into some anecdotes to illustrate just how bad it is– guys with years of experience who used to run whole departments are applying for the kinds of entry-level contract jobs that he would be in the market for– before I have a chance to think about how negative I’m sounding.

He seems to take it all in stride, though, and hands me his card (Munro Wood, 3D Modeler). The BART train screeches into Powell Street Station and we wander off into the San Francisco night.

First Look At Spelunky XBLA

Indie developer Derek Yu finally gave Spelunky fans a preview of his acclaimed roguelike/platformer's upcoming XBLA port with four screenshots from the project. These images show off the game's new high resolution, hand-painted graphics, dynamic lighting, and other visual effects that you won't find in the original PC version.

What you won't see in these screens, though, are all the other additions planned for the port: achievements, leaderboards, new game modes, new audio, new items, new monsters, and more. I presume we'll hear more about those as Spelunky XBLA's release later this year approaches. Jump past the post break for more images!

[Via @attractmode]

Square Enix Teases FFXIII Gallery iPhone App

With Final Fantasy I and II recently released through the App Store, Square Enix is continuing its push to bring the marquee RPG series to the iPhone with a new Final Fantasy XIII app. This new project, unfortunately, isn't very game-like, as it's merely a photo gallery with high resolution images from the new PS3/Xbox 360 title.

The photos are so high in resolution that you can actually zoom in for a close-up on characters's eyes, according to a report from Japanese gaming news site Famitsu translated by Andriasang. You can even set one of the images as a background for a clock and calendar on your iPhone/iPod touch.

Square Enix hasn't revealed pricing or a firm date for the Final Fantasy XIII app's release, but it expects to make the gallery available worldwide simultaneously.

Pre-GDC: Career Pavilion Hints & Tips For Success

[Since GDC is coming up this week, and with it the Career Pavilion, this guide -- originally published in Game Developer magazine -- compiles advice from hiring companies on what they're looking for, plus important do's and don'ts if you do want to get a job in the mainstream game biz.]

2009 has been tough for the games industry. Layoffs, consolidations and reorganizations mean that not only have talented staff found themselves without jobs, but fresh graduates have found themselves entering into an uncertain future.

Game Developers Conference 2010's Career Pavilion (Thursday, March 11th—Saturday March 13th in Moscone South Hall, accessible with all GDC passes, including Expo or Student passes) presents an opportunity to receive face time with recruiting studios and publishers, and with only three days to make an impression it’s important to not waste any time.

We’ve talked to some of the top recruiters from companies including Blizzard, Ubisoft, and Sony to ask them what they’re looking for, and with that knowledge at hand, you can ensure that every impression you make can be positive.

Really! Be Prepared!

Not only the motto of the Boy Scouts, “Be prepared!” is also overwhelmingly the advice of every recruiter we talked to. Before even beginning to research the Career Pavilion, recruiters strongly advised that all job seekers have a specific position in mind, and organize their preparation toward getting it.

“Too many times folks come to a booth and say they want [work as] an artist, programmer, or a designer,” said Maggie Bohlen for High Voltage Software (a multiplatform developer that recently developed The Conduit for Sega). “Don’t expect to leave your choice of career in our hands—know where your strengths lie and focus on that specific direction.”

Once you know what you’re looking for, tailor not only your resume to the position, but your portfolio (consisting of art, code samples, audio work, or whatever is most relevant to the discipline) and remember that even within disciplines it helps to be as specific as possible.

"All too often I’ll have an artist walk up and say, ‘I’m a concept, environment, and character artist, I can do it all!’,” said Kraig Docherty for Blue Castle Games (currently working on Dead Rising 2 for Capcom). “This will not help your case.”

Once you’ve got your tailored resume and portfolio, strip it down. Ensure your resume is as clear and as short as possible (recruiters advise it must always fit on two sides of one sheet of paper) with no spelling mistakes, typos, or formatting mistakes (every single recruiter told us this very important).

Whittle down your portfolio to only the absolute peak of your output—your best work and the work you are most passionate about, and include descriptions. Then, though this may seem awkward, make sure that you are prepared to offer both your resume and portfolio to recruiters in a format that suits them—because if there’s one thing our recruiters couldn’t agree on, it was their preferred method to receive business cards, resumes, and portfolios.

All recruiters informed us they appreciated having a paper resume and portfolio to check out during any scheduled interviews. Business cards, however, were considered unnecessary unless you are applying for a position of seniority (“They just get lost,” confided an anonymous recruiter).

If you are unable to schedule an interview, recruiters were most positive about receiving a traditionally laid-out (8.5” x 11” paper) resume that included a link to a personal website featuring your (tailored) portfolio (“put the link at the top of your resume in bold,” begged one).

However, a few recruiters stated they would happiest to receive CDs which contained both a resume and portfolio—as long as they were clearly labeled.

“If you’re an artist, take two or three screenshots from your portfolio along with your resume verbiage and display them inside the clear cover of the CD/DVD case. It’s very handy for instant recognition,” added a recruiter. Whatever you do—ensure all the information a company needs about you is provided to them in one single submission.

Research in Development

So you know what position you want, and you’ve tailored your resume and portfolio to the position, with plenty of paper copies of your resume, a nice portfolio website, and a few CDs for those who might want them. You’re ready to walk the Pavilion, right?

No matter how well you might know your own needs by this point, recruiters tell us they can spot someone a mile off that doesn’t recognize their company’s needs. Using GDC’s published list of companies who will be represented at the Career Pavilion, research each company to find out if they would be right for you—and you for them.

“Know the companies you are going to approach and do some research,” said Blizzard Entertainment’s Sumer Ortiz. “Know where they are located, the positions they have posted online, and their company culture. If you are armed with the basics, you can spend quality time talking to developers and recruiters about what it takes to get a job.”

All recruiters surveyed agreed with this—”it’s really as easy as checking out our website,” said one—Ubisoft’s Stephanie Franco expanding that prospective employees should “Research recent job postings and the corporate website (including key titles)” using this information to prepare a “30 second pitch outlining what experience and skills you offer in relation to their current hiring needs. Be prepared to explain what special skills you can offer to their team.”

Lack of research into a company was considered the most egregious error that an applicant could make, one that would absolutely destroy any potential for a good first impression (and woe betide if you’ve also managed to make spelling mistakes on your resume). Not only that, it pays to consider the recruiter’s time just as valuable as yours.

“It’s very important that job-seekers focus on companies that are located in areas in which they wish to live,” said High Voltage's Bohlen. “It’s deflating when you spend time with a candidate and then they ask you at the end of the conversation where the office is located, and when they realize we are in Chicagoland they shiver and say ‘No thank you!’”

Present Yourself Professionally

With portfolio and resume in hand and an encyclopaedic knowledge of the companies you have focused on, the final thing to ensure before stepping into the Career Pavilion—or anywhere within San Francisco county during GDC week—is that in all cases you present yourself professionally.

“Never forget that you’re interviewing—even if it’s just a two minute conversation,” said Karen Chellini, Sony’s director of talent acquisition. “You must always be ready to engage with a prospective employer.”

While the game industry is generally casual, and during GDC week can get a little raucous, job-seekers have to hold themselves up to a slightly higher standard, and consider themselves to be under scrutiny even at the wildest GDC party—after all, you never know who you’re going to bump into, and at what time.

Don’t overcompensate, though. Game recruiters surveyed valued looking neat, clean, and presentable in smart casual clothes over wearing a suit—if you’re not natural in a suit, or it’s ill-fitting, it comes across as recognizably false.

First impressions were also strongly led by how confident, concise, and friendly applicants were according to recruiters. While that may seem less obvious to job seekers looking for work such as programming where you might imagine your communication skills are less valued, recruiters argued that video games are created by teams, not individuals.

Remember to smile and look people in the eye, and if you’re shy, practice what you think you want to say to potential employers (but not what you think they want to hear—be honest).

“Practice interviews with a friend beforehand,” advised Renee Scott at Gazillion Entertainment (an MMO developer headquartered in the Bay Area). “Try to eliminate all the ‘ums’ and ‘uhs’ and have answers for harder questions like ‘why did you leave your last job?’"

But if you’re a comfortable communicator, be wary of letting your mouth run off. “Treat any discussion like a professional interview,” continued Scott. “Be respectful, don’t swear or trash talk, and while being chatty is fine, remember that everyone at GDC is on a schedule and has more to do there than there is time for.”

Don’t Panic—Network

Recruiters will be there for three days—you don’t have to talk to everyone on the first day. Taking your time to scout out the pavilion and talk to people at booths that may not have been your first choice during your initial research period can be invaluable, and at those booths you were interested in, there is often non-recruiter company staff available to answer more in-depth questions before you make a serious attempt to apply for a job.

Remember—you don’t want to waste anyone’s time, especially not your own, so take the time to make sure a company is right for you, and perhaps you’ll find out new things while networking.

Whether you’re new to the industry or a well-established veteran, networking is important—try and hook up with people in the industry you know and people you want to know for casual discussions that don’t need to relate to getting a job—a good impression in a chat about a GDC seminar you both attended is still a good impression. Don’t be shy to talk to companies or individuals that you respect or admire—just don’t fawn or ramble!

The Morning After

Once GDC is over, even if you’ve had a good experience at the Career Pavilion with plenty of new connections via savvy networking, lots of resumes distributed and maybe a few interviews, don’t expect to be able to sit back and wait for the job offers to roll in.

With thousands of others applicants in the same market, “relying on a resume that may have been buried under 200 others in a pile can mean never getting a call back,” said Gazillion’s Scott. So be sure that if you were asked to fill out an online application, you do, and if you feel you made a connection with a recruiter or another GDC attendee (and were given their contact details) send them a polite follow-up e-mail to solidify that connection.

Preparing for the Career Pavilion is all about giving a great first impression, but it’s equally important that you keep it up—that way you’ll be sure to stand out and get the job you worked so hard for.

[Mathew Kumar is a freelance journalist based in Toronto and a contributing editor at Gamasutra.com and FingerGaming.com.]

March 8, 2010

Miranda Make-Up Tutorial For Mass Effect 2 Fans

Along with its gamer modeling services for events, motion capturing, voice acting, and more, Charisma+2 produces a magazine targeting female gamers. The online publication, which has already published a dozen issues, offers reviews, profiles on women working in the game industry (e.g. Brenda Brathwaite), and articles helping girls break into the business.

The latest issue of C+2 magazine includes a piece you won't see in traditional gaming magazines like Edge or Gamepro: a step-by-step guide for a make-up look inspired by Mass Effect 2's Miranda Lawson (pictured). The tutorial suggests products you can use and presents this "gamette make-up" as an
everyday look for girls wanting a "simple and sexy go-between".

I've included the video guide recorded by C+2 model Leigh Ann, an aspiring 3D game artist, after the break. She's also contributed an article in this month's issue discussing her first steps toward developing skills she'll need for that career. I've no idea where she finds time for these articles in between raising and maintaining seven World of Warcraft characters (leveled around 60-80).

8-Bit NYC, City Maps

Inspired by the overhead world maps of 1980s RPGs and adventure games, Brett Camper created a Google Maps-style representation of New York City with 8-bit graphics. The map is interactive, allowing you to pan across the city and zoom in to see individual streets.

He wants to create more 8-bit overhead maps for other cities, but to fund that endeavor, he's looking to raise $3,000 through donation-ware platform Kickstarter. If he can raise that much in the next 30 days, he plans to use that money to cover web hosting costs and the initial computing time needed for drawing the maps (purchased using Amazon Elastic Compute Cloud).

Camper already has eight cities he hopes to re-create -- San Francisco, Los Angeles, Boston, Chicago, Washington D.C., Seattle, London, and Paris -- and will hold a vote for people to elect seven more cities they'd like to see rendered in this 8-bit style.

If you live in a small town that's unlikely to even appear in the vote, you could always pledge $200 to the project to reserve an additional city for Camper to create. Depending on the size of your contribution, you can also receive 8-bit NYC postcards, 8-bit NYC postcards, and personal markers on a map.

"I hope that these maps will evoke the same urge for exploration and abstract sense of scale that many of us remember experiencing on the Nintendo Entertainment System, the Commodore 64, or any other number of 8-bit microcomputers," says Camper. "Maps offer us visual architectures of the world, encouraging us to think about and interact with space in particularly constrained ways. Let's set out on an 8-bit quest!"

[Via alinear]

Sound Current: 'Classically Trained - Dog Ear Records on Pia-Com and Nobuo Uematsu's Ten Short Stories'

[Continuing his 'Sound Current' series for GameSetWatch, Jeriaska catches up with the director of Final Fantasy composer Nobuo Uematsu's Dog Ear Records label to discuss the company's diverse set of video game and related soundtracks, from piano versions of game music classics through spinoff projects and solo albums.]

Currently on shelves in record stores in Japan, Dog Ear Records' two most recent releases are Nobuo Uematsu's Ten Short Stories and Pia-Com I, short for "Piano Meets Computer Games."

Performed by Keita Egusa, Pia-Com I marks the first installment of a series of solo piano albums. The collection arranges individual tracks from Final Fantasy II, Mappy, Elevator Action and Mother (the Famicom predecessor to Earthbound).

Hiroki Ogawa, director of Dog Ear Records, has been involved in planning recordings for Final Fantasy XIV, the animated series Guin Saga, and orchestral arrangements of Final Fantasy found on the album CELLYTHM: Those Who Distorted. In this interview coinciding with the release of Nobuo Uematsu's Ten Short Stories in Japan, Ogawa and Egusa offer their perspectives on the making of Dog Ear Records albums.

Ogawa-san, in your work at Dog Ear Records, what kind of jobs do you oversee?

To put it simply, I handle whatever work is not taken by Uematsu-san and Matsushita-san. As director, I am managing CD design, along with the production of game soundtracks. Those are the kinds of roles I'm serving in.

On August 2, Famitsu presented Press Start, a concert of live videogame music. For the encore performance, "To Zanarkand" from Final Fantasy X was performed by Egusa-san. Did you have the chance to see it?

Yes, I did. Dog Ear Records has released a CD by Egusa-san, and so we have worked together closely. However, his performing with the orchestra then was not something we planned for in any way. I was surprised to see him at the piano and to hear that he would play "To Zanarkand." As someone who has worked with Uematsu-san, it was a total surprise when I heard. I asked someone to cover for me at the booth. The hall was so large and the sound so moving... I was very glad to hear it.

On the Dog Ear Records homepage it's been announced that Uematsu will be composing for Final Fantasy XIV. Can you tell us more about his involvement in the highly anticipated MMORPG?

Hiroki Ogawa: There's a lot I can't say at the moment. Square Enix is planning announcements. The last time Uematsu was composing for the series, in terms of writing all the music himself, I had not yet started working in this field. I was familiar with the soundtracks as a player. Now to be involved as a member of the staff, it's a source of tremendous satisfaction. At the same time I feel the pressures of being responsible for working on a series with a long and involved history.

A lot of people are excited about Final Fantasy XIV and Uematsu's involvement as composer. Do you feel pressure to meet their expectations?

Yes, I would say that is accurate. The pressure on me is nothing compared with Uematsu. I observe he's pouring his feelings into it as he works on each of the songs for the game. Of course he's barreling ahead with the score, but not without thinking deeply about each song.

Similar races inhabit the world of Final Fantasy XIV when compared with Final Fantasy XI, though their names have changed slightly. In working on the musical themes for the game, will there be a conscious connection to Final Fantasy XI?

In truth, only Uematsu knows for sure. In terms of what I observe in recording sessions the concern is for creating something altogether new. In listening to Uematsu's previous scores there's always some new element that emerges. I think there will be surprises in the main theme and also in the storyline. Naturally there will be novel components, but that's what everyone expects from Uematsu on a Final Fantasy series installment.

Recently the animated television series Guin Saga has featured a soundtrack composed by Uematsu. In terms of Dog Ear Records' involvement, how did you contribute to the soundtrack album?

Once the music for the series had been completed, a CD soundtrack was released by Aniplex Records, who published the albums for Blue Dragon and Lost Odyssey. Aniplex was the publisher and Dog Ear Records was responsible for the overall production.

In approaching the sound of Guin Saga, were there any features you wished to emphasize?

Yes, well this is only my personal impression, but the world of Guin Saga is vast. The use of the orchestra is meant to underscore this. There are also sampled instruments on the score and making those two work together naturally was arranger Narita-san's job. We were working on the mixing tirelessly, not even stopping for New Years'.

The most recent release from Dog Ear Records is Nobuo Uematsu's Ten Short Stories, which includes a song that the composer began writing many years ago. Would you please tell us a little about it?

This song originated when Uematsu was in Junior High, and was the first he ever composed. Only two verses were written at that time, and he's completing it at fifty. That was the idea behind the entire project. Seeing as other songs are in the works, we are considering an English-language version. The track will be available online overseas, and we would like people to understand the lyrics.

The first song ever composed by Uematsu-san will be released at 50?

Yes, that's right. We have until March 20 to finish before he turns 51, and plans are for ten songs total.


Dog Ear Records video interview (Part One of Two)

Egusa-san, thank you for joining us for this discussion on the subject of your recent music release. Dog Ear Records has previously published your solo album KALAYCILAR. How would you describe Ogawa-san's role in this process?

There's a short answer and a long answer to that question, but let me explain it to you in some detail. Many of the ideas that went into the title track of KALAYCILAR were in my mind around the time that I first heard Bela Bartok's "Microcosmos" in college. I actually remember thinking at the time that this would make for some great game music. That led me to seek out a lot of folk songs originating from Bartok's birthplace of Hungary, just to get a better sense of their motifs. I thought that one of these days I would try arranging one of these folk songs in my own style.

In 2000, I joined a band performing Turkish and Arabic music. There I encountered a Turkish folk song called "Kalaycilar." We were performing in a very standard Turkish style, but having been reminded of my experience listening to Bartok's "Microcosmos," I went ahead and wrote an arrangement for the band that was reflective of my memories from college. Those are the origins of the album KALAYCILAR.

This Turkish folk song is performed at auspicious events, like wedding ceremonies. I had the opportunity to play this piece at Ogawa-san's wedding, and he fell in love with it. Uematsu-san had the chance to hear the recording, and that's how it was decided that this would be released on the Dog Ear Records label.

It became necessary during the course of releasing the album that two further tracks be recorded. For that reason, I arranged a Moroccan folk song called "Aisha." It's become a favorite of Ogawa-san's as well. In addition to this, after considering a number of prospects, I decided on adding a more popular selection, an arrangement of "Simoon" by the Yellow Magic Orchestra. It turned out to be a remarkably smooth process with few complications.

Earlier this year you performed on the piano at the Press Start Symphony of Games Concert, which we reported on for several articles on this website. What was your experience playing famous themes from videogames together with the Tokyo City Philharmonic Orchestra?

It was an extremely exciting experience. The skills of multiple arrangers were vying for the attention of the audience, while the source material has a deep meaning to so many who play videogames. The choice of songs on the set list and their presentation amounted to the highest form of fan service you can imagine.

I think you can't help but feel a sense of whimsy in hearing a musical performance comprised of songs originating on computers, involving none other than a full orchestra. It was a lot of fun. It's the kind of event that I think is not only interesting to those immersed in the culture of games, but even those who feel a bit alienated by it. It's just an immensely enjoyable concert by any standards.

Your father performed on the soundtrack to Anata wo Yurusanai for the PSP. Are games something that the two of you are able to enjoy together?

My father belongs to a generation that primarily missed out on the joys of videogames -- (he's 70). When I was a kid we played board games together... primarily shogi, Othello and baseball pinball. This might be stretching the meaning of "gaming," but if there was anyone who taught me how to enjoy its pleasures in the larger sense, it was my father.

Pia-com is an album that takes a variety of classic game themes and arranges them for the piano. When you were younger, did you ever experiment with performing such arrangements?

I certainly did! I was in elementary school when Space Invaders became all the rage. In music class during the break I would sneak over to a piano in the corner and play music from the game for my classmates. This was how I discovered that performing music for others could be a source of enjoyment, and that set me on the course toward my present-day occupation.

How did you go about choosing the track list?

Mappy is one that I've had the chance to perform live previously on several occasions. When the concept for this album first came under discussion at Dog Ear Records, this was one of the tracks whose background music I sent in as a demo. As soon as they heard it they said, "This is it!" Also, a cover of "Snowman" was one of the candidates I was considering for KALAYCILAR. That was the result of taking a look at "Eight Melodies" from Mother, which was requested by director Ogawa-san.

At Press Start you played "To Zanarkand," which is Uematsu's opening theme from Final Fantasy X. You're also arranging one of his tracks from Final Fantasy II for Pia-Com. How would you describe the experience of working with the composer?

The moment I begin to play any music by Uematsu, I immediately am given a very particular sense of that world, a mysterious sensation. I've also performed at the Distant Worlds concert and it's given me the chance to become familiar with a number of his songs. The rendition of "To Zanarkand" that took place at Press Start was not my arrangement, but it did involve a lengthy piano solo at the outset. You could say there's a certain pressure involved in playing solo in a sold out concert, but it was a great relief to hear that I lived up to the audience's expectations.


Dog Ear Records video interview (Part 2 of 2)

[This article is available in Japanese on Game Design Current. It can be read in French in two parts on Squaremusic: [ Part One ] [Part Two]. Cellythm, Pia-Com I and Nobuo Uematsu's Ten Short Stories can be imported from Amazon.co.jp. Interview conducted by Miyu and Jeriaska. Images courtesy of Dog Ear Records. Photos by Jeriaska.]

Tale Of Tales Brings Graveyard To iPhone

Belgian indie Tale of Tales has ported The Graveyard, its short PC "game" originally released in 2008 and nominated for IGF 2009's Innovation award, to iPhone. As with the Windows/Mac versions, the mobile port has two editions, a Lite version available for free and the $1.99 full version, in which its possible for the protagonist to die.

In The Graveyard, players controls an elderly woman during as she hobbles around a cemetery toward a bench for her to rest. Once sitting, she sits and listens to a song, then leaves. In the full version of the game, there's a chance she dies while sitting on the bench.

"The Graveyard offers a player the opportunity to imagine themselves in a certain situation," explains creators Auriea Harvey and Michael Samyn. "It's not a game in the sense that there is a way to win or lose or a puzzle to solve, or even a story to uncover. But the interaction does immerse you in a virtual world filled with narrative, an equally powerful feature of the medium of video games.

The developers note that because the iPhone hardware is less powerful than a PC, they made several changes to the game's graphics, removing post-processing, real-time overlays, animated trees, and birds. Samyn adds, "Still, if you ask us, The Graveyard is one of the best looking and sounding games on the iPhone."

Baiyon, Hip Tanaka Collaboration Released

We mentioned here last week that Japanese musician and artist Baiyon (PixelJunk Eden) was working with renowned Metroid and Dr. Mario composer Hirokazu "Hip" Tanaka for the third and latest volume of his In The Collaborations series.

Baiyon's private label Decanso released In the Collaborations 03 EP over the weekend, which includes three singles produced with Tanaka (performing under his live music handle "Hip tanaka.ex"). You can grab the entire EP on iTunes for $2.97; there's a lot of music for that cheap price, more than 25 minutes worth.

As a reminder, Baiyon plans to discuss his In the Collaborations series at this week's Game Developers Conference in his session with Naughty Dog's Richard Lemarchand (Uncharted 2) titled "Micro or Massive: It's Fricking Tough to Achieve a Vision." Don't forget that we're still soliciting questions for their discussion!

[Via Nobuooo]

Kokoromi Announces Gamma IV Selections For GDC 2010 Showcase

Montreal game collective Kokoromi has today announced the six games selected for this year's Gamma IV showcase, the 'One Button Games'-themed extended game jam.

The chosen entries will make their debut at the Gamma IV party in San Francisco on the evening of Wednesday March 10th, and will then be shown at the Gamma IV Pavilion on the GDC Expo Floor, with this exhibition held in association with the organizers of the Game Developers Conference, the UBM Techweb Game Network.

Comparable to a longer-form, targeted version of the 'indie game jam' concept, previous years’ themes have included Gamma 01: Audio Feed (games driven by live audio), gamma 256 (games with extremely small pixel dimensions), and GAMMA 3D (games using red-blue stereoscopic 3D). Standout games like Passage, Paper Moon, and Super HYPERCUBE resulted.

This year's Gamma IV allowed game creators worldwide to make shortform games created to be played using only one button, and the specific showcased titles, picked from over 150 submissions, are as follows:

Silent Skies by Spyeart
Poto & Cabenga by Honeyslug
4Fourths by Mikengreg
B.U.T.T.O.N. (Brutally Unfair Tactics Totally OK Now) by Copenhagen Game Collective
GAMMA IV - THE GAME by cactus
Faraway by Steph Thirion

Kokoromi commented in relation to the showcase: "This year presented a significant curatorial challenge for Kokoromi, given the exceptional quality and diversity of submissions to our “one-button games” call. The six games chosen demonstrate creative approaches to the one-button restriction, tailored to the unique challenges of Gamma’s “new arcade” format."

The kickoff Gamma IV showcase event will take place at The Mezzanine in downtown San Francisco on Wednesday, March 10th, from 8pm to 3am. There's free entry with any GDC badge, and $10 public admission, with games being shown on large screen projections and set to music from Starpause (SF), Baiyon (Kyoto), Class Prez (ATX), and more. The subsequent GDC Expo Floor exhibition will take place at the Moscone Center from March 11th-13th, and be open to anyone with a GDC 2010 badge.

Finally, on the evening of March 12th, the organizers will also present One Button Objects, a collection of playful circuit hacked creations inspired by the Gamma IV theme, at Gray Area Foundation for the Arts (55 Taylor St, San Francisco).

Fanart For The Father Of Video Games

Seeing as today is the birthday of 88-year-old Ralph Baer -- creator of the first video game console (Magnavox Odyssey) and considered by many as the
"father of video games" -- now seems the perfect time to share some fanart for the celebrated figure.

The piece above drops Baer next to a Super Mario Bros. question block and some sort of terrifying beast fashioned together with elements from the Nintendo series. Artist Ashley Anderson created it for a silent auction by "taking photographed imagery, scanned imagery, and digitally hand drawn imagery and forcing them all to sit in the same pictorial space".

She adds that the pixelated figured behind Baer is the ghost of William Higinbotham, creator of Tennis for Two, which, having debuted in 1958, is the first known precursor of Pong. This isn't the only tribute I have to share today for Baer; After the break, I've included another illustration of the inventor taken from a series devoted to notable game industry stars from artist Bartotainment.

GameSetNetwork: Best Of The Week

As we compile larger stories from elsewhere on our network, here's the top full-length features of the past week on big sister 'art and business of gaming' site Gamasutra, plus our GameCareerGuide features for the week.

As GDC nears, there's still room to compile a bunch of neat pieces from last week, including good longform interviews with Capcom's Christian Svensson and the Battlefield: Bad Company 2 creators, as well as an overview of the Nordic dev scene, a look at how agile methods are being adapted in the game space, and some choice GCG features, including Game Developers Conference tips and tricks and more besides.

Cha cha cha:

Battlefield Logistics: A Bad Company 2 Interview
"EA DICE's console-targeted shooter makes its second foray into the market this week, and here senior producer Patrick Bach discusses the series' and the gaming audience's evolution -- and how that touches the game's design."

The State of Agile in the Game Industry
"Certified Scrum trainer and veteran developer Clinton Keith takes a look at the state of agile acceptance at gane studios, using survey data to identify common stumbling blocks, and presents here comments from developers on the process at their companies."

Persuasive Games: Shell Games
"Just what will the achievementization of the world mean? Author and game designer Ian Bogost ponders Jesse Schell's DICE talk and blends his interpretation with research. Will it work... and, more importantly, is it good?"

The State of the Nordic Development Scene
"We speak with Nordic developers about the current state of the region's game development scene, focusing on the struggles and strengths of a region known for top-notch games and business challenges."

Careful, Capcom: Christian Svensson Speaks
"Capcom's U.S. VP speaks candidly about the company's plans, its development strengths, business realities, and recent comments made by its Japanese management that the U.S. will no longer be a force for IP generation."

The Aesthetics of Play Control: The Role of User Interfaces Discussion of Games as Art
"Daniel Gronsky, adjunct professor of Media Studies at Pine Manor College, delivers this look at the connection between the aesthetics of a game and its play control -- refined from discussions originally taking place at PAX."

GCG: GDC Tips For Students
"Planning to attend next week's GDC as a student? Two-year veteran of the show and developer Grant Shonkwiler, who attended in 2008 as a student, shares his tips on how to maximize the show."

March 7, 2010

Road To IGF Mobile: Glow Artisan's Jason Schreiber

[In the first in a series of interviews with 2010 Independent Games Festival Mobile finalists, sister site FingerGaming's Jon Glover talks to Powerhead Games CEO Jason Schreiber, whose DSiWare game Glow Artisan is a finalist in the Best Mobile Game category after having won the award for Best Mobile Game Design.]

Described as another "secretly rad" DSiWare game by GameSetWatch’s Eric Caoili, Glow Artisan could have remained just that, a footnote on Nintendo’s weekly "downloadables" PR sheet, seeing only a single, admittedly fantastic review in its first week of release.

However, a few months on and developer Powerhead Games’ debut original title has won the IGF’s Best Mobile Game Design award, being the only game on a traditional gaming handheld up for the grand prize in the catergory of Best Mobile Game.

FingerGaming had the chance talk with Powerhead Games boss Jason Schreiber about his company’s first non-licensed game, the development of such a unique and feature-rich puzzle game and the indie scene in general.

What is Powerhead Games’ background in game development?

We recently celebrated Powerhead Games’ tenth anniversary as an independent game developer. Our first game was for the original Nintendo Game Boy. We’ve pretty much been a Nintendo handheld developer ever since, working on many different types of "for hire" (other company’s IP) games. Glow Artisan is Powerhead’s first original IP and our first self-published game.

Can you tell us what development tools your team used to create Glow Artisan?

We use 3D Studio, Photoshop MediaWiki, SVN, Lua, Bugzilla and Notepad. We also use a bunch of internal tools and technology which we take great pride in. For example, our Font Text Writer tool is not just a means to get text into the Nintendo DS, but it’s also an indication of our love of silly acronyms. The most important tool though, is the Glow Puzzle Maker, which is included in the game!

How long was the game in development?

The first prototype of Glow Artisan was built about two years ago. Several of the core features in the finished game were in place at week one: using one screen as a blueprint and the other as a canvas, drawing from the edges ("emitters"), and erasing/cutting lines.

That first prototype showed potential, but it was a far cry from where we wound up. Glow Artisan became a labor of love at Powerhead — nearly everyone here had a hand, at least some part, to move development forward. When the Nintendo DSi was announced, everything fell into place. We knew two of the DSi’s features, the camera and the shop, would be perfect for Glow Artisan.

How did the initial concept come about?

Two designers, Matt [LoPresti] and Ramiro [Corbetta], were discussing ideas as designers are wont to do. In a classic case of the game "Telephone", one misinterpreted the other’s design and came up with the idea of “emitters” (drawing from the edges). They enlisted Randy (programmer) and Mike (artist) to work on a prototype. (It was up and running in about a week.)

Like any good idea, it was inspirational. Soon additional people got involved, and the design shifted to a more "cabal" approach.

How did your "for hire" work on primarily licensed games prepare you for the development of Glow Artisan?

Working on games for young audiences enforces the basic tenet that players should always know what they can do. It sounds simple, but this kind of detail can be overlooked as developers struggle to hit a deadline, or debate level of polish vs. additional features.

During the development of Glow, we repeatedly noticed the mechanic wasn’t obvious to new players. We heard: "Why can’t I just draw anywhere with the stylus?" a lot. We knew if the game was not presented properly then first-time players would likely get frustrated.

Building a thorough tutorial solved a lot of problems: it made a good first impression, helped set the pace of the game, and made sure players knew how to play our game.

What would you say are the advantages and disadvantages of putting your game on DSiWare, versus "proven" services such as the App Store and Xbox Live Indies?

The simplest answer is: where else could we sell our downloadable Nintendo DSi game? Another advantage for DSiWare is the other services, especially the App Store, are just flooded with games. This makes it very hard to get attention for new IP.

We like to think Glow Artisan's quality would have demanded attention no matter what system it was initially released on, but releasing Glow Artisan as a DSiWare game helped it stand out just because there are only a few games released every week.

Of course, the flip side, is the App Store and Xbox shop experiences are much more mature — it’s so easy to go from a link on the web to a purchase for any App. To find Glow Artisan in the DSi Shop, you need to specifically search for it. Hopefully, that will change as the DSiWare shop evolves and adapts.

Glow Artisan has a strong sense of identity. Do you think an interesting, coherent aesthetic is a necessity on a service alongside the likes of the ArtStyle and Electroplankton series?

For us, anything that helps our game stand out is helpful. Marketers like to talk about a good "elevator pitch" or "five word" description for a game. ("You only have 30 seconds with an executive to sell your game… Go!")

Glow Artisan doesn’t have a great elevator pitch. Or at least we haven’t found it yet. We still have problems explaining the gameplay. ("So, here’s how to play. You need to redraw this puzzle, but you can only draw from the left and top sides of the screen. No, not that screen. And it’s got a lot of features and modes. And it uses the camera…")

That said, we learned even showing the game isn’t enough. We posted a carefully constructed trailer online, but the first comment said the it sucks because it doesn’t show off the game concept. (We took it as a compliment that the random YouTube user liked our game enough to support it by criticizing its only trailer.)

If you could reset and start fresh on development of Glow Artisan, what would you do differently?

Once we had the mechanic down, we spent a lot of time trying out different looks and modes. We also explored various story ideas, such as the totally original idea of adding color to a colorless corporate world (shakes fist at de Blob!). If we had known from the start we were self-publishing on DSiWare, we could saved time by only focusing on the essentials of game play, cool features, and presentation.

For the game itself, I’m going to paraphrase Matt and say we learned a lot in making tons of small (5×5) and large (10×12) puzzles. In retrospect we could have eased players into the larger levels a little better. Perhaps by adding a medium sized grid.

What do you think of the current state of the indie scene, particularly in relation to the mobile space?

Matt says that "some of the indie games I’ve played on DSiWare and Xbox Live Indie are some of the best experiences he’s had in recent years. Especially Solar on Xbox Live." And Ramiro says 2009 "had a lot of interesting games, like Closure, Star Guard, Every Day The Same Dream, Today I Die, and a bunch of other games that I’m probably forgetting.”

I don’t think I’m the first to make this observation, but look at where id, Epic and 3DRealms started. They were all “indie” shareware companies, working on self-published games in the 90’s. They all were responsible directly to their consumers and, as a result, produced high quality games and great franchises. The indie game developers of today could very well be the gaming powerhouses of the next decade.

Have you played and enjoyed any of the other IGF Mobile finalists?

We’re looking forward to more hands on time with all the games at GDC, but we’re all fans of Hook Champ and Drop7. (And we’re not just saying that because Drop7 was made in New York City.)

COLUMN: 'Game Mag Weaseling': The Nastiest Review Ever

['Game Mag Weaseling' is a weekly column by Kevin Gifford which documents the history of video game magazines, from their birth in the early '80s to the current day.]

ultima8-1.jpg   ultima8-2.jpg

What's the most scathing video-game review you ever read? I don't mean Angry Video Game Nerd-type stuff; that's meant to be comedy. I'm talking about the sort of review that rips the game completely apart from end to stinking end, one where you can feel the seething resentment from every letter of every word on the page. Roger Ebert's good at writing movie reviews like that, but surely we've got someone like that for us in our industry, don't we?

I'd argue that the closest we ever got was Scorpia. I'm not going to call her the best game critic ever, but when she didn't like a game, she really didn't like it.

ultima8-3.jpg

I bring this up because I was thumbing through some old Computer Gaming World magazines and came across her review of Ultima VIII, released by Origin in early 1994. She wrote about...ahh, how about I just let you read it for yourself? It starts on full blast and didn't stop until three pages later. (Despite her opinions, she still wrote three more pages of strategy coverage for Ultima VIII in the same issue. It must've been a hard month for her.)

CGW, as I've written about before, was an extremely well-written magazine...or, at least, a very densely-written one. Reviews of big games would often go into the thousands of words, analyzing every little detail of the RPGs, adventures and simulations of the day. In the very early issues -- back when Scorpia was still writing under her real name -- you would have these incredibly complex rundowns of strategy and computer intelligence in games that were literally written in Applesoft BASIC. No American magazine gives a more intimate view of what the industry was like in the '80s, and no writer does a better job than Scorpia in representing how the hardcores saw computer RPGs back then.

That's probably why her review of Ultima VIII wound up the way it did. In a way, U8 is symbolic of what happened to the computer game biz in the early '90s. After technology began to get cheaper Wolf3D and Doom made the industry semi-mainstream, games beefed up their visual displays to dizzying heights in the course of only a few years, going from staid EGA Sierra adventures to the dazzling 3D showcase of The 7th Guest. Ultima was an RPG series that built its name over many, many years with a small but dedicated fanbase; when Origin took on a movie-like approach to game design with titles like Wing Commander and Strike Commander, Ultima tried and failed to play along.

U8 is really not that terrible a game, in my opinion. Buggy and unfinished upon release, yes, but lots of PC games are. I'm not alone with that take, either -- among others, PC Format gave U8 a pretty stellar review. It just shouldn't have been called Ultima. To Ultima fans, the idea of an RPG where the Avatar had to jump from tiny platform to tiny platform was sacrilege -- and I think you can see that shine through in Scorpia's review all too well.

Do you have a past review you remember for its nastiness? Why not share it with me in the comments? I'd like to read some more like this one.

[Kevin Gifford breeds ferrets and runs Magweasel, a really cool weblog about games and Japan and "the industry" and things. In his spare time he does writing and translation for lots and lots of publishers and game companies.]



If you enjoy reading GameSetWatch.com, you might also want to check out these UBM TechWeb Game Network sites:

Gamasutra (the 'art and business of games'.)

Game Career Guide (for student game developers.)

Indie Games (for independent game players/developers.)

Finger Gaming (news, reviews, and analysis on iPhone and iPod Touch games.)

GamerBytes (for the latest console digital download news.)

Worlds In Motion (discussing the business of online worlds.)


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