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61 Frames Per Second

June 2008 - Posts

  • Watcha Playing: Loving/Hating Mario Kart Wii

    Posted by Amber Ahlborn


    Mama Mia!



    Every weekend I try to get together with a group of friends and play Mario Kart Wii online. We have a blast battling it out for first place and lobbing weapons of happy destruction at each other. I really love this game and it is, hands down, my favorite console iteration in the series to date. I'm definitely a fan of the bikes and the stunts and I quite enjoy the “Whiil” (sorry). Alas, it has no voice chat so communicating with my fellow racers involves a little racing of my own; from my living room where the Wii is ensconced to my studio where my computer sits. But, I know why there is no voice chat. It's because of me.

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  • World's Office Drones Rejoice: Cyberslacking Boosts Productivity

    Posted by Cole Stryker
    We're going to have to file this one in the "grain of salt" folder, but Popcap games, maker of the landmark casual game sensation Bejeweled, among scads of others, has published a report claiming that employers who ban internet use or social networking sites can cost British businesses up to $4 billion each year. Furthermore, a 10-minute video game break can increase efficiency and morale. According to psychometric trial results, casual games have the best effect on workplace morale and efficiency, as compared to social networking and casual internet browsing.

     

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  • The Ten Most Adventurous Sequels in Gaming History, Part 3

    Posted by Peter Smith

    Jak II



    As Amber recently mentioned, Jak's personality changed between Jak & Daxter and Jak II. This wasn't an, "Oh look, he's got a new hat!" sort of change either. Jak went from being an unassuming, Pixar-styled young-and-plucky hero to a gun-toting, tortured prisoner of war in the span of two credits sequences. But Naughty Dog's decision to frame the sequel around a loss of innocence isn't what's adventurous about Jak II. In Jak & Daxter, Jak is mute, but following his fall from grace at the beginning of II, he chats up a storm. As significant as the shift from a silent vessel for the player to inhabit to a defined personality driving story are the changes made to Naughty Dog's original play design. Jak & Daxter was a hub-based platformer in the vein of Super Mario 64 (albeit more linear) that featured basic melee combat. Jak II has more in common with Grand Theft Auto than Spyro the Dragon, eschewing platforming arenas and challenges for a mission based structure and vehicle play with more gun combat than melee. Naughty Dog have established themselves as one of gaming's most reliable developers, but few of their titles have the sheer balls of Jak II. — JC

     

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  • The Ten Most Adventurous Sequels in Gaming History, Part 2

    Posted by Peter Smith

    Super Mario 64



    If you'd asked a young me to imagine a three-dimensional Mario Bros. game, I'd have pictured a screenshot from Super Paper Mario — essentially, the point-A-to-point-B linearity of classic side-scrolling Mario, shot from a different camera angle. Instead, Shigeru Miyamoto's first 3D adventure completely rewrote the rules of platforming, replacing the "get to the end" format with a variety of challenges set in one, open physical space. To a generation weaned on linearity, this was pretty overwhelming at first — I remember being plunked down in Bob-Omb Battlefield and wandering around like a chump for an embarrassingly long time. 64 was so different from its precursors that you arguably wouldn't call it a sequel, but bear in mind that no one knew at the time what the next generation of games would look like. Early 32-bit games like Bug and Clockwork Knight dressed 2D gaming in 3D clothes. As usual, that nut Miyamoto had something different in mind. — PS

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  • The Ten Most Adventurous Sequels in Gaming History, Part 1

    Posted by Peter Smith

    More than any other creative medium, videogames rely on sequels. Unlike serial fiction (television, comics) or film franchising focused on continuing narrative and familiar characters, videogame sequels — at their best, mind you — are not just the next chapter of a story or the return of a popular protagonist. The most successful gameplay designs are perfected through revision. Practice, as they say, makes perfect. And while sequel-as-business-model more often than not leads to stagnation, sometimes pandering to the audience reveals a vein of creativity richer than that found in the source material. Sometimes, a good idea needs to be demolished and rebuilt over its original foundation to become great. This week, 61 Frames Per Second takes a look at gaming's ten most adventurous sequels: direct successors that significantly alter the fundamental design, aesthetically and mechanically, of their predecessors. Some of the entries on this list are great successes, others failures. But they all broke the mold to change our ideas about play. — John Constantine

    Adventure Island IV



    Even as an old-school die-hard I've always been pretty indifferent to the Adventure Island series. Sure, it's solid hop-and-bopping, but without much aesthetic or architectural distinction. Does anyone feel passionately about Adventure Island, really? More people might if Adventure Island IV had come out in the States. IV melds the series's standard run-around-whacking-stuff-with-other-stuff mechanics to an ambitious Metroid-esque superstructure, in which newly acquired items must be used to open previously inaccessible sections of a large, continuous map. (The snowboard you pick up in one area gives you passage through a snowy field, and so forth.) This is a familiar tactic today — see recent Castlevania games, for example — but at the time it was unusual, and certainly not where you'd have expected a staid platforming series to go. — Peter Smith

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  • Character Case Study: When Good Characters Get Bad Attitudes

    Posted by John Constantine



    Written by Amber Ahlborn

    Outside of puzzle and simulation genres, games tend to be very character-centric. As such, character development can be important to games with some detail to their stories. Alas, games are still typically lightweights as literary pieces and cliches abound. Currently the antihero is popular; a cheap way to add depth to a character is slapping on a tragic back story and injecting them with a bad attitude. Sometimes this works out and sometimes it simply ruins a good thing. Two characters who beautifully illustrate these extremes are Jak and the Prince.

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  • Captivating Discontent: Where's the Nintendo Love, Capcom?

    Posted by John Constantine

    Written by Derrick Sanskrit

    Like a lot of other gamers, I was rather perplexed by the announcements at the Capcom’s recent Captivate ‘08 event. Sure, Street Fighter IV is starting to look like a worthwhile return to the franchise and Bionic Commando just looks awesome - both got me wanting to pick up that Xbox gamepad again - but what the hell happened on the Nintendo side of things? Neopets Puzzle Adventure and Spyborgs?

    Capcom doesn't really believe that ALL Nintendo gamers are eight years old, do they?

    But as the media rolled in, I started to warm up to these new IPs.

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  • In Defense of In-game Advertising

    Posted by Cole Stryker

    In-game advertising is nothing new, but it appears that Sony plans to ramp up advertising in their PS3 games. CNET's Don Reisinger thinks this "ruins the experience of playing games".

    Let's talk about benefits. Pushing in-game advertising will most likely lead to lower game prices. I recently had the pleasure of playing through a new ad-supported downloadable version of Farcry for free. Farcry's a few years old, but putting up with a few interstitial ads during download screens was well worth it.

    Advertisers want to be as unobtrusive as possible with their advertising. What do I care if Solid Snake knocks over a can of Coke rather than a can of nondescript 'Cola'? He already smokes Luckies. Doesn't this hypothetical instance of advertising make for an even more immersive experience? Same goes for in-game billboard advertising in sports games. 

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  • Games Cost Money: Sony Cans The Getaway and Eight Days

    Posted by John Constantine



    While the salad days of the Playstation 2 are at an end for Sony, things have been looking up for the entrenched corporate monster in 2008. Little Big Planet continues to wow, Gran Turismo 5: Prologue had a healthy release in April for a game that’s little more than a demo, and the buzz surrounding Metal Gear Solid 4’s impending release is loud enough to even drown out some of that Grand Theft Auto fervor that’s been going on. The stigma surrounding the Playstation 3 – that it’s an expensive, ugly machine without many games to play on it – is slowly starting to fade, and it has everything to do with some truly exciting exclusive software. So it’s disheartening to hear that two games being developed by Sony’s own London Studio have been cancelled. Eight Days, a Michael Bay-tinged action game that fused car chases with shootouts in the American southwest, and The Getaway, a sequel to London Studio’s successful PS2 Brit-crime drama series, have both been given the axe “due to the redistribution of resources and budget.”

    While I’m the first to exclaim my love for the big-budget blockbuster games coming out on the 360, PS3, and PC these days, the truth is that, for at least the short-term future, they may not be an economically feasible pursuit for most developers.

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  • Trailer Review: Sonic Chronicles – The Dark Brotherhood

    Posted by John Constantine



    May 2008. San Francisco, CA. Sega of America, Office of VP Marketing.

    “Got that trailer for the Sonic RPG almost put together. Just needs voiceover.”

    "Look, whatever you do, don't say, 'Sonic and his friends.'"

    "Why not?"

    "Just don't."

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  • OST: Soul Blazer

    Posted by Peter Smith

    As we've noted before, Kurt Kalata's Hardcore Gaming 101 is an invaluable resource, with thoughtful, graphic-heavy reviews of dozens of underappreciated games. I do have to take issue, though, with one of David DeRienzo's comments on the soundtrack to the poetic SNES classic Soul Blazer. "The dungeons have this crazy '80s synth thing going on. Some of them are slightly catchy, but most are just silly and cheesy to the point of being laughable. I was just waiting for Rick James to start singing during a few of them." Um, and?

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  • Kotaku Endorses Products Unaware

    Posted by Cole Stryker

    Yesterday Kotaku published a post regarding how Figure Prints, a company that creates 3D models of WoW avatars, ran an ad in a comic book with a testimonial from Axel at Kotaku. The compelling testimonial reads, "Wow... I NEED ONE!!!"

    Problem is, no one who writes for Kotaku goes by the name of Axel. It turns out that the company snagged the gushing prose of one of Kotaku's bleating commenters, attributing the quote to Kotaku.com, where it technically appeared. And the commenters are all slapping Axel on the back with hearty shouts of, "Kotaku commenters FTW!!"

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  • Street Fighter II HD Update - Hitbox-O-Rama

    Posted by Peter Smith

    At the risk of geeking out about the smallest bit of game-design tweaking... wait, what am I talking about? That's our whole raison d'etre here at 61FPS. So I'm happy to report on the latest announced feature in the long-awaited Super Street Fighter II Turbo HD Remix...

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  • When Good Developers Go Bad: Koji Igarashi

    Posted by John Constantine



    Koji Igarashi’s a consistent guy. The man-in-black of videogames – he doesn’t really look like Johnny Cash, but he does have a habit of wearing black leather and carrying a whip around in public – Igarashi rose to prominence in 1997 when he released Castlevania: Symphony of the Night for the Playstation. SOTN was a fairly dramatic re-imagining of the Castlevania franchise, expanding on the non-linear style of 1988’s Castlevania 2 and molding it into a circuitous, fluid environment in the vein of Metroid. In the past eleven years, Igarashi has overseen seven more Castlevania titles, four of which are in the exact same style as SOTN. On the two dimensional front, Igrashi’s resume is un-indictable; even when his 2D Castlevanias are a little dry (as is the case with 2002’s Harmony of Dissonance), they’re still well-made games. It’s his work in the third-dimension that’s been the problem.

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  • Free Running: How Speedruns and TAS Make New Games

    Posted by John Constantine



    Outside of trailers and preview footage, I’ve always been averse to watching video of games being played. I’d just rather have the controller in my hand. This isn’t to disparage the spectator aspect of videogames. A huge part of the classic arcade experience is passive, watching others demonstrate skill at certain cabinets or just enjoying live competition. Watching someone else play a game at home is also an essential gaming experience, allowing you to not only empathize with their experience but also see a game in a much different light. You notice things about a game when not solely focused on its core goals and can learn a lot about the way it was made and the way people play it.

    I wasn’t introduced to the world of speedruns until just a couple of years ago when I discovered my colleague Pete’s fetish for them.

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  • Yoko Shimomura Gets Commemorated, Orchestrated

    Posted by John Constantine

    In the past twenty years, as a member of Capcom’s Alph Lyle band (the team behind Street Fighter 2’s immortal jams), an in-house composer at Square, and as a freelancer, Yoko Shimomura has arranged some of gaming’s most evocative melodies, songs that enrich their contextual housing every bit as much as character or play design. While many game soundtracks are incapable of transcending their source, Shimomura is one of those rare artists whose work is appreciable beyond the game. I have only played through Parasite Eve once in the past decade, but I still regularly listen to Shimomura’s score of operatic electronica and discordant tone poems.

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  • Alternate Soundtrack: Sonic The Hedgehog vs. Ratatat

    Posted by John Constantine



    Anybody who was a gamer during the 16-bit era remembers the intense rivalry between Nintendo and Sega. Much like Burger King today, Sega marketed itself as the hipper, more extreme company full of attitude compared to family-friendly Nintendo. Their mascot, Sonic the Hedgehog, was the embodiment of the Sega image. He was fast. He was pointy. He was naked except for his sneakers. Most importantly, he had attitude. Just a few seconds of inactivity in his games and the blue hedgehog would stare at you through the screen. Sonic glared, tapping his foot, his furrowed brow exclaiming, "I'M WAITING, DUDE! COME ON, LET'S GO BREAK THINGS!"

    Ratatat are college radio's Sonic the Hedgehog.

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  • A Challenger Appears!

    Posted by Cole Stryker

    And yet, we have so far to go! Blogs and gaming forums have pretty much killed the bloated, stinking corpse of print media, but new online channles have certainly inherited some of its foibles. Not only that, the few solid blogs are bogged down with linkbait like endless photos of gaming cakes and Princess Peach pantyshots. You don't need to see that, not even at Hooksexup.

    Anyway, I like to think that most gamers are smarter than that, so I hope you like what I have on offer.


    (Pic related: It's my thinkin' face)

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  • Where Is the New Indiana Jones?

    Posted by John Constantine



    Euphoria, a physics engine created by developer NaturalMotion, has been popping up all over the place lately. To clarify, a physics engine is a piece of software that simulates real-world physics in a game. Euphoria specifically creates realistic animation for game characters on the fly, as opposed to the hand crafted animations traditionally used for computer generated characters. Euphoria is used in Grand Theft Auto 4 - when you see Niko’s body getting thrown about in a sickeningly convincing way, it’s Euphoria at work. The engine is also featured prominently in the much publicized, poorly-titled upcoming Star Wars game, The Force Unleashed. It’s a little distressing, however, that Euphoria’s intended debut has gone AWOL. I’m referring of course to LucasArts’ untitled Indiana Jones project.

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  • LucasArts Classics On Nintendo DS?

    Posted by Peter Smith

    As many have remarked, the DS seems perfect for a revival of classic adventures — it's got more than enough processing power to handle early-'90s PC software, and the stylus is a fine match for the traditional point-and-click interface. (Diehards, myself included, who prefer the still-more-traditional parser interface, will have to wait for the inevitable PowerGlove II to simulate an old-fashioned keyboard.) Beloved games like Monkey Island and Sam & Max Hit the Road would be natural archive releases for legendary adventure producers LucasArts. But today...

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  • Video of the Day: Dr. Wily Really Needs Investors

    Posted by John Constantine

    Old Rich People have taken a look at the brutal truths of history and presented a convincing argument on why there is no Mega Man 9.


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  • Personal Firsts: My Gaming Scrapbook, From A to Wii

    Posted by John Constantine



    Written by Amber Ahlborn

    At some point in the 1980s, the year nebulous in my memory, my mom bowled with her team every Thursday night. I loved Thursday nights because dad let me stay up late to watch M.A.S.H. and Benny Hill. Sometimes he and I would hop in the car and go visit mom at the alley, and that was the best. Dad would sit and watch mom bowl. Me? I would squeeze every last quarter I could get out of him. With a fist full of change and dollars soon to be converted into change, I’d walk down to the alley’s hamburger bar, snag a stool, and drag it through the glass doors into the arcade. Without deviation, I’d position my stool in front of the “Ostrich Game” and stay planted there until I ran out of money. I’m speaking of Joust of course, but at that age I could neither reach the controls without a stool to sit on nor read very well.

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  • Whatcha Playing: How Many Buttons Do I Gotta Push?

    Posted by John Constantine



    Last week, while watching video of Final Fantasy VI, I commented to my colleague Pete that old Final Fantasy is not fun to watch. He laughed and replied, “No comment.” The inherent absurdity of what I’d just said wasn’t lost on me either. There’s a constant disconnect between you and the activity in role-playing games. You select an action from a menu and then watch your avatar on the screen carry out the command after the fact; more often than not, you only watch the game. The basic design of an RPG necessitates strategy behind each selected action, but most RPGs are so simple that you can win by just pressing a single button to do one thing over and over again. I love role-playing games and, if I’m completely honest, I can admit that I get immense satisfaction of pressing that one button repeatedly and watching numbers (a character’s attributes or any other arbitrary statistic) rise as a result. Sometimes, just pressing a button is enough for a game to engage me.

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  • Trailer Review: Street Fighter 4

    Posted by John Constantine

    The old maxim, “Don’t judge a book by its cover,” doesn’t always hold true for videogames. There are many times when you can absolutely judge a game by its cover. For example:



    This game is exactly what it looks like. It involves people wearing ludicrous clothes fighting green gorilla men in the street.

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  • Up All Night: Nightmare Creatures

    Posted by John Constantine

    Welcome back to Up All Night, FPSers! I’m your host, John Constantine, and tonight we have a ghoouuulish delight for your playing pleasure. So we’re clear, by ghoulish delight, I actually mean a game of trashy, garbage-like, and horrendous quality. We’re looking at a game so delectably bad that my mouth is actually watering in anticipation of it foul flavors. Our subject is the best-forgotten hack-and-slasher, Nightmare Creatures. Unlike many other Up All Night candidates, Nightmare Creatures has a discernable plot. Back in 1666 – a year which would undoubtedly be more infernal if not for that pesky “1” - the Satan-worshipping Brotherhood of the Hecate make some evil monsters and fail to take over the world. It’s not especially clear why; monsters are useful for world domination. In 1834, Adam Crowley is the new leader of a resurrected brotherhood, and he makes a bunch of new evil monsters that could, arguably, be called nightmare creatures. Enjoy this narration for more!

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John Constantine, our superhero, was raised by birds and then attended Penn State University. He is currently working on a novel about a fictional city that exists only in his mind. John has an astonishingly extensive knowledge of Scientology. Ultimately he would like to learn how to effectively use his brain. He continues to keep Wu-Tang's secret to himself.

Peter Smith is like the lead character of Irwin Shaw's The 80-Yard Run, except less athletic. He considers himself very lucky to have this job. But it's a little premature to take "jack-off of all trades" off his resume. Besides writing, travelling, and painting houses, Pete plays guitar in a Led Zeppelin/Talking Heads/Police/Replacements-covering power trio called Shovel, and will gladly rock your world if you so desire.

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