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  • Go West! Red Dead Redemption and How to Get Cowboys and Indians Right



    By the time videogames had evolved beyond batting a ball back and forth across a digital net, the Western had already lost much of its cultural currency. The Lone Ranger’s audience had ridden off into the sunset, replaced by minds and eyes hungry for space instead of the frontier. That’s why we have Spacewar! in 1961 and not Stagecoach!. The last quarter of the 20th century’s appetite for science fiction is most certainly why Bald Space Marine is the icon he is in 2009’s gaming landscape, but I don’t think it fully explains why games have yet to produce a spectacular Western. Why is it that after decades of creation, there isn’t a game about cowboys sitting on Top One Hundred Games of All Time lists? Why is Oregon Trail the entire canon of frontier gaming?

    Rockstar’s Red Dead Revolver seemed like a contender before it released in 2004. The game certainly sold well, one and a half million copies according to publisher Take-Two, but its critical reception was lukewarm. Despite Red Dead’s grand narrative ambitions — bounty hunting protagonist Red Harlow and his quest for revenge are Louis L’Amour vintage — and seemingly fitting open world play, it wasn’t the defining videogame Western it could have been. Now, it could have been the game’s troubled development that kept it from greatness. It started as a Capcom game in 2000, stalled out, and was sold to Rockstar, where it apparently became a Frankenstein’s monster of legacy code and newer features. I think the real problem is that the Grand Theft Auto-styled open world is not the foundation for a great Western.

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  • True Tales of Multiplayer: Fights, Tricks, and Fights!

    Lately I've found myself chilling with my homeboys Dan and Ryan, playing old video games that most of our friends don't remember or never heard of at all hours of day and night. It started when Dan found an old cartridge of the Jaleco's SNES beat-em-up The Peace Keepers. I was impressed by the ability to recolor any of the game's sprites however you wanted, but otherwise the game was an all-around stunningly frustrating experience.

    Things picked up for the next round, however, when I popped in my favorite SNES "sports" game, DMA Designs' Uniracers...

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  • Where is Prototype?



    The open world game, or sandbox if you prefer, isn’t a genre any longer. At this point, it’s just another method of structuring other genres in a way that gives you more freedom in how to play the game. Open world games aren’t GTA clones anymore; they’re just games with a modern version of the ol’ Mega Man boss select screen. It’s been neat over the past couple of years to watch the open world platform branch out. Crackdown, Assassin’s Creed, Burnout Paradise, Far Cry 2, hell, Spider-Man; all very different games that let you do whatever the hell you please in their world (to a degree) on your way to completion.

    One of 2008’s more promising games, Radical Entertainment’s Prototype, is a violent action game with a nice open world foundation. It looks gruesome and brutish but it also has some neat ideas behind it, particularly its brand of character customization. Alex Mercer, the
    genetically altered amnesiac protagonist with a spooky past, eats his felled foes and gains all of their characteristics, abilities, and memories. This lets you come up with all sorts of horrific, bombastic ways to destroy things but it also lets you blend in with crowds, a nice twist on the open world formula of manipulating hordes of NPCs. Sounds cool, no?

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  • Miyamoto Is Concerned About Excessive Violence in Games

     Are you?

    Miyamoto stated that he's troubled by developers' tendency to rely on excessive violence to attract gamers.

    "I don't want to curb freedom of expression, but I am concerned many developers focus on excessive violence in order to stimulate people's minds.

    "I believe that here are more ways of grabbing players' attention than violence alone."



    On one hand, Miyamoto is absolutely right; a game doesn't need to be excessively violent in order to garner interest. On the other hand, just as family-oriented games like Animal Crossing and Super Mario Whatever are for everyone and not just sissies and little girls, "violent" games are not the wretched product of a diseased society. There is nothing wrong with an adult enjoying a Grand Theft Auto game; humans are an aggressive species. It's a bit unfortunate, but natural--and far better to stick to outlets that don't harm others.

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  • Surprise of the Week: Sega Releases a Good Game

    Man, that PS2 just keeps hanging in there, doesn't it?  We're nearly 8 years after the system's launch and still getting some pretty high-profile games; part of me wishes that the PS2 wasn't on its last legs (as far as  quality software goes), because that would mean we'd still be seeing the great output that Japanese studios gave us last generation--when development costs were merely crazy instead of wholly and intractably insane.  But in the world of reality, Yakuza 2 ships today, and it's pretty important.

    If you didn't play the first Yakuza, you're not alone; it came out in the Fall of 2006, when the world cared only for the tidal wave of next-gen was about to hit. I actually found out about the game long after its release date, and GameFly-ed it the following Fall. Yakuza was actually pretty surprising for what I assumed would be a ripoff of Grand Theft Auto--okay, it kind of is a ripoff of Grand Theft Auto, in its own way. Add a distinctly Japanese sense of game design to the GTA series, and you've basically got Yakuza; and obviously, there are some benefits and drawbacks to this equation.

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  • 9/9/99 9 Years Later

    Numerology fans take note; what was one purported to be the biggest day in entertainment history took place exactly 9 year ago. Plagiarism fans also take note: I got this idea from the latest episode of Retronauts.

    Yes, we're nearly a decade from the launch of Sega's little-console-that-could-but-didn't, and aside from making me feel incredibly old, this anniversary of sorts had me thinking about just where I was on 9/9/1999. My most distinct memory of that time period--which is mostly fuzzy and inexplicably filled with Pokemon--is being madly in love with a high school girl. Luckily for her, I was also in high school; but even with us having that much in common, it was never meant to be. So did I console myself by splurging and then weeping on Sega's newest system? Fittingly, Final Fantasy VIII absorbed most of my pain in telling the story of an emotional cripple that made me look much more stable by comparison.

    I eventually got a Dreamcast a whole year later, but my relationship with it was just as sordid and artificial as my high school fling. I used it.

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  • Just How Far Behind Is Australia?

    To say that PAL regions like Australia receive their games later than the rest of the world is a passé understatement. Now, from the land down under, comes this roundtable discussion on violent games being banned due to the lack of a video game rating system:

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  • Revenge of the Port: Dead Rising Shuffles, Moans on Wii



    The true death of the arcade came at the beginning of this decade. It wasn’t when gamers started opting for the comfort and value of playing at home; it was when home consoles finally started equaling (and surpassing) the technological heft of the arcade cabinets themselves. Sega, one of the only surviving arcade giants, signed the death warrant themselves when developing the Dreamcast and its arcade-motherboard-twin, Naomi. Games at home and games in the arcade, identical for the first time. The move may have had the negative effect of killing off the already declining amusement center population across the Western world, but it also had a significant silver lining: the death of the shoddy arcade port. Approximations of more technologically demanding games have been a staple of gaming in the home since the 1970s, but, with the exception of stray PC-based ports, downgraded game experiences have largely disappeared since 2000. Today, in 2008, the fracturing of the console space seems to be bringing them back in force.

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  • Whatcha Playing: Fallout (Metaphorically Speaking)

    Truth to tell, I’ve never played a Fallout game. The vast majority of my gaming career has been spent in front of a television, not a monitor, my hands clutching a controller instead of hovering over a keyboard. It’s not a point of pride, let me tell you. Not gaming on a PC throughout the ‘90s meant you were perpetually on the outside of the cutting edge, waiting for advancements to come to Nintendo, Sony, or whoever else’s systems sometimes years later. Deus Ex, Half-Life, Diablo, even Sierra’s King’s Quest V, all games I’ve gotten to try my hand at, eventually, when they were ported to a console, shadows of their former selves. It’s even kept me from really experiencing whole genres; I’ve never played a real-time strategy game for more than a few minutes and my aging laptop could barely run World of Warcraft when I tried it out in 2005. Since that year, though, consoles have started gaining on PCs as the place where developers make their greatest strides. It’s not too surprising. Consoles have turned into high-end computers themselves.

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  • Alternate Soundtrack: Uniracers vs. Think About Life

    Video and words by Derrick Sanskrit

    My fellow 61FPSers know that I'm a big fan of the quirky 1994 SNES racer, Uniracers. Aside from starring self-aware, unmanned unicycles and having appropriately psycho-geometric backgrounds, the game ran at Sonic the Hedgehog speeds. It pioneered the whole doing-tricks-earns-points-and-makes-you-go-faster mechanic later popularized by the Tony Hawk: Pro Skater series and borrowed by every racing game from SSX to Mario Kart Wii.

    A lot of Uniracers' charm is explained by looking at the other work by its developer, DMA Design Limited. They broke onto the scene with the wildly popular Lemmings in 1990. That, along with Uniracers, won them some favor with Nintendo, who helped DMA with Body Harvest, a 3D vehicular action game for the Nintendo 64. DMA took everything they'd learned from Body Harvest to build the extremely controversial, unexpected hit Grand Theft Auto. Soon enough, DMA was bought out and renamed Rockstar North, where they continue to make Grand Theft Auto and Manhunt games to this day.

    So yeah, Uniracers is the senseless SNES racer by the people who made Lemmings and Grand Theft Auto 4. Interested yet?

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  • Guns and Football: The Ten Best Selling Games in America



    It’s one thing to hear people in the international community exclaim that Americans are loud slobs who don’t care about anything except violence and football. It’s another to see it spelled out in raw numbers. Brian Caulfield of Forbes, using data provided by the NPD Group, wrote an article early last week looking at the ten best selling videogames in the US as of April 2008. The list, after the jump.

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

    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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about the blogger

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.

Derrick Sanskrit is a self-professed geek in a variety of fields including typography, graphic design, comic books, music and cartoons. As a professional hipster graphic designer, his recent clients have included Hooksexup, Pitchfork and MoCCA, among others.

Amber Ahlborn - artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

Nadia Oxford is a housekeeping robot who was refurbished into a warrior when the world's need for justice was great. Now that the galaxy is at peace (give or take a conflict here or there), she works as a freelance writer for various sites and magazines. Based in Toronto, Nadia prizes the certificate from the Ministry of Health declaring her tick and rabies-free.

Bob Mackey is a grad student, writer, and cyborg, who uses the powerful girl-repelling nanomachines mad science grafted onto his body to allocate time towards interests of the nerd persuasion. He believes that complaining about things on the Internet is akin to the fine art of wine tasting, but with more spitting into buckets.

Joe Keiser has a programming degree from Johns Hopkins University, a tiny apartment in Brooklyn, and a fake toy guitar built in the hollowed-out shell of a real guitar. He writes about games and technology for a variety of outlets. One day he will stop doing this. The day after that, police will find his body under a collapsed pile of (formerly neatly alphabetized) collector's edition tchotchkes.

Cole Stryker is an American freelance writer living in York, England, where he resides with his archeologist wife. He writes for a travel company by day and argues about pop culture on the internet by night. Find him writing regularly here and here.

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 rock trio called The Aye-Ayes. He calls them a 'power pop' band, but they generally sound more like Motorhead on a drinking binge.


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