Atari thought it was "absolutely rubbish," the Jaguar designer told developer Jeff Minter in 1993. The man felt compelled to pull Minter aside at the console's launch party and let him know how little Atari thought of Minter'...
Dan Adelman worked for Nintendo for many years, and was one of their unsung heroes for much of that time. While he has consistently voiced affection and respect for the company, he did end up resigning last year, in part because he felt like his role at Nintendo wasn't what it used to be. Now he's working on marketing and PR for a game called Axiom Verge, a game that Nintendo of America President Reggie Fils-Aime once said looked like Metroid.
Samus Aran has worked for Nintendo for many years, and has been considered one of their most iconic characters for much of that time. While she has consistently garnered affection and respect from fans of the company, she hasn't had a game of her own since the year 2010. Many feel that her role at Nintendo isn't what it used to be. Now she's appearing in regular installments of the Smash Bros. series, but she'd much rather be in Axiom Verge, a game that Nintendo of America President Reggie Fils-Aime once said looked like Metroid.
If I didn't know better, I'd think that Dan Adelman was Samus Aran's secret identity. If putting on glasses and civilian clothes is all Superman needed to do to trick us into thinking he's Clark Kent, then why couldn't Samus do the same thing? If it weren't for this video, I may still believe that was the case. The similarities between these two "Nintendo characters" are hard to shake, though when it comes to the discussion of "going indie," their differences definitely start to show.
It makes sense that she would turn to Sean Velasco, co-creator of Shovel Knight, for aid in this time of crisis. He and the team at Yacht Club Games recently announced plans to help Battletoads hop back into the spotlight, after having been shunned by their makers for even longer than Samus has. On top of that, plenty of fans have been asking Sean and company to allow Samus to be a special guest character in Shovel Knight on Nintendo consoles, and Yacht Club is known for making its fans happy.
While he knew that the fans wanted Samus in Shovel Knight, I don't think Sean expected to have the real live Samus Aran approach him about a cameo, but who better to represent Metroid fans than the star of the series herself? After watching this video a few times, I'm still not sure if Sean went for the idea or not. The only thing I know for sure is, Sean has some pretty awesome ideas on how a Shovel Knight Vs. Tingle boss fight would work. He told me all about it after Samus cleared out. As much as I love Samus, I think Tingle might be the right choice on this one, assuming that Shovel Knight ever ends up with guest Nintendo character at all.
OlliOlli was a pleasant surprise. A year ago, the minimalist skateboarding game materialized out of nowhere, deconstructing the genre and distilling its essence down the barest essentials. It stripped away any traces of excess, resulting in an experience focused on eliciting trancelike states and a never-ending pursuit of high scores.
Simultaneously accessible and unfathomably intricate, OlliOlli lured players down the rabbit hole, presenting itself as an airy side-scroller just long enough to get its hooks into you before quickly giving way to something far weightier and more profound.
And now it's been topped in virtually every conceivable way with an unexpected sequel, OlliOlli 2.
For some, Hotline Miami was an existential look at the current macro-state of videogames. You were told to commit random acts of murder seemingly without remorse, and at the end, you get a bit of interesting commentary on the culture of violence. Many argued that the only way you can truly win is to not play, and it started some insightful conversations.
For me, it was a really bitchin' action puzzle game that made me constantly reinvent my strategy for each and every level. It was an experience that didn't hold my hand at every turn, and let me be as creative as I wanted while a kickass soundtrack blared in the background.
Hotline Miami 2 may not be as "profound" as its predecessor, but it's still a bloody good time.
Volume is a fitting name for a polygonal, Metal Gear Solid VR Missions-looking stealth game with enough rectangles to feed a geometry class for the entire year. In the case of Mike Bithell's Thomas Was Alone follow-up, however, "volume" is more about sound than shapes.
Lead Locksley can't kill or attack. It's all about being a sneak. Noise, then, becomes an important weapon for luring guards from their posts, and every bit of noise fractures the world so you can nicely see its effect, along with the ever-present enemy fields of vision.
It's about sight, too. Sound, sight, shapes. These things come together to make a readable stealth game with enough abstraction that it feels more puzzler than sneaking romp. Think Hitman GO compared to Hitman.
Like many games of its type, Oreshika: Tainted Bloodlines features a tiny graphic in its text boxes to remind players they can press a button to advance to the next line. Usually the graphic is of an X or O button pressing itself, but Oreshika's is of a little weasel pushing a button with its nose.
It's animated, and viewed from the side the little weasel can also look just like a person, sitting on their knees Japanese-style, bowing respectfully, over and over. That behavior's almost emblematic of the game's attitude, as it's so eager to let players do what they like (sometimes to their own detriment) that it almost comes off as desperate.
But hey, they're gonna be dead soon anyway, so perhaps some deference is warranted.
Mankind has expanded throughout the galaxy, having come together under one government, a "managed" democracy. From the Super Earth homeworld, humanity spreads its message of liberation and freedom to every planet they land upon; the liberation of their natural resources and freedom from human opposition, that is.
And if you don't like it, expect them to spread a whole lot of ordinance instead.
There certainly have been a lot of creative 2D platform games releasing over the last couple of months, enough that there seems to be some genuine competition in the genre. If you're finding yourself in a position where it has become difficult to choose, allow me to make it easier.
For its first game, developer No Goblin seemingly subscribed to the K.I.S.S. school of thought: "Keep it simple, stupid." But, perhaps the studio misunderstood the acronym to mean "keep it simple and stupid." That'd explain how Roundabout revels in its own absurdity while revolving around a rock-solid gimmick: rotation.
Yes, the notion of motion is at the center of Roundabout. There is literally not a moment in gameplay where action is at a standstill. Even the most innocent, non-meaningful proceedings in Roundabout squarely feature its constantly spinning limousine -- a trademark that it rightfully relies heavily upon.
No, that isn't an encoding error up there in the headline: "htoL#NiQ" is indeed this PS Vita game's title, and is essentially a very stylish way to type "The Firefly Diary" in Japanese.
Whatever personal peculiarities led the team at Nippon Ichi to title their new game this way seem to extend to the game's design as well. htoL#NiQ marches to its own rhythm, and ends up being two things at once: a fascinating work of minimalism, and a needlessly difficult ordeal best enjoyed only by the most masochistic of flagellants.
Pix is a mix of the two most saccharine basic emoticons, :3 and ^_^, a face for the forgotten mascot age. Just too cute, and not in a way that ever betrays the fiendish score-chaser underneath. Sincere cuteness. A real testament to the species post-Flicky.
Now it's all about the cat collecting eggs through panel after panel of the Grid of Infinity and depositing a growing tail of ducklings into safe little holes lest they remain, stuck, as infinite guests.
Antiques possess a magnetic quality, an appeal to our imaginations, a false nostalgia for a time most of us are too young to remember. There's a comforting allure to these relics. They offer a window into the past, a living history. It's a connection, however tenuous, to where we came from, a place to which we've never visited or cannot return.
Brandish: The Dark Revenant is an antique, something of a refurbished one. Falcom's classic role-playing game began its life as a PC release in 1991. It would later come to SNES, and was then remade in 2009 for PlayStation Portable, albeit only for Japan. Now, more than a half-decade later, a localization has finally arrived on western shores. Better late than never.
There's a nugget of a solid game here in Nihilumbra. Unlike many of the PlayStation Vita's offerings, it uses the touchscreen in a novel way that doesn't feel tacked on or forced. And the puzzle-platforming is supported well by an ethereal art style, score, and sound design.
You just have to wade through a jumble of pseudo-philosophy to get to it.
I got the opportunity to play a decent chunk of Revelations 2 last year, and I was pretty impressed with how the mystery was being brought back to the series. Dabbling into episodic gaming, this installment is set to be released through four episodes; one will release every week from February 24th to March 18th. It's a pretty experimental, and unique take on Resident Evil, and that might be just what the franchise needs.
But just before its debut next month, the folks at Capcom invited me out to get another crack at their experiment. And during my session, I got reacquainted with an old buddy from the series' past, and even got to take the new and improved Raid Mode for a test run.
Grim Fandango didn't need a remaster as much as it needed a re-release. Many, myself included, have found it difficult to track down a copy to play. We've had an entire digital catalog--GOG.com--devoted to getting good, old games up for sale on a digital storefront, but no Grim Fandango?
The touch-ups are appreciated. You can switch between the original and remastered look at the touch of a button. The latter has some nice dynamic lighting and new character models, but I stuck mostly with the former for its more vibrant colors. The in-game commentary is a nice touch. The non-tank controls are welcomed (as is the cheeky trophy for playing with tank controls).
No bones about it, though, Grim Fandango holds up on its original merits as a stylish, humerus adventure.