NOTE: To fully appreciate this review, I recommend that any readers go and play Hero’s Adventure over on Kongregate.

Hero’s Adventure is the latest browser-based game from indie developer Terry Cavanagh of VVVVVV fame created for Klik of the Month 50.

In the interest of full disclosure, I’m actually a big fan of Cavanagh’s VVVVVV, despite never having actually played it, so when I booted up his latest creation for the first time I was understandably pretty excited.

Boy was I in for a disappointment.

Hero’s Adventure is an absolute microcosm of outdated game design in a modern era. A so-called ‘retro’ turn-based RPG, the game plays out pretty much the way you might expect. The game revolves around guiding a clichéd, boy protagonist on an adventure through the woods near his secluded home, all the while slogging through random encounters and the most mind-numbing of RPG tropes.

As you might expect from such a game, the graphics are rudimentary at best. Characters and environments are blocky, dull and completely devoid of any imagination. I don’t actually have a polygon count in front of me but I cannot imagine that the developer even tried to make this game realistic. The games entire color palette seems to consist of primary greens, reds and blues while evidence of the gray and brown textures that make up 90% of the real world that we all know and love is noticeably absent. Modern techniques that have propelled this industry to mass-market appeal, such as motion capture were clearly kicked to the curb to save a few pennies.

I guess Mr. Cavanagh was just a little artistically pure to use modern techniques that we’ve all come to expect. I’m sure his hipster ‘art friends’ will really appreciate it when they all get together to pretentiously fawn over his creative merit the next time they all get together to try it out over their local Starbucks’ wifi.

Now, all of that being said, we all know that graphics are the least important part of a game. Any game can look like absolute garbage just as long as the gameplay holds up. Unfortunately, Hero’s Adventure’s gameplay is not a saving grace.

“If you find this exciting, I will punch you.”

Combat is incredibly dull and unvaried. With the main character only having access to the traditional “attack-skill-magic” tree of options. To make matters worse, there appear to be only one skill and one spell in the entire game. Neither feels functionally different from the standard attack nor do they have any long, flashy, unskippable special effects that spice up things up.

And if ever a game needed spicing up, it’s this one.

It’s not just that the game is so full of RPG clichés and tropes that make it so boring, but also how it weaves these with the dull affairs of everyday life. The story is an utterly mundane tale about a normal day in the life of any average boy. I won’t spoil anything, but I will say that I for one don’t need a video game that showcases the same sort of things that I did every day for years as a child, I’ve got real life for that. Comingle that with the aforementioned clichés (the first enemy you fight is, honest-to-god, a rat… GAG!) and you’ve got yourself a recipe for hard-boiled boredom.

And to cap off my list of complaints (and, mercifully, this review) the game is unacceptably short. Clocking in at just over two minutes in total play time, the horribly linear quest is not nearly worth the price of admission, in this case that price being free. Whether or not I actually like the game I expect each and every developer to give me my money’s worth. It is up to the players to decide, when they buy a game, what the ‘dollar-per-hour’ worth of that game is.

All things considered, Hero’s Adventure feels like a bland, overwrought, clichéd and terribly short mess of a game. I wouldn’t recommend it to anyone except for use as a weapon against a sworn enemy, possibly as punishment for crimes equal to, but not necessarily, the murder of a loved one.  That’s why I’m giving Terry Cavanagh’s Hero’s Adventure a 7/10.

SECOND NOTE: This review is, of course, a complete farce. It is intended to be a deconstruction of reviews and ‘fanboyism’ in honor of what I think is a wonderful deconstruction of role-playing games. I would strongly recommend that anyone who appreciates laughing until their bones liquefy go check the game out. It’s really, very entertaining. While you’re at it, feel free to also check out VVVVVV on Steam.

When playing Call of Duty: Black Ops, it’s important to play with friends.  That’s why, in specific cases, it may be important to post an absolutely hilarious (and hard core) CraigsList ad for a Lan Party.

Click for the image.

Seth Green‘s Twitter via Dave Voyles

Dalibor
You have RSVP’d for and are now confirmed for the following movie screening:
The Hangover Part II
Monday May 23, 2011 at 7:30 PM
Uptown Palladium 12
250 North Old Woodwards
Birmingham, MI 48009

Receiving that email made me explode in happiness.  I was, and to this day still am, a massive fan of the original Hangover, a cinematic tribute to the existential bonds between men during difficult and trying times. Upon being notified that I was confirmed to attend yesterday’s special Detroit screening of the sequel, sponsored by Gofobo.com and several local firms, I was understandably ecstatic.

To try and put my experience to words would be difficult, but know this: the outcome was as beautiful and memorable as anything that Hollywood has created before.

BRAVO!

From the moment I entered Birmingham’s Uptown Palladium I knew this would be a special night. Firstly, arriving close to ten minutes before the event assured me that yes, the lengthy line I was witnessing was indeed for the premiere.  I walked to the front of the line and engaged the superb ticket-checking character actor. “I have a pass for me +1. Thanks!” My performance as the lead character was off to a great start.  My enthusiasm, my panache for grand entrances… WOW! It was truly going to be a tremendous performance!

The hulking guard was a classic Hollywood stereotype: larger than anyone else in sight, definitely on the “I’m completely qualified to have this job” level.  “It’s overbooked, and I don’t think anyone else is going to be let in.” The actor clearly pushed the agenda, accenting that there may NOT be a predictable end to this day!  Would I wait in line?

Before that part of the question was answered, however, the secondary actors appeared: Girl in line complaining loudly to her boyfriend. Floor manager screaming into her walkie-talkie. Overweight and ornery Sevendust-elitist who “knows Russell” – complete with mullet chops!  Brilliant!  The scene’s casting was beyond expectation, with all pieces working together like a Deep Blue versus Kasparov rematch.

The climax of the experience came roughly twenty-five minutes in when, after Line Guard had disappeared up the escalator and Loud Girl deemed the situation “ballstastic” and left, Sevendust waged war on the floor manager for allowing others to go up to the screening for the Jewish Film Festival, when they were clearly “trying to sneak into the Hangover“.  The moment was much like the scene in Hamlet where the Prince of Denmark himself speaks to the skull of Yorick, but, alas, Claudius today would not be slain for his sins.  There was no advance.  None of the characters would make it to their destination, some three floors above and in front of a glowing screen.

I was half-expecting the experience to be over without storyline closure.  That is, until the remainder of the 1.5 hours that was spent on the drive home — to the wonderfully orchestrated soundtrack of Lady Gaga and Robin Thicke, nonetheless!  But there was a twist, a cinematic irony so epic that it would make the first film’s “he was on the roof all along” seem mild by comparison.  Upon looking down at my pass, my golden ticket, my salvation for a Detroit evening, the fine-printed words “This event is overbooked to assure a full theater” glared out at me like a sunrise over the Himilayas. AMAAAAZING! Had I looked down all along, I would have known! “You must arrive early.” WOW!  Dan Brown could not have prepared such a revelation had he been locked in the Sistine Chapel with Jesus and Buddha for 18 months!

Bravo, Gofobo! Bravo Uptown Palladium!  This experience topped that of the first Hangover, where I was able to “sit inside a theater and watch the movie”, without a wisp of hesitation. If you’re a fan of waiting in long Apple lines, only have your hopes crushed when the grandmother in front of you scores the last iPad 2, then this experience is above and beyond for you. You will NOT be disappointed!

BRAVO INDEED!

We rate this experience 5 Stars, our highest honor! It is well scripted, full of emotion, and had terrific characters!

(Conversely, we rate the film ZERO STARS, for being treated to asinine planning and poor customer service.)

Initially, I was intending to post an editorial on the ‘outside world’ viewpoint of gaming culture, focusing on the common misunderstandings as a whole.  Several drafts later and the piece had yet to find the right angle to work from.

Then, as I was dozing off last night, it came to me: The reason non-gamers don’t understand our culture and industry is our own fault. If we want the general public to support us, we have to give them a reason to do so.

ESPN’s Skip Bayless recently stated, “He [Kobe Bryant] is smiling, while wielding an assault rifle, while we have troops overseas at this moment doing the same thing FOR REAL!” Is Skip off his wagon? No. Is he misinformed? Almost certainly. There is still a perception in the mainstream that video games are bad for you and cause violence amongst those who play them.

What needs to happen is a push into the mainstream about how gamers firmly understand that video games are not reality, and that even while video games have hit the technical, story-telling and visual levels that they have, violent crime amongst teens is down significantly. Sure, there may be those who still manage to fall on the “dark side”, torturing kittens and burning down their grandmother’s houses, but I am also sure that there are cribbage-addicts that do these things just as well. The effect is not of the same cause, but because there are no major players in the political or news world that are a proponent for video games — or at least understanding of them — these details will go unmentioned.

As for the argument of Kobe Bryant, “… smiling, while wielding an assault rifle, while we have troops overseas at this moment doing the same thing FOR REAL!”:  I guess the countless numbers of Marines, soldiers and other military personnel that regularly play Call of Duty and Medal of Honor don’t actually exist. I mean, it’s not like they organize tournaments or anything of the sorts, right?. I would also be damned if members of the military have a website devoted entirely to the hobby, created and maintained by those in active duty.

But, I digress, as it is so easy to do when dealing with short-sightedness. The main point is that gamers are like any other group of people that have a specific talking point, one that they would like to be recognized. And, just like any other political party, cause, or culture, we may vary our likings in specific details but overall are in agreement towards the same cause.

There are a few things that we can currently do, at least to help begin to chip away at the lack of understanding of our sub-culture:  Write a letter to your congressman (it does work, especially en masse). Offer to author an article or column for your school or local paper. Explain (to as many people that may not understand) that video games are not only for kids anymore, and that they are a great avenue for experience, learning, and personal and mutual growth. If we want the non-gaming public to be on our side when it comes to game-related issues, we have to put forth the effort and protect our hobby, more so than those that aim to shoot it down.

As a wannabe games critic/editorial writer, I have a bit of a jaded view of what content should or could go up on a games blog. When we initially started SideQuesting, it was to focus on original content, editorials, reviews and previews, and news that interested us. We wanted to make sure to stay away from duplicating what more mainstream blogs — like Kotaku, Siliconera, or Destructoid — were already covering, and did not want to become “just another small-time gaming news blog”.

The problem: there were already a billion other blogs doing the same thing.

“So, what’s your angle?”

That was the question posed to me at E3 2009 by Joystiq’s Justin McElroy, in reaction to my admission that part of the reason SideQuesting was created was so that I could fulfill my nerd dream of finally going to E3. Trying to come up with a unique spin on games reporting was a tough thing to do, and it was something that we’d struggled with since we launched. I couldn’t truthfully answer his question without stumbling over my own thoughts about just what our fresh spin was.

Information about video games has been written and available online since the web first took hold in the early 90s. Traditionally it kept up with the pace of the focus of online content delivery. It wasn’t until I started to see what was happening in games print that I began to realize that there was a tremendous opportunity for blogs to cover gaming related subjects beyond the scope of news and editorials.

I’ve come across well-written and dedicated blogs for niche gaming segments — chip tune music, charity fundraisers, retro gaming, human interest — though they aren’t necessarily prevalent. And, because the subject matter isn’t followed closely by non-fans it is never fully exposed beyond that niche group.

Gaming Needs its People Magazine

Or a Sports Illustrated magazine, Asimov monthly, or even Perez Hilton blog. Regardless of what format that it takes, the type of reporting and content sharing can grow. Games reporting rarely touches us personally, and when it does it is more a blog post about redemption, charity, or hardship, quickly buried by the next video of Halo’s firefights.

I think that’s where the opportunity might be: delivery of this type of content more regularly, and in a more intentional way. That may mean a traditional blog format, a magazine format, or it may mean a different format all together. Or, it may lead to the opportunity to bring together some of the content from the already-existing websites.

They’re Already Doing It

There are already some examples of this type of reporting taking place. Podcasts like Robert Ashley’s A Life Well Wasted bring the human side of gaming to stories. The beautiful print publications Kill Screen, exp., and France’s Amusement focus on aspects like art and gaming culture, editorials, and community opinion. There are dedicated websites that are focused on gaming music remixes like OCRemix. The iPad app Flipboard allows for live Twitter commentary and interaction on it’s customizable articles (which include inputting links to gaming sites).

They engage their audiences in ways that traditional games reporting simply cannot.

When the comic book industry faced a similar “we’ve done everything” moment the Silver Age was born, bringing more realism, symbolism and story-telling to the genre. The artists and writers of the 60s needed to be creative to capture audiences. Perhaps the games industry is about to have the same sort of renaissance. We haven’t done everything yet. And, with the big turnover in technology and social networking tools, the ability for games journalism to be creative in both its selection and delivery of information is exponentially growing.

It’s this realization that contradicts the notion of games journalism being “dead.” In reality it might be confined by the traditional blog format:

“Who gets the news out first, wins.”

In this case, maybe we should be asking:

“Who gets the most engaging content to me?”

I had always wondered about the lives of video game heroes and villains before they hit the small screen, thrown into circumstances sometimes beyond their control.

Were they good people?  Family men & women?  Did they work hard, or were they easy-going?

It can be hard to tell, and we rarely ever see that side of these people we control.  Sometimes the most interesting story is the mundane one: did they do their job good?  What did they have for breakfast?  Did they drink decaf or regular coffee? I took a little bit of time tonight and created some simple representations of their possible mundanity, hoping to minimally flush out their work lives in the only way I know possible: business cards.

Some of the cards are quirky, some are semi-professional.  All of them are slight representations of what these heroes and villains would do during the day (or night) before they were thrust into the spotlight.

[Update: Thanks to the folks who've pointed out a couple errors.  I'll fix them in the next batch of cards.]

Contributed by: Toby Davis

When I was young, tabletop miniature games were king in my family. Today many people overlook the genre in favor of video games due to factors like accessibility, cost, and connectivity.

Privateer Press, creators of many classic and popular tabletop miniature games like the hit Monsterpocalypse, are looking to keep the game genre from fading away.  With the Voltron expansion coming out in July, I had the opportunity to speak with Matt Wilson, Creative Director, on his thoughts about the direction that tabletop miniature gaming is headed, as well as their plans for their popular franchise.

Toby Davis: Matt, can you give us a little history behind the creation of the game?

Matt Wilson: Monsterpocalypse was equal parts strategic business decision and a fit of inspiration harkening from a childhood spent immersed in classic giant monster movies. The time had come for Privateer to launch a new brand and we wanted to do something that could appeal to a new audience; WARMACHINE & HORDES, our two related tabletop miniatures games were cruising very nicely and creatively, I needed to put my head in a different space for a while. So after doing some research, I locked myself in a closet for 6-12 months and started cranking out character concepts and game rules that eventually emerged as Monsterpocalypse.

TD:  How accessible is this game?  Can anyone pick this up, or are there a lot of rules to understand and learn?

MW: Yes and yes. The core rules of the game are pretty simple. You spend dice to do things, you roll dice and look for little blast symbols, you compare numbers. You can be playing the game with just a few minutes worth of instruction. But there’s a great deal of the depth to Monsterpocalypse, which is why it also appeals to serious strategy game players. Every figure has abilities that can combo with other figures to achieve some great effects. Whether you’re playing it ‘lite’ or playing to win, though, the fact that you’re rampaging monsters through a city skyline, crushing tanks and brawling with other giant monsters means you’re having one of the most fun experiences you can imagine with a tabletop minis game.

TD:  How are the monsters and settings picked for this series, and do they go through any testing before being picked?

MW: We assemble the cast of characters to be diverse, to offer new experiences both fictionally as well as in game play, and at the end of the day, to really satisfy our desire to see certain monsters realized as figures. We don’t market research this stuff, it’s a matter of searching out the cool factor and knowing it when you see it.

TD:  Privateer is releasing the Voltron expansion in July.  Can we expect more iconic characters in the future, or are there any plans to add on to the Voltron lore first?

MW: Voltron is a self-contained set but the characters and vehicles can be dropped into your normal Monsterpocalyspe experience, so if you want to see Voltron go up against Gorghadra or Terra Khan, you can make it happen. Whether or not we see more guest appearances in Monsterpocalypse by known film or TV characters remains to be seen…

TD:  The Iron Kingdoms & Hordes series have books upon books of character background and history.  Does Monsterpocalypse have anything like this, or is anything planned?

MW: In the Starter Set rulebooks and Strategy Guides, we’ve featured the backgrounds of each of the monstrous factions. We’ve also had some fun fiction tid-bits on our blog at monsterinsider.net and we launched Monsterpocalypse with a four issue comic-mini series.

TD:  What monster, setting or unit is your favorite for the game and why?

MW: This is always a tough one to answer because I have a hand in creating them all. So, it’s like asking a parent which kid is their favorite. I love them all equally! But the ones that put an extra big smile on my face are probably the planet eaters, because they’re just crazy, fun cosmic alien monsters, and also G.U.A.R.D., because nothing turns my crank like giant robots, as anyone who knows me can attest.

TD:  Satisfying the long-standing fans seems to be a focus for Privateer Press. Has there been a fan moment that stands out since the release of Monsterpocalypse?

MW: Definitely. Seeing players show up in costume at conventions. One of our players who is an excellent costume-maker showed up at the cons last year as Zor Raiden, and it was fantastic. I think that having people devote so much time, energy and creativity to making a costume of one your characters is a sure sign that you’ve hit a chord with them. There’s nothing better.

TD:  Is there anything you can say about the series that the fans don’t already know before more is revealed at GenCon (in August), or perhaps what the next promotional monster may be?

MW: Well, we’ve had some very big news lately about the next really big step for Monsterpocalypse, which isn’t taking place on the tabletop, but rather, on the big screen, courtesy of Dreamworks. For all the Monsterpocalypse fans who ever wished they could see these battle played out in front of them, we’re on our way to an amazing monster movie experience!

Retro-influenced gaming is in style again, with re-releases, re-makes, and retro sequels of classic games being pumped out on an almost daily basis.  But I remember when retro was still new.  The 8-bit games, the midi audio, and the tile-based design was considered the norm.  Gamers didn’t worry about technological setbacks or missed chances, they just played games and loved them.

I remember several aspects of gaming that seem to have disappeared with modern game design; aspects that were trivial back then, but drew me into a game and kept me coming back.  So I put together this list of my gaming memories that, while I don’t necessarily always miss, I do look back on fondly now.

I’m sure you may have as many memories as I do, so feel free to add them in to the comments.

I remember when…

• hardware was measure in bits
• we were happy to complete new games in one sitting
• games were on cartridges and had batteries
• the console wars were Nintendo vs Sega
• jumps had to be pixel-perfect
• wrestling games were fun
• turn-based and random battles were cool
• we played and beat a game over 100 times in one summer
• we still called it “beating” a game (instead of completing it)
• the highlight of character animation was when a sprite would blink when waiting for an action
• we called characters “sprites”
• video flicker wasn’t a problem, it was expected
• sequels were always better than the original
• every game had codes to use on the title screen
• we drew maps on graph paper
• title screens mattered
• licensed games were actually good
• there was no difficulty level selection
• we used to rent games instead of buy them
• we never bought used games
• we were happy with getting a game for Christmas
• gaming hardware could be fixed at home… by blowing on it
• games were actually hard
• even though no one was around to see it, I beat Ninja Gaiden, I swear!
• we took photos of the ending screen to prove we beat a game
• whenever we heard “Double Dibble” we were happy
• Megaman 2 was still the best
• Punchout! still had Mike Tyson
• we were excited the first time we could save a game
• we got lost in the Lost Woods
• up, up, down, down, left, right, left, right, B, A, start
• Genesis Does What Nintendon’t!
• virtual reality was going to take over
• Double Dragon was fun
• “Load”…. “Run”
• box art included in-game graphics or looked like romance novels

It was a story about love, life, and death.  It was about happiness, good and evil.  It was moving, it was frustrating, and it often left us feeling disenchanted.

But it was also beautiful.  And, its finale was perhaps a perfect ending to a show that enraptured us for six years.

Lost is done with, but its residue will gladly remain.

A bit of a warning:  There will be plenty of spoilers in this discussion.  I suggest not reading further until you’ve watched the final episode.

Here’s What Happened

The show’s final season depicted the resolution of the island, as well as the Happy Ending that fans wanted.  While it may not have been exactly how fans envisioned it, it concluded the story extremely well.  The island’s destiny was confirmed, with Jack preventing its collapse and Hurley continuing the legacy of Jacob, and a few of the castaways even escaped for good.  That circle was finally complete.

But simply saving the island wouldn’t result in happiness for everyone.  Jack was still dead.  Jin never saw his child.  Hurley and Ben were thrust into a position neither expected.  Kate and Sawyer lost the loves of their lives.  No one could come back to life.  But, they could come back together in the afterlife.  The “flash sideways” were revealed not as an alternate timeline, but as Purgatory.  As Christian Sheppard explained, the characters’ lives were most affected by and fulfilled on the island, and with each other.  Coming together in the afterlife completed their circle as a group.  Their friendships, loves, and lives were complete, but only together were they purposeful.  And the only way to do this was truly at the end, into “the light”.

Jack’s Story

The pilot episode began with the opening of an eye.  Jack’s eye.  The finale ended with the same scene played in reverse: Jack’s eye closing.  This was his story, not the story of the island or of the castaways.  Once a character who was meant to die after the pilot episode, he eventually realized that the island was more than just a floating rock, it was his destiny.  We followed along, secretly knowing it was always going to be his island to save.

Super Heroes

Supernaturality was a common occurrence with the show: Desmond’s imperviousness to electromagnetism, Hurley’s ability to see the dead, the Black Smoke, the glowing light.  None of these are possible in our true existence, yet we accepted them as such.

Perhaps nothing was more superhuman than the epic “final boss battle” that took place between Jack and MIB (Man in Black).  Reminiscent of a video game finale, it featured two nemeses fighting in a back-and-forth brawl on a collapsing cliff, highlighted by a leaping, fist-pumping protagonist.  It reminded me of any fight scene out of X-Men.

It Was Always Purgatory (Sort Of)

Without knowing it, all of the clues to the Afterlife were there from the beginning.  While many incorrectly theorized that the island itself was the afterlife, it provided the base for what would ultimately become the most important memories in these characters’ lives.  As revealed to Hurley by Michael mid-way through this final season, the island was populated by people “in between” who were waiting for the right time to leave.  These spirits were resurrected in the whispers that the castaways often heard while traveling its jungles.

The penultimate scene of the castaways and friends collecting in a church depicted the completion of their journey.  This season’s “flash sideways” were the realizations of the Losties that they were, in fact, stuck in waiting until they all came together one last time.  In a sort of forehead slapping scene, Kate even notices how Christian Sheppard’s name is almost too obvious.  How did we not catch that this entire time?

Desmond provided the link between the present and the afterlife, having had a glimpse of the “beyond” during Widmore’s experiment on him.  “None of this matters,” he tells Jack as he is about to be lowered into glowing abyss.  Although it all did, as Jack needed to complete his journey and save the island before he could move on.  Without his mission complete, the gathering would have never taken place and the characters would remain stuck in their false visions of a perfect world.

[NOTE: As noted by Aaron in the comments below, this isn't Purgatory in the traditional sense.  Rather, it was an "in-between" in which the Losties had choices and options.]

The Mysteries

There are no more theories left in Lost.  The remaining mysteries, whatever they are, will never be answered.  They don’t need to be.  Once again, this was the tale of Jack on the island, and thus only the necessary details needed to advance the story were the ones resolved.

While the show’s writers kept feeding us tidbits about some of the minutia, we often demanded intricate and meaningful answers.  Thankfully, producers Damon Lindelof and Carlton Cuse resisted.  Was it necessary to explain the Force in Star Wars with midi-chlorians? No.  In the case of Lost, neither did many of the island’s mysteries.

The End

The finale of Lost was designed, from the beginning, to complete the journey of the castaways  From the opening and closing eyes to the “clip-show” feel of the Purgatory flashbacks, the aesthetic of the finale was one of complete symmetry.  Some scenes even seemed to be parallels to those that took place in the early seasons (Aaron’s birth, for instance).  Jack’s destiny was “born” on the island in the bamboo forest, and it was there that it died.

Found

The story of Lost is complete.  The journeys of Oceanic flight 815, the Others, the Dharma Initiative, and Jacob & MIB were linked together like Olympic rings, each pivotal to the completion of the rest.  The Island, perhaps the center ring, never quite completed its journey, and did not need to.  The resolution of the castaways wasn’t just to leave the island, but to meet together in Heaven.

In the end it all made sense: isn’t this the vision of Heaven that we would want to have?  The plot holes appearing throughout the years were sanded over, but did not feel like a cheap way out.  This is the story of the passengers, and their definitive happiness together.

It only took us six years to realize it.  “See you in another life, Brother.”

*Images courtesy ABC/Bad Robot

Contributed by: Toby Davis

Not many games can claim to be addictive from the start, but then again I haven’t played an addictive ninja game for a long time. After personally putting in countless gaming hours on my wife’s iPad playing NinjaTown: Trees of Doom morning and night, I thought it was time to ask some random questions about this game with Katy M. Smith, Producer for developer Venan Entertainment.

Toby Davis: Can you tell us about your job title and your part in the game’s development?
Katy M. Smith: Sure! I was the Producer on Ninjatown: Trees of Doom! This means it was my responsibility to make sure the game development progressed at a reasonable rate. I was also in charge of making sure all of the different people working on the game had the same goal in mind for the end product. In addition to that, I dabbled a bit in designing portions of the game, and acted as a quality control “sanity check” for our milestones.

TD: From my perspective it appears that this game has no “button” controls, but three touch: left side of the screen, right side of screen and the pulling down with branches. How many other variations of controls did you come up with before deciding that this is what you wanted?

KMS: There were probably about three or four different methods we seriously considered for moving the ninja up the tree. Interestingly enough, the hardest thing to settle on weren’t the controls, but how the ninja moved. We considered having the ninja always automatically climbing the tree (like Canabalt). Changing the ninja to user controlled was probably the most controversial decision made during development, but I think the game is much better for it. We also tried controlling the game with only swiping to jump. We figured out that was a little too finicky and made the game too hard to control. One of the things we decided early on was that if something was easy for a ninja to do, it should be easy for the player to do. This means the final control scheme had to be as simple as possible, because ninjas are awesome at climbing trees.

TD: The tree branches in the game are kind of a double edge sword. They may help you out get up higher, but what if you want to climb right past them? Can you give a bit of history on the creation of the branches?

KMS: Initially, we had the game set up so that you had to jump onto the branches in order to use them. By default, you would run right past them if you touched them. This was when the game was still in that “always running / Canabalt” style of gameplay. The branches were created so you could take a breath during the game and not constantly feel like you had to keep running. We liked the feeling of flinging the ninja off the branches, so when the overall running mechanic changed, we left the branches, because they were fun. However, you could still jump over the branches or run past them. This meant it was possible to get stuck in situations where you can’t get by an obstacle. Another one of our goals was to make the game so that you’re never killed by unfair level design. This means there’s always a way to get by an obstacle. The only way we could ensure that you can always get through every obstacle was to make the branches sticky. That is why you have to use the branches when you touch them.

TD: How were the helpful items — smoke bomb, pink bubble, hour glass, mustache and cape — picked from the world that Shawnimal created for the game? Also, were there any items or enemies that didn’t make it to the final cut, and why?

KMS: We initially had a list of about ten different items that would act as power ups. As we conceptualized and play tested the game, we realized there was a lot of overlap between the different items. We tried to condense it down to be as simple as possible. We approached the powerups from two fronts. First, we had this world that Shawnimal created that’s full of these fantastic things like the moustachio and the super ninja. We tried to think of powers that would associate with those items. On the other hand, we had ideas for some powers that would be neat, like a teleport or a shield of some kind. We looked for things that could be related to ninjas and fit Ninjatown as well. That’s how we came up with the sugar smoke bomb and the bubblegum shield. One of the ideas for a power-up that didn’t make it was a grappling hook. It would let you tap back to the same side of the tree if you accidentally jumped across. We wanted to add an “oh crap!” ability that could save if you were nearly dead. We ended up cutting it because we didn’t have enough time to fully develop it before release.

For enemies, it was a similar story. We had other enemies from Shawnimal’s universe that we wanted to get into game. The Dark Syrup Cloud was one that we didn’t get in. The cloud would have dropped dark syrup rain in a particular side of the tree and the ninja would have to avoid it. Since it was too much like the fireballs, we pulled it in order to stay as simple as possible.

TD: What is the development time on a game like this, and can fans of this game expect to see any extras or DLC down the road?

KMS: From the time we settled on a final concept to launch on the App Store was about ten weeks. However, we spent several months prior to that working out what type of game we were going to make. We were able to get the game completed quickly because we were able to compartmentalize the different aspects of the game, and then iterate on them without going cross-department. This means that while design was working out how the obstacles were going to be arranged, programming was adding code using colored rectangles, and art could work on the ninja animations. It’s a process that worked pretty well for us, and we will be using it on the updates to Trees of Doom. We definitely plan on updating the game regularly with cool new stuff. The first update should be out in early June.

TD: Do you have any tips for anyone who plays the game to help them get further up the tree?

KMS: The biggest trick to learn is when to do the “high jump” and when to do the “low jump”. If you just tap the opposite side of the tree, you will do a “low jump” that will only move you up the tree a tiny bit when the ninja moves across. If you press and hold the screen, you will do a “high jump.” This will move you up the tree quite a bit when you jump to the other side. Mastering when to do the low vs. high jump will help you easily move up the tree.

Ninjatown: Trees of Doom can be found in the iTunes app store

Images courtesy Venan Entertainment

Youtube is 5 years old. To honor the little site, we’ve located a few of our favorite gaming videos of all time and posted them here for your viewing pleasure.  A lot of eventual inter-memes are included, but what else would you expect from a bunch of people who sit in front of monitors all day.  From Lost Planet, to Battlefield, to WiiFit, the videos run the gambit.  If we’ve missed any, feel free to let us know and we’ll add them in.

There isn’t much more to say, except “click on, Leeroy Jenkins, click on.”

Lost Planet SHOOP DA WOOP gun

nintendo e3 2008 conference in a nutshell

Soulja Boy Provides His Thoughts On Braid

Greatest freak out ever

MEGA MAN 2 by The Adventures Of Duane And BrandO

Mega64: Ico

mahvel baybee!

german kid freaking out

Leeroy Jenkins

Why every guy should buy their girlfriend Wii Fit.

PS3 vs Wii

The image you see above is of an XBox 360 game controller.  It’s not a bull-alien or a skull or a cyborg.  In fact it’s purely digital.  All of us see something different when looking at the gamepad from this angle.

Art isn’t always “planned out” to the finest detail.  Sometimes, with just an idea and Apple’s Photobooth for a MacBook, happy accidents can lead to something interesting and beautiful.  Sometimes the method of creation is the driving force, and the output is discovery.  Using simple camera technology as my method I’ve been able to create unique images out of objects I interface with on a daily basis.

The image above is of crumpled tinfoil.  Below, I’ve taken that image and sketched and painted over it, interpreting the mess as the face of some devilish beast.  I think you can still see some of the tinfoil in the brow.

If you look at both images, you can see the resemblance quickly.  If you only looked at the tin foil image, you may have seen a completely different beast waiting to be born.  That’s part of the magic of visual reference: our point of view, our influences, allow us to perceive things differently, especially in images.  That’s one of the reasons you may be more attracted to Mona Lisa’s smile and I to her eyes or the background.

These images were first created using Photobooth for the Apple Mac using the mirror filter.  Initially we had used the filter to create cycloptic faces or sexually suggestive body parts (you’d be amazed at what the crevasse between your thumb and fore-finger looks like when mirrored) but soon we started using objects for more variety.  It wasn’t until I heard of others using the technique for quick idea generation that I decided to get a bit creative myself.  In fact I named the article “Turning Game Controllers into Art” for both the reason that I was creating artwork and that I was turning the controllers around in front of the camera.

I began by grabbing all of the game controllers I had sitting around.  Wii, XBox, PS3… everything was fair game.  I wanted to find interesting forms in all of them.  Some attempts were terrific, some boring.  The forms that worked began to look like alien heads or body armor.

The XBox controller images have a sort of biomorphic quality to them.  They are much more organic than the others, often appearing to mimic animals or skeletons.

The PS3′s black Dualshock 3 controller lends to a decidedly robotic, almost evil alien appearance.  The shapes remind me of the Borg, and even include some aggressive-looking spaceships.

The white Wii controller images look like dry bone structures, possibly due to all the visible screw holes.  The cords give the appearance of breathing tubes.

It is interesting to see some of the faces that are appearing in the images, and how extremely varied they are getting.  With minimal work, I was creating some monsters and aliens, space ships and body armor.  The entire process took a few short minutes; I’m sure that if I spent enough time getting just the right angle then I’d have even more possibilities.  Overall I had created nearly 50 images.

The next step will be to take a few of these images and begin sketching and painting over them.  The XBox may become a face or an entire body (or nothing at all).  The Wii may glow or shoot lasers.  Or, overlaying a few of the images together may create even more exciting variations.  I’d like to also try a few more controllers from past systems, and even the consoles themselves.

Until then, though, the gallery below will show some of the more promising of the images that were created, and may perhaps allow you to see some faces as well.

I’ve got to hand it to the folks at Ford.  Whether you’re a car person or not, the social media work they’ve been doing with their Fiesta campaigns has been pretty rock solid.

The latest involves a bright green 2011 Fiesta, a 42″ flat screen, a power outlet, and… a Wii?  The video, “The Fiesta Wii Workout Routine”, is aimed at showcasing the versatility of the diminutive car.  In it the owner takes the Wii-imbued vehicle to various sporting locations, powers up the Wii, and plays the associated WiiSports or WiiSports Resort game.

While Ford may not ACTUALLY want us to do what the owner does in the video, it brings back memories of the “Great Blackout of 2003″ in which I hooked up my PS2 to my sexy Pontiac Vibe to play the latest iteration of Madden with my brother while our entire state was running on candle light.  Note to self:  Don’t sit directly behind the tail pipe, less you want to inhale enough carbon monoxide to kill a herd of cows.

Have you ever hooked up your gaming consoles (or other media devices) to your car?  Do videos like this make you think any differently about non-gaming purchases?

*Note: Ford forwarded this video over to us.

Sony gave me sandwiches.

Rather, Sony provided delicious sandwiches at the end of their E3 press conference last year, of which I promptly devoured three or so.  This year, when writing about the conferences, will I need to disclose that Sony provided the shuttle from the Nintendo press conference to theirs, as well as what food I chose to eat and beverages I drank at their event?

According to the FTC’s recent law updates, I might be required to.

Apart from conferences like E3 or locally-hosted events, engaging with the press physically can be a rare occasion.  Luckily, the digital age allows us to communicate quickly, efficiently, and securely — most of the time.  The big obstacle, however, lies with how we interact with the actual product: games are meant to be played, not just seen on video or in pictures.  Hands-on impressions go way beyond what can be said about the latest pretty game trailer.  Hosting an event can be an ideal way to wrangle up the press for their time.  But hosting an event in Hawaii?

The question may not be about the actual location, but about how the press gets there.

Capcom, like other publishers have done before it, hosted an on-location event in Hawaii for the Media to preview some of its upcoming lineup of games.  Often times a publisher will offer to pay for the flight and housing of the attendees, and include food, drink, and social events.  The offer is meant to be purely an “economical” way to have as many press outlets in attendance at once.  The term most associated with this process is “junket”.

junket (n)
Main Entry (Merriam Webster): jun·ket
Pronunciation: \ˈjəŋ-kət\
Etymology: Middle English ioncate, ultimately from Vulgar Latin *juncata, from Latin juncus rush
1 : a dessert of sweetened flavored milk set with rennet
2 a : a festive social affair b : trip, journey: as (1) : a trip made by an official at public expense (2) : a promotional trip made at another’s expense <a film’s press junket>

The larger media publications – IGN, Gamespot, Gamepro — have in the past professed to paying for their own way for these trips.  The conflict lies with the smaller, yet still influential outlets and persons.  Can a blogger, who may have a strong following yet a small budget, really afford to pay for himself to go to Hawaii?  Probably not.

Matt Chandronait, of Area5, explained the situation in his post “Captivate 2010, Part 1: PR, Full Disclosure, and Integrity“:

I was conflicted about accepting the invitation to attend Captivate… Why even muck about with questions of editorial integrity if you don’t have to?  Not so simple a proposition when you’re faced with an either/or of paying your way to an event or paying salaries next month.

The only way he could afford the trip was for someone else to pay for it.  But, he brings up a bigger, yet less understood issue of which Editorial integrity hinges on.

I figure full disclosure is the least that we can do so that anyone viewing our content after this sort of event can have the information to judge for themselves as to how slanted or (hopefully) un-slanted we and our opinions appear.

Impressions of content can be affected by the environment and the surrounding circumstances.  I know this first hand coming from the automotive industry, where companies will often treat us to lavish dinners and entertainment when trying to win over our business… or good reviews.  And it does happen.  There is certainly sway, there is certainly bias, no matter how small.  No matter how much someone fights it off, it’s impossible to not let our hearts get in the way of our heads.  We will always feel like we “owe” the contributor in some small way, lest they never invite us again.  Our nature is to prevent anyone getting pissed off at us.

Hopefully this isn’t to the point where we shift from hating a game to loving one, but about forming a more complete opinion.  That can be difficult, though, as that “cloud” of “owing” hangs ominously overhead.  And even if the publication pays their own way, avoids the excess socializing, and puts up an honest review it is still difficult as a consumer to decide if we trust their opinion because ours have been swayed by just the nature of the event.

Hawaii?  Couldn’t they have held the event in San Fran?  Or at their offices?  Or just toured the press outlets?

We hear “Hawaii” and immediately think negatively.  We wonder about who went, who paid, and who got paid.  I polled several of the larger media outlets and a few smaller ones about their stance on junkets, disclosure*.  For the most part, the larger outlets declined to comment or never returned my emails or calls.  The smaller outlets replied swiftly and honestly, and none replied that they took the offer.  Many attendees publicly tweeted regularly of their activities during Captivate, including partying, social events, and water-skiing.

The FTC now requires full disclosure of what the press — and even Average Joe Blogger — are offered.  If I receive a review copy of Red Dead Redemption from Rockstar Games, I need to disclose it.  If I take an offer for a trip to Chicago or Seattle or New York to see a game, I need to disclose it in my articles.  Many smaller outlets have even honorably started to disclose if they purchased or rented a game for review, or if they turned down the offer for a free trip.  Unless an outlet specifically states that it didn’t take the offer, or that it decided not to even go, we’re left to wonder.

Dan Hsu put it simplest on a recent episode of the MobCast when he said that the best way to avoid controversy is to avoid being friends with PR reps and publishers, and to limit going to these lavish events.  Minimal contact allows for minimal ties and minimal slant towards a game.  Being friends with Peter Molyneux when Fable 3 is on the way, or feeling sorry for a small developer who was rushed to complete a game, automatically places a level of doubt on any preview, review, or editorial.

But, we can sequester ourselves.  As soon as professional contact is made, the initial ice is broken and the next time we see Ken Levine at an event we are more likely to chat with him.  And, the more we chat with him, the more that there is a slight possibility that we might be less critical of his next game.

So where’s the line?  When do we say it’s okay to go on a junket, be a friend to a developer, or to receive a promotional gift in the mail for an upcoming game?  The FTC is forcing us to take the first step, which may be of value to our readers to know what was given to us for free.  That still doesn’t resolve the issue of publications who don’t accept junkets (or promos) being lumped in perception with those who do.  Frankly, we may never really know who’s opinion to trust.

It’s all so… muddy.

So, Sony gave me some terrific sandwiches at E3 last year.  I had to buy my own Coke at Nintendo.  And in both cases I saw some games.  I hope that constitutes enough of a disclaimer.

*Note: The Editor-in-Chiefs of over two dozen popular online & print gaming publications were contacted for information on their disclosure policies and if they attended Captivate.  Over three weeks’ time was given to them to reply.  Only two replied, one of which preferred their publication to remain nameless.  The following questions were asked: Did you send someone to Captivate?  Did your company or Capcom pay for the trip? Will you disclose this information (either way) in your articles regarding the games viewed at the event?

Contributed by: Toby Davis

There are always people looking for the next big thing in gaming, trying new genres or game play mechanics along the way. Sometimes these can even become groundbreaking hits. However, developers should still be allowed to create based on comfortable, established gaming conventions if a project calls for it. Recently, we were able to speak with Anthony De Sa Ferreira, Director at Golgoth Studio about that topic, as well as shedding some light on the background of their upcoming Toki re-imagining.

Toby Davis: When was your studio formed, and how were the name and logo chosen?
Anthony De Sa Ferreira: Our studio was formed in June 2008. The name of the studio is a homage to the love of Philippe Dessoly, our Art Director for the old Japanese animation Grendizer. Our logo is a cute, small robot.

TD: What made you decide to bring a classic intellectual property like Toki back to life? How was he chosen by the team?
AD: When we decided to focus our studio on 2D games development, as no one knew us before, we made the choice to start with an old license and propose our own vision of a remake, as many gamers complain about the fact that many remakes were in 3D and so finally not keeping the original game spirit.

So firstly, we searched in our memory for some cult games, and Toki was the first one I remember with heart. After talking with Philippe about my choice he informed me that he had been in charge of the Amiga and Atari ports, so for me it was like a sign and we immediately decided to move forward on this title.

At the beginning of the project we were focused on a remake of the original arcade version, but quickly we decided to add a new mode call “Adventure”. This mode allows us to provide a different experience and to free our creativity on the license. In separating the two modes in the game, fans would be not disappointed and new gamers could have a different experience.

TD: As you wanted to preserve 2D gaming in a 3D graphic-heavy gaming world, were there any obstacles you faced from either making games or by publishers who want to see 3D over 2D?
AD: Yes we met many obstacles. It’s true that actually a major part of publishers or 1st party are much more focused on 3D productions than 2D. Honestly, I don’t know why, because for us a game is a game and if you provide feeling, fun and great moments I think you have made your job. You don’t care if it’s 2D or 3D. Also on XBLA, for example, three of the top four best sellers are 2D games. I deduce that gamers like me select a game firstly because they like it and not because of the technologies used. I think it’s one of the big current problems: publishers are too focused on technologies instead of the heart of the game itself. Now, we were lucky, as we found a publisher and 1st party who shared our 2D love and vision, so everything is fine for us. We have a great community who follow and support us.

TD: How do you plan to innovate your interpretation of 2D gaming that will show off the team’s talent?
AD: We try to innovate on different points:

In term of Design, we do not use the traditional system of tiles to compose our levels. We draw them in one time directly, and due this process we get rich environments without too many repetitive elements. For example, on the first level of Toki we created 5 different atmospheres. Our wish is to give to the gamers a feeling of unique paths all along the adventure.

On the animation side, all of these are traditional hand animations; we try to be as close as possible to a cartoon. All of our animations are really detailed and include many frames. Gamers will see different kinds of animations in regards to the ground state. For example, in Toki the walk animation is completely different if gamer walk on the ground, up a slope or down. We pay attention to all of the details. Our wish is to immerse gamers as much as possible into the environment.

Now, in terms of gameplay, we try to mix and bring different kinds of style into the same game. For example, there are several riding areas in Toki. We try to innovate and propose to gamers a non linear gameplay.

The last important point is the special effects. We used modern post-processing effects, such as pixel shaders, to get a more immersive effect like the distortion of the water displacement wave during a ghost move. We also use a fluid physics system, based on particles, that allows us to include fluid with a physics component [water, lava etc...] that could interact directly and in real time with the character physics and the environment. It’s really fun!

TD: Even though the iPad does not come out for a while, have you thought about making your games available not only for XBLA but for other gaming platforms?
AD: Our games are not planned to release only on XBLA. Toki and our other games will release on all digital platforms from PC to PSN, XBLA, and WiiWare, but not at the same time. Later we will check for mobile versions: iPhone, iPad and others. For the moment PC and especially console platforms are our first targets. The iPad should be a good platform, as the iPhone is, but I think the market is actually too confused and only a few kinds of games that really have a specific and interesting gameplay for touch surfaces really come out from the others.

TD: When you start to show off other new games, will they be different genres or will you be sticking to a select few types?
AD: Actually, we are focused on Toki, but this summer we will present two other games. One is our current outsourcing work for a Japanese company on another old Data East license, and the other one is an original co-production with an US independent studio.

TD: What does making games mean to you?
AD: Making games is simply amazing for us because it’s also our first hobby, and so it’s great to work in what you love. We really hope that we could provide our touch to the game industry and to provide a lot of great moments for gamers.

Images courtesy Golgoth Studio

In a bit of a head-scratcher, Nintendo let loose this morning a sole press release that has turned the gaming world upside down… if you didn’t already see it coming, that is.  This morning’s press release, based out of Nintendo’s Kyoto home in Japan, reads like a vague announcement of an announcement… but with a few intriguing tidbits.

Here are the bullets from the release:

• Temporarily named the 3DS
• Will allow games to be enjoyed “with 3D effects without the need for any special glasses”
• Officially succeeds the DS as the true, next Nintendo portable game machine
• Backwards compatible for all DS and DSi games
• Releases during fiscal 2011, which ends March 2011
• More details will be revealed during E3

Nintendo heads have noted in several interviews that the only time to create a new gaming system is when its game designers’ ideas were no longer possible with current hardware.  In appears as though this has taken place.

Already, the new little(?) system seems to have much of what we’d want in a successor.  In comes this report (via our pals at Joystiq and Engadget) about additional features of the 3DS, from various Japanese and American sources.

• Asahi Newspaper claims that the 3DS will utilize Sharp’s parallax barrier LCD system for its 3D output
• Nikkei notes that the screens will be 4 inches, about the size of the current DSi screens, and will include a 3D control stick of some sort.  Could this be a PSP-like nub?  Full analog stick? Or a method of which to use the stylus as a control stick?  This is unknown.
• The Nikkei also reports on the inclusion of vibration and an improvement on both battery life and WiFi.
• The New York Times report that the 3DS will be playable at E3 this year

After a cup of Biggby’s (plug!) coffee this morning, I sat back and thought, “What could this all mean?” Let’s make some silly assumptions.

Deducing from the press release’s claim about the hardware being compatible with all DS and DSi games, we can safely assume the following:

• Will have online compatibility
• Dual cameras
• Microphone
• HDD (hard disk drive) for downloadable content
• SD card slot

Based on the NYT’s E3 time-frame, we can possibly see the 3DS released as early as the holidays.  Nintendo usually doesn’t wait long after revealing a product before they put it on store shelves.  “Wait, isn’t the DSi XL coming out, like, NEXT WEEK?”  Yes, my astute readers, it is.  Perhaps Nintendo feels as though the XL will appeal to a different audience than the 3DS, or perhaps there is a killer idea for the 3DS that Nintendo wants to put in front of the public’s eyes to soak up the PlayStation Move’s recent semi-launch.

If what the Nikkei reports is true, an analog stick/nub would be a natural fit for games that can be manipulated in 3D space.  A stylus and D-Pad alone aren’t sufficient enough, relying on 2D interfaces.  I’d say that this report is probably in the area of 99% accurate.

Nikkei’s claim that the 3DS will have vibration is a natural fit for the handheld, which already has (at least, with the DS Phat and DS Lite) compatibility with a special vibration accessory for game enhancements.  Vibration is common in mobile phones, so the official inclusion of it in a handheld system is natural.  The drain on battery life may not be, however.  Perhaps this is where Nintendo’s “battery life” improvements come in, although if they mean improvements over the DSi or DS Lite is unknown.

Finally, Asahi mentions Sharp’s 3D screens.  The technology revolves around the display switching from 2D to 3D electrically, through the use of a secondary LCD display on top of a primary one.  The display allows images to be shown in 3D by creating vertical lines visible by each eye individually.  While researching the technology, something Sharp has had in the works since the early 90s, I discovered that there are potentially a couple issues.  Theoretically, the image is degraded when going from a high-res 2D display to a 3D display.  With each vertical “stripe” of the screen image belonging to one eye or the other, the image wouldn’t be a “full-res” image… effectively being split in half for each eye.  The 3D effect is also dependent on the location of the eyes to the screen.  If the user’s head moves, the image may not be clear.  This is where the DSi’s central camera can help alleviate that, effectively positioning the screen/vertical lines to where it sees the eyes move.

Whew.  I’m no techie, but I think I got about 40% of that right.

There are other notes to consider, including some of the rumors we’ve posted about in the past.

• Nintendo’s Iwata noted that a future DS would/could have motion-sensing and higher-res graphics
• According to CVG, certain Japanese developers love the new hand-held’s tilt function
• Nvidia may be working on a Tegra-based chip set for the next DS

Motion-sensing, something Nintendo loves with the Wii, would allow the 3D positioning of the device to capture the eye location more precisely when used in conjunction with the camera.  Major motion wouldn’t be taking place on the 3DS, as the system’s smaller screens would prevent users from ever really seeing anything while flailing about.  Gyroscopic sensing similar to the iPhone — enough to detect rotation during racing games, or raising & lowering of the device in space instead of WiiMote sweeps — would potentially be enough to keep the cost down.

Higher-res graphics would be a must, as the DS visuals are aging with 6 years under its belt.  Plus, up-resing visuals helps with the 3D Sharp technology.

Here is a look at what the 3DS could possibly look like, taking into account all of the data we have above:

To summarize, the 3DS could be an incredible piece of hardware if all of these conjectures and rumors are even remotely true.  The device would also be incredibly more expensive than the current models.  Either way, we’ll find out come June, when SideQuesting arrives at E3.

[Source: Joystiq]

The maps that came along with the initial game guides in Nintendo Power back in the 80s for games like Dragon Warrior (Dragon Quest) and Final Fantasy were always a sort of interesting phenomenon to me: someone out there had to plan the world that characters would walk across, and the terrain they would walk over or interact with. This would start with highly-detailed and beautiful maps… which would be turned into grainy blocks that represent grass or swamps and placed on a grid. Even though the visuals weren’t exciting, their placement was perfect and pivotal to the experience. That one block representing a town? I couldn’t wait to make it across the swamp to get to there.

Artist Brett Camper takes his love of games and media to new levels when it comes to the classic 8-Bit map. His creation, 8-Bit NYC, is a scalable map of New York that is entirely done with classic graphics. Complete with locations for New York schools, landmarks, and parks, the map is just begging to be placed into game itself. The labor of love has become so popular that Camper is looking to make similar maps of other cities, if there is enough interest.

Now, anyone good with RPG Maker want to help me out? I have an idea for Brooklyn Quest that’s floating around in my head.

[Image courtesy 8-Bit NYC]

Contributed by: Toby Davis

Wine.  Many of us enjoy and drink it on a regular basis.  However, it hasn’t quite been a “gamer’s” drink (Mountain Dew tends to take that crown on late Friday nights).  Michael James, the founder of 8-Bit Vintners, believes otherwise.  Wine, according to James, is meant to be a fun, enjoyable experience.  Growing up a gamer himself, James’ wine selection offers that fun experience, especially those of our gaming youth.

Mike took some time away from tasting the latest batch of wine to speak to us about his company and his love of video games.

Toby Davis – So how did 8bitvintners come about?

Michael James – I was learning to make wine and planned on working in the wine industry for the rest of my life. It just so happened that I’m also a gamer. I only chose to use a gamer centric theme for the wine because it represents me and my love of game culture. It’s also much more interesting than using my last name or some obscure environmental object.

TD – What was the first game that got you started playing as a child?

MJ – The first game I remember playing was the original Super Mario Bros. for the NES. I know that’s kind of a boring answer, but its the truth. It was a family friend who lived down the street who let me play it when I was 5. I was instantly hooked and have been a gamer ever since.

TD – How does gaming affect the way the wine is made? If so could you elaborate on it?

MJ – Well I wouldn’t say that gaming affects the way the wine wine is made, but I do find artistic parallels between the people who design and develop games and winemakers. Both are incredibly passionate artistic mediums. I never understood the argument that games cant or are not art.

TD – Since you’ve started making wine, what kind of support have you seen from the gaming community?

MJ – Its been mixed, but I would say its been more positive than negative. I think some people think this is some sort of gimmick, when that couldn’t be further from the truth. I love wine and I love games. Its that simple. I didn’t want to put a cartoon animal or an environmental object that nobody could relate to on the bottle. Even if it creates a niche for the wine, I would rather have a label that speaks to my interests. It also happens to be something that a lot of other people are interested in as well. My hope is that my wine brings back good memories from a time many of us are so fond of and that it gets people who may have been intimidated by wine a reason to give it a try.

TD – With motion controls being more prevalent in today’s gaming society, what are your thoughts about them?

MJ – Well I own a Wii that’s really dusty and used primarily for virtual console. Does that answer your question? I’m just not a fan of gimmicks. I enjoy the subtle motion controls in the new Mario games, but anything that forces me to get off my couch to play a game just makes me feel like I should go outside or to the gym. Natal looks like a very cool proof of concept, but as a way to play games, I’m just not interested…yet.

TD – While you have been making wine, what has been one of your best gaming memories?

MJ – Two come to mind. The first is simply game culture related. My first PAX in ’08. It was the first chance I ever had to go to a Con and it was amazing. Meeting other gamers and sitting in on panels hosted by people Ive read or listened to since I was a kid was so cool. I made friendships at that PAX that will last forever. The second would probably be the finale of Modern Warfare. Such a cool cinematic moment that felt so satisfying. I hate leaving off the time I tried to teach my wife to play Left 4 Dead. That was a good one.

You can find out more information about 8-Bit Vintners at the company’s website, www.8BitVintners.com

Stop me if you’ve heard this one before: “How do I get into games journalism?”

Now, we at SideQuesting don’t necessarily consider ourselves journalists; we’re more of the “active enthusiast” type.  We play games as much as we can, but don’t make a living writing about them.  We write for the fun of it, whenever we can, to whomever will read it.  We have many friends on the video game journalism side of things who make a living (sometimes barely) from reporting and writing about the industry.

We’ve always wondered, as have many others, just how they got into the field professionally.

So, it was a great surprise to us that The Freelancers Podcast recently launched.  The Freelancers — comprised of Xav de Matos and Kyle Horner — deal with answering just that question, giving hints and tips and reminiscing of both good and bad experiences in the industry.  Each episode the duo are also joined by a special guest sharing their experiences, allowing the listeners to hear from several writers and their points of view on the topic.

We dissect the show on this week’s OPP: Other People’s Podcasts.

Entertainment Value

Both Xav and Kyle have podcasting experience, allowing them to be a little more at ease with the format and the delivery to the audience.  Being well aware of the expectations, they are focused on being informative over being humorous. Their guests bring their own individual flair to the show, but always stay focused on bringing their experiences and knowledge.  There aren’t the bookended “segments” that we’ve come to expect from other video game podcasts, but then again this a podcast about video game journalism and not necessarily the games themselves.  It’s an easy listen, and by keeping under 1.5 hours it remains manageable.

Original Content

There isn’t a podcast like The Freelancers out there.  It’s highly focused on the subject matter, as opposed to the podcasts that rely on news bytes or an already-flourishing community.  As noted above there aren’t the standard bookends, so the Freelancers does remain an interview-heavy show.  Relying on that format can be both a godsend and a downfall, as in many cases we already know how our favorite journalists have broken into the industry.  The podcast is in its infancy, however, and the show’s hosts have mentioned the fluid format may change as they progress along.  The show isn’t lacking anything, but may gain a virtue if the episodes have a bit more of a theme to each one (breaking into the web, contacting PR, writing styles, etc).  These don’t need to take over the show, but may allow the interviews to be more focused.

Production Value

As noted in their first episode, the show hosts do not have the expensive equipment that many other podcasts do.  It’s just Skype and a microphone.  Perhaps that is what allows us to truly relate to the show: the hosts are doing their best to survive in the journalism landscape and can’t afford the high-end gear yet.  However, this does make it… interesting… at times when trying to listen.  The Skype combo has downfalls that we are all aware of and live with, but one bad connection can ruin a great show regardless of the content.  While the most recent show, Episode 3, was edited well enough to keep the majority of the audio issues away that may not be the case each episode.  Here’s hoping that some on-location shows happen down the line.

Cast/Hosts

Xav and Kyle are experienced hosts and know the subject matter extremely well.  It never feels like they talk down to the listeners, instead opting to say “hey, we’ve been there, too.”  Perhaps what makes the show so palatable is that they are in some of the same situations as those who listen: they aren’t the full-timers who strictly work at a magazine or newspaper; they’re the people who will write as much as they can, and at times wherever they can.  It really does well to form a connection to.

In Conclusion…

The Freelancers is a highly enjoyable podcast dealing with a topic that many journalists have often blown off.  The question of breaking into the industry is a common on, so tackling it is a huge undertaking.  But, by making a palatable show Xav and Kyle have been able to bring a bit of the answer to that question and mix in their own experiences along the way.  A bit more focus on each episode may be all that it takes to become a must-listen for anyone looking to break into not only gaming journalism but almost any other form of journalism as well.

The Freelancers is a truly unique podcast that really lends a hand to anyone looking to “break into the biz.”  If you find yourself writing with this goal in mind, subscribing to The Freelancers is a perfectly sane step in the right direction.

The Freelancers can be found at their Tumblr page and on iTunes.

Do you have a podcast that you’d like us to listen to?  Send it over!  Visit our “Contact” page and send us the link!  And remember, a podcast is only as good as its latest episode.

Wait a minute… a GameBoy? As a musical instrument? That’s crazy talk… or is it? Not according to Bit Shifter and Nullsleep, two New York musicians who coined the GameBoy music movement and dubbed it “chiptune.” These artists and many other like-minded individuals use antiquated video game technology to create futuristic sounds and effects. Beginning tonight at 8pm at The Bell House in Brooklyn, New York, Blip Festival will celebrate chiptune music and art, and the night will ultimately culminate in a dance party explosion. Now in its fourth year, the event promises to be larger than ever.

Blip Festival is a brainchild of a collective called 8BitPeoples, a group who banded together to support the video game music movement. Perhaps the most well known of the group are Bit Shifter and Nullsleep, who came together not only to form the collective, but also to create Blip Festival. As two of the most popular artists in the movement, they’ve been profiled in Wired, NPR and Fuse TV.

The festival offers the chance for up and coming artists to mingle with the leaders of the movement. It will feature not only music and visual arts displays, but also workshops, film screenings and open mike events, which will be open to all attendees.

For years, video games and gaming culture have woven their way into all types of art. For example, take the graffiti artist Space Invader, known for his public art displays that come directly from , you guessed it , the 1978 video game classic, Space Invaders. Or, on the music front, take Video Games Live, a live theatrical performance of music from classic video games, which has toured internationally. Anyone who remembers Sonic the Hedgehog 3 will be only mildly surprised to learn about rumors that the music on the game was composed by none other than the legend himself, Michael Jackson. So, it should come as no surprise at all that the electronic music that accompanies classic video games has spawned a culture all its own.

In 2006, the first Blip Festival celebrated the rise of the chiptune movement. The festival highlighted electronic music and art created using video game sound effects and visuals. Rather than using traditional instruments, artists use video game consoles such as Nintendo GameBoys and Commodore 64s, resulting in post-punk sounds and a special breed of aesthetics.

In 2007, Mike Rosenthal of The Tank, an arts organization co-sponsoring the event this year as it has in the past, described Blip Festival as “Woodstock” for chiptune artists. Maybe, but maybe it’s more poppy, upbeat and electronically sound than Woodstock – plus it occurs more than once every 35 years.

This year, attendees can look forward to watching performances by seasoned pros, as well as up-and-comers such as Starscream, a duo who, although probably too young to remember the release of the original Nintendo GameBoy, aren’t thwarted from using one to create music with the accompaniment of live drums.

Sounds from Blip Festival artists are available at  www.8bitpeoples.com and www.blipfestival.org. People interested in attending the festival, which begins tonight and runs through the early hours of Sunday morning, may purchase a day pass for $15, or a weekend pass for $40. A full schedule of events is available at  www.blipfestival.org/2009/schedule. The website also contains more information about the artists and festival updates.

I still have that Theremin, and I probably have enough loose change to round up at least $5 for a used GameBoy. Feel free to email me if you’d like to start a band.

If you’re sick of the local soft rock radio station playing Xmas music ever since Halloween, don’t fret.  While its clear, Christmas season seems starts earlier and earlier each year, that doesn’t mean you need be bombarded with the commercialization of Xmas with advertisements in November and non-stop “holiday” music till February, check out this  free 8-bit bit treat from the folks over at the “Something Awful” forums….

They have put out another great compilation of 8-bit styling on various Christmas tunes: Mafialligator’s 8-bit Christmas.  The songs are exactly what you think, 8-bit renditions of classic Christmas/Holiday music.

Track Listing
1. Christmas Eve/Sarajevo – 12/24 – Trans-Siberian Orchestra    — Mafialligator
2. Happy Holiday – Irving Berlin   — Mafialligator
3. Wonderful Christmastime – Paul McCartney     — Mafialligator
4. Do You Hear What I Hear – Gloria Shayne Baker   — Mafialligator
5. The Theme From Gremlins – Jerry Goldsmith    — Mafialligator
6. Ding Dong Merrily on High       — Mafialligator
7. Gesu Bambino – Pietro Yon        — Mafialligator
8. Oogie Boogie’s Song – Danny Elfman     –Mafialligator
9. Toyland – Victor Herbert       –Mafialligator
10. All I Want For Christmas Is You – Mariah Carey    –Mafialligator
11. Santa Babby (Remix)     — Savor
12. Lil’ Beat Maker Boy     — ChEEEze
13. Carol of the Bells (remix)    — Queb

You can help the folks who are hosing the songs by grabbing the torrent file instead of the direct links.  Or head on over to the forum post for various outlets to download the album.   Hopefully this will shake up your mundane holiday barrage of corporate greed and actually make you enjoy the holiday season a tiny bit (pun very much intended).

The guys over there put out great stuff, so if you like it, through a buck or two their way, they accept donations .

If you can’t get enough 8-bit holiday inspired music, also check out Doctoroctor’s 8-Bit Jesus album from last year, album art alone is worth a download.

Merry Bitmas everyone!  And A Happy Kill Screen New Year!

(via SomethingAwful forum)

Late this Spring saw the first few 2009-year game delays begin to role in.  By mid-Summer the delay trend had become a sift, with games being pushed back into “Spring 2010″ on an increasingly regular basis.  We even dedicated an entire #gamechat to it.  Blame Modern Warfare, blame the economy, blame quality concerns; whatever the reason the dwindling Autumn line-up brought a tear to our eye, until we glanced over at that now-goliath “Spring 2010″ list.

After E3 we knew of a few of the games that were already planned for 2010, and as conferences continued throughout the year we heard of special editions, re-makes, and more.  While the industry has been focusing on the first quarter of next year, there is plenty of incredible gaming to be had for the remainder.  Barring any delays from 2010 to 2011… yes, dare we say that it may very well be the best year ever for gaming?

Read our list below to see just how many AAA-level titles will be soaking up your time (and money).

Did we miss something?

January

Army of Two: The 40th Day
Bayonetta
Darksiders
Dark Void
Mafia II
MAG
Mass Effect 2
No More Heroes 2
Resident Evil Archives: Resident Evil Zero
Tatsunoko vs. Capcom: Ultimate All-Stars

February

Aliens Vs Predator
BioShock 2
Blur
Dante’s Inferno
Heavy Rain
Lost Planet 2
Red Steel 2
Splinter Cell: Conviction
Star Trek: Online
Super Monkey Ball: Step & Roll
White Knight Chronicles

March

Battlefield: Bad Company 2
Champions Online
Command & Conquer 4
Final Fantasy XIII
God of War III
Gran Turismo 5
Metro 2033
Monster Hunter Tri
Sin & Punishment 2
Singularity
Super Street Fighter IV

April/May/June/July

3D Dot Game Heroes
Alan Wake
Alpha Protocol
Arc Rise Fantasia
Brink
Eye Pet
Ghost Recon (New)
Just Cause 2
Max Payne 3
ModNation Racers
NCAA Football 2011
No More Heroes HD
PS3 Sphere Motion Controller
Resident Evil 5: Gold Edition
Resonance of Fate
Scratch: The Ultimate DJ
Skate 3
Split/Second
Starcraft II
Tiger Woods 2011
UFC 2010
World of Warcraft: Cataclysm

August

I Am Alive
Dragon Quest IX
Kane & Lynch 2
Kingdom Hearts: Birth by Sleep
Madden 2011
Metroid: The Other M
Red Dead Redemption

September

The Grinder
Guitar Hero 6
Halo: Reach
Last Guardian
Nintendo DS2
Rock Band 3/ Band-themed Rock Band (the Who?)
Sonic the Hedgehog: Project Needlemouse

October

Bully 2
Castlevania: Lords of Shadow
Dead Space 2
DJ Hero 2
Epic Mickey
Fable III
Fallout: New Vegas
Final Fantasy XIV
Nintendo Vitality Sensor
Sony PSP2
Super Mario Galaxy 2

November

Band Hero 2
Call of Duty 7
Crysis 2
Microsoft Project Natal Motion Camera
New Legend of Zelda
The Old Repubic

*Note that all dates are tentative until the games actually release. We know how these dates can change at the drop of a hat and will probably do so to give themselves some retail space.  Some of the games & products towards the tail end of the year have not even been formally announced yet except in “closed circles” and rumors.   The list has been created by scouring over the release dates in several gaming publications — IGN, Gamespot, Amazon — but always take those confirmations with a grain of salt.

Contributed by: Whitney Meers

Yesterday marked the international debut of Tony Hawk: Ride. I had the opportunity to play the game at E3 this year, and accordingly, I’ve compiled a list of reasons why Ride, which includes a motion-sensory board that you “skate” on in the comfort of your carpeted living room, is better than real-life skateboarding.

No injuries

I was a skateboarder for nine years of my life, and I have some fascinating scars to prove it. Once, I slammed so hard I skinned a chunk of my face off. I’m sure I looked pretty hot when I showed up to my school dance the next night with a giant scab on my face.

People just don’t really want to talk to someone covered in bruises, scars and scabs. So, why not stay pretty by playing a simulated skateboarding game instead? The worst that can happen with Ride is that you get sore from playing too long – unless you somehow manage to trip and crack your head open against a coffee table.

Avoidance of Lame Insults

Most skateboarders have dealt with lines like this before: “Hey, four wheels! Get a car! And a job!” The worst part is that most of the people who make these kinds of terrible jokes think they’re hilarious. The best way to deal with them? Avoid them at all costs. You can do this by playing Ride in front of your TV in your own home. But, just a warning: playing Ride won’t stop your parents from telling you to get a car and a job.

Girls in the Game are Actually Impressed by Skateboarders (Unlike Real Life)

“Hey, baby! Want to ride back home with me on my skateboard and kick it at my apartment? We can watch a movie – just try to ignore the fact that we’ll be surrounded by sweat-stained t-shirts and empty beer cans.” In the real world, you’ll only have a limited degree of success with a pick-up line like that. But in Ride, if you can master the street course, you’ll have the ladies loving you so much that they’ll be throwing their panties at you. It’s too bad they’re only video game characters.

Fast Track to the 900

It took Tony Hawk years of skateboarding to be able to do a 900. For you, it’ll take a few hours in front of your television. Which one is actually worth the effort? Well, if you have things to do with your life other than living and breathing skateboarding, then you’re probably better off with the latter.

Exercise is for Losers

Not that Ride doesn’t involve movement , it involves a hell of a lot of it – but it’s far more limited than the pushing and kicking and turning involved with skateboarding. And seriously, who wants to be outside in the sweltering heat, sweaty and sore, when you could be at home eating junk food and enjoying the cool blast of your ac unit, unlocking goals with minimal effort?

Drinking and Skateboarding Don’t Mix

Let’s face it… it’s pretty tough to engage in any sort of athletic activity after a few drinks. But Ride‘s a game. Even though it requires a great deal of coordination and bodily movement, it’s not nearly as tough as maneuvering in and out of traffic on a skateboard because your double-vision made it impossible for you to see that car coming.

We’re fans of video games based on rapper’s alter-egos named after small sums of American currency, just like everyone else. Despite that, we didn’t find 50 Cent’s first true game effort, Bulletproof, to be a groundbreaking endeavor, or even a very enjoyable one.

A rap artist’s first video game is always a little rough around the edges. The proof of that can be found in Eminem’s first gaming foray Manufactured Anger, and of course we all remember Snoop Dogg’s less-than-stellar Sperm Count Homicide, but we expected more from “fiddy” (we can call him that because we’re tight, yo).

50 Cent: Blood On The Sand rectified the errors of its predecessor and hemorrhaged bonus points until we were all grinning like idiots. Given that, shouldn’t the grandaddy of 50′s games be treated with a little more respect than Amazon’s new trade-in service is offering?

I mean sure, it’s hilarious that 50 Cent’s game is worth 50 cents, but we expected a tad larger show of gratitude to the game that paved the way for the number one attacker-chopper-boss-killing simulator on the market. Shape up Amazon, or imma’ ice ya!

From time-to-time we like to cover non-gaming topics that might appeal to our readers.  One topic we can all enjoy is movies.  Hence, the (Not Gaming) Movie Reviews we regularly post.

Every year around the month of October, fright flicks pop up in theaters. While we’re used to the Saw series, Halloween remakes, and the myriad of monster closet movies that seem to clog up the film pipes we usually get that one indie gem that serves up plenty of goose bumps to viewers.

This year that film is Paranormal Activity– a bare-bones, low budget movie that utilizes old-fashioned “bumps in the night” to incite fear. Based on some rave reviews and smart viral marketing, I decided to spend a rainy Tuesday evening at my local AMC to check out the flick.

Background Info

I’ll do my best to keep the review spoiler-minimum but with so much of the film based on events it may be a little difficult. Paranormal Activity was created for a mere $11k, with most of the cost soaked up in camera equipment and the few visual effects. The entire film takes place in the home of couple Kate and Micah, with the majority of it in their bedroom in the middle of the night. And before you ask, there is no hanky-panky on film (although one implied scene). The film is shot in a “Blair Witch” style: one camera, lots of shaking, and first person. The story follows Kate and Micah as strange and frightful events unfold within their home.

Likes

- The first half: The movie’s first act, where the unseen is taking place, is damn near chilling. Strange sounds, moving doors, and flickering lights are all captured by a single camera placed in the bedroom. While in the theater I wasn’t necessarily frightened, but it was the effect the movie had on me when I got home that excited me. I began to wonder, “What if I left a camera on in MY house? Will I see any similar events take place?” The typical creaks and bumps of my home became amplified throughout the night. It’s these little, often missed details that the film accomplished extremely well. It’s not what occurs with you there, but what takes place when you are not looking.

- The minimal effects: The believability of the film’s first stanza can be almost directly attributed to the low-budget effects. The “Home Depot” approach to creating the events — sounds & thumps, strings pulling and pushing doors — creates an eerie atmosphere that focuses on the most basic of fears. The big “thump” that takes place mid-way through the film was especially frightening.

Dislikes

- The second half: It’s at some point, mid-way through the film, that it replaces its “bumps” for more contrived, almost cliché scares. Without divulging too much, the story becomes highly unbelievable when the couple begins interacting with the entity. Yes, there are still events that scare, but now they become more predictable and “placed.” The second half culminates with an all-too-predictable finale.

- Bad acting: The performances of the actors were lacking anything to connect the characters to the viewers. You can easily relate to the characters at first, but they quickly turn into “douchey boyfriend and gullible girlfriend.”  Micah wants to “solve the problem” on his own, against his girlfriend’s wishes, until at last Kate unrealistically decides that it would be okay to continue. The characters are portrayed as overly stereotypical young adults, quite possibly insulting anyone in the theater.

- Plot holes much?: If any human couple is being stalked by an entity I’m pretty confident that they would seek professional help and contact the authorities early and often. Micah and Kate do their best to avoid any semblance of this reality. Why wasn’t a priest contacted to exorcise the entity? Why didn’t Kate tell Micah (or anyone, really) about the horrific events of her past and seek help from paranormal experts when she was young? At too many times throughout the film, I found myself trying to figure out why I already knew the end of the movie half-way through, and why I stopped caring.

In Conclusion

The first half of Paranormal Activity is at times freaky, frightening, and even terrifying. After that, the realism that the film needs to appeal to the teens and tweeners sets in, and it becomes “just another scary movie.” I was really hoping that this film could live up to the hype surrounding it, with the terrified movie-goers portrayed in the trailer. Sadly, I found myself wishing I had just stopped watching the movie mid-way through as it became increasingly predictable and unenjoyable. “A” for effort, “C” for consistency.