No, fuck it, I've changed my mind
Do you know why Mario and Luigi had to play their adventures separately, insteading of pairing up for a two-plumber beatdown? Do you know why Tails was a superfluous nobody who couldn't lose any lives, could be left behind and got chucked out in the flaming wreck of an airplane while the first player knuckled down for the end game? Basically, do you know why certain games used to treat the second player as an annoyance that the first player didn't need?
Because for most people he was, that's why. Anyone who grew up with a games console and a younger sibling knows exactly what I'm talking about; you didn't want to shepherd them about in a game-spanning escort mission while they blundered into enemies, and you didn't want to wait fifteen minutes at every slightly tricky jump while they tried to remember that there was a jump button in the first place. You sure as hell didn't want to take turns in the single player, because you knew, every time, that they'd haemorrhage lives at a rate of three per minute, and burst into tears when you tried to wrestle the pad back off them and salvage the crumbling remains of your near-perfect run. Sega and Nintendo, each in their own way, concocted the perfect co-op for siblings; one gave the little sprat his own adventure to ruin, and the other removed any possible way for him to be a liability. With such genius did these giants bear gifts upon the grateful elder children of the world.
If you're wondering why this nugget of childhood has burst out and mugged me on the corner of memory lane, it's because I've realised what it is that's been irritating me all along about these wretched new-wave adverts and that horrifying family attempting to play Kinect through severe muscular spasms: deep down we can see those useless ham-brains we hated playing against, and there ain't no way in hell we're going to put up with that crap all over again, the problem being that this time the kids are fully grown so we can't push them over and steal the pad back off them.
For reference, go watch that Kinect video again: god, they're like a pair of giant man-babies, oblivious to the connection between interaction and action, who have grasped on to the idea that they have to move about but don't have the brains to see that that isn't enough to get them through the game. The many months since that video's release hasn't dulled the horror of realising that the children may actually be smarter than the parents.
And while I'm acutely aware that I've defended Nintendo's adverts as being necessary for this mildly uncoordinated audience, it's only just struck me how terrifying it is that adults - real, honest-to-god grown men and women - apparently need to have it explained to them, with visual aids, that playing games with your friends is fun. They're teaching that stuff to three year olds on CBeebies, yet there's an entire marketing blitz on prime time telly devoted to people who should still be only getting a spoonful of food in their mouths one time out of three. If your opinion of Donkey Kong Country Returns is swayed less by the gameplay footage than by how much Ant and Dec seem to enjoy it then we're starting to fly into flock-following sheep country.
This isn't even a rant about having to show people how to play games; hell, with new tech like the Wii Remote or Kinect it's pretty essential. No, this is a rant about the fact that games are still being marketed as though the players are dribbling cretins, only now they're about thirty years older and have bags of skittles for brains instead of raw meat engorged with testosterone, and I'm not sure if it's an improvement.
Do these people even exist? The Kinect video certainly suggests so, as does the mountain of shovelware that Nintendo have brought upon themselves, but then take a look at the iTunes charts: at the time of writing, the iPhone Top Ten App Chart contains Angry Birds, FIFA 11 and Cut the Rope, two of which are a natty pair of physics puzzlers and the other is a franchise so long-standing that it's outlasted most real footballers. The puzzlers are cheap, casual and fairly basic, but they need a good eye and a healthy sense of trajectory to progress, something that the dimwits we're being told exist couldn't begin to make head or tail of. Or maybe they could, if they first had someone lead them to it first with easy-to-follow diagrams.
So the conclusion at the end of this hazy ramble through my brain is, basically, that I have no idea what to think any more. At first I wondered if we shouldn't just give up on these people, since the current iPhone crowd clearly have a good eye for quality even in the form of five-minute fluff, but that would just be snobbish. What would be nice, though, is if we could market to casual gamers on the assumption that they actually have a functioning brain and don't need to be marketed to in the exact same manner as nine year olds. That, I think, would make me feel a whole lot better.
Sunday 28 November 2010
Monday 15 November 2010
Sonic Colours
A magnificent effort sadly goes to show that Sonic Team have used up all their chances
One less dimension to worry about means that Sonic's 2D journey has had a lot less bumps to smooth out over the years, and while the Advance and Rush series brought their own enjoyable flavour to the franchise, his three dimensional adventures have been patchy at best; Sonic Adventure was rushed out to prop up a fledgling Dreamcast, while the sequel was rushed out to support a dying Dreamcast. Heroes was inexcusably broken, and Sonic the Hedgehog even more so, while Unleashed got half the formula right but stumbled with the rest. Sonic 4 had things easy; with expectations for Colours riding high, it's the 3D hedgehog who is yet to impress. And like its predecessor, it's a tantalising snapshot of what Sonic could be.
Colours isn't a bad game per se, coming straight off the back of the much-loved daytime stages from Sonic Unleashed in which players blasted through the level at breakneck speed, but it still manages to carry across the flaws of previous games, from flaky controls to ridiculously unfair obstacle placement and overly busy level design, all of which transform what should have been a breezy joyride into a nerve-shredding dance on the brink of oblivion. The levels are bizarrely cluttered and often ask you to take in more than the eyeball and brain can handle, and while it's many the fine game that can keep the player on a knife-edge, there are numerous cheap deaths that have an almost smug, mocking feel to them, as though half a second is clearly ample time to spot the bottomless pit that just rushed around the corner.
So far so 3D Sonic, then. It's as well that the gimmick du jour, the Wisps that grant Sonic a variety of powers mid-level, are fairly well realised and generally quite inventive; the Cyan Wisp lets Sonic ping-pong off walls at ultra-fast speed, usually clearing hoards of enemies and firing you a small but significant distance through the level, while the Yellow Wisp gives you an all-destroying drill that takes you far below the main level. The one major criticism of the Wisps is that they rarely feel organic; you can't stockpile different kinds of Wisp energy to maximise your options, and every part of each level is clearly designed around the specific Wisp power you've just picked up, even if it's an option rather than an essential.
It's a sad reflection of the fact that Sonic Team just can't quite seem to get the various gameplay elements they concoct to mesh together properly. The drifting and side-stepping from the running sections of Unleashed are back, but are only useable during specially marked segments rather than at any time. They've made an effort to merge the various modes of control into one fluid whole, but all they've done is diced them up in the same bowl rather than actively blending them into one smooth mixture.
It isn't all bad; in fact the irony is that Colours really begins to shine when it learns to slow down, drop the sparkling bombardment of visuals that plague the 3D games and get down to some serious old-school Sonic platforming, measured and exploratory and never punishing inquisitiveness. The best can be seen in Aquarium Park, where speed relents in the face of a haunting, serene wonderland that spreads open around you and invites you to make a day of it. Better still is that the hard lessons Sega had to learn for Sonic 4's retro revamp have clearly made an impression, with Spinies and Motobugs making an appearance almost unchanged from their 16-bit counterparts, while the Special Stages, disguised as a (probably unintentionally) nightmarish arcade side-scroller are all based on the distinctive level design of Sonic 1, from the odd curves of Starlight to the treacherous platforms of Scrap Brain, and these elements feel entirely natural and organic with not a single knowing wink thrown in their direction.
Moreover, the colourful aesthetic is still paying off two years after Unleashed, and while Sonic's new English voice is diabolical, it's at least helped by a script that has thrown all of the po-faced seriousness of previous games out the window while still maintaining the eye for scope and scale that makes Sonic consistently feel epic. Detail abounds at all levels as Sonic Team somehow channels the same technical forces that power every first-party Wii game, something they are clearly aware of as a delicate touch gives depth to the visuals, from the deep blues that illuminate the first dash into Aquarium Park and the gentle tff-tff-tff that sounds as Sonic scatters petals and grass blades on the Wisp home world.
Despite this, Colours is not the salvation of the Sonic series. Not quite. It isn't ambitious enough in its mechanics, and Sonic Team plainly lack the skills required to take Sonic any further forward. Although the series clearly still has an enormous well of lifeforce yet to be tapped, it isn't Sonic Team who are going to get there; they're like an ageing thoroughbred that refuses to be put out to pasture, and the fact that they're making small improvements doesn't mean they're going to keep pace with the prime fillies any more. Colours is a defiant statement that Sonic still has life left in him, but he needs a strong team behind him, and Sonic Team isn't it. There's a strong creative force at Sonic Team that's bursting to show us what they can do, but a lengthy spell with an equally passionate third-party dev is the only way for Sonic to reach his peak.
Verdict
An aggravating first play means it isn't worth renting, but it is worth buying if you can push through to the end game; Colours is short, flawed and symptomatic of a team that simply doesn't have what it takes no matter how hard it tries, but amongst the cracks can be seen a franchise straining to become what it knows it can be.
One less dimension to worry about means that Sonic's 2D journey has had a lot less bumps to smooth out over the years, and while the Advance and Rush series brought their own enjoyable flavour to the franchise, his three dimensional adventures have been patchy at best; Sonic Adventure was rushed out to prop up a fledgling Dreamcast, while the sequel was rushed out to support a dying Dreamcast. Heroes was inexcusably broken, and Sonic the Hedgehog even more so, while Unleashed got half the formula right but stumbled with the rest. Sonic 4 had things easy; with expectations for Colours riding high, it's the 3D hedgehog who is yet to impress. And like its predecessor, it's a tantalising snapshot of what Sonic could be.
Colours isn't a bad game per se, coming straight off the back of the much-loved daytime stages from Sonic Unleashed in which players blasted through the level at breakneck speed, but it still manages to carry across the flaws of previous games, from flaky controls to ridiculously unfair obstacle placement and overly busy level design, all of which transform what should have been a breezy joyride into a nerve-shredding dance on the brink of oblivion. The levels are bizarrely cluttered and often ask you to take in more than the eyeball and brain can handle, and while it's many the fine game that can keep the player on a knife-edge, there are numerous cheap deaths that have an almost smug, mocking feel to them, as though half a second is clearly ample time to spot the bottomless pit that just rushed around the corner.So far so 3D Sonic, then. It's as well that the gimmick du jour, the Wisps that grant Sonic a variety of powers mid-level, are fairly well realised and generally quite inventive; the Cyan Wisp lets Sonic ping-pong off walls at ultra-fast speed, usually clearing hoards of enemies and firing you a small but significant distance through the level, while the Yellow Wisp gives you an all-destroying drill that takes you far below the main level. The one major criticism of the Wisps is that they rarely feel organic; you can't stockpile different kinds of Wisp energy to maximise your options, and every part of each level is clearly designed around the specific Wisp power you've just picked up, even if it's an option rather than an essential.
It's a sad reflection of the fact that Sonic Team just can't quite seem to get the various gameplay elements they concoct to mesh together properly. The drifting and side-stepping from the running sections of Unleashed are back, but are only useable during specially marked segments rather than at any time. They've made an effort to merge the various modes of control into one fluid whole, but all they've done is diced them up in the same bowl rather than actively blending them into one smooth mixture.
It isn't all bad; in fact the irony is that Colours really begins to shine when it learns to slow down, drop the sparkling bombardment of visuals that plague the 3D games and get down to some serious old-school Sonic platforming, measured and exploratory and never punishing inquisitiveness. The best can be seen in Aquarium Park, where speed relents in the face of a haunting, serene wonderland that spreads open around you and invites you to make a day of it. Better still is that the hard lessons Sega had to learn for Sonic 4's retro revamp have clearly made an impression, with Spinies and Motobugs making an appearance almost unchanged from their 16-bit counterparts, while the Special Stages, disguised as a (probably unintentionally) nightmarish arcade side-scroller are all based on the distinctive level design of Sonic 1, from the odd curves of Starlight to the treacherous platforms of Scrap Brain, and these elements feel entirely natural and organic with not a single knowing wink thrown in their direction.
Moreover, the colourful aesthetic is still paying off two years after Unleashed, and while Sonic's new English voice is diabolical, it's at least helped by a script that has thrown all of the po-faced seriousness of previous games out the window while still maintaining the eye for scope and scale that makes Sonic consistently feel epic. Detail abounds at all levels as Sonic Team somehow channels the same technical forces that power every first-party Wii game, something they are clearly aware of as a delicate touch gives depth to the visuals, from the deep blues that illuminate the first dash into Aquarium Park and the gentle tff-tff-tff that sounds as Sonic scatters petals and grass blades on the Wisp home world.
Despite this, Colours is not the salvation of the Sonic series. Not quite. It isn't ambitious enough in its mechanics, and Sonic Team plainly lack the skills required to take Sonic any further forward. Although the series clearly still has an enormous well of lifeforce yet to be tapped, it isn't Sonic Team who are going to get there; they're like an ageing thoroughbred that refuses to be put out to pasture, and the fact that they're making small improvements doesn't mean they're going to keep pace with the prime fillies any more. Colours is a defiant statement that Sonic still has life left in him, but he needs a strong team behind him, and Sonic Team isn't it. There's a strong creative force at Sonic Team that's bursting to show us what they can do, but a lengthy spell with an equally passionate third-party dev is the only way for Sonic to reach his peak.
Verdict
An aggravating first play means it isn't worth renting, but it is worth buying if you can push through to the end game; Colours is short, flawed and symptomatic of a team that simply doesn't have what it takes no matter how hard it tries, but amongst the cracks can be seen a franchise straining to become what it knows it can be.
Friday 8 October 2010
Sonic 4: Episode 1
After years of experimenting, Sega return to what they know best
Let's start with some context: I have roughly a dozen beta versions of Sonic 3, including the 3c beta that represented Sega's last-ditch effort to fit the game on to one cartridge before splitting the second half into Sonic & Knuckles. I have a screencap of the old Sonic 1 title screen where Sonic had a human girlfriend called Madonna. I know that in the first teaser trailer for Sonic 4, they used Sonic's beta sprite from Sonic 2 instead of the one that made it into the finished game. Sonic Crackers, Sonic-16 and Sonic Eraser - every one an obscurity, and still I hunted them down.
Now that we have my fanboy credentials in order, I have to say that as much as I still enjoy the original games, they're not so perfect that a reinvigorating update isn't in order. The physics are far too weighty, there's not much in the way of collectables, and later titles like the Advance series showed that there's more to be wrung out the classic Sonic template with newer tech. And Sonic 4 does exactly that.
Following directly on from Sonic 3 and its follow-up Sonic & Knuckles, this is Sega's take on New Super Mario Bros - a fusion of classic gameplay with more modern series elements, and for once the intrusions into the Sonic formula blend together well. Get stuck on a slope in 1991 and you were due a tedious traipse back down the hill so you could get some speed up. In 2010, Sonic feels far lighter and nimbler, practically skipping from one platform to another, yet his top speed is still limited to accommodate the multi-path exploration that made his classic titles feel so adventurous. Homing attacks and speed boosters are present from his Adventure days, but they're complementary rather than essential, letting Sonic hit springs instantly and jump to full speed without his trajectory or lack of inertia breaking flow where once it would have.
This fusion pervades Sonic 4, from gameplay to visuals; netting a continue gives you the same miniature Sonic sprite and celebratory jingle from Sonic & Knuckles, as pixellated and imperfect as ever, and it feels genuinely charming when it could have been glaringly out of place. The music comes as a slight disappointment then, given that it occasionally falls into the territory of imperfect imitation that the rest of the game so skilfully avoids, but there are a few jingles that rank among the franchise's best, and fans are sure to notice the tap-tappy drum beats of the Megadrive sound bank. It's a niggle that is noticeable purely for the quality around it, and that's something we haven't been able to say of Sonic in years.
Which isn't to say that the design is airtight and seamless, mind you; the balance between obvious imitation and fitting homage is definitely skewed the wrong way at first, but manages to right itself as the game goes on. The physics are reasonably well judged but wildly inconsistent, with Sonic happily strolling up vertical surfaces, and while segmenting the bosses into two slightly different forms has been a staple of the 2D games since Sonic Advance, it at least came with some amount of subtlety back then rather than drawing as much attention to it as possible; Sonic 4 occasionally lays on its new-and-old veneer a bit thick, but with fans baying for the old days, this is probably the closest Sega can come to recreating the feel of the original games while keeping things slick enough for newcomers and those who are slightly less anal about the hedgehog's past.
2010 seems to be the year that Sonic fans have been waiting for - consistently positive coverage of what could be the first genuinely excellent 3D game, Sonic Colours, and a strong retro revamp in the second dimension. I never felt that the 2D games needed fixing, and would still love to see more from the Advance and Rush series, but not only is Sonic 4 a tidy and fun title, it also demonstrates a keen awareness from Sega of every age their flagship franchise has gone through. That alone may be the key difference that has so suddenly changed Sonic's fortunes, and long may this new state of play continue.
Verdict
Sonic 4 isn't ground-breaking or innovative, but it is great fun and so very, very Sonic. A fitting start to the successor of the Megadrive classics, if a little pricy for its length.
Let's start with some context: I have roughly a dozen beta versions of Sonic 3, including the 3c beta that represented Sega's last-ditch effort to fit the game on to one cartridge before splitting the second half into Sonic & Knuckles. I have a screencap of the old Sonic 1 title screen where Sonic had a human girlfriend called Madonna. I know that in the first teaser trailer for Sonic 4, they used Sonic's beta sprite from Sonic 2 instead of the one that made it into the finished game. Sonic Crackers, Sonic-16 and Sonic Eraser - every one an obscurity, and still I hunted them down.
Now that we have my fanboy credentials in order, I have to say that as much as I still enjoy the original games, they're not so perfect that a reinvigorating update isn't in order. The physics are far too weighty, there's not much in the way of collectables, and later titles like the Advance series showed that there's more to be wrung out the classic Sonic template with newer tech. And Sonic 4 does exactly that.Following directly on from Sonic 3 and its follow-up Sonic & Knuckles, this is Sega's take on New Super Mario Bros - a fusion of classic gameplay with more modern series elements, and for once the intrusions into the Sonic formula blend together well. Get stuck on a slope in 1991 and you were due a tedious traipse back down the hill so you could get some speed up. In 2010, Sonic feels far lighter and nimbler, practically skipping from one platform to another, yet his top speed is still limited to accommodate the multi-path exploration that made his classic titles feel so adventurous. Homing attacks and speed boosters are present from his Adventure days, but they're complementary rather than essential, letting Sonic hit springs instantly and jump to full speed without his trajectory or lack of inertia breaking flow where once it would have.
This fusion pervades Sonic 4, from gameplay to visuals; netting a continue gives you the same miniature Sonic sprite and celebratory jingle from Sonic & Knuckles, as pixellated and imperfect as ever, and it feels genuinely charming when it could have been glaringly out of place. The music comes as a slight disappointment then, given that it occasionally falls into the territory of imperfect imitation that the rest of the game so skilfully avoids, but there are a few jingles that rank among the franchise's best, and fans are sure to notice the tap-tappy drum beats of the Megadrive sound bank. It's a niggle that is noticeable purely for the quality around it, and that's something we haven't been able to say of Sonic in years.
Which isn't to say that the design is airtight and seamless, mind you; the balance between obvious imitation and fitting homage is definitely skewed the wrong way at first, but manages to right itself as the game goes on. The physics are reasonably well judged but wildly inconsistent, with Sonic happily strolling up vertical surfaces, and while segmenting the bosses into two slightly different forms has been a staple of the 2D games since Sonic Advance, it at least came with some amount of subtlety back then rather than drawing as much attention to it as possible; Sonic 4 occasionally lays on its new-and-old veneer a bit thick, but with fans baying for the old days, this is probably the closest Sega can come to recreating the feel of the original games while keeping things slick enough for newcomers and those who are slightly less anal about the hedgehog's past.
2010 seems to be the year that Sonic fans have been waiting for - consistently positive coverage of what could be the first genuinely excellent 3D game, Sonic Colours, and a strong retro revamp in the second dimension. I never felt that the 2D games needed fixing, and would still love to see more from the Advance and Rush series, but not only is Sonic 4 a tidy and fun title, it also demonstrates a keen awareness from Sega of every age their flagship franchise has gone through. That alone may be the key difference that has so suddenly changed Sonic's fortunes, and long may this new state of play continue.
Verdict
Sonic 4 isn't ground-breaking or innovative, but it is great fun and so very, very Sonic. A fitting start to the successor of the Megadrive classics, if a little pricy for its length.
Wednesday 8 September 2010
Gaming PR 101
Grit your teeth and let those irritating adverts pass - they may be the key to attracting new gamers and keeping the games we love
Three days moving flat and five days gluing a rubber snout to your face and claiming to be a lizardman takes a lot from you, so it isn't surprising that I haven't watched a lot of television lately. The fact that a building company dropped half a mile of flats in a direct line from my aerial to the transmitter didn't help much either, so it's fair to say that I've missed out on a lot of television this past year. Now that I'm blessed with an aerial socket that actually works (and a fridge that doesn't stink of rancid milk, and flatmates who don't leave entire baguettes floating in dish water, which largely sums up why I moved in the first place) I've finally been able to discover that Nintendo's horrifying trend in advertising continues unabated.
No other form of media has to put up with this condescending bullshit. Where normally you'd be thrown a half-minute handful of reasons to hit the cinema, in the world of Nintendo, a movie trailer would consist of a group of asinine cretins guffawing and ribbing like the extras in a second-rate musical, followed by a mother and child enthusing about the whizz-bang effects for the kids to coo at, and how it was gentle enough for Gran to enjoy, and how the protagonist taught her the importance of staying true to yourself. And then Professor Layton stops the film halfway through so they can solve a puzzle.
It's this need for justification that really irritates me, because what it boils down to is that video games aren't allowed to be fun for the sake of fun. If they aren't exercising your brain, pumping your arms or keeping your social life afloat then there has to be an ulterior motive for playing, like deciding who does the washing up, which for the benefit of any non-UK gamers is literally the reason why two people are playing New Super Mario Bros Wii in a current advert. I wish I was kidding, but this is the state of play for less-than-hardcore gamers who don't want to be labelled as such.
Worse still is the UK advert for Bowser's Inside Story, a game that mashes Rampage into an RPG with two plumbers manning the valves for maximum Godzilla-sized fun. There's adventuring to do, we're told by today's motherly shut-in, but also some puzzling. Sorry, what? 'But' there's some puzzling? What the hell does 'but' mean? Is she so ashamed of enjoying a whimsical adventure that she has to justify it with puzzles? Nobody minds that Transformers or Avatar are essentially brainless with no real need to switch on your noggin, because no-one expects them to be anything more than a few hours' worth of mindless distraction. For the Wii generation, this apparently isn't enough to justify their new hobby.
But the sad truth is that all of this condescension is completely necessary, and may be one of the most incisive decisions Nintendo has made for the gaming industry. Mario has emerged from the Wii generation as hardcore as he has ever been, a fact that will become apparent to anyone who plays his games, regardless of how they are marketed. People can claim all they like that they're trying to be social or training their brain, but they're still popping fireflowers at Koopas and calculating the entry point of a turn to drop a banana peel at, and Mario is still the Godfather of gaming - fatherly and friendly, but ready to throw you to the lava pit if you press so much as one button out of turn.
What I despise isn't the way that gaming is denigrated, but the fact that this approach is necessary in the first place to (hopefully) drag gaming out of its ghetto. This is a necessary step on the road to mainstream acceptance, a way of normalising traditional video games by changing perceptions and weaning new gamers off of content-lite casual fluff. Like comic books - which in the case of Marvel and DC are as tangled as ten years' worth of Christmas lights - gaming is still insular enough that we tend to forget how mystifyingly scary a 16-button controller can be, and that dying instantly in Modern Warfare can be jarringly unpleasant instead of an expected part of the game. Having witnessed someone throw their Wii remote into the air in a blind panic during a session of WarioWare, it's easy to see why Cooking Mama got its foot in the door, despite being essentially the same as WarioWare but fifty times slower and painfully drawn out in every possible way. Swapping lightning reactions for sluggish hand-holding is a poor trade-off, but when you don't know Mudkips from Master Chief it's the only way to remove the stress of the angry swarm of sounds and images coming from your TV.
And there's the key word: stress. Video games are like the drill sergeant from Full Metal Jacket; they beat you and harass you, they punish you for not following their rules, pace or skilfulness, and generally favour those with a faintly masochistic streak. Most video games are a pleasant challenge in the same way that Everest is; invigorating for the seasoned pro, yet so insurmountable to novices that they're barely going to consider more than a brisk walk around the foothills. It isn't just non-interest that keeps people from gaming, it's seeing the same thing from a completely different perspective. It's no wonder that games are being marketed like the Andrex puppy when they're more like the Rottweiler that savaged next door's cat.
And that's why we need these adverts. They're simpering and condescending, but if we can get just one octogenarian to upload a speedrun of New Super Mario Bros, then they've done their job. And it'll be a better world for gamers everywhere.
Three days moving flat and five days gluing a rubber snout to your face and claiming to be a lizardman takes a lot from you, so it isn't surprising that I haven't watched a lot of television lately. The fact that a building company dropped half a mile of flats in a direct line from my aerial to the transmitter didn't help much either, so it's fair to say that I've missed out on a lot of television this past year. Now that I'm blessed with an aerial socket that actually works (and a fridge that doesn't stink of rancid milk, and flatmates who don't leave entire baguettes floating in dish water, which largely sums up why I moved in the first place) I've finally been able to discover that Nintendo's horrifying trend in advertising continues unabated.
No other form of media has to put up with this condescending bullshit. Where normally you'd be thrown a half-minute handful of reasons to hit the cinema, in the world of Nintendo, a movie trailer would consist of a group of asinine cretins guffawing and ribbing like the extras in a second-rate musical, followed by a mother and child enthusing about the whizz-bang effects for the kids to coo at, and how it was gentle enough for Gran to enjoy, and how the protagonist taught her the importance of staying true to yourself. And then Professor Layton stops the film halfway through so they can solve a puzzle.
It's this need for justification that really irritates me, because what it boils down to is that video games aren't allowed to be fun for the sake of fun. If they aren't exercising your brain, pumping your arms or keeping your social life afloat then there has to be an ulterior motive for playing, like deciding who does the washing up, which for the benefit of any non-UK gamers is literally the reason why two people are playing New Super Mario Bros Wii in a current advert. I wish I was kidding, but this is the state of play for less-than-hardcore gamers who don't want to be labelled as such.
Worse still is the UK advert for Bowser's Inside Story, a game that mashes Rampage into an RPG with two plumbers manning the valves for maximum Godzilla-sized fun. There's adventuring to do, we're told by today's motherly shut-in, but also some puzzling. Sorry, what? 'But' there's some puzzling? What the hell does 'but' mean? Is she so ashamed of enjoying a whimsical adventure that she has to justify it with puzzles? Nobody minds that Transformers or Avatar are essentially brainless with no real need to switch on your noggin, because no-one expects them to be anything more than a few hours' worth of mindless distraction. For the Wii generation, this apparently isn't enough to justify their new hobby.
But the sad truth is that all of this condescension is completely necessary, and may be one of the most incisive decisions Nintendo has made for the gaming industry. Mario has emerged from the Wii generation as hardcore as he has ever been, a fact that will become apparent to anyone who plays his games, regardless of how they are marketed. People can claim all they like that they're trying to be social or training their brain, but they're still popping fireflowers at Koopas and calculating the entry point of a turn to drop a banana peel at, and Mario is still the Godfather of gaming - fatherly and friendly, but ready to throw you to the lava pit if you press so much as one button out of turn.
What I despise isn't the way that gaming is denigrated, but the fact that this approach is necessary in the first place to (hopefully) drag gaming out of its ghetto. This is a necessary step on the road to mainstream acceptance, a way of normalising traditional video games by changing perceptions and weaning new gamers off of content-lite casual fluff. Like comic books - which in the case of Marvel and DC are as tangled as ten years' worth of Christmas lights - gaming is still insular enough that we tend to forget how mystifyingly scary a 16-button controller can be, and that dying instantly in Modern Warfare can be jarringly unpleasant instead of an expected part of the game. Having witnessed someone throw their Wii remote into the air in a blind panic during a session of WarioWare, it's easy to see why Cooking Mama got its foot in the door, despite being essentially the same as WarioWare but fifty times slower and painfully drawn out in every possible way. Swapping lightning reactions for sluggish hand-holding is a poor trade-off, but when you don't know Mudkips from Master Chief it's the only way to remove the stress of the angry swarm of sounds and images coming from your TV.
And there's the key word: stress. Video games are like the drill sergeant from Full Metal Jacket; they beat you and harass you, they punish you for not following their rules, pace or skilfulness, and generally favour those with a faintly masochistic streak. Most video games are a pleasant challenge in the same way that Everest is; invigorating for the seasoned pro, yet so insurmountable to novices that they're barely going to consider more than a brisk walk around the foothills. It isn't just non-interest that keeps people from gaming, it's seeing the same thing from a completely different perspective. It's no wonder that games are being marketed like the Andrex puppy when they're more like the Rottweiler that savaged next door's cat.
And that's why we need these adverts. They're simpering and condescending, but if we can get just one octogenarian to upload a speedrun of New Super Mario Bros, then they've done their job. And it'll be a better world for gamers everywhere.
Friday 13 August 2010
Bioshock Infinite Announced
The Bioshock series thus far has taken us through a city built with both the best of intentions and a healthy dose of insanity at its core, with nostalgic 1960s design drowning in the eerie darkness of one man's madness. It should come as no surprise that the next instalment continues with the same basic theme.
What is surprising, though, is for Infinite to be set 20,000 feet higher and bathed in brilliant sunshine; the open skies have given rise to more varied architecture, with quaint terraced housing in evidence amongst skyscrapers held aloft by gigantic dirigibles, while the fresh air gives stark contrast to the claustrophobia of underwater Rapture. It would be easy to forget that this is Bioshock, if not for the hulking, blood-thirsty monstrosity whose presence opens the trailer.
While nothing has been confirmed yet, don't expect to see Bioshock Infinite until next year, though a multi-platform release seems likely. Watch this space for more info.
What is surprising, though, is for Infinite to be set 20,000 feet higher and bathed in brilliant sunshine; the open skies have given rise to more varied architecture, with quaint terraced housing in evidence amongst skyscrapers held aloft by gigantic dirigibles, while the fresh air gives stark contrast to the claustrophobia of underwater Rapture. It would be easy to forget that this is Bioshock, if not for the hulking, blood-thirsty monstrosity whose presence opens the trailer.
While nothing has been confirmed yet, don't expect to see Bioshock Infinite until next year, though a multi-platform release seems likely. Watch this space for more info.
Sunday 1 August 2010
Earthworm Jim HD
A perfect conversion - but is it still a perfect game?
Reality just can't match the wackiness of cartoons, which is pretty much why they still exist. The incredible horsepower of modern consoles has been good to us, but while modern remakes of Mega Man X and Castlevania have stayed true to their source, it's a rare LittleBigGame that captures the soul of pastel-bright animation with polygons.
After years of 2D remakes in 3D clothing, it's refreshing to play a retro classic so obviously in love with its roots. For better or worse, Earthworm Jim HD is as beautiful, manic and frankly insane as the day it was made; the original captured Saturday morning cartoon visuals perfectly, and they are all the better for being in HD. Jim's animations are easily the match of contemporaries like BlazBlue, and the high fidelity polish has been applied to visuals and sound alike.
Jim has aged well, then. But if we're being brutally honest, his first outing wasn't without its problems, and while they haven't really gotten worse with time, they're just as annoying as you remember them. A useful edge-grab that hoists you back on to platforms is all that stands between you and a controller-damaged flatscreen, as you struggle constantly with collision detection apparently designed to mock everything that decades of gaming have taught you. There's little to the controls beyond jumping, swinging and shooting, yet hitting enemies is a pain, targeting swing points is finicky and you always seem to fall off platforms with one step left. A pixel-perfect update is no bad thing, except when a touch more pixel-perfection would have improved things by a small but significant margin.
The best example is For Pete's Sake, where you aim to protect Peter Puppy as he skips obliviously through meteor showers, pitfalls and killer plants. The meteors will break your thumb, as you have to cycle through at least three directions of fire with the d-pad, fast enough to create a barrier against the relentless hail of rocks, while the precision needed to keep Peter Puppy on solid ground verges on the ridiculous. Combine this with a badly overused chase level, occasionally aggrevating bosses and some truly obnoxious enemy placement, and you'll begin to appreciate why no-one feels nostalgia for the patience needed of the mid-'90s gamer.
Which isn't to say that Jim HD is a bad game, merely one that approaches its conversion a little too perfectly. Bungie-battling over a monster infested lake and riding a bloodthirsty hamster are as fun today as they were yesterday, and as with all games of its kind, practise eases the pain. A brand new multiplayer mode and three exclusive bonus levels show that the series is still capable of its own creative flair; an ill-judged Keyboard Cat parody comes across as a little sterile, especially compared with the game's own Evil the Cat, but head-whipping a demonic granny into fumbling for her glasses is classic Jim all over. It bodes especially well for an updated sequel, which was a distinctly tighter package all round, and a brand new instalment hasn't been ruled out. Jim HD is by no means a perfect game, but as a timely reminder of the joyous insanity that gaming used to revel in, it's the perfect nostaliga piece.
Verdict
Too stubborn to make the improvements it needs, Earthworm Jim HD manages to hold up well nonetheless. The low price point should make it an obvious purchase for fans, and a consideration for others.
Reality just can't match the wackiness of cartoons, which is pretty much why they still exist. The incredible horsepower of modern consoles has been good to us, but while modern remakes of Mega Man X and Castlevania have stayed true to their source, it's a rare LittleBigGame that captures the soul of pastel-bright animation with polygons.
After years of 2D remakes in 3D clothing, it's refreshing to play a retro classic so obviously in love with its roots. For better or worse, Earthworm Jim HD is as beautiful, manic and frankly insane as the day it was made; the original captured Saturday morning cartoon visuals perfectly, and they are all the better for being in HD. Jim's animations are easily the match of contemporaries like BlazBlue, and the high fidelity polish has been applied to visuals and sound alike.Jim has aged well, then. But if we're being brutally honest, his first outing wasn't without its problems, and while they haven't really gotten worse with time, they're just as annoying as you remember them. A useful edge-grab that hoists you back on to platforms is all that stands between you and a controller-damaged flatscreen, as you struggle constantly with collision detection apparently designed to mock everything that decades of gaming have taught you. There's little to the controls beyond jumping, swinging and shooting, yet hitting enemies is a pain, targeting swing points is finicky and you always seem to fall off platforms with one step left. A pixel-perfect update is no bad thing, except when a touch more pixel-perfection would have improved things by a small but significant margin.
The best example is For Pete's Sake, where you aim to protect Peter Puppy as he skips obliviously through meteor showers, pitfalls and killer plants. The meteors will break your thumb, as you have to cycle through at least three directions of fire with the d-pad, fast enough to create a barrier against the relentless hail of rocks, while the precision needed to keep Peter Puppy on solid ground verges on the ridiculous. Combine this with a badly overused chase level, occasionally aggrevating bosses and some truly obnoxious enemy placement, and you'll begin to appreciate why no-one feels nostalgia for the patience needed of the mid-'90s gamer.
Which isn't to say that Jim HD is a bad game, merely one that approaches its conversion a little too perfectly. Bungie-battling over a monster infested lake and riding a bloodthirsty hamster are as fun today as they were yesterday, and as with all games of its kind, practise eases the pain. A brand new multiplayer mode and three exclusive bonus levels show that the series is still capable of its own creative flair; an ill-judged Keyboard Cat parody comes across as a little sterile, especially compared with the game's own Evil the Cat, but head-whipping a demonic granny into fumbling for her glasses is classic Jim all over. It bodes especially well for an updated sequel, which was a distinctly tighter package all round, and a brand new instalment hasn't been ruled out. Jim HD is by no means a perfect game, but as a timely reminder of the joyous insanity that gaming used to revel in, it's the perfect nostaliga piece.
Verdict
Too stubborn to make the improvements it needs, Earthworm Jim HD manages to hold up well nonetheless. The low price point should make it an obvious purchase for fans, and a consideration for others.
Saturday 24 July 2010
Mega Man Universe Announced
The Blue Bomber returns, confuses millions
What the hell is Mega Man Universe? Just about any theory based on the mystifying teaser trailer is plausible, from a Mega Man-centric Capcom nostalgia-fest to a LittleBigPlanet DIY version of the standard Blue Bomber experience.
Given that it is being developed for download on PS3/360 but NOT for Wii, could it (whisper it) be an Invisimals-style affair for Xbox Kinect and Playstation Eye, using the gamer's lounge as a playing environment, or using real world objects for Mega Man's weapon upgrades? With everything from claymation to cardboard cutouts gracing the trailer, and the tagline 'Your world. Megafied', it's as good a theory as any. Hell, MMU could be a mash-up of every rumour going. Mega Man may not have the status to spark a thousands rumours from one game title alone, but an equally mystifying interview certainly seems to have done it.
Mega Man Universe is due for release on 360/PS3, with a date yet to be nailed down. Expect a preview later in the year.
What the hell is Mega Man Universe? Just about any theory based on the mystifying teaser trailer is plausible, from a Mega Man-centric Capcom nostalgia-fest to a LittleBigPlanet DIY version of the standard Blue Bomber experience.
Given that it is being developed for download on PS3/360 but NOT for Wii, could it (whisper it) be an Invisimals-style affair for Xbox Kinect and Playstation Eye, using the gamer's lounge as a playing environment, or using real world objects for Mega Man's weapon upgrades? With everything from claymation to cardboard cutouts gracing the trailer, and the tagline 'Your world. Megafied', it's as good a theory as any. Hell, MMU could be a mash-up of every rumour going. Mega Man may not have the status to spark a thousands rumours from one game title alone, but an equally mystifying interview certainly seems to have done it.
Mega Man Universe is due for release on 360/PS3, with a date yet to be nailed down. Expect a preview later in the year.
Sunday 18 July 2010
Preview: LittleBigPlanet 2
It does credit to the community surrounding LittleBigPlanet that, having so thoroughly exhausted the vast resources available to them, a sequel is warranted just two years later. A constant stream of DLC has swelled the enormous arsenal of textures, stickers and other creative pieces that have contributed to almost three million user-created levels, spawning at a rate of almost four thousand per day; LBP must surely rank with Second Life and Garry's Mod for sheer unbridled passion from its fanbase, to the point that a game that didn't seem to warrant a sequel this generation is in sudden need of one.
While LittleBigPlanet aimed to let players create stand-alone platform levels, enthusiasts soon started exploring far beyond these bounds, with working calculators, side-scrolling shooters, musical renditions and a complete recreation of Contra emerging from what is essentially a digital mash-up of Lego and Mechano. With that in mind, Media Molecule have begun removing the limiters from their saccharine marvel; a flexible camera allows for top-down gaming and fully directable cutscenes, logic-based AI makes the fiddly task of programming complex enemies a much simpler task, and new options allow for entire games to be created, not just individual levels.
The core of the game remains unchanged, but as with the original, a myriad of features both great and small are likely to be explored in amazingly creative ways by a community that is hungry for more. The visuals have been given a subtle overhaul as well, with the engine from God of War 3 giving a much smoother and softer edge to the atmosphere, and hopefully eliminating the occasional slowdown issues that an overly-ambitious level could generate. Even in pre-release shots, the game is noticeably prettier.
LittleBigPlanet 2 is set for release in November, and if the last two years have taught us anything, PS3 owners are about to be surprised in ways they never thought they would be, all over again.
While LittleBigPlanet aimed to let players create stand-alone platform levels, enthusiasts soon started exploring far beyond these bounds, with working calculators, side-scrolling shooters, musical renditions and a complete recreation of Contra emerging from what is essentially a digital mash-up of Lego and Mechano. With that in mind, Media Molecule have begun removing the limiters from their saccharine marvel; a flexible camera allows for top-down gaming and fully directable cutscenes, logic-based AI makes the fiddly task of programming complex enemies a much simpler task, and new options allow for entire games to be created, not just individual levels.
The core of the game remains unchanged, but as with the original, a myriad of features both great and small are likely to be explored in amazingly creative ways by a community that is hungry for more. The visuals have been given a subtle overhaul as well, with the engine from God of War 3 giving a much smoother and softer edge to the atmosphere, and hopefully eliminating the occasional slowdown issues that an overly-ambitious level could generate. Even in pre-release shots, the game is noticeably prettier.
LittleBigPlanet 2 is set for release in November, and if the last two years have taught us anything, PS3 owners are about to be surprised in ways they never thought they would be, all over again.
Thursday 24 June 2010
Bridging the Gap
The gaming industry needs a massive change of perspective to gain true mass-market appeal
Nintendo managed to get the casual fluff out of the way pretty early on in their E3 conference, and given the retro-soaked smorgasboard of wonder they served up afterwards this is probably a good thing. If they thought that anyone was going to be fooled by another Wii Sports repackaged with Mario characters then they had another thing coming, and the ripple of applause that wouldn't have troubled a goldfish that followed the announcement of Wii Party was an invitation to move on at best. But what really got me was hearing Reggie Fils-Aime desperately describe Wii Party as a 'bridge game' that will supposedly give newer gamers a boost into more traditional fare. That's a lot to ask from the most unfortunately-titled game ever made.
Sorry Reggie, but Wii Party isn't a 'bridge' game. For starters, bridges go both ways, and Wii Party is only going to remind experienced gamers exactly why they're staying on their side of the river, namely that devoting an entire mini-game to one action is unutterably tedious. More importantly, the very concept of a bridge game is incredibly fatuous, as though the gaming world map is divided squarely into Casual County and the Kingdom of Hardcore, with a raging torrent in the middle that we haven't yet worked out how to cross.
For a true bridge game, look no further than Heavy Rain. Its critics will tell you that the game is an over-blown QTE-riddled cutscene, because that's exactly what it is - and is brilliant as a result. Heavy Rain doesn't so much bridge the river as fill it in, and the reason is that it provides a key experience that gaming is sorely missing. A triple-A blockbuster grounded in the prime-time TV thriller, Heavy Rain's story-driven approach strips away the usual video game fluff that gamers are so used to having that we have trouble wrapping our brains around the idea of losing them; Heavy Rain treats the control pad as an intuitive way to interact with a story, not as a system of rules whose mastery is an end in itself. There's no high score, upgrades or inventory screen; with the only goal being to enjoy the story and reach the end, Heavy Rain barely qualifies as a game, while stopping short of being a film. Hell, why can't it be both?
We've spent so many decades calling these things 'games' that when a project like Heavy Rain comes along we just can't shake the assumptions that the entire industry has ground into us from day one, before it could even be called an industry. Any gamer salivating over The Last Guardian knows full well that they won't be playing it to clobber enemies, solve puzzles or nab a few Trophies; as with predecessors Ico and Shadow of the Colossus, the real reward lies in the absorbing atmosphere, the sorrowful world and the emotional punch that Team Ico's dual-protagonist approach has always conjured. The actual 'game' elements play second fiddle to the mark it leaves etched in your heart, and yet The Last Guardian runs the risk of becoming another mild sleeper hit because its approach to interactive media jars with what we expect that media should be.
The result of all this is the laughable mess we have today, where anything not designed for young males with their balls where their brains should be is assigned to either the casual ghetto or the arthouse shanty town; because gamers who want to cultivate an area rather than blow it up and raise animals instead of braining them are a relatively new mass-market, the industry assumes that their inexperience means they either want or need to be treated like simpletons, and by extension don't care about getting a high-quality experience. The glorious HD graphics, thumping surround sound and searing narratives are reserved for the gamers of the old-school, while the less masochistically violent are left to play Farmville, with the only commercial alternative of any note being Harvest Moon. And we're surprised that this new market of supposedly casual gamers doesn't stick around?
That we assume they don't care for games because they find them uninteresting rather than pathetically insipid is both self-destructive and utterly cretinous. Gaming demographics are far more varied than we once thought, and shows a thirst for interactive entertainment across generations and genders. But for gaming to truly succeed as a medium, it needs a new Heavy Rain far more than it needs a new Halo. The big blockbusters will still be the real chart toppers - just look at Hollywood. But like film, and television, and literature, video games have to approach every new project as its own entity, with no obligation to conform to mechanical stereotypes, and they need to stop treating their patrons like idiots. Inexperience and indifference are two entirely different things; learning that one simple lesson could be the true key to seeing the gaming industry flourish.
Nintendo managed to get the casual fluff out of the way pretty early on in their E3 conference, and given the retro-soaked smorgasboard of wonder they served up afterwards this is probably a good thing. If they thought that anyone was going to be fooled by another Wii Sports repackaged with Mario characters then they had another thing coming, and the ripple of applause that wouldn't have troubled a goldfish that followed the announcement of Wii Party was an invitation to move on at best. But what really got me was hearing Reggie Fils-Aime desperately describe Wii Party as a 'bridge game' that will supposedly give newer gamers a boost into more traditional fare. That's a lot to ask from the most unfortunately-titled game ever made.
Sorry Reggie, but Wii Party isn't a 'bridge' game. For starters, bridges go both ways, and Wii Party is only going to remind experienced gamers exactly why they're staying on their side of the river, namely that devoting an entire mini-game to one action is unutterably tedious. More importantly, the very concept of a bridge game is incredibly fatuous, as though the gaming world map is divided squarely into Casual County and the Kingdom of Hardcore, with a raging torrent in the middle that we haven't yet worked out how to cross.
For a true bridge game, look no further than Heavy Rain. Its critics will tell you that the game is an over-blown QTE-riddled cutscene, because that's exactly what it is - and is brilliant as a result. Heavy Rain doesn't so much bridge the river as fill it in, and the reason is that it provides a key experience that gaming is sorely missing. A triple-A blockbuster grounded in the prime-time TV thriller, Heavy Rain's story-driven approach strips away the usual video game fluff that gamers are so used to having that we have trouble wrapping our brains around the idea of losing them; Heavy Rain treats the control pad as an intuitive way to interact with a story, not as a system of rules whose mastery is an end in itself. There's no high score, upgrades or inventory screen; with the only goal being to enjoy the story and reach the end, Heavy Rain barely qualifies as a game, while stopping short of being a film. Hell, why can't it be both?
We've spent so many decades calling these things 'games' that when a project like Heavy Rain comes along we just can't shake the assumptions that the entire industry has ground into us from day one, before it could even be called an industry. Any gamer salivating over The Last Guardian knows full well that they won't be playing it to clobber enemies, solve puzzles or nab a few Trophies; as with predecessors Ico and Shadow of the Colossus, the real reward lies in the absorbing atmosphere, the sorrowful world and the emotional punch that Team Ico's dual-protagonist approach has always conjured. The actual 'game' elements play second fiddle to the mark it leaves etched in your heart, and yet The Last Guardian runs the risk of becoming another mild sleeper hit because its approach to interactive media jars with what we expect that media should be.
The result of all this is the laughable mess we have today, where anything not designed for young males with their balls where their brains should be is assigned to either the casual ghetto or the arthouse shanty town; because gamers who want to cultivate an area rather than blow it up and raise animals instead of braining them are a relatively new mass-market, the industry assumes that their inexperience means they either want or need to be treated like simpletons, and by extension don't care about getting a high-quality experience. The glorious HD graphics, thumping surround sound and searing narratives are reserved for the gamers of the old-school, while the less masochistically violent are left to play Farmville, with the only commercial alternative of any note being Harvest Moon. And we're surprised that this new market of supposedly casual gamers doesn't stick around?
That we assume they don't care for games because they find them uninteresting rather than pathetically insipid is both self-destructive and utterly cretinous. Gaming demographics are far more varied than we once thought, and shows a thirst for interactive entertainment across generations and genders. But for gaming to truly succeed as a medium, it needs a new Heavy Rain far more than it needs a new Halo. The big blockbusters will still be the real chart toppers - just look at Hollywood. But like film, and television, and literature, video games have to approach every new project as its own entity, with no obligation to conform to mechanical stereotypes, and they need to stop treating their patrons like idiots. Inexperience and indifference are two entirely different things; learning that one simple lesson could be the true key to seeing the gaming industry flourish.
Tuesday 8 June 2010
Presenting: the next generation of button mashers
If anyone still had any doubts about how Natal was going to work in the hands of the average man, Parade magazine has got you covered. Your toes would curl from the embarrassment if you weren't already crying with shame.
On the one hand, it's a classic example of people with absolutely no clue of what they're doing, trying to do the thing they can't do with as much enthusiasm as they can muster; why the woman feels the need to fire off all four limbs in a neverending fit is something known only to her. On the other hand, it's depressingly similar to how those exact same people use the Wii, believing that raw energy is somehow a substitute for accuracy as though the mysterious whirring box under their television is a sentient robot from a 1940s sci-fi serial.
Of course, anyone who has played a video game for more than an hour will be well aware of this, but then they'll likely be too busy wondering how a large, sweeping motion is in any way quicker, more accurate or more useful than a button press to actually get around to buying Natal themselves, rendering the whole thing a ridiculously expensive exercise in bandwagoning.
On the one hand, it's a classic example of people with absolutely no clue of what they're doing, trying to do the thing they can't do with as much enthusiasm as they can muster; why the woman feels the need to fire off all four limbs in a neverending fit is something known only to her. On the other hand, it's depressingly similar to how those exact same people use the Wii, believing that raw energy is somehow a substitute for accuracy as though the mysterious whirring box under their television is a sentient robot from a 1940s sci-fi serial.
Of course, anyone who has played a video game for more than an hour will be well aware of this, but then they'll likely be too busy wondering how a large, sweeping motion is in any way quicker, more accurate or more useful than a button press to actually get around to buying Natal themselves, rendering the whole thing a ridiculously expensive exercise in bandwagoning.
Thursday 27 May 2010
Sonic shows his Colours
True to form, the blue blur refuses to slow down as a second game is added to the Fall 2010 release window alongside Sonic 4, oddly named Sonic Colours. Gameplay is a mixture of 2D and 3D, which immediately screams Unleashed; with no werehog in sight, it's probably going to be better recieved than that particular outing.
Throughout the game Sonic can collect Wisps, a group of day-glo aliens captured by Dr Eggman. By combining different coloured Wisps, Sonic can unlock new routes and secret areas. The trailer is brief, but after four main console games that were either depressingly grey or overly serious, it is genuinely refreshing to see a Rush Adventure-esque title that cuts loose with a bright palette and a bouncy soundtrack.
Sonic Colours will be out later this year for Wii and DS. No word yet on how the two will differ beyond a few excusive Wisps, but as the first Sonic crossover for the two platforms it will surely use pointing and touch in no small amounts. Keep an eye on the Sega blog for news as it comes.
Throughout the game Sonic can collect Wisps, a group of day-glo aliens captured by Dr Eggman. By combining different coloured Wisps, Sonic can unlock new routes and secret areas. The trailer is brief, but after four main console games that were either depressingly grey or overly serious, it is genuinely refreshing to see a Rush Adventure-esque title that cuts loose with a bright palette and a bouncy soundtrack.
Sonic Colours will be out later this year for Wii and DS. No word yet on how the two will differ beyond a few excusive Wisps, but as the first Sonic crossover for the two platforms it will surely use pointing and touch in no small amounts. Keep an eye on the Sega blog for news as it comes.
Tuesday 25 May 2010
PSP: The Next Generation
Take note, Sony
With Natal, Move and the 3DS all guaranteed centrepieces for the upcoming E3 expo, hardware news is going to be at the heart of the summer months. Rumours are flying that Sony will announce a successor to the PSP, and despite some fairly convincing arguments that Sony are going to play it pig-headed as usual, they can hardly afford not to; the PSP has sold well, with as many units sold as the Wii and far more than its big brother, but software sales are poor. If Sony don't at least mention the PSP2 then they might as well throw in the towel now; announcing it later in the year will make it seem like a hasty block against Nintendo, and locking horns with their rival will be the best exposure they can get. As someone who loves his PSP like you would a well-meaning yet oafishly clumsy child, I'd like to think that Sony will try their best not to shoot themselves in the foot by being caught unawares, as impossible as that might seem since Nintendo have given them months of warning.
The PSP is a good console, but there are some hard lessons to be learned from it, and it isn't inconceivable that Sony could take a bite from the DS fanbase with a smart new console (not to mention a few iPhone/iPad users). But to stop the PSP2 from playing catch-up from day one, Sony need to take care of the following:
1) A multitouch screen
Four hardware iterations, a bold download-only model and a raft of new Store features, including a comic book reader and online video rentals - all have played their part in the PSP's brief resurgence. But while the iPhone hasn't entirely proven its gaming credentials just yet, Apple's device has established touchscreen hardware as the only real way to sort and consume your media on the go. Touchscreen is the least Sony need to include if they want the PSP to be recognised as an all-purpose media hub, but to really cement the image they need to match their competitors, and for portable media that rival is Apple.
2) A Cell-powered processor
This is probably a no-brainer, since Sony invested a lot of capital into the technology and still need to see returns from it. A quad-core processor would give developers a slightly stripped-down version of the PS3 to play with, ensuring good use of the tech right from launch, and is probably the most cost-effective hardware Sony can use right now. But there's something even more important that Cell would allow the PSP2 to do:
3) Better connectivity with the PS3
I've said it before, and I'll say it again: Remote Play was a shot in the arm that Sony never gave the PSP. Taking current, cutting-edge console tech on the move, with every improvement and feature that hardware gains over time, is something that no-one else is doing, and best of all is that it could be linked to a Cell-powered PS4 as well, making the handheld future-proof. The Cell processor was designed to communicate with other Cells with incredible ease (hence the staggering performance of the Folding@Home project), and its inclusion could be the key to making the PSP2 a true extension of the PS3, and an essential one at that. Of course, to make that work they'd need to:
4) Sort out the buttons
Without beating around the bush, the PSP's analogue stick is terrible. It's badly placed, awkward to move and easy to lose grip of. But that isn't the only issue; the PSP is just one stick and two buttons shy of the DualShock's layout, but that difference was enough to forever marr Remote Play's credibility by crippling Lair. A second, more well designed stick shouldn't be hard to implement, and two discrete triggers placed below the current L/R shoulder buttons on the handheld's rear would clear up all existing control issues a treat. How far the PSP needs these additions is up for debate, but if Sony want the PSP to emulate the bigger consoles then it may as well have the control scheme to match.
And once Sony have made these improvements, there's just two more matters left to clear up:
5) Backwards compatibility with PSP games
Outrun 2006 is one of my favourite PSP games, so its complete absence from the Playstation Store hasn't sat all that well with me. A secure, encrypted UMD converter that lets you transfer games via USB is going to be an essential purchase, much like the PS2 memory card adaptor when the PS3 first hit the stores. That is, until Sony give us:
6) More essentials, faster
God of War. Resistance. Motorstorm. Final Fantasy. Metal Gear. LittleBigPlanet. All these and more took great, even essential, series' and gave them fully-fledged installments that stand tall with their console brethren. But there need to be more, and they need to come thick and fast on launch day before gamers forget to even bother checking the console's release schedule.
PSP exclusives like Crisis Core and Metal Gear Solid: Peace Walker have started to erode the notion that handheld titles can't be as essential as console games, but that line of thinking needs a serious push, if Sony's typically costly hardware is going to be seen as justifiably expensive rather than unnecessarily overpowered. The upcoming E3 will hopefully prove whether Sony can produce a better future for the PSP, or if history is doomed to repeat.
With Natal, Move and the 3DS all guaranteed centrepieces for the upcoming E3 expo, hardware news is going to be at the heart of the summer months. Rumours are flying that Sony will announce a successor to the PSP, and despite some fairly convincing arguments that Sony are going to play it pig-headed as usual, they can hardly afford not to; the PSP has sold well, with as many units sold as the Wii and far more than its big brother, but software sales are poor. If Sony don't at least mention the PSP2 then they might as well throw in the towel now; announcing it later in the year will make it seem like a hasty block against Nintendo, and locking horns with their rival will be the best exposure they can get. As someone who loves his PSP like you would a well-meaning yet oafishly clumsy child, I'd like to think that Sony will try their best not to shoot themselves in the foot by being caught unawares, as impossible as that might seem since Nintendo have given them months of warning.
The PSP is a good console, but there are some hard lessons to be learned from it, and it isn't inconceivable that Sony could take a bite from the DS fanbase with a smart new console (not to mention a few iPhone/iPad users). But to stop the PSP2 from playing catch-up from day one, Sony need to take care of the following:1) A multitouch screen
Four hardware iterations, a bold download-only model and a raft of new Store features, including a comic book reader and online video rentals - all have played their part in the PSP's brief resurgence. But while the iPhone hasn't entirely proven its gaming credentials just yet, Apple's device has established touchscreen hardware as the only real way to sort and consume your media on the go. Touchscreen is the least Sony need to include if they want the PSP to be recognised as an all-purpose media hub, but to really cement the image they need to match their competitors, and for portable media that rival is Apple.
2) A Cell-powered processor
This is probably a no-brainer, since Sony invested a lot of capital into the technology and still need to see returns from it. A quad-core processor would give developers a slightly stripped-down version of the PS3 to play with, ensuring good use of the tech right from launch, and is probably the most cost-effective hardware Sony can use right now. But there's something even more important that Cell would allow the PSP2 to do:
3) Better connectivity with the PS3
I've said it before, and I'll say it again: Remote Play was a shot in the arm that Sony never gave the PSP. Taking current, cutting-edge console tech on the move, with every improvement and feature that hardware gains over time, is something that no-one else is doing, and best of all is that it could be linked to a Cell-powered PS4 as well, making the handheld future-proof. The Cell processor was designed to communicate with other Cells with incredible ease (hence the staggering performance of the Folding@Home project), and its inclusion could be the key to making the PSP2 a true extension of the PS3, and an essential one at that. Of course, to make that work they'd need to:
4) Sort out the buttons
Without beating around the bush, the PSP's analogue stick is terrible. It's badly placed, awkward to move and easy to lose grip of. But that isn't the only issue; the PSP is just one stick and two buttons shy of the DualShock's layout, but that difference was enough to forever marr Remote Play's credibility by crippling Lair. A second, more well designed stick shouldn't be hard to implement, and two discrete triggers placed below the current L/R shoulder buttons on the handheld's rear would clear up all existing control issues a treat. How far the PSP needs these additions is up for debate, but if Sony want the PSP to emulate the bigger consoles then it may as well have the control scheme to match.
And once Sony have made these improvements, there's just two more matters left to clear up:
5) Backwards compatibility with PSP games
Outrun 2006 is one of my favourite PSP games, so its complete absence from the Playstation Store hasn't sat all that well with me. A secure, encrypted UMD converter that lets you transfer games via USB is going to be an essential purchase, much like the PS2 memory card adaptor when the PS3 first hit the stores. That is, until Sony give us:
6) More essentials, faster
God of War. Resistance. Motorstorm. Final Fantasy. Metal Gear. LittleBigPlanet. All these and more took great, even essential, series' and gave them fully-fledged installments that stand tall with their console brethren. But there need to be more, and they need to come thick and fast on launch day before gamers forget to even bother checking the console's release schedule.
PSP exclusives like Crisis Core and Metal Gear Solid: Peace Walker have started to erode the notion that handheld titles can't be as essential as console games, but that line of thinking needs a serious push, if Sony's typically costly hardware is going to be seen as justifiably expensive rather than unnecessarily overpowered. The upcoming E3 will hopefully prove whether Sony can produce a better future for the PSP, or if history is doomed to repeat.
Friday 9 April 2010
Final Fantasy XIII
The veteran series comes over all Football Manager
That a new Final Fantasy is polarising is news to absolutely no-one; the series has practically invited it by winning devotees with each entry, then reinventing itself for the next. Every fan has their favourite and their most hated, and the latest installment is no different.
Square-Enix's latest has all the potions, Shivas and chocobos you've come to expect; as always, no matter what the changes, the game is still a Final Fantasy through and through. What has made FFXIII the definitive Marmite entry of the series, though, is just how far they've gone in uprooting the mechanics of the JRPG.
For starters, the game is brutally streamlined. NPCs say their piece when you walk past with no chance to engage in dialogue, towns are little more than monster-free window dressing and shops are accessed through save points, and there are few enough of the first two. The limited exploration and idle chit-chat that flesh out RPGs take place almost entirely through cut-scenes, with a rich backdrop always being at the forefront of the story while never actually getting you involved.
It's a slap in the face for gamers who value the immersion these elements bring, but in many ways the game is better for it. For starters, the cast is the best since Final Fantasy VII; thrown together for a variety of reasons, the anger, resentment and inner conflict that both drives them and separates them is well realised; narrative lead Lightning takes her cue from series predecessor Cloud, but her flaws are much more relatable and human, and rather than fulfilling the classic JRPG archetype of the silent loner who learns to open up, she begins her quest for redemption much earlier in the game, and her helplessness as her efforts cause more turmoil that she is emotionally unequipped to deal with is extremely touching. After several games where the characters were relatively chummy, it is refreshing for the cast to be caught in the same quest, yet be utterly divided in their motivations and goals.
The narrative is helped along by a game that is paced significantly better than previous entries, and the world is rarely broken by anything as videogamey as a textbox from loitering NPCs; the lack of shopkeepers is more than made up for by the digital store-fronts, which are clearly a labour of love, and basic tasks like party management and weapon upgrades are a quick in-out job that let you concentrate on actually playing the game. In truth, the game plays a lot like FFX with the edges smoothed to a frictionless sheen; that is, until you hit the battles.
While FFX stripped away the time-sensitive gameplay of the ATB bar, the thirteenth installment does a swift 180 and hurtles over the opposite horizon. The ATB bar is now segmented, allowing for multiple attacks that take up a portion of the bar. Everybody attacks whenever they like, and the resulting clusterfuck makes for some of the most beautiful battles you've ever seen; characters dash and dodge, somersault and spin, and never will you see two opposing forces lining up and taking it in turns to club each other before returning to their designated spot. The tiresome old bugbear of watching a character swing a sword clean through an enemy as the word MISS pops up on screen has been largely banished, with most dodges occuring as your party leader somersaults clean over attacks purely out of happenstance. For a game that is still fundamentally turn-based, it does a better impression of a real-time action game than most action games do.
But with such explosive and balletic eye-candy, the entire focus of combat has changed. You only control the party leader, the AI doing an excellent job of managing your teammates, as well as your own actions when you pick the default Auto-Battle command. At first it seems as through the game is playing itself, but once you get a few hours in and the abilities start piling up, as do the number of enemies and the range of tactics you need to apply, it becomes clear that FFXIII plays less like a JRPG and more like a management sim.
The reason the battles are so gloriously eye-catching is because for the first time in a Final Fantasy your eye is constantly on the battlefield, not just the stat bar. Numbers and skill names fly up alarmingly fast, and to stay on top you need to watch the screen like a hawk, making quick reactions on the fly, and the Auto-Battle quickly becomes a godsend that lets you take stock of your current situation. The focus of combat is the Paradigm Shift, which determines the current role of your characters and the range of abilities they can perform; setting your party's Paradigms before battle lets you switch from a Commando-Commando-Ravager combo for all-out assault, to a Synergist-Sentinel-Medic selection to buff and heal your party when things start going bad. Because each Paradigm allows for only certain skills to be used, making smart decisions with your pre-battle preparations is crucial to pulling off the right combos in every fight, and the result is a Final Fantasy that demands on-the-fly tactical changes to a far greater extent than any other entry in the series, even if the majority of your actions are hand-picked by the AI.
The changes in FFXIII are at once small yet wholly game-changing; the initial linearity of FFX has been streamlined even more, and the Gambit system of XII has been tweaked from a slow-paced and methodical style of combat to one of the smoothest and most energetic gaming experiences of this generation. Square-Enix's latest is a Final Fantasy through and through, but relatively small changes, applied numerously with thought and care, have created a whole new breed of JRPG that hides traditional gameplay beneath a slick, modern game mechanic. Certain deviations from the formula act as stark reminders as to why they existed in the first place, but FFXIII is still a game changer that shows a stubbornly traditional genre just how much you can do with an aging style of play, and complemented with an excellent story, beautiful graphics and a genuinely human cast of characters, FFXIII has more than enough substance to carry you through to the end.
Verdict
Well paced gameplay and an engaging story complement a well-thought out combat system. For those who found previous entries too static and dull, this could be the one to change your mind.
That a new Final Fantasy is polarising is news to absolutely no-one; the series has practically invited it by winning devotees with each entry, then reinventing itself for the next. Every fan has their favourite and their most hated, and the latest installment is no different.
Square-Enix's latest has all the potions, Shivas and chocobos you've come to expect; as always, no matter what the changes, the game is still a Final Fantasy through and through. What has made FFXIII the definitive Marmite entry of the series, though, is just how far they've gone in uprooting the mechanics of the JRPG.For starters, the game is brutally streamlined. NPCs say their piece when you walk past with no chance to engage in dialogue, towns are little more than monster-free window dressing and shops are accessed through save points, and there are few enough of the first two. The limited exploration and idle chit-chat that flesh out RPGs take place almost entirely through cut-scenes, with a rich backdrop always being at the forefront of the story while never actually getting you involved.
It's a slap in the face for gamers who value the immersion these elements bring, but in many ways the game is better for it. For starters, the cast is the best since Final Fantasy VII; thrown together for a variety of reasons, the anger, resentment and inner conflict that both drives them and separates them is well realised; narrative lead Lightning takes her cue from series predecessor Cloud, but her flaws are much more relatable and human, and rather than fulfilling the classic JRPG archetype of the silent loner who learns to open up, she begins her quest for redemption much earlier in the game, and her helplessness as her efforts cause more turmoil that she is emotionally unequipped to deal with is extremely touching. After several games where the characters were relatively chummy, it is refreshing for the cast to be caught in the same quest, yet be utterly divided in their motivations and goals.
The narrative is helped along by a game that is paced significantly better than previous entries, and the world is rarely broken by anything as videogamey as a textbox from loitering NPCs; the lack of shopkeepers is more than made up for by the digital store-fronts, which are clearly a labour of love, and basic tasks like party management and weapon upgrades are a quick in-out job that let you concentrate on actually playing the game. In truth, the game plays a lot like FFX with the edges smoothed to a frictionless sheen; that is, until you hit the battles.
While FFX stripped away the time-sensitive gameplay of the ATB bar, the thirteenth installment does a swift 180 and hurtles over the opposite horizon. The ATB bar is now segmented, allowing for multiple attacks that take up a portion of the bar. Everybody attacks whenever they like, and the resulting clusterfuck makes for some of the most beautiful battles you've ever seen; characters dash and dodge, somersault and spin, and never will you see two opposing forces lining up and taking it in turns to club each other before returning to their designated spot. The tiresome old bugbear of watching a character swing a sword clean through an enemy as the word MISS pops up on screen has been largely banished, with most dodges occuring as your party leader somersaults clean over attacks purely out of happenstance. For a game that is still fundamentally turn-based, it does a better impression of a real-time action game than most action games do.
But with such explosive and balletic eye-candy, the entire focus of combat has changed. You only control the party leader, the AI doing an excellent job of managing your teammates, as well as your own actions when you pick the default Auto-Battle command. At first it seems as through the game is playing itself, but once you get a few hours in and the abilities start piling up, as do the number of enemies and the range of tactics you need to apply, it becomes clear that FFXIII plays less like a JRPG and more like a management sim.The reason the battles are so gloriously eye-catching is because for the first time in a Final Fantasy your eye is constantly on the battlefield, not just the stat bar. Numbers and skill names fly up alarmingly fast, and to stay on top you need to watch the screen like a hawk, making quick reactions on the fly, and the Auto-Battle quickly becomes a godsend that lets you take stock of your current situation. The focus of combat is the Paradigm Shift, which determines the current role of your characters and the range of abilities they can perform; setting your party's Paradigms before battle lets you switch from a Commando-Commando-Ravager combo for all-out assault, to a Synergist-Sentinel-Medic selection to buff and heal your party when things start going bad. Because each Paradigm allows for only certain skills to be used, making smart decisions with your pre-battle preparations is crucial to pulling off the right combos in every fight, and the result is a Final Fantasy that demands on-the-fly tactical changes to a far greater extent than any other entry in the series, even if the majority of your actions are hand-picked by the AI.
The changes in FFXIII are at once small yet wholly game-changing; the initial linearity of FFX has been streamlined even more, and the Gambit system of XII has been tweaked from a slow-paced and methodical style of combat to one of the smoothest and most energetic gaming experiences of this generation. Square-Enix's latest is a Final Fantasy through and through, but relatively small changes, applied numerously with thought and care, have created a whole new breed of JRPG that hides traditional gameplay beneath a slick, modern game mechanic. Certain deviations from the formula act as stark reminders as to why they existed in the first place, but FFXIII is still a game changer that shows a stubbornly traditional genre just how much you can do with an aging style of play, and complemented with an excellent story, beautiful graphics and a genuinely human cast of characters, FFXIII has more than enough substance to carry you through to the end.
Verdict
Well paced gameplay and an engaging story complement a well-thought out combat system. For those who found previous entries too static and dull, this could be the one to change your mind.
Tuesday 23 March 2010
Yes on 3DS
Why the cynicism? Nintendo finally have their eye in for smart hardware, and the 3DS should be no different
After six years, four releases and 125 million units sold, Nintendo have announced the 3DS, a brand new 3D-enabled iteration of the DS family. It is likely to be an evolution in the same vein as the Gameboy Advance, upping its horsepower and features but not trying to be quite the game-changer that the DS proved to be.
Details on its 3D capabilities are sparse, but with true 3D technology still very expensive, initial rumours point to Nintendo doing a DSiWare and fitting both screens with cameras (and possibly an accelerometer) to track the player's head and eye movement, letting the game adjust the image to seem as though you're peering around a 3D space. It's a cheap alternative to 'real' 3D and not as convincing, but for fooling the eye and creating a strikingly responsive sense of depth, it is more than enough for a handheld console and should keep costs down to a minimum.
Opinions have been mixed, with a fair amount of scepticism occupying the middleground and other gaming sites being completely divided. I remain optimistic though, for these reasons:
1) We don't need another revolution yet
For better or worse, Nintendo have changed the face of gaming this generation. Aside from drawing new crowds to the gaming scene, they've shown that what should have been niche control schemes could be mass-marketed, as well as producing some excellent games that simply wouldn't have been as fun otherwise. With touchscreen and motion control only just beginning to dig in, there simply isn't any need for the 3DS to revolutionise in the same way. Whether it does or doesn't, it's all good.
2) There are plenty of gaming applications, in the right hands
Okay, most devs aren't going to make a lot of 3D besides window dressing, but the DS has played home to some truly excellent games such as Elite Beat Agents and Metroid Prime: Hunters, both of them excellent ambassadors for touchscreen gaming. Super Paper Mario and Echochrome both play with perspective, and both could do so much more with real-time 3D trickery. Items and secrets could be hidden from view, puzzle games could add an extra dimension of difficulty, and true outside-the-box developers like Hideo Kojima, a man who used daylight as a game mechanic, could doubtless find new and interesting ways to work with it. This isn't just about prettying up the graphics; with a little creative flair, 3D could make our games a lot more interesting too.
3) Both DS and PSP changed the importance of handhelds
The PSP has kept pace with the PS3 in the range of games, services and features that it offers, and as I suggested in my feature on Remote Play, a little extra bonding between the PSP and its big brother could make the handheld indispensable. The DS, meanwhile, is arguably superior to the Wii; both changed the gaming landscape, both brought in whole new audiences to gaming and both got bogged down with shovel-loads of crap, but the DS has emerged with a much stronger library of games, with traditional titles like Metroid Prime: Hunters and Mario Kart DS scaling down so well that they rank as two of the best titles in their respective series'.
Whatever way you look at it, handhelds are bigger now than they were at the start of the decade, not least due to the sudden minimising of hardware with smartphones and netbooks, and that means Nintendo have 125 million fans to please, for many of whom graphic alone aren't a key consideration. 3D needs to have potential as a key hardware feature, not just as a gimmicky graphical upgrade.
4) The palm of your hand is the saviour of 3D
Sky are launching their 3D TV channel later this year. There's only one slight drawback, which is that the industry is hopping on the 3D wagon trail about five years too early, and even commercial 3D televisions that don't require a pair of stupid glasses can't display HD visuals and require you to sit in fairly specific places relative to the screen in order to see the effect in the first place. Sheer convenience is a pretty important factor for a lot of people, hence why music CDs and printed newspapers are slowly dying a death in favour of digital distribution. Asking people to slip on a pair of glasses every time they want to watch TV is like requiring that they wear headphones if they want to hear sound or forcing them to push buttons on the TV instead of using a remote control; speakers and remotes were invented for a reason, and until the glasses barrier is taken down, 3D is going to have a hard time selling itself in the home.
Portable devices are a different matter, because the small screen does away with the problem of viewing from an odd angle, or having to worry about multiple people watching at once, or even producing fully HD visuals; mobile phones are being produced that won't require glasses, and although the price will be high by mobile standards, the impact of the iPhone means that high-priced cellphones are now a viable purchase, so long as they offer enough for the money. Even if the 3DS doesn't display 'true' 3D, it could be a striking example of the benefits that 3D brings.
I can't help but wonder that Nintendo are being unfairly criticised; with every new console generation it is a given that graphics will improve, and with 3D the current hot topic Nintendo are being a lot more farsighted in their tech forecast than they tend to be. We have an entire year to see exactly how much potential the 3DS brings, and how Sony will respond with their inevitable PSP successor. It may not be a revolution, but the 3DS could emerge as a strong evolution.
After six years, four releases and 125 million units sold, Nintendo have announced the 3DS, a brand new 3D-enabled iteration of the DS family. It is likely to be an evolution in the same vein as the Gameboy Advance, upping its horsepower and features but not trying to be quite the game-changer that the DS proved to be.
Details on its 3D capabilities are sparse, but with true 3D technology still very expensive, initial rumours point to Nintendo doing a DSiWare and fitting both screens with cameras (and possibly an accelerometer) to track the player's head and eye movement, letting the game adjust the image to seem as though you're peering around a 3D space. It's a cheap alternative to 'real' 3D and not as convincing, but for fooling the eye and creating a strikingly responsive sense of depth, it is more than enough for a handheld console and should keep costs down to a minimum.Opinions have been mixed, with a fair amount of scepticism occupying the middleground and other gaming sites being completely divided. I remain optimistic though, for these reasons:
1) We don't need another revolution yet
For better or worse, Nintendo have changed the face of gaming this generation. Aside from drawing new crowds to the gaming scene, they've shown that what should have been niche control schemes could be mass-marketed, as well as producing some excellent games that simply wouldn't have been as fun otherwise. With touchscreen and motion control only just beginning to dig in, there simply isn't any need for the 3DS to revolutionise in the same way. Whether it does or doesn't, it's all good.
2) There are plenty of gaming applications, in the right hands
Okay, most devs aren't going to make a lot of 3D besides window dressing, but the DS has played home to some truly excellent games such as Elite Beat Agents and Metroid Prime: Hunters, both of them excellent ambassadors for touchscreen gaming. Super Paper Mario and Echochrome both play with perspective, and both could do so much more with real-time 3D trickery. Items and secrets could be hidden from view, puzzle games could add an extra dimension of difficulty, and true outside-the-box developers like Hideo Kojima, a man who used daylight as a game mechanic, could doubtless find new and interesting ways to work with it. This isn't just about prettying up the graphics; with a little creative flair, 3D could make our games a lot more interesting too.
3) Both DS and PSP changed the importance of handhelds
The PSP has kept pace with the PS3 in the range of games, services and features that it offers, and as I suggested in my feature on Remote Play, a little extra bonding between the PSP and its big brother could make the handheld indispensable. The DS, meanwhile, is arguably superior to the Wii; both changed the gaming landscape, both brought in whole new audiences to gaming and both got bogged down with shovel-loads of crap, but the DS has emerged with a much stronger library of games, with traditional titles like Metroid Prime: Hunters and Mario Kart DS scaling down so well that they rank as two of the best titles in their respective series'.
Whatever way you look at it, handhelds are bigger now than they were at the start of the decade, not least due to the sudden minimising of hardware with smartphones and netbooks, and that means Nintendo have 125 million fans to please, for many of whom graphic alone aren't a key consideration. 3D needs to have potential as a key hardware feature, not just as a gimmicky graphical upgrade.
4) The palm of your hand is the saviour of 3D
Sky are launching their 3D TV channel later this year. There's only one slight drawback, which is that the industry is hopping on the 3D wagon trail about five years too early, and even commercial 3D televisions that don't require a pair of stupid glasses can't display HD visuals and require you to sit in fairly specific places relative to the screen in order to see the effect in the first place. Sheer convenience is a pretty important factor for a lot of people, hence why music CDs and printed newspapers are slowly dying a death in favour of digital distribution. Asking people to slip on a pair of glasses every time they want to watch TV is like requiring that they wear headphones if they want to hear sound or forcing them to push buttons on the TV instead of using a remote control; speakers and remotes were invented for a reason, and until the glasses barrier is taken down, 3D is going to have a hard time selling itself in the home.
Portable devices are a different matter, because the small screen does away with the problem of viewing from an odd angle, or having to worry about multiple people watching at once, or even producing fully HD visuals; mobile phones are being produced that won't require glasses, and although the price will be high by mobile standards, the impact of the iPhone means that high-priced cellphones are now a viable purchase, so long as they offer enough for the money. Even if the 3DS doesn't display 'true' 3D, it could be a striking example of the benefits that 3D brings.
I can't help but wonder that Nintendo are being unfairly criticised; with every new console generation it is a given that graphics will improve, and with 3D the current hot topic Nintendo are being a lot more farsighted in their tech forecast than they tend to be. We have an entire year to see exactly how much potential the 3DS brings, and how Sony will respond with their inevitable PSP successor. It may not be a revolution, but the 3DS could emerge as a strong evolution.
Wednesday 3 March 2010
A Better World (of Warcraft) For All of Us
MMOs could tell us more about ourselves than we thought possible - and the key to doing so could come from a pastime even geekier than WoW.
Like many people (11.5 million at the last count), I like to spend my weekends immersed in a fantasy world. Swords, magic and grand battles are the order of the day, though with less weapon upgrades to stop my spare room getting filled to the roof with the damn things, and at 2am we all get to stop what we're doing and hit the pub.
Yes, I am a LARPer, and like many of its participants my preferred style of LARPing involves the same orcs, goblins and stupidly named spells as the finest half-baked Lord of the Rings knockoff. On paper I'm a perfect candidate for WoW, which is why I was surprised when I sat down with the free trial several months ago and loathed every single minute. The animations were horrible, the monsters identikit and the combat was the most dull and dreary thing I had ever performed in a video game ever. EVER. And like many, I take the not unreasonable view that a game should be basically entertaining from the get-go, not when I've invested enough time to read the whole of the Narnia Chronicles. But the truth is that MMOs are never really going to sit with me right, at least not the way WoW plays it. Because as much as I love the world of Warcraft itself, its denizens and mounts and scheming dark lords, what I hate is the progression.
In LARP, your character defines your skills. Skills are the means for enabling the fantasy persona you want to be. A good LARP system is slow-burning, letting all players mingle without too much of a power gap, extra skills augmenting your character and letting them flourish in new directions. It's all a bit Eastenders, if the cast were elves and wielded foam sledgehammers.
In WoW, by contrast, your skills define your character. You can call yourself whatever you want, pretend to act however you will, but a rogue is a rogue and that is what defines him and makes him useful to the party. Moreover, the Alliance vs. Horde fluff that window-dresses the story is thrust on you for no particular reason beside backstory and squaring the players against each other arbitrarily, and with just as little room for expansion.
This is my problem with WoW, and MMOs in general, that makes LARPing so special to me. While perfectly linear LARP exists, essentially aping the average MMO dungeon raid, larger events with hundreds of people and days of in-character time are at their best when they give the player choices and let the resulting catastrophe unfold. Imagine that at the end of a gruelling, 10-man dungeon, the players aren't given treasure or loot. Instead, they are given a choice, represented by a switch or similar. Pushing it one way gives priority to the big hitters but leaves the scouts and rangers out in the cold, while the other gives the magic users a boost but leaves physical attackers in a tough spot. Perhaps it changes something in the nearby town, one decision flooding the street with law enforcers, thus making the streets safer for more scholarly types but preventing thieves from plying their trade, while the other choice causes more chaos but more potential for the opportunistic. Essentially, MMOs should be squaring friends and allies against each other, not dumping different coloured football shirts on each other just because they picked the wrong species.
Imagine what would happen. Arguments would start, fights would break out; friendships would be tested, perhaps even prompting an EVE Online-style retaliation, with one disgruntled member hightailing over the horizon with the guild's earnings. Even if the team worked things out amicably, what would they do next time? Prioritise the ones who lost out before? But the choices would change, and you'd never be able to satisfy everyone; even a simple, three-way system of fighter, magic user and ranger would allow this. You don't need to script an explosive and satisfying climax when the players will do it themselves, and no experience is as personal as one that directly affects you and the time you've invested in the game. Why tread the same path that every other player has when you could be helping to shape your own?
It needn't be difficult to achieve, but MMOs would have to lose certain assumptions; Warcraft and its ilk already sport enormous social spaces, but they are based on camaraderie, not conflict. Clinging to the idea that player conflict is a matter of forcing arbitrary rivalry on differing groups stops MMOs from seeing the fountain of friendship, tension and stroppiness that underpins our own lives. A more robust system of progression could make MMOs a genuinely personal affair, where your input can be stunted by your own teammates and tension comes from reconcilling the differences between you and your closest allies, where progression isn't simply a linear stride up the mountain of progress and requires compromise, bargaining and sacrifice to achieve. The possibilities extend far beyond these examples, but I doubt that Star Wars: The Old Republic or Activision-Blizzard's inevitable WoW-successor are going to even consider them.
Until that happens, I'll be sticking to my LARP. It may be cheap and my lizardman may just be a rubber snout with face paint, but no massively multiplayer game makes each character and its goals more meaningful. Take note, developers: now is the time to turn MMOs from a pleasant social pastime into something meaningful.
Like many people (11.5 million at the last count), I like to spend my weekends immersed in a fantasy world. Swords, magic and grand battles are the order of the day, though with less weapon upgrades to stop my spare room getting filled to the roof with the damn things, and at 2am we all get to stop what we're doing and hit the pub.
Yes, I am a LARPer, and like many of its participants my preferred style of LARPing involves the same orcs, goblins and stupidly named spells as the finest half-baked Lord of the Rings knockoff. On paper I'm a perfect candidate for WoW, which is why I was surprised when I sat down with the free trial several months ago and loathed every single minute. The animations were horrible, the monsters identikit and the combat was the most dull and dreary thing I had ever performed in a video game ever. EVER. And like many, I take the not unreasonable view that a game should be basically entertaining from the get-go, not when I've invested enough time to read the whole of the Narnia Chronicles. But the truth is that MMOs are never really going to sit with me right, at least not the way WoW plays it. Because as much as I love the world of Warcraft itself, its denizens and mounts and scheming dark lords, what I hate is the progression.
In LARP, your character defines your skills. Skills are the means for enabling the fantasy persona you want to be. A good LARP system is slow-burning, letting all players mingle without too much of a power gap, extra skills augmenting your character and letting them flourish in new directions. It's all a bit Eastenders, if the cast were elves and wielded foam sledgehammers.
In WoW, by contrast, your skills define your character. You can call yourself whatever you want, pretend to act however you will, but a rogue is a rogue and that is what defines him and makes him useful to the party. Moreover, the Alliance vs. Horde fluff that window-dresses the story is thrust on you for no particular reason beside backstory and squaring the players against each other arbitrarily, and with just as little room for expansion.
This is my problem with WoW, and MMOs in general, that makes LARPing so special to me. While perfectly linear LARP exists, essentially aping the average MMO dungeon raid, larger events with hundreds of people and days of in-character time are at their best when they give the player choices and let the resulting catastrophe unfold. Imagine that at the end of a gruelling, 10-man dungeon, the players aren't given treasure or loot. Instead, they are given a choice, represented by a switch or similar. Pushing it one way gives priority to the big hitters but leaves the scouts and rangers out in the cold, while the other gives the magic users a boost but leaves physical attackers in a tough spot. Perhaps it changes something in the nearby town, one decision flooding the street with law enforcers, thus making the streets safer for more scholarly types but preventing thieves from plying their trade, while the other choice causes more chaos but more potential for the opportunistic. Essentially, MMOs should be squaring friends and allies against each other, not dumping different coloured football shirts on each other just because they picked the wrong species.
Imagine what would happen. Arguments would start, fights would break out; friendships would be tested, perhaps even prompting an EVE Online-style retaliation, with one disgruntled member hightailing over the horizon with the guild's earnings. Even if the team worked things out amicably, what would they do next time? Prioritise the ones who lost out before? But the choices would change, and you'd never be able to satisfy everyone; even a simple, three-way system of fighter, magic user and ranger would allow this. You don't need to script an explosive and satisfying climax when the players will do it themselves, and no experience is as personal as one that directly affects you and the time you've invested in the game. Why tread the same path that every other player has when you could be helping to shape your own?
It needn't be difficult to achieve, but MMOs would have to lose certain assumptions; Warcraft and its ilk already sport enormous social spaces, but they are based on camaraderie, not conflict. Clinging to the idea that player conflict is a matter of forcing arbitrary rivalry on differing groups stops MMOs from seeing the fountain of friendship, tension and stroppiness that underpins our own lives. A more robust system of progression could make MMOs a genuinely personal affair, where your input can be stunted by your own teammates and tension comes from reconcilling the differences between you and your closest allies, where progression isn't simply a linear stride up the mountain of progress and requires compromise, bargaining and sacrifice to achieve. The possibilities extend far beyond these examples, but I doubt that Star Wars: The Old Republic or Activision-Blizzard's inevitable WoW-successor are going to even consider them.
Until that happens, I'll be sticking to my LARP. It may be cheap and my lizardman may just be a rubber snout with face paint, but no massively multiplayer game makes each character and its goals more meaningful. Take note, developers: now is the time to turn MMOs from a pleasant social pastime into something meaningful.
Tuesday 16 February 2010
Dude, Where's My Remote Play?
Neglecting an unexplored treasure of the PSP is one of Sony's biggest mistakes
Of all the features the PSP sports, Remote Play is one of the most useful and by far the most neglected. It allows you to control your PS3 using the PSP as a controller, and in exchange beams the sound and video from the PS3 straight back to the PSP's screen, rather than your TV. It gives you a fully functional Playstation 3 in the palm of your hand, whether you're on the bog or halfway across the world. In theory, that is.
Given that the majority of remote access software on cutting-edge PCs rarely let you see the desktop background on your computer back home, I'd have expected Sony to be shouting from the rafters about Remote Play, especially given that it was already proving its potential in 2007's Lair. For me, it was a huge selling point for the PSP, at least until I discovered that the number of games that support it are huddled in a terrified group amongst the ever-growing hordes that don't.
Sony have spent so much time transforming the two consoles individually that they seem to have forgotten just how much of a pairing they are. Same interface, same broad expansion into generalised media hubs, same emphasis on high-powered gaming, with online at the heart of the experience. The more the two consoles grow the closer they become, and it seems odd that this parallel development isn't being allowed to jump tracks more than it is. Just look at the compatibility list for Remote Play: some PS3 games will work, if devs can be bothered. But no PS2 games. Or Blu-Ray films. Or protected content. Well, at least PSone games work, but you'd be hard pressed to find more than ten people for whom playing games from the time of blocky 3D dinosaurs was their primary reason for buying a PSP. Or a PS3, for that matter.
It's not as though cross-console partnerships are a revolutionary idea; Sony themselves created the PocketStation, a miniature LCD egg that mimicked the Tamagotchi in design and allowed players to buff up their character in Street Fighter Alpha 3 and send their chocobo from Final Fantasy VIII on a mini adventure. Sega were the true innovators in this field with the Visual Memory Unit (VMU) for the Dreamcast, a super-charged memory card that had few uses other than low-res screensavers during most games thanks to developers who had little cause to use the screen for anything else, but it was still handy for browsing saves and acted as a handy reference for stats in games like Resident Evil 2. Sega's interest continued even after their own hardware had folded, and players could send their Chao to-and-fro between the Adventure and Advance iterations of the Sonic series to be trained and raised in two distinctly different mini-games, just like they had done on the VMU. In the present era we have the PSP, a fully-fledged handheld with game-sharing functions that allow players to send portions of a game to another player, enabling multiplayer or demo downloads without the need for two copies of the game. So why has the promise of generations gone by been ignored, when the functionality not only exists but continues to be exploited in other forms? Where is that rear-view mirror we were promised no less than four years ago?
An argument can be made that the PSP lacks some of the PS3's buttons, making remote play a difficulty, but that's a pretty poor argument. When the DualShock was released, did studios the world over throw up their hands and screech "Another pad? Now what are we going to do?!"? Of course not. They calmly and without any fuss made two control schemes - one analogue, one digital. Two generations later and we can't do a little extra button mapping, or nudge the HUD about so it fits better on a smaller screen? That would take less effort to implement than the mandatory Achievements (and now Trophies) thrust upon games in the last few years, and less thought as well.
At least Singstar works; but wait, what's this? You can browse for songs, but can't actually play? Why not? The two consoles can surely work out the ping rate (the delay between data being sent from one device and coming back again) between the two, and adjust the leniency of the game to prevent players from failing unfairly due to a poor connection? Even Guitar Hero lets you set the lag between you pressing a button and your TV displaying it, down to the millisecond, and the only reason it asks YOU to define it is because it doesn't know itself; when the consoles can take these readings all by themselves, and given that later builds of the PSP include a built-in microphone, what reason is there to deny the player the chance to Singstar their heart out in Tanzania while their PS3 is stuck in Blighty? At the very least it's a fascinating experiment in the limits we can stretch console gaming to, and with OnLive preparing to switch on during 2010, Sony have the chance to ride the wave with their own take on the concept, possibly even upstaging OnLive in some small measure by showing off what their own hardware can do.
It isn't a hopeless case; Sony certainly seem to recognise the benefit of cross-hardware hook-ups, with the MediaGo application for sorting the PSP's media from your desktop, and media sharing for the PS3. Even more promising is adhoc Party, an app for the PS3 that lets you run local multiplayer functions on the PSP over the internet by using the bigger-brother console as a hub. Adhoc Party is an inspired idea that especially helps out western gamers for whom adhoc gaming is largely a pipe dream, and shows genuine thought into what a PS3-PSP union can achieve in the right hands. It only remains to be seen what direction Sony takes in 2010, and with Nintendo hinting that a DS successor could be announced in the coming months, Sony will be under pressure to announce a rival. If they remain true to form it will be stylish, expensive and ready to exploit what Nintendo can't or won't offer. And with the current gen in full swing and online firmly at the centre of the HD console wars, there is no better time for Sony to re-evaluate the potential of their handheld.
Of all the features the PSP sports, Remote Play is one of the most useful and by far the most neglected. It allows you to control your PS3 using the PSP as a controller, and in exchange beams the sound and video from the PS3 straight back to the PSP's screen, rather than your TV. It gives you a fully functional Playstation 3 in the palm of your hand, whether you're on the bog or halfway across the world. In theory, that is.
Given that the majority of remote access software on cutting-edge PCs rarely let you see the desktop background on your computer back home, I'd have expected Sony to be shouting from the rafters about Remote Play, especially given that it was already proving its potential in 2007's Lair. For me, it was a huge selling point for the PSP, at least until I discovered that the number of games that support it are huddled in a terrified group amongst the ever-growing hordes that don't.Sony have spent so much time transforming the two consoles individually that they seem to have forgotten just how much of a pairing they are. Same interface, same broad expansion into generalised media hubs, same emphasis on high-powered gaming, with online at the heart of the experience. The more the two consoles grow the closer they become, and it seems odd that this parallel development isn't being allowed to jump tracks more than it is. Just look at the compatibility list for Remote Play: some PS3 games will work, if devs can be bothered. But no PS2 games. Or Blu-Ray films. Or protected content. Well, at least PSone games work, but you'd be hard pressed to find more than ten people for whom playing games from the time of blocky 3D dinosaurs was their primary reason for buying a PSP. Or a PS3, for that matter.
It's not as though cross-console partnerships are a revolutionary idea; Sony themselves created the PocketStation, a miniature LCD egg that mimicked the Tamagotchi in design and allowed players to buff up their character in Street Fighter Alpha 3 and send their chocobo from Final Fantasy VIII on a mini adventure. Sega were the true innovators in this field with the Visual Memory Unit (VMU) for the Dreamcast, a super-charged memory card that had few uses other than low-res screensavers during most games thanks to developers who had little cause to use the screen for anything else, but it was still handy for browsing saves and acted as a handy reference for stats in games like Resident Evil 2. Sega's interest continued even after their own hardware had folded, and players could send their Chao to-and-fro between the Adventure and Advance iterations of the Sonic series to be trained and raised in two distinctly different mini-games, just like they had done on the VMU. In the present era we have the PSP, a fully-fledged handheld with game-sharing functions that allow players to send portions of a game to another player, enabling multiplayer or demo downloads without the need for two copies of the game. So why has the promise of generations gone by been ignored, when the functionality not only exists but continues to be exploited in other forms? Where is that rear-view mirror we were promised no less than four years ago?
An argument can be made that the PSP lacks some of the PS3's buttons, making remote play a difficulty, but that's a pretty poor argument. When the DualShock was released, did studios the world over throw up their hands and screech "Another pad? Now what are we going to do?!"? Of course not. They calmly and without any fuss made two control schemes - one analogue, one digital. Two generations later and we can't do a little extra button mapping, or nudge the HUD about so it fits better on a smaller screen? That would take less effort to implement than the mandatory Achievements (and now Trophies) thrust upon games in the last few years, and less thought as well.
At least Singstar works; but wait, what's this? You can browse for songs, but can't actually play? Why not? The two consoles can surely work out the ping rate (the delay between data being sent from one device and coming back again) between the two, and adjust the leniency of the game to prevent players from failing unfairly due to a poor connection? Even Guitar Hero lets you set the lag between you pressing a button and your TV displaying it, down to the millisecond, and the only reason it asks YOU to define it is because it doesn't know itself; when the consoles can take these readings all by themselves, and given that later builds of the PSP include a built-in microphone, what reason is there to deny the player the chance to Singstar their heart out in Tanzania while their PS3 is stuck in Blighty? At the very least it's a fascinating experiment in the limits we can stretch console gaming to, and with OnLive preparing to switch on during 2010, Sony have the chance to ride the wave with their own take on the concept, possibly even upstaging OnLive in some small measure by showing off what their own hardware can do.
It isn't a hopeless case; Sony certainly seem to recognise the benefit of cross-hardware hook-ups, with the MediaGo application for sorting the PSP's media from your desktop, and media sharing for the PS3. Even more promising is adhoc Party, an app for the PS3 that lets you run local multiplayer functions on the PSP over the internet by using the bigger-brother console as a hub. Adhoc Party is an inspired idea that especially helps out western gamers for whom adhoc gaming is largely a pipe dream, and shows genuine thought into what a PS3-PSP union can achieve in the right hands. It only remains to be seen what direction Sony takes in 2010, and with Nintendo hinting that a DS successor could be announced in the coming months, Sony will be under pressure to announce a rival. If they remain true to form it will be stylish, expensive and ready to exploit what Nintendo can't or won't offer. And with the current gen in full swing and online firmly at the centre of the HD console wars, there is no better time for Sony to re-evaluate the potential of their handheld.
Monday 15 February 2010
LittleBigPlanet PSP
The mini-sized adventure gets even more mini, and survives the transition well
LittleBigPlanet was exactly the kind of game I bought a PS3 for in the first place; it was endlessly happy, achingly saccharine and warmed by the smooth and dulcet tones of Stephen Fry. It's a rare game that can make me laugh from the sheer joy of playing it, but LBP did so effortlessly, and what made it such a gem was the way it turned the design ethos of traditional games upside down. Rather than staple a level editor to its single player mode or devote the entire game to level creation, LBP crafted a tightly made story mode using the same tools that the player would eventually be given to make their own. No half measures were allowed; the developers found a way to craft their vision with a Sixaxis, or they didn't do it at all. The result had a deliberately hand-crafted feel but never felt cheap or crude, and the result was a game more charming than Stephen Fry himself.
The PSP edition fares amazingly well; Media Molecule have trimmed away the fat where it is needed the least, losing a few excess animations and incorporating a more rudimentary menu screen, while retaining the soft lighting and gorgeous animations that made the original so fluffy and warm. The minimised PSP screen is the game's greatest asset, where a few rough edges are all that truly separate it from the visuals of its bigger brother. There isn't anything to rival the scale of the jaw-dropping wheel of doom from the Collector's lair, nor a boss battle so convincingly constructed as the showdown against that particular villain, but the developer's conservative approach to level design still allows for a few standout moments, such as a level-spanning chase against an angry dragon, and a clever ball-in-the slot puzzle nestling amongst whizzing UFOs and a rampaging ape in the Tinseltown levels.
So what does the PSP outing change, exactly? Very little, is the answer, but LBP was designed from the beginning to generate fresh content from the same engine and assets, so portability is enough of a treat to add to a whole new single player mode with brand new levels, sounds and building blocks. You run, you jump, you swing, pull and grab, all while basking in some of the most charming game design around; the staggering amount of materials, stickers and construction pieces that the original conjured up clearly haven't depleted Media Molecule's imagination, and the UMD outing manages to hold as much content as its Blu-Ray brother.
In fact, LBP may be the perfect showcase for the PSP's capabilities. Players can sign in to the Playstation Network and stay logged on for the duration of play, giving them the always-online experience of the home consoles. Extra levels and content make a smaller footprint on the memory card than you'd expect, allowing for plenty of expansion, while the game itself is regularly updated, as is the News section. Multiplayer is suspiciously absent, but given the small screen-size the developers can probably be forgiven, and I suspect that the prospect of adding an extra load to the already-straining servers that blight the PS3's online play probably had something to do with it as well.
Multiplayer is not the only casuality, and it is here that a few of the game's flaws have been given short shrift; the slight flakiness of jumping between foreground and background hasn't improved, and small niggles in the physics continue to dog the experience, especially when making certain jumps. It is understandable that Media Molecule would like to keep both versions of the game identical, but a little housekeeping wouldn't have gone amiss. Even more disappointing is the apparent lack of steam when they knocked out the final levels, which are as visually pleasing as a cardboard box and designed with about as much flair. The very end of the game involves nothing more than a brief trundle through the jungle in a rickety parade float, which is only soured further when you think back wistfully to the final showdown with the Collector. Climactic it surely ain't.
But despite this, LBP is at home on the small screen as much as it is on the big screen. The original captured our hearts from the first screenshots and didn't let up past release; without the luxury of warm, fuzzy, self-generating hype, it is great to see that LBP can still offer us plenty to love. And as with its bigger brother, the best content is going to keep on coming months after release, and keep us loving it for a long time to come.
Verdict:
A lack of multiplayer and occasionally flaky physics don't prevent LBP from being an essential title, and a fantastic showcase for the PSP's capabilities.
LittleBigPlanet was exactly the kind of game I bought a PS3 for in the first place; it was endlessly happy, achingly saccharine and warmed by the smooth and dulcet tones of Stephen Fry. It's a rare game that can make me laugh from the sheer joy of playing it, but LBP did so effortlessly, and what made it such a gem was the way it turned the design ethos of traditional games upside down. Rather than staple a level editor to its single player mode or devote the entire game to level creation, LBP crafted a tightly made story mode using the same tools that the player would eventually be given to make their own. No half measures were allowed; the developers found a way to craft their vision with a Sixaxis, or they didn't do it at all. The result had a deliberately hand-crafted feel but never felt cheap or crude, and the result was a game more charming than Stephen Fry himself.
The PSP edition fares amazingly well; Media Molecule have trimmed away the fat where it is needed the least, losing a few excess animations and incorporating a more rudimentary menu screen, while retaining the soft lighting and gorgeous animations that made the original so fluffy and warm. The minimised PSP screen is the game's greatest asset, where a few rough edges are all that truly separate it from the visuals of its bigger brother. There isn't anything to rival the scale of the jaw-dropping wheel of doom from the Collector's lair, nor a boss battle so convincingly constructed as the showdown against that particular villain, but the developer's conservative approach to level design still allows for a few standout moments, such as a level-spanning chase against an angry dragon, and a clever ball-in-the slot puzzle nestling amongst whizzing UFOs and a rampaging ape in the Tinseltown levels.So what does the PSP outing change, exactly? Very little, is the answer, but LBP was designed from the beginning to generate fresh content from the same engine and assets, so portability is enough of a treat to add to a whole new single player mode with brand new levels, sounds and building blocks. You run, you jump, you swing, pull and grab, all while basking in some of the most charming game design around; the staggering amount of materials, stickers and construction pieces that the original conjured up clearly haven't depleted Media Molecule's imagination, and the UMD outing manages to hold as much content as its Blu-Ray brother.
In fact, LBP may be the perfect showcase for the PSP's capabilities. Players can sign in to the Playstation Network and stay logged on for the duration of play, giving them the always-online experience of the home consoles. Extra levels and content make a smaller footprint on the memory card than you'd expect, allowing for plenty of expansion, while the game itself is regularly updated, as is the News section. Multiplayer is suspiciously absent, but given the small screen-size the developers can probably be forgiven, and I suspect that the prospect of adding an extra load to the already-straining servers that blight the PS3's online play probably had something to do with it as well.
Multiplayer is not the only casuality, and it is here that a few of the game's flaws have been given short shrift; the slight flakiness of jumping between foreground and background hasn't improved, and small niggles in the physics continue to dog the experience, especially when making certain jumps. It is understandable that Media Molecule would like to keep both versions of the game identical, but a little housekeeping wouldn't have gone amiss. Even more disappointing is the apparent lack of steam when they knocked out the final levels, which are as visually pleasing as a cardboard box and designed with about as much flair. The very end of the game involves nothing more than a brief trundle through the jungle in a rickety parade float, which is only soured further when you think back wistfully to the final showdown with the Collector. Climactic it surely ain't.But despite this, LBP is at home on the small screen as much as it is on the big screen. The original captured our hearts from the first screenshots and didn't let up past release; without the luxury of warm, fuzzy, self-generating hype, it is great to see that LBP can still offer us plenty to love. And as with its bigger brother, the best content is going to keep on coming months after release, and keep us loving it for a long time to come.
Verdict:
A lack of multiplayer and occasionally flaky physics don't prevent LBP from being an essential title, and a fantastic showcase for the PSP's capabilities.
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