Times Past

  • Reading time:4 mins read

I’m watching a documentary on the new Doctor Who; in it is a retrospective of all the previous Doctors, and in that is enough footage to remind me why I like McGann’s. It’s a shame he never got more time; with some refinement he could have been close to the best. Almost ideal.

McGann’s was the emotional Doctor. It seems, after seven lives and a terrifying regeneration, something finally hit him. He becomes wistful, pensive, idealistic. At one point, he actually kisses his companion. It feels like he’s started to grasp the value of this life, of his whole situation. Of what it all means. He is sad, and fragile — and appreciative of everything. I guess he realizes that he might not have as much time as he’s always thought. Which must be weird, for a time lord.

All of the pieces are there. A roundness, a sense of dimension and balance. He gives the impression he’s looked through his past and decided who he is, and what matters to him. McGann brings a certain poignance to the whole arc of the series; he seems to imply that it’s going somewhere, that it has some internal structure, that there is some real evolution going on in the character. That we’ve been building to this moment. He makes it easier to go back and extrapolate, to get a piece of the Doctor’s mind. Just enough to understand him as a person, without robbing him of his mystery.

I say all this as I learn that Eccleston has ditched the role after a single season. After he leapfrogged all of the other actors in line to ask for the role, after he decided past Doctors were too foppish and that he wanted to modernize the character, and after exactly one episode has aired (to ten million viewers), away he goes. That’s… I mean. Hell. If you’re not up for commitment, then why bother with Doctor Who? Of all series? I taste lemons. There’s something weird when a companion hangs around longer than the Doctor himself.

This stunt puts Eccleston second to McGann in brevity, though McGann is to no blame for his part. Colin Baker was yanked out by the teeth, too. And McCoy just had the series cancelled on him. When Davison signed up, he only wanted to do three years; that was supposed to be a short run. And when his time was almost up, he regretted his earliier decision. So — yeah. Eccleston’s in a class of his own. Recall that the character is supposed to be running out of regenerations, and make of him what you will.

I still want to see McGann again. Surely there is some backstory to patch up here. We never did find out what happened to him — and there is plenty precedent for crossover.

EDIT: Or did we? I wasn’t aware that McGann had taped four full “seasons” of audio episodes. I knew he’d done some more work with the character; that these are actually considered seasons 27-30, however, is new to me. And this final episode was only released in December.

Well. Hell, then. I need to get ahold of these. I wonder how.

EDIT AGAIN: Jesus. It turns out that, after all of the novels and audio plays and junk, McGann is the second most well-recorded Doctor of all (following at 116 to McCoy’s 120). And a lot of stuff has happened during his era. And after the second episode of the new series, it seems that Davies considers it all canon. So maybe he hasn’t done that poorly after all. I still would like to see him in action again.

Shoulda used RenderWare

  • Reading time:1 mins read

You know how, at the start of Space Harrier, the announcer says “Welcome to the Fantasy Zone. Get ready!”?

In the Sega Ages remake, it’s a little different. He says, “GET BUSY, HARRIER! DRAGON LAND IS SCREAMING!!

That tells you most of what you need to know.

Sweat Meats

  • Reading time:2 mins read

Okay, so white chocolate is chocolate made without the cocoa solids. Because of the lack of cocoa powder, it’s not considered chocolate as-such by the FDA (and other such organizations). Because of this in turn, it can be made with other materials in place of (the relatively healthful) cocoa butter — like, say, hydrogenated vegetable oil — and still be labeled “white chocolate”.

This deal with cocoa butter is also a major differentiation between chocolate and fudge. Fudge is actually kind of a variant of caramel (the candy, not the burned sugar). To make caramel, you boil milk and sugar together — otherwise also important ingredients in milk chocolate — to what is known in confectionary circles as the “soft ball” stage. To make fudge, you then beat the mixture while it cools. So fudge is basically beaten caramel that tends to (though need not) be flavored with cocoa powder. In contrast, to call something “chocolate”, it needs to be based entirely on chocolate products — mainly, cocoa powder and cocoa butter.* Considering that fudge need not contain any chocolate product, this does not describe fudge. Actually they’re pretty far apart, as far as confections go.

While we’re here, the difference between toffee and taffy basically comes down to one minor detail of production; they tend to be made from the same recipe (basically a caramel one, with butter), and by the same process. The only thing is, taffy is pulled as it cools, aerating it and making it chewy. Salt water taffy was invented (or at least popularized) in Atlantic City. I guess that explains why it’s so much more common on the east coast than over here. And why it’s all over the place when you go to the Jersey boardwalks. It doesn’t really contain salt water. Or even any more salt than other candy contains.

*: Chocolate liquor is the natural result of grinding cocoa beans to a smooth state; it consists of what would otherwise be extracted separately as powder and butter.

SNK: The Future is… Coming

  • Reading time:7 mins read

by [name redacted]

I don’t know if this report even went live on the site. If so, it’s buried in the infrastructure. If not, well, that sort of thing happens at Insert Credit HQ. Either way, it’s here now.

Although my Wednesday plans called me to ask Akira Yamaoka stupid questions, on Wendesday Brandon called me to accompany him in asking SNK slightly less stupid questions.

We walked a dozen blocks, to a hotel decorated like a Roman bath. The door to the room was ajar; inside milled PR representative Michael Meyers, ensuring all was in place. On the enormous television to the right, the Xbox port of KOF: Maximum Impact; on the reasonable television head, the PS2 port of Metal Slug 4. On the coffee table to the left, a stack of DVD cases, the spine lettering on their temporary sleeves unified in all save size. Amongst these sleeves were The King of Fighters ’94 Re-Bout and Samurai Shodown V, and the new and unfortunate cover for Maximum Impact; to my recollection, all the sleeves were emblazoned with the Xbox logo.

While Brandon was drawn to Metal Slug, I asked of Michael Meyers questions that Brandon and I would again ask each subsequent person who entered the room.

What Makes Music for Games “Music for Games”?

  • Reading time:1 mins read

by [name redacted]

One of the final panels this year discussed the nature of game music; video games, being their own mode of expression with their own demands, require a different scoring approach from other forms. Over the years, this has resulted in game music becoming something of its own super genre; as different as one game score might be from the next, nearly all are linked by some quality that makes their sound and purpose unique to videogames. In this panel, a sequence of five game music professionals explores the nature of this distinction, each in their own way.

( Continue reading at GamaSutra )

Global Mobile Games: New Business Models, Hit Games, and Mobile People from Around the Planet

  • Reading time:2 mins read

by [name redacted]

Current rumbling in the design community suggests that mobile games have yet to find their real application, and most games for the platform are just ports of established console or handheld ideas; they aren’t really based on the intrinsic character of the mobile platform. Taking in mind the control problems, the group began to discuss new ways the platform provided to interface with a game. Perhaps the camera could be used to sense rotation, so the user could swing the phone like a golf club. Some phones have rotation, stroke, and squeeze sensors that could be put to use.

Someone then observed that a game that requires a camera would have trouble getting “live;” not all phones have cameras. The only way to get carriers to support a game is if you design it for the lowest common denominator, technologically. Bringing carriers into the conversation set off a chorus of groans. Someone noted that carriers do not, really, understand content, and wondered whether not going straight to a carrier – rather, developing for a publisher that was in a position to negotiate with carriers – would give developers more freedom to push the envelope; to develop less “safe” games.

( Continue reading at GamaSutra )

Audio Production for Halo 2

  • Reading time:1 mins read

by [name redacted]

“The main Bungie approach to games,” O’Donnell said, “is this is entertainment. When someone sits down, you want to keep him entertained the whole time.” This starts from the moment the console is powered up; over the corporate logos, a custom piece by Steve Vai leads into the game’s opening theme. “The music at the beginning of the game,” O’Donnell continued, “is the overture.” It establishes a theme, to be used throughout the game. From the title screen, O’Donnell pressed “start;” as the game loaded, a motivated piece of music began to play against the Halo 2 logo.

O’Donnell explained he never wants to see the word “Loading”: It’s not entertaining. You always want the player to feel like something exciting is about to happen. “I never want an excuse for someone to get up and leave the game, if possible.” The key to that is flow. O’Donnell prefers to think of audio as a cohesive whole; he would rather not have any one piece stand out.

( Continue reading at GamaSutra )

Real-time 3D Movies in Resident Evil 4

  • Reading time:1 mins read

by [name redacted]

One of the final lectures on Thursday was from Yoshiaki Hirabayashi, lead designer on Capcom’s Resident Evil 4. One of many distinctions in this game over previous entries in the series is an absence of prerendered cutscenes; any cutscenes present are rendered in-engine, and sometimes include QTE segments (as popularized in Shenmue ). At other times, the player must tap the Action button to make Leon run faster. Overall, the experience is a more dynamic one than in the past.

The reason for this, Hirabayashi said, speaking quickly through translation, is that he feels a videogame is a package as a whole; although pre-rendered movies are pretty, they passive, and pull the player out of the game. At least real-time movies are not as distracting, as the game remains consistent. Furthermore, when you change things during development, it often means you have to go back and re-render your cinematics to match again; this takes time and resources that could be better used elsewhere. Real-time cinematics remove that problem.

( Continue reading at GamaSutra )

Normal and Displacement Map, Sitting in a Tree

  • Reading time:1 mins read

by [name redacted]

Factor 5 designer Matthias Worch began Wednesday morning with a brief lecture on asset creation for next-generation games; his focus was on the distinctions between full-on digital and maquette models, as newer technology has come to make older techniques seem attractive. Before Worch began, however, he already had two problems. One was that, as his next-gen projects have yet to even be announced, he was unable to use his own material in the demonstration. The other problem was that his lecture began twenty-five minutes later than scheduled; to well use what time he had, Worch skipped straight to the demonstration.

( Continue reading at GamaSutra )

Labor Relations 101

  • Reading time:1 mins read

by [name redacted]

After the McConnell lecture on quality of life, Gina Neff, from UC San Diego, took the podium to address the audience on the growing question of unionization in the videogame industry. Rather than push any one answer, Neff’s goal was to clear some misconceptions about unions, and to offer a palette of options, to get the audience thinking about what the industry really needs, perhaps to craft its own solution.

( Continue reading at GamaSutra )

The Business Case for Improved Production Practices

  • Reading time:1 mins read

by [name redacted]

After lunch Tuesday, the Summit presented an hour-long lecture from Steve McConnell, Chief Engineer of Construx Software. McConnell’s goal was to illustrate the value of improved planning in software development, for development teams and management alike. Counter to intuition, McConnell explained, greater structure means greater morale, as the team members know what to expect. Greater morale means greater productivity. “Will a systematic approach hurt creativity?” McConnell posited. Not necessarily, he explained. It can, if you’re dumb and lazy about how you apply it. Otherwise, structure can be of benefit. It is orthogonal to creativity; there is no real connection between the two.

( Continue reading at GamaSutra )

How Serious Games is Helping the Commercial Industry

  • Reading time:1 mins read

by [name redacted]

The Monday afternoon session featured Sherpa Games founder and president Warren Currell moderating a panel of three: Dean Ku, the vice president of marketing for dance pad manufacturer RedOctane; Ubisoft Director of New Business Management James Regan; and Roger Arias, from Destineer Studios. The format was question and answer with Currell directing a series of three questions to his panel regarding Serious Games and the consumer market. With those questions expended, an audience Q&A session would begin.

( Continue reading at GamaSutra )

On the Building of a Roster

  • Reading time:9 mins read

Some analysis.

The following characters have been in every KOF:

    • (Kyo), Benimaru
    • Terry, Joe
    • Ryo, Robert
    • Ralf, Clark
    • Athena
    • Yuri, Mai, (King)
  • Kim, Chang

The following characters have been in every KOF since they were introduced:

    • Iori
    • Leona
    • Mary
    • (Shingo)
    • K’, Maxima, Whip
    • Kusanagi

Ash, Duo Lon, Shen Woo

Tizoc
Gato
Malin
Maki
Adelheid
Mukai

Characters in parentheses qualify with some
qualifications. Characters in italics are new as of KOF2003, so their
appearance in the list is in many cases incidental though acurate.

This list is descriptive, not prescriptive. Nevertheless, on a
statistical basis, it is instructive to see how many characters, and
which characters, the main series has as-yet been unable to do without.
Note that several of these same characters have been absent in spinoff
games, like the EX series, and several have yet to appear in crossover
games like the CvS series or BattleColiseum. Or even in Max Impact —
although I’ll get to that. This is, however, a study of the main series
and its common fabric to this point. So at the moment we can overlook
those cases.

There are fourteen key characters (including Kyo and King) who have
always been present, and an additional eight (counting Shingo yet
ignoring Kusanagi and the 2003 cast) who joined late yet have remained
in the series ever since. This makes a total of twenty-two central
characters (by virtue of persistance more than focus).

Let’s take a look at these twenty-two.

      • Kyo, Benimaru
      • Terry, Joe, Mary
      • Ryo, Robert, Yuri
      • Leona, Ralf, Clark
      • King, Mai, Athena
      • Kim, Chang
      • K’, Maxima, Whip
      • Iori
    Shingo

Some observations. This includes every major team
leader: Kyo, Terry, Ryo, Athena, Leona/Ralf/Clark (hard to separate
them), Kim, King/Mai, Iori, K’. These are the teams which have
persisted, and made up the series so far.

The other characters, who are not leaders in their own right —
Benimaru, Joe, Mary, Robert, Yuri, Chang, Maxima, Whip, Shingo — fall
into a couple of groups. Benimaru, Joe, Robert, and Maxima fall into
the sidekick category. In most cases they exist to support the hero
characters. You notice in each of those four cases, the sidekick is a
companion or counterpart to a KOF protagonist, of some era or another:
Kyo, Terry, Ryo, and K’. I don’t imagine Joe or Robert bothering with
the competition if Terry or Ryo didn’t go, and likewise if Maxima
weren’t around to give him some grounding, K’ would never show. The
sidekicks also help to flesh out the main characters, by giving them
someone to bounce off of.

Mary, Yuri, and Whip serve a similar function; Yuri and Whip are
sisters of protagonists, while Mary is Terry’s girl. In the first two
cases, the roles and psychology of Ryo and K’ are further augmented by
the presence of family. Whip gives K’ that last reason to bother, while
Yuri helps to cement Ryo’s identity as more than just a hotheaded bozo
in an orange gi. He someone to take care of and bicker with. Ryo would
be less full of a character without his sister. Mary strikes me as less
important, though I like her well enough. I even have a two-inch
plastic figure of her. As Andy does, she makes Terry somewhat less of a
“lone wolf”. It’s not as bad as Andy, though, as she isn’t distracting
in the same way. Terry doesn’t need someone riding his ass to keep
competetive, as Kyo does; likewise, Andy strikes me as someone who
would really prefer to do his own thing rather than sit in Terry’s
shadow. I’m surprised he stuck around as long as he did. Mary — she’s
harmless, even if SNK doesn’t really know what to do with her (as
evidenced by how she bounces from team to team). She’s really just
there because she’s an interesting and iconic character.

While we’re here, I suggest that Robert is even less important. He’s
basically a clone of Ryo, for one. For another, Ryo doesn’t need him as
much as he needs Yuri. Yuri is family, and as such has an inner route
to Ryo’s personality; Robert is just a fellow student of Takuma. Ryo
never relies on him; neither does Yuri. He’s there to fill space.

Chang and Shingo. Well. Each of them is a special case. Shingo, in his
weird way, has become the main character of KOF since he showed up. Or
maybe the player’s avatar. The everyman, against whom to contrast all
of the other characters. He helps to give perspective to the whole
experience. In contrast, Chang is there because he’s always been there
and because the game needs a “big” character. And because SNK hasn’t
figured out anything better to do with Kim’s team. That said, I find
the new dynamic in 2003 kind of interesting; with Choi gone, Chang
becomes something of a sidekick to Kim and Jhun. Almost a Joe-like
role. He’s got more of an identity now. This could go somewhere.

So. Now, for the hell of it, let’s take a look at the Max Impact roster (minus the new characters):

    • Terry, Rock
    • Kyo, Iori
    • Ryo, Yuri
    • Ralf, Clark
    • Leona,
    • Athena
    • Mai
    • K’, Maxima
  • Seth

That’s interesting. It hits every team leader in the
above list, except Kim and King. Kim is, of course, replaced in this
game with a bisexual female doppelganger named Chae Lim. So he’s here
in spirit, if replaced with a much more inviting body. That just leaves
out King, who, you note, was absent in the arcade version of 2002
anyway (even if she was replaced as soon as it hit the consoles). So
although in some senses she should be an A-list, it’s not without
precedent that she’d be out.

Outside of the primary characters, however, note that only Yuri and
Maxima make the cut, leaving out Benimaru, Joe, Mary, Robert, Chang,
Whip, and Shingo. Note however that Yuri and Maxima are the only two
supporting characters who serve an important role in defining their
respective primary counterparts. I’ve already talked about Mary and
Robert. Joe is welcome and helpful, though if you need to lose him, it
won’t hurt Terry. If you’re paring things down, K’ probably doesn’t
need two emotional crutches; Maxima will do. Benimaru, he serving as a
replacement for Kyo on several occasions, is the only one who really
feels weird to omit. Kyo’s been alone too much lately to really need
him, though; without Shingo to guide (and Shingo is an easy loss, love
him though I do), Benimaru is left to float. He’s not immediately
important in the way that Yuri or Maxima are — so he goes.

In their place, we get Rock and Seth. Rock is there for mass
appeal, because SNK wants Max Impact to sell and everyone loves Rock.
Seth is there so the game has a black character (for similar reasons),
and to include one random bit of “color” from the more recent games.
Just so the roster doesn’t feel entirely obvious or, well, old.

In other words, Rock and Seth aside, the Max Impact roster pretty much
pares down KOF to the bare minimum before you start making unacceptable
compomise (like having one Ikari Warrior, say). At least, again, from a descriptive standpoint.

Assuming SNK intends to add a bunch of characters back into the
follow-up to Max Impact, who didn’t make the cut, who will they be?
Statistics say (and this in no way accounts for random deviation) they
wll largely be samples from the following list:

    • King
    • Benimaru
    • Joe
    • Whip
    • Mary
    • Robert
    • Chang
  • Shingo

Most of these characters, I note, actually should work
better in 3D than the primary ones. Just think about a 3D Whip, for
instance. Or Benimaru’s whirly-kick. Or heck, just Chang in general.
Joe and Mary are from a sort-of 3D background anyway. Most of these
characters are close-range, which suits the format just fine.

Although Robert feels in some respects superfluous, think about the
costume possibilities. He already has three outfits. And control-wise,
he’s gone through so many changes that another alteration for a unique
close-range style won’t seem all that weird.

The only ones who seem like maybe-stretches are King and Shingo.
And recall they’re the ones in parentheses; they both got ditched once,
when Eolith couldn’t find a way to make them fit.

Shingo, I can almost see making it just because he’s Shingo. Just to throw the fans a bone.

King feels, to me, the hardest to adapt to a 3D fighting style. She
just relies so much on her distance game. Still, I’d love to see SNK
try with her; she would add variety to the roster. And again, there’s
the costume thing.

Note now that the above list of additions comes to 6-8 characters:
roughly half of Max Impact’s roster of returning characters. Let’s say
the next game raises the roster size by one-half, for a total of 30
characters. That’s a nice average size for even a main-series KOF.
Assuming SNK implements teams (which it feels like they wanted to in
Max Impact; they just didn’t have enough characters to warrant it),
that makes ten teams. Hey, that’s healthy as hell. It should satisfy
anyone, and make the game feel a lot more legitimate.

Assuming that — and it is an arbitrary assumption on my part,
based mostly on past experience, what it looks like they wanted to do
with the first game, and what seems reasonable to me — the proportion
of old characters in the above list of possible additions is just about
exactly the same as the number of old characters in the original game:
7:10. So — and again, I’m just saying this wildly — should SNK add
all of the above characters, and then get Falcoon to design two new
characters for the game, it will be entirely consistent with the design choices they made in the original Max Impact.

What does that mean? Nothing, really. I just find it really interesting, on a theoretical level.

Fighting against type

  • Reading time:3 mins read

Guilty Gear really does do something different from Capcom’s or SNK’s games. When I play a non-SNK 2D fighter, I’m usually a little confused at how few moves the characters have, and how simple they are to pull off. Aside from the number of moves, though, Capcom’s games tend to feel roughly similar to SNK’s. They’re harder, meaner, they don’t take any nonsenses; otherwise, there’s a lot of common ground.

Guilty Gear, though — uh. Well, I hadn’t really spent a lot of time with the games themselves, until today. The most I had done was jump in, hit a bunch of buttons, study the animation and say, yes, that’s interesting. Now I’m trying to get into the game’s head. And. It’s weird. Each character’s movelist is maybe a dozen lines long at most. Most of those are command moves (forward+punch, say). You might have a quarter-circle or two. Or, rarely, a half-circle or a dragon punch motion. Most characters have the exact same motion for a DM-style move, and the exact same fatality. (That’s qcfx2+hs.) And that’s it, really. There are hardly any moves in the game. And yet, somehow the attacks tend to be more obscure than usual.

It’s hard to wrap the brain around in a few hours. I can’t tell whether or not it’s being different just to be different. The system does seem to work. It almost reminds me of Smash Bros., though. Maybe a slightly more erudite take on it. Suddenly Isuka makes more sense to me.

On the other end of the fence, there’s KOF2000. I hadn’t played a 2D KOF for a while. Going back to it after Max Impact, it’s almost like that same feeling; like I’m switching to a Capcom game. Everything feels so simplistic, by comparison. Max Impact requires so much more to play that I almost feel like I’m on cruise control with the main series. I don’t have to pay attention to the sidestepping, or the stylish moves, or safe falls (so much). The game moves so much more slowly; I have so much more time to react. I have so much less on my mind.

I’m more and more convinced SNK hit on something close to great with Max Impact. On the one hand, it’s more appealing to the casual eye than SNK’s 2D games — and if you don’t know what you’re doing, it’s a lot easier to jump into and have fun with than the main series. At the same time, it’s also one of the most complex fighting games I’ve played. If you want to play it well, it’s going to occupy every bit of mental processing you’ve got.

The only problem is that it doesn’t go far enough in either direction. It’s not Soul Calibur, and it’s not Virtua Fighter 4. If it’s appealing, it’s not appealing enough to woo people who don’t already give a damn. Maybe it’s a good entry-level SNK game, for the SNK-curious. If it’s complex and challenging to play, it doesn’t have the intricacy and balance it needs for experts to take it seriously as a competitive platform. What it is is a sketch. It hints at the game SNK can make. That maybe they will make, someday, that will bridge some gap, plug some hole, tap some market that no one else has paid attention to. The game which will make them a household name.

It’s almost the most important game SNK’s made. Not quite. It does point in that game’s direction, though.