By the99th

Platform Games

I've ranted on about the dark-side of platforms, and elsewhere I may have ranted about the Federal Reserve, but you've got to admit that draconic control of the currency is better than feudalism and that even egregious or inconsistent policy on a mostly open platform is better than the retail game biz. Maybe things are getting better, win-win-win (not to be confused with its non-buzz-worthy little brother: win-win). Take for example platform competition in social games, where hi5 is trying to frame itself as the friendlier, less capital-intensive girlfriend developers have been looking for. You just have to win their approval first.

Now we have this strategy game run by platform holders that isn't unlike the intransitive relationship underlying games like Starcraft: deployment flanks cost-effectiveness, cost swarms power, power outguns any deployment. With platforms this translates to distribution... uh, cost, and the power of the product is known as "quality". My favorite conspiracy blog sheds some interesting links, on just how spurious this quality may be, Playfish's games are ostensibly higher quality than Zynga's games but Zynga's games have more "quality" in the sense of power through the application of effective behavioral psychology to its Skinner box. This mind-controlling sort of quality is actually a fulcrum of distribution masquerading as quality, but that doesn't stop it from dominating revenues since WoW crawled out of the Swamp Of Sorrows.

As far as platform holders go, their choices have never been what ratio do they themselves pursue in their portfolios - unless they were Nintendo they never really had the werewithal to control that - instead their choices was what indirect mechanisms do they use to target a particular ratio. XBLA was like the Terran army, quality but not stellar quality, very good distribution, expensive to dev for but not so expensive. PSN was like the Protoss, not a lot of stuff, expensive to dev, really high quality (and they actually funded stuff). WiiWare was like the Zerg, and every game that didn't hit the 6000 unit pay-out threshold (whoops, was that confidential?) was like a Zergling splashed with a classic scream. The iPhone is like the Terrans but you can only use Goliaths, medics and firebats (I admit the analogy is being stretched). Facebook is like the Zerg if you played with only Zerglings using the anabolic gland upgrade for super-speed, so far at least. In Facebook, either your nuerohacks and/or quality is tight enough to blast you into the seven figs right after launch, or your zergling rush fails. Congratulations, by the way, to Steve Meretsky and co. for a very successful delivery.

So here we have hi5 trying to be closer to Terran, still a platform as wide open as Sasha Grey, but attempting to be as poised and thoughtful as Sasha Grey. Because in the wake of everyone trying the Zergling rush, the need to build more hatcheries (advertising budget) rose, and thus the rush becomes a bit saturated. This is a play to try and tap their 50 million users with a higher gross margin, either through higher conversions or cheaper reach, they'll see where the cards fall. 50 million is a number which at once incites sneers or awe, depending on whether or not you work in social games. Personally, I enjoy playing the Protoss, but I tend to play Zerg.

Where we will see platform strategy evolve in the future, perhaps in another 6 months considering how exploratory Facebook has been, is around the intersection of real quality and "quality" in terms of mind control and viral Zerg rushing. Game spam is the social equivalent of cheap-o nudie apps on the iPhone or shoddily produced games on a "premium" console. The classically trained game designer (as if we have a classical period already), someone such as Tadgh Kelly or even our own Señor Costik, might claim that the lines are being drawn more sharply, that quality as-we-know-it will win the day, because it has to goddamnit, because good must triumph over evil, because people are smart.

Hey, many individuals are smart, but to quote the late, great George Carlin: "people are fucking dumb".

Consider that civilizations are platforms and their rules mean to accomodate the proliferation of memes of a certain range of character, such that an underlying behavioral pattern will emerge - on average - in the population at large. Research like that of Mr. Hopson in the above linked article, or my own, will continue to refine these tentacles. In the process we will transcend the fuedal system of platform gating and go abstract, toward a system of mind-tunnels burrowed by Zynga et al. in homage to the Viet Cong. In the same way that control of land abstracted toward the control of currency, so too will platform power diffuse toward design, but not the kind of design you wanted. hi5's move, along with Buzz, suggests early positionings that will put pressure on the monolithic network and a premium on new, "innovative" ways to wrangle people up (in the sense that Credit Default Swaps are "innovative").

Beware the New World Order, it is here, it is private, it is "fun" - you will be monetized, resistance is futile. The conspiracy is our own, we click on our animal instincts. Living free in the Snow Crash is a game in itself, perhaps the ultimate.

I leave you with the sharpest bit from the Cryptogon rant:

"You might have been like me and never even heard of this FarmVille madness before today, but if we are to believe that 75.2 million people are spending any amount of time doing this…

Holy shit and sweet baby Jesus on a stick: What does that mean?

Has reality become such a mean and ugly bitch that tens of millions of people are searching for a functional society inside the screen? Why is a game about small scale agriculture the most popular game of all on Facebook? Do the people playing this game have access to safe, affordable, good tasting food?"

When the CIA sexually and physically abused children in their Project MONARCH experiments under the umbrella of MK-Ultra, they would induce trauma and then provide an escape, "somewhere over the rainbow" in which the victem would find an alternate personality. This technique is now being applied on a mass scale, the fiat-currency system provides trauma to everyone that participates and these games are the "cure".


By IndieGames.com - The Weblog

Feature: Top Freeware Platformers 2009

[From now until mid-January, IndieGames.com: The Weblog will be counting down the best independent and freeware games of 2009, with descriptions, screenshots, and links of the best games in each major category. Previously: Top 10 Shoot 'em Ups, Top 10 Puzzle Games, Top 10 Browser Platformers]

The fourth of our in-depth 2009 Best Of Features here on the IndieGames.com blog (after the overall Top 10 we did for Gamasutra and the 10 Indie Games for '10 article), we're proud to present twenty of the best freeware platformers released in 2009.

2D platformers make up a large portion of freeware indie games, and if you're looking for the next Cave Story, Knytt or Spelunky, then there's no better place to start than here - our selection of the freshest platform games released in 2009 for your enjoyment.

(You can also access the full 2009 Top Freeware Platformers chart -- with extra screenshots and information -- as part of the IndieGames.com Features section, which includes indie game charts from 2006 to 2008.)

Here are the top freeware downloadable platformers of the year: Continue reading

By IndieGames.com - The Weblog

Freeware Game Pick: Pylo Noveau (Grif and Omnilith)


Pylo Noveau is a solid platformer made with the Game Maker engine, featuring four lengthy levels to play in the first demo build released. The developer has promised four times the content in the final version, but don't let the incomplete tag discourage you from giving this game a try.

You play as Pylo, a dragon with fire-breathing ability that can be further upgraded whenever you collect a red gem. Any jewels you collect also allows you to use special powers that can either reveal secrets in a stage, heal Pylo, or even hurt enemies in a myriad of ways.

The biggest letdown of this project is the use of sound effects from other commercial releases, although if you can let that slide then there's some fun to be had here by fans of platform games. (source: PixelProspector) Continue reading

By the99th

Kirby/Ninja Gaiden

I've been doing a play study on character movement in platform games, which sounds really academic, but I'm building a prototype for a platform game which could turn into a mega-awesome WiiWare title, so it's not academic. Pursuant to this I got to replaying two killer titles from my youth, Kirby Superstar and the Ninja Gaiden Trilogy. They're both not quite what I remembered them as, both were promisingly fresh examples of platformer kineticism in their time, and they're both dated in interesting ways. Kirby's series is one saturated in cuteness, softness, and padding: gameplay padding, physical padding, content padding. Ninja Gaiden is a series that is balls-to-the-wall difficult, being legendary among the grew-up-on-the-NES set for its insanely repetitive challenges.

Kirby moves slow, you can double tap or get the Wheel familiar to move fast in some instances, but most of your time is spent waddling around or huffing up and slowly floating. The difficulty level correlates as being very low; most of the extras involve scoring extra lives which aren't generally necessary. After all, gravity is just a timing consideration. These games were among the first in a now all-too-entrenched trend of making games hold your hand and gently lead you through a pleasant theme park of content. But at the time, it was a new thing, so it worked. While Kirby is kinda fat, Ryu Hyubusa is in good shape, and he moves like it. Speeds are constant, jumping and wall jumping is a pre-requisite, gravity is the enemy. The initial game has you carefully timing the y on your sword swings and puts you at the mercy of every hit, taking your control away as the slight peck of a bird will send you kneeling back into a pit. Oddly enough, for a game that has you up against the entire cast of SlipKnot, the most deadly enemy -- by far -- is a bird that does three bars of damage and tracks your movements in 360. The loss of control from hits is one movement shortfall that the two games have in common, although Kirby reserves it for only a few enemies and Ninja Gaiden lays it out from the slightest breeze. Incidentally both of these games also have an edge-of-the-screen respawn dynamic in place, which worked so well for King's Quest players but works precisely against you in Ninja Gaiden, and can be a useful way to copy the powers you want in Kirby. The later Ninja Gaiden games overcome the shortfalls of a narrow y range for the sword (III) and the frozen hang of the wall grab (II, where you can climb any wall); III also reduced the paralysis in being hit by cutting the x delta by 70% and made spawning much looser, i.e. no more killing something while standing still right at the edge of its spawn point and having it respawn immediately.

Kirby comes replete with character designs for each and every enemy, who through a pseudo-Freudian act of eating will convert from an oppressive other to a familiar sort. The simplicity of the Kirby design, in particular, lends it very well to highly iconic emotions. The cards for the samurai, the wheel, the fire character, and so forth all convey more personality individually than a truck full of Ninja Gaiden cut-scenes. Speaking of which, Ninja Gaiden's plot is waaaay stupider than I remember it. Basically there are these wacky demons and then the CIA ends up being evil after you take care of the demons, and your girlfriend keeps getting either threatened or killed but then she's OK. There's always a scene where you're standing on a cliff looking over at this big fortress where the last half of the game takes place, and then at the end you're always with your girl talking about how beautiful the sunrise is. Just get naked already. Kirby's storyline is stone stupid as well, but at least it has the dignity not to take itself so seriously.

Basically a truly next-gen platform game design, in my opinion, would embody the same kind of balance between character design and restrictions on movement while shedding any penalization of controls and making acceleration a lot more analog. The gameplay would also be grounded in a non-linear environment that is procedurally generated ala Spelunky. Maybe I'd keep the ridiculous plot line.


By Jennifer Schommer

BurgerTime Deluxe Review

BurgerTime Deluxe is the sequel to BurgerTime, which was originally released in the arcades way back when. Now gamers can enjoy the game on their PC. The goal of the game is to build burgers, but it is not as easy as it sounds. There are quite a few enemies trying to stop players from [...] Continue reading
By the99th

Queens

Mel Brooks once said, "It´s good to be The King," but when he said that perhaps he was not taking into account the long history of abuse, excess, and belligerence that accompanies that title. It took a game to highlight the nuance. Queens is a brief platform game that, in the history of all the other dozens and dozens of genre-bending platform games we review here, uses one of the assumptions of the genre along with a clever coat. In this case, it's replay: every platform game has you trod along until some new thing or a timing issue kills you off, so you start the level over with a slightly refined neural map and maybe get a bit further. Then the next thing pops out and kills you and you keep at it until you get to the next checkpoint. In this game there are no checkpoints and every time you die you´re killing another innocent woman.

The game starts with the King pushing the Queen, apparently a wife he decided to fire for failing to perform her regal duties. You control this woman, being fed a randomly generated name that sounds very queen-like. You can hear the trumpets someone, with the troubadour proclaiming in measured pace: "Queen Anna! Queen Anna! Queeeeeeen Annaaaaaaa!" Splat! On down goes the next one. "Queen Gwenymore! Queen Gwenymore! Queeeen Gwenymoooooore!" Spike! And so on, until like Scheherazad in 1001 Arabian Nights, nimbleness and perseverance lead to a woman´s liberation and the sadistic bastard of a king gets his due. All of this done with four screens of 2d level design and a couple dozen 16x16 pixel art tiles. It's good to be the game designer.


By Jennifer Schommer

Get Ready To Make Some Burgers

Namco Networks has announced the release of BurgerTime Deluxe for the PC. BurgerTime Deluxe is the sequel in the BurgerTime franchise and will be available for the Mac later this summer. The game challenges players to assemble burgers through 60 different levels as Peter Pepper and Sally Salt help their uncle beat Vinnie Vinegar. The game [...] Continue reading
An innovative casual puzzle game for the whole family.In this game you are an inventor who tries to please people’s needs by making inventions, buying invention parts in the market, and making sure you are not making people hate eachother.Try it for free.