Another World: The Phenomenon

As a kid I loved games. It didn't matter to me if they were good or not, I still loved playing them. Each was a different experience, with a distinct graphical style and unique music and that was what was important to me at the time.  

Even the not-so-good games were worth a quick blast every once in a while but most didn't hold my attention for too long; There were just too many other games to play and besides, completing a game was an insurmountable task which demanded the kind of dedication I couldn't commit to just one game given the glut available. In short I was a computer game tart, just out for quick and easy thrills.

Once in a while though, something comes along that's so unlike anything else that it's like being woken up with a frappuccino enema.  I can still remember my first glimpses of Another World, contained in this Amiga 600 TV advert:

I didn't know what it was at the time as it isn't mentioned by name within the advert, but it looked incredible and unlike anything I'd ever played before and I'd been an Amiga user for years.  With a bit of asking around in the playground, I soon discovered the title and then set out to acquire the game for myself.

On booting the game for the first of many, many times, I was immediately captivated by the visuals.  I'd seen much more detailed graphics before, but there was something about the style and accuracy of the animation which made it seem special.  

I was convinced that the lack of detail was an artistic decision rather than the result of technical limitation and it's uniqueness added immensely to the immersion and mystique of the game.  




While some other games were trying to make the graphics as realistic as possible, this game concentrated on accurately capturing movement and subtle gestures for it's realism and unlike the others, it succeeded.

I now know that these natural movements were captured by a technique known as 'Rotoscoping' whereby the actions of a real-world stand in - such as a toy Ferrari and cut-out pistol - are filmed and traced from a TV screen one frame at a time. 

This is the kind of painstaking attention to detail which really added to the experience. Some may question whether it would it have been a lesser game if swigging from that drinks can, or grabbing that pistol didn't look quite so realistic, but while the gameplay may have been the same, the experience over-all would have suffered tremendously. Those carefully crafted incidental moments anchored the game in actual reality, making the highly stylised visuals more striking but somehow more natural at the same time.

The visuals and clean sound effects of the lavish intro were exceptional and I was immediately hooked. I couldn't wait for the game to start and as it turned out, I hadn't realised that it actually had already and I got munched immediately. No start screen, no menus just straight in - sink or swim, quite literally as it turned out! 

Gamers of the time were accustomed to a noticeable change in quality of visuals between the into and game proper and it would be many years before we saw game engine driven cut-scenes becoming the norm. Already this was feeling like an interactive movie, and not the naff kind of poorly acted, grainy FMV tosh that become popular in the early days of CD-ROM. The game proper had been running for just a few seconds and it had already broken new ground almost all areas.  What was to lay in store on the next screen? And the screen after that? I needed to know, I was going to find out - the game world had beckoned me. How could I refuse such a rare invitation.

And what a world. How completely realised and sublimely rendered.  The lack of graphical detailing actually enhanced the visuals as it dared the imagination to complete the picture the that superb animations hinted at. Incidental details included to enhance the immersion; Distant, wondrous mountain ranges and dreamy vistas punctuated with strange and fearsome creatures.  

Strange, towering cityscapes archaic in appearance yet alive with futuristic technology and hostile natives.  And to complete the experience, sounds, dreamily reminiscent and startling realistic. Now this was a world worth exploring if you could survive. 

Being unceremoniously dumped into a completely foreign environment with no tutorial to explain the controls was yet another bold move, but it was a challenge I relished.  

Again and again as new challenges arose, the player is forced to adapt and learn, or die.  The pistol for instance; once acquired, only by the careful observation of others wielding this versatile weapon will you unlock it's full potential.  

Fail to pick up on the clues and you'll die. You'll be eaten, mauled, have your head gnawed off, you legs chewed through, fall to your death, drown, be pummeled by rocks, be beaten to a pulp or have your moist flesh zapped off leaving only a carbonised skeleton unable to support it's own structure. 

Back at my school on Earth, an informal support group spontaneously developed amongst us Amiga owners. 

Problems and potential solutions to each of the puzzles could be discussed, theories and anecdotes about the world were exchanged and achievements applauded. 

This helped lend gravitas to the actual game as kudos was up for grabs if you were the first to figure out how to pass a certain point.

What unfolded was to be an epic journey of exploration, adventure and even companionship.  A glorious, balanced mix of desperate combat and devious puzzle solving; each as tricky as the other.

There were furious firefights where the air was livid with crisp, sizzling laser beams.  These encounters required cunning tactics as well as a quick trigger, using all available resources and exploiting the environment to gain the advantage.

To juxtapose this furious pace, there were liberal amounts of logic puzzles where only fiendish lateral thinking could see you safely through.  Many's the time I'd get that light-bulb moment, a potential solution to the puzzle that I couldn't wait to get home to try.  If it worked I was were elated, earned bragging rights for the next day and I saw the next section first.  If the gambit failed, I was crushed, frustrated but not deterred.

Having invested so much into this journey, it was with mixed emotions that I neared the conclusion. It was a relief to have completed such a grueling journey, but I knew my life would be emptier without the game to explore and I felt a genuine kinship for my alien companion, with whom I'd relied on and been through so much. It was partly due to my personal investment and partly due to the wonderful cinematics, that the bitter-sweet ending sequence evoked real emotion in me and, I must confess, the final sequence brought a tear to my eye - something no other game has managed before or since.

It's possible to play the game right through in 25 minutes, but going in blind with none of the solutions it took weeks of evenings.  The game, also known in America as Out of This World, was such a hit it was ported to the other 16-bit systems around at the time, but the console publishers, concerned about re-playability demand some minor changes: an extra baddie here and there which added little to the length of the game to the game.  Nintendo in particular were keen on having the length of female alien bum cleavage reduced in one scene as it was thought to be too provocative.  



Despite the publisher's concerns about it's length, it offered such a unique experience that it was ported to just about every machine of the day, with some creative tweaking required in by the game's creator, Éric Chahi, in some cases to get the required performance from machines. The game, a triumph of quality over quantity, continues to be ported to this day to modern systems, including iPhone and PS4.  

This release for the 20th anniversary features the options of high res graphics, re-drawn backgrounds, high quality music and remastered sound.  

The 20th Anniversary Edition really is the ultimate version (so far) and I was delighted to play it through again recently with one of the original playground partisans. Being armed with many of the solutions, it took us around 1.5 hours as our memory had faded a little and some sections needed figuring out from scratch.  It was immensely enjoyable to revisit that unusual place once more and it's highly recommended for first times too.

GYL Guest Review - by Andy Pryer

Follow Andy on Twitter @clammylizard

Every Day is Play. The Celebration of the Video Game - Review

This isn't just a book about gaming...it's a life story

When Matt Keynon set upon a journey of the discovery of gaming - he didn't realise at the beginning it would take him through so many adventures to get to his end goal - a somewhat similar experience to a video game.

Every day is play: The celebration of the Video Game is one of the greatest books we've ever read and reviewed. Let's just get that out there first of all. And we'll tell you why...

This bible of gaming is about Matt's dedication to the spirit of gaming - its art and design and the play and fun associated with what is a passion and obsession for many gamers - including ourselves here at GamesYouLoved. This isn't just a 'hobby'  - it's a way of life.

We did know a little bit about Matt and his homage to gaming previously - having seen some of the Mega Drive Exploded Series and graphic gaming art imagery released a few years back. 

But his story goes back even further than this. In fact it starts when Matt was just 6, having inherited his Uncle's Atari MVS and a batch of games. This initial spark set him on a path of play, discovery and investigation. His intro piece to this in the book describes it beautifully (no spoilers further!).

And this book is a result of his hard work..from the time in 2005 when the idea of producing a book first came to Matt - to now, when we can all enjoy the fruits of his labour.  
With Nolan Bushnell the founding father of Atari and video games writing the foreword - this could only get better. And it does. Visually stunning artwork and design stretches from cover to cover and we love the mix of and variety entries, which for us sums up gaming over the years. It has no limits - to our imagination as gamers and the people who make and develop video games.

From Mario to Sonic, Pac Man to Space Invaders, all the popular characters are here. But even they are not just in typical form as you often see in popular media. Artists, publishers and game developers re-enact these gaming characters in different forms in captivating artwork. You will be surprised, engaged and interrupted (in a good way) with every page turn. And this is no comic or lightweight read. Weighing in at over 300 pages this is heavyweight in every sense of the word. And the print and finishing quality...Well - judge for yourself from these pictures. Anyone into having quality books on their gaming shelf will appreciate what we have here.

In terms of specific content - there are many many entries and contributors to the project. Including Darren Wall's Rom Alerts - showing off the 16-BIT work in 2005 to the Sensible Software book just recently. Edge Magazine has an array of interesting cover artworks that hit you from the beginning too.

Art is a key factor and the likes of Atomike Studio use Mario to great effect, as well as some impressive console art. 

We could go on. 

The imagery here should do the talking. And over the next few weeks we will be releasing more on our Instagram and social channels on Facebook and Twitter.

Finally lets not forget - this book could not have been made without you...the community. As a Kickstarter success this project was successfully delivered by Matt with his massive effort, skill, dedication and determination - and you believed in him.  

Well done - you have a fantastic book to show for it!

Get yours here:

www.fangamer.com

Matt's links:

www.gamepaused.net

@matthewdkenyon

How to set up SEGA CD / MEGA CD on the JXD

As part of the HOW TO Guides for JXD...GYL Fan and Friend Sean Tagg gave us a ten point plan to get the Sega CD/ Mega CD running 

GET 5% off a JXD at www.funstock.co.uk by using discount code: GYL 

Here goes:

1.download and install MD.EMU, then select the App.

2.Select Options / System.

3.You will need to Download the Bios files for Europe, USA and Japan if you want to play game from all regions.
Select USA Bios and then locate the path to your saved USA Bios file. Seen below [bios_CD_U.bin]. Find all 3 file paths.

4.Download a SEGA CD / MEGA CD rom.  Google search!

5. Only games with the .iso & .wav files are compatible. Click on file listing to check.

6. All good!

7. Click on the file to download then unzip the file into a folder with your game name.
Copy the folder over to your JXD game folder.\

8. Open up the MD.EMU app and select Load Game. Find your games folder and select the game.

9.Select the game ( .Cue file)

10.The game will load










Thanks,

Sean (OutRun86 Blog)

Also follow Sean on Twitter at twitter.com/sean_tagg

Castlevania Review

A Dark Beginning for the Immortal Franchise - Castlevania NES

By Ben “Blinge” Cataldo

If somebody were to name the most famous 2D platformer franchise, the most common responses would be Mario Bros, Sonic the Hedgehog or maybe Megaman. Lurking just outside the window however is Castlevania, one of the oldest series still enjoying new releases today. The original Castlevania was released by Konami on the Nintendo Entertainment System in 1987.

In Castlevania you assume the role of Simon Belmont, a hero of the Belmont clan of vampire hunters. You have a simple mission; battle your way into Castle Dracula and kill its owner. Although he's Dracula in all but name as the manual simply refers to him as "The Count."

Castlevania was one of the first horror themed console games and achieves this end beautifully. While earlier NES games often looked more primitive than their later 8-bit counterparts, Castlevania remains visually impressive, showing variation in each stage despite the entire game taking place within the castle itself. The NES' colour palette is used tastefully, the backgrounds are detailed enough to avoid being repetitive and the foreground elements pop out enough to be distinct from the backdrop.

As Belmont progresses through the castle he encounters new themes in each stage. First, a zombie infested entrance, an ascent through crumbling stairs and hallways, a race across rooftop parapets, an underground cavern, a grim laboratory and finally the iconic clock tower that has since become a staple of the series. The whole game is replete with gothic imagery and these surroundings are suitably aged as to look like a still-living ruin: the castle itself seems undead.

Indeed the place is teeming with un-life, packed with monsters that aren't exclusively from the vampire mythos. Castle Dracula is described as a "doss house for every monster from every mythology ever" by notorious reviewer Yahtzee Croshaw.

Castlevania arrived on the NES amid a total saturation of 2D scrolling games, but what distinguishes Konami's flagship platformer was its slower pace. Belmont can’t jump on enemies to kill them, neither is he fast enough to avoid the castle denizens, even attempts to jump over enemies will likely cause him damage. Slamming into a crowd of enemies to try and force your way will often lead to death as well. The player is encouraged to take each new enemy or obstacle as its own challenge, whether by using the range of Belmont’s whip, or by experimenting with the various secondary weapons you can find in the castle. 

A great example of this is the throwing axe, which can be found shortly before the first boss – a large vampire bat. The bat usually stays above Belmont before swooping down to attack: while it’s possible to whip it during this dive attack, using the axe and its upwards arc is a more reliable tactic. This is an example of player training as the player should learn that using the different sub-weapons yields better results.

The slow pace contributes to player training again in stage 2 when you find a Bone Pillar waiting at the top of a staircase. This static enemy stands in place like a turret and repeatedly fires two projectiles at a slight interval, but Belmont can safely stand on a lower step beneath the fireball’s trajectory. An observant player should see the Pillar’s pattern of attack, and that it’s possible to hit it safely with the whip from slightly below. Carrying this knowledge into the rest of the game will make future Bone Pillars easier to deal with, as will using the environment to gain an advantage over enemies, thus a slower pace encourages intelligent play, and intelligent play is rewarded. Let it be known however that rushing through Castlevania is possible, as is only using the whip, though this requires a real mastery of the game.

Trial, error and slower gameplay is also the main source of difficulty in Castlevania. While a modern gamer may dismiss Belmont’s sluggish movement as old games having bad controls; slower movement and lack of agility is integral to the balance of the game, and the controls are precise enough to be suited for this purpose. It is usually a player’s rash actions that get them killed rather than Belmont’s speed.

Another source of difficulty is the much bemoaned knockback: upon being hit, Belmont will be stunned for a fraction of a second and stagger backwards. Sometimes this can be disastrous, you might be hit and knocked backwards into an instant death-pit, or bounced between several enemies, taking a lot of damage in the process. However there is a positive aspect to knockback: you’re invincible for the duration of the stun period and slightly longer, saving you from taking fatal levels of damage too quickly and in the second scenario mentioned above, it would be possible to jump to safety or launch a counterattack.

Standard practice for many games at this time was to give the player a limited number of lives and continues; once they’re gone it’s game over. Castlevania offered a concession here as you can continue infinitely from the beginning of the stage you’re on. Stages are made up of smaller sub-areas, dying resets you to the beginning of an area (with 0 ammunition) and continuing after a game-over takes you back to the first area of that stage. 

When considering Castlevania’s difficulty, this is a good system that rewards progress and encourages the player to continue without fear of losing that progress.

Overcoming frustration and learning how to deal with a difficult section to the point where you can beat it every time and progress further is an immensely rewarding experience, it’s what makes Castlevania such a good game and the essence of why we enjoy challenging experiences.

Castlevania’s atmosphere is a fusion of the 2D action game with gothic spookiness, so it can’t be called a pure horror game, despite drawing upon gothic imagery throughout. However, encouraging a new player to take things slowly provides ample time to build some measure of suspense. Music plays a huge part in creating the game’s atmosphere; the brief intro builds tension as Belmont approaches the castle gate, before giving way to the opening blast of Vampire Killer, the catchy and iconic level 1 song. The theme of the whole game is summed up here: a foreboding build up, then straight into the action. In keeping with the gothic atmosphere, the boss theme sounds like classical music through the NES soundchip, which works surprisingly well. That same boss melody is worked into the stage 5 music, Heart of Fire: the perfect example of the feel of a classic Castlevania game.  

The soundtrack does go for a full horror approach when Belmont finally reaches Dracula himself, the final ascent up a long staircase into the Count’s throne room with the music constantly cranking up the tension must have been mind-blowing for somebody playing it for the first time in 1987. The fact that many of these songs have been re-used and rearranged in later games in the series is a testament to the quality of their composition and their popularity among fans. 

The NES revolution brought something that console gaming hadn’t seen before; the ability to pick a theme and run with it, fashioning a coherent gaming experience from that theme. Castlevania does this with gothic horror, it does it with spooky imagery and sounds but doesn’t detract from the fun of a platformer/action game. The gameplay itself even feeds into that theme by encouraging the player to take their time and think about how they’ll tackle each challenge. Many design elements in modern games can be traced back to this pioneering time, or Castlevania itself. One could go as far as to suggest that this game was the Dark Souls of its time.

Come then ye children of the night, those vampires aren’t gonna slay themselves.  

This extended review by Ben “Blinge” Cataldo

Also the web review can be found here: 

www.gamesyouloved.com/game-genre/consoles/nintendo/nintendo-entertainment-system/castlevania/