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  • Not Quite 4D, But Close: The History of 3D Gaming

    Videogames were born into a flat, two-dimensional perspective and they are bound to an inherently two-dimensional delivery system, but, from their inception half a century ago, they have been trying their damndest to simulate a bonafide world of depth. For half their lifetime, games have let us move into a world instead of just on it and, today, the simulation can be almost unsettlingly real. The racing tracks of Gran Turismo 5 Prologue, the jungles and glaciers of Crysis, not to mention Far Cry 2’s African savannah, all feel like our world, even when they don’t behave exactly like it. After all, cars tend to crumple when they run into other cars, and grass tends to bend and warp when you step on it. (Not to mention the lack of robots and aliens in real life. Oh, and getting shot will kill you, not force you to hunt for a medpack.) But even full fantasy landscapes like the lush solar-systems-in-miniature of Super Mario Galaxy create a familiar sense of space. It has been a long, difficult journey to get to this point, though. Edge Online is running a fascinating, densely technical, history of 3D in games and it’s an eye-opening read. The only thing missing from the overview is a footnote in gaming history, but is important all the same.

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  • Gears of LittleBig Fable Music: Considering the First-Party Blitz



    October brought its true fury and grandeur to New York today. It took three days, but the nattering leftovers of summer finally drifted out to sea like so many dead leaves and left behind the lowlight and intent wind so particular to the month. Walking down the street, I could smell it, looming like bonfire smoke and Halloween parades: game season.

    I hold no love for the business structure that sees some ninety-percent of the year’s most ballyhooed games releasing all within a tight ten week window. It leads to sensory overload and, for the devoted gamer, it adds to already-big backlogs. But I’d be lying if I said it isn’t always exciting. All of the hype, all of the previews, leaked screens, developer showcases, and high, high hopes all lead here and it always begins in October. Holiday 2008, as it were, is going to be a particularly interesting season considering that it is gaming’s first to witness true third-party agnosticism. Nigh on every publisher from East and West is releasing their biggest games on any and all platforms available. (There are rare exceptions. See Sega’s Valkyria Chronicles, Valve’s Left4Dead, and a number of Wii titles.) This brings even closer scrutiny to the console holders' offerings; more than ever, first-party games need to be system sellers. They have to act as ambassadors, convincing casual and hardcore gamers alike that if they put money into such and such a system, there will be more where that came from.

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  • Brett Favrerererer Wins: The Inexplicable Popularity of Madden

    You may or may not have noticed this whilst reading 61 Frames Per Second, but we don’t talk about simulators that often. Personally, and you’ll most likely find this true of the rest of the team, I don’t play Gran Turismo or Microsoft Flight Simulator. If I’m playing a videogame, I want my cars going too fast and defying physics a la Burnout. If I’m playing a videogame, I want my airplane to be shooting many other planes while looking awesome and defying physics a la After Burner. The same goes for sports. Tecmo Bowl, NHLPA ’93, and Hot Shots Golf are fun because they don’t provide authentic football, hockey, and golf experiences. This is why I’ve always been somewhat mystified by the Madden franchise’s massive popularity; in its modern incarnations, it is a brutally realistic simulation of football. In order to play Madden well – not competition level, but actually using the game’s mechanics properly – you need to have both a deep understanding of the actual sport’s rules as well as the game’s incredibly complex controls. Football rules, sure, but how did a game so hard become so damn popular?

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  • E3 Day One: Microsoft, Sony, Final Fantasy, and For Whom the Bell Tolls



    There was a very brief period of crossover time, between 2002 and 2006, when E3 was still a gargantuan, money-wasting event and high-speed internet access was ubiquitous. During these years, gamers across the English speaking world regularly crashed websites following videocasts and liveblogs of press conferences as the biggest game announcements of the year hit the public. In the wake of the old E3’s dissolution and 2007’s lackluster event, the press cycle for the games industry seemingly changed forever; game announcements, platform holder initiatives, and publisher events have been spread out over the last eighteen months, no longer restricted to only a handful of days in the summer leading up to the usual holiday deluge of high-profile releases. The days of “breaking the internet” appeared to be over.

    Then Microsoft announced that Final Fantasy XIII would be coming out for the Xbox 360 and it was the good ol’ days all over again.

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  • Games Cost Money: Sony Cans The Getaway and Eight Days



    While the salad days of the Playstation 2 are at an end for Sony, things have been looking up for the entrenched corporate monster in 2008. Little Big Planet continues to wow, Gran Turismo 5: Prologue had a healthy release in April for a game that’s little more than a demo, and the buzz surrounding Metal Gear Solid 4’s impending release is loud enough to even drown out some of that Grand Theft Auto fervor that’s been going on. The stigma surrounding the Playstation 3 – that it’s an expensive, ugly machine without many games to play on it – is slowly starting to fade, and it has everything to do with some truly exciting exclusive software. So it’s disheartening to hear that two games being developed by Sony’s own London Studio have been cancelled. Eight Days, a Michael Bay-tinged action game that fused car chases with shootouts in the American southwest, and The Getaway, a sequel to London Studio’s successful PS2 Brit-crime drama series, have both been given the axe “due to the redistribution of resources and budget.”

    While I’m the first to exclaim my love for the big-budget blockbuster games coming out on the 360, PS3, and PC these days, the truth is that, for at least the short-term future, they may not be an economically feasible pursuit for most developers.

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  • NPD Wrap: The Times Are a Changin’



    April’s come to a close and now, under the cold, hard light of math, three things are becoming clear. First, people freaking love Nintendo games. Sure, we already knew that, but over a million people bought Mario Kart for Wii in less than a week. Second, people freaking love Grand Theft Auto. Nearly two million people bought that in even less time. Third, our access to new videogames is going to change dramatically in the very near future. While these numbers may just look like numbers to us, to the people who publish videogames, the people who control when we get to engage these creations, the math is saying that 2008 is different. Tradition dictates that high profile, big hype games are held in reserve for the holiday push from late September through December and the rest of the year is just a slow trickle of quality goods. The math of March and April 2008 says that people will buy many, many games throughout the year, not just around Christmas. What happens now? Going forward, we’re going to see more games, more often. At least, until digital distribution destroys physical media and the whole issue becomes moot.

    Come get some hard analysis and delicious numbers after the jump.

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  • about the blogger

    John Constantine, our superhero, was raised by birds and then attended Penn State University. He is currently working on a novel about a fictional city that exists only in his mind. John has an astonishingly extensive knowledge of Scientology. Ultimately he would like to learn how to effectively use his brain. He continues to keep Wu-Tang's secret to himself.

    Derrick Sanskrit is a self-professed geek in a variety of fields including typography, graphic design, comic books, music and cartoons. As a professional hipster graphic designer, his recent clients have included Nerve, Pitchfork and MoCCA, among others.

    Amber Ahlborn - artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

    Nadia Oxford is a housekeeping robot who was refurbished into a warrior when the world's need for justice was great. Now that the galaxy is at peace (give or take a conflict here or there), she works as a freelance writer for various sites and magazines. Based in Toronto, Nadia prizes the certificate from the Ministry of Health declaring her tick and rabies-free.

    Bob Mackey is a grad student, writer, and cyborg, who uses the powerful girl-repelling nanomachines mad science grafted onto his body to allocate time towards interests of the nerd persuasion. He believes that complaining about things on the Internet is akin to the fine art of wine tasting, but with more spitting into buckets.

    Joe Keiser has a programming degree from Johns Hopkins University, a tiny apartment in Brooklyn, and a fake toy guitar built in the hollowed-out shell of a real guitar. He writes about games and technology for a variety of outlets. One day he will stop doing this. The day after that, police will find his body under a collapsed pile of (formerly neatly alphabetized) collector's edition tchotchkes.

    Cole Stryker is an American freelance writer living in York, England, where he resides with his archeologist wife. He writes for a travel company by day and argues about pop culture on the internet by night. Find him writing regularly here and here.

    Peter Smith is like the lead character of Irwin Shaw's The 80-Yard Run, except less athletic. He considers himself very lucky to have this job. But it's a little premature to take "jack-off of all trades" off his resume. Besides writing, travelling, and painting houses, Pete plays guitar in a rock trio called The Aye-Ayes. He calls them a 'power pop' band, but they generally sound more like Motorhead on a drinking binge.


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