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  • The 61FPS Review: Battleforge



    When not volunteering for the Somali Pirates' Union or attending live tapings of Glenn Beck, guest contributer Dan Thompson can be found teaching in the South Bronx. In moments free from agitating for pirate rights or being corrupted by the youth, Dan dedicates his time to battling his cat, Bishop, and heckling John Constantine's Persona 4 play sessions.

    Phenomic’s Battleforge terrified me. Not terrified that this chimeric mix of collectible card game, real-time strategy, and MMO would be bad, oh no. My soul-shaking fear was that it would actually be good. I could already see it happening: my descent into a dark, screen-glare jaundiced, asocial existence, my only activity the furious clicking of virtual cards to unleash winged beasts of burning doom. Like the first time I read about aerosol alcohol’s promise of inebriation through inhalation, I was overtaken by a mixture of horror and wonder. These are three gaming genres I hold dear, and the battles looked great. This hybrid had the potential to cost me my job, friends, and family. I popped in the disc and watched the install bar crawl to the right. Thankfully, none of my fears were realized. Battleforge just doesn’t work.

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  • NYCC 2009 - DC Universe Online

    Editor's note: I'm still pretty darn worn out from the frenetic pace of New York Comic-Con this past weekend. My entire body hurts. Expect a good amount of post-con reporting over the next few days as I sift through my notes, photos, and edit together a few videos which will hopefully be fairly rad. For now, though, let's just start off with something easy, the first massively multiplayer online game to officially license characters and scenarios from one of the biggest pop-culture publishers in the world...oh lord, what am I doing?



    One of the biggest crowd-pleaser games at New York Comic-Con was Sony Online Entertainment's DC Universe Online. The massively multiplayer online action title was set up for anyone to play using either keyboard and mouse or or the Playstation DualShock3 and there was a panel discussion about the game featuring several members of Sony's design team along with human-style-guide Jim Lee and story and scenario writers Geoff Johns and Marv Wolfman. Those names should sound very familiar to you if you're read any superhero comics in the past twenty years or so.

    That they referred to it as an MMO action game rather than an MMO RPG is very telling in what we saw from the presentation and our play sessions. It plays just like all the other open-world action brawlers, only you're playing with other people to either cooperate or compete in objectives which are continuously sent to you from the game's servers (cleverly disguised in Hero mode as Oracle from Batman and Justice League). Run, jump, smash, repeat, no arcane spell casting.

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  • New Zork MMO

     

    Dublin's Jolt Online is taking on the legendary text-based aventure game, this time in MMO form: 

    LegendsofZork.com will provide online gamers with a persistent online adventure, playable from any Internet browser. Players take up the role of a recently laid-off salesman and part-time loot-gatherer, as he explores the Great Underground Empire. Designed to provide gamers with a casual MMO game they can play on their laptop, desktop or Apple iPhone (in school, work or on the bus), there’s nothing to download, just go to www.legendsofzork.com.

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  • The Videogame Ages, part 2

    In part one of The Videogame Ages, I discussed the inadequacy of “generation” language in gaming, and laid out The Golden Age of gaming. In part two, I look at the Silver and Bronze ages before taking a look at the modern era and the future.

    The Silver Age – 1983 to 1996 8-Bit, 16-Bit, Early Handheld, Early 3D, Advanced PC and Arcade

    The silver age of games is defined by expansion, in not just playability but breadth of experience. When home computers became affordable and home consoles began diversifying, games started transforming from immediate, single-mechanic experiences into more lasting forms. Silver age games were still about escalating challenge, but high scores ceased being the goal, replaced by definitive endings. Games started becoming more explicitly narrative-driven, as aesthetic justification on consoles and as the focus of many PC games (see the entire adventure game genre.) Portable gaming also started to rise to prominence during this period, early single-screen LCD games replaced by multi-game consoles like the Game Boy and Atari Lynx. Arcade and PC game technology pulled far away from home consoles, but all games were shifted from the rough visual abstraction of golden age games, into more aesthetically recognizable presentations – albeit still cartoonish impressionistic rather than realistic. The rise of polygonal 3D graphics, both real-time full 3D (Yu Suzuki’s Virtua series) and pre-rendered (Myst, etc.), at the end of the silver age marks the transition to bronze. In 1996, with the release of Mario 64, Tomb Raider, and Quake, the silver age comes to a close.

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  • The Videogame Ages, part 1



    This past Friday, I tried to slip a little piece of language into a discussion about game emulation that I was wary about using at all. At this point, the go-to boundaries for discussing videogames’ admittedly small history is console-technology generations. We say 8-Bit or 16-Bit because these are easy identifiers based on competing, contemporary technologies. But the language “The 8-Bit Generation” doesn’t account for arcade technology, PC games, or portable gaming. Now that Bob Dvorak’s Tennis for Two is officially fifty years-old, I think we can finally start applying broader terms to gaming’s evolutionary eras. Obviously history is fluid, and chances are these classifications won’t hold true in 2050, but for now they work. The Hesiodic ages, as laid out here, consider games on every platform; the rigid parameters of home consoles, the advanced nature of PC and Mac gaming throughout the 1980s and ‘90s, the fast strides made by arcade technology throughout that same period, and the predominantly inferior technology available in handheld gaming. Unlike Hesiod’s Ages of Man, however, the videogame ages are (mostly) a positive progression. Please note: these are not strict definitions. This is a discussion, and I want everyone to make their opinions heard in the comments section. Now then, onward to the Golden Age.

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  • Star Wars, Lucasarts, Bioware: You’re Doing It Wrong.



    Come October 21st, the inevitable will finally happen. After years of hemming, hawing, clamoring, and speculating, Bioware and Lucasarts are going to announce an MMO based on Star Wars: Knights of the Old Republic. This is not a guess. Bioware’s leash-holder, EA, already spoiled the surprise in July when chief executive John Riccitello flat-out admitted it existed. I couldn’t be more disappointed.

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  • MMO Predicts Life in 10 Years

    Wonder what the world will be like in a decade?

    A new MMO hopes to evaluate the effects of five different "Superthreats" on mankind, and assess humanity's ability to cope with different sorts of impending doom.

    The human species has a long history of overcoming tremendous obstacles, often coming out stronger than before. Indeed, some anthropologists argue that human intelligence emerged as the consequence of the last major ice age, a period of enormous environmental stress demanding flexibility, foresight and creativity on the part of the small numbers of early Homo sapiens. Historically, those who have prophesied doom for human civilization have been proven wrong, time and again, by the capacity of our species to both adapt to and transform our conditions.

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  • DC Universe Online and the Console MMO Conundrum



    You’d think that people would be more excited about the reveal of Sony Online’s DC Universe given that it premiered a mere three days before The Dark Knight, but reactions have been decidedly mixed. It not too surprising to me. SOE doesn’t exactly have the best track record. The Untold Legends series is crap, they’ve been unable to recapture Everquest’s initial success, and Star Wars Galaxies was a complete nightmare. But even beyond SOE’s reputation and the wonky looking DC Universe trailer, there’s never been a truly successful MMO on home consoles.

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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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