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Video Games
Dr. Frank Lee and colleagues from Drexel's video game design program managed to convince the Cira Centre to let them play a 29-story game of Pong on their building, which will happen as part of Philly Tech Week on April 19 and 26.
We'll have a story on it (and a better-quality video) coming out Thursday in our Science and Tech issue, but for now, here's some video we took at last night's test run of the system, wherein Tech Week organizer Chris Wink defeats project developer Marc Barrowclift in what we assume is the largest shutout in Pong history. (They're going for a Guiness Record.)
(On the actual nights that the public will be able to play, the Cira Centre's window shades will all be down and the lights will be off.)
NOTE: This post originally stated that Barrowclift defeated Wink. We very much apologize for impugning Wink's honor!
View galleryIt’s a beautiful July 4, 1912 in the floating city of Columbia. Parade floats of George Washington, Thomas Jefferson, and Ben Franklin glide across the sky while a barbershop quartet nails the harmonies in The Beach Boys’ “God Only Knows.” Wait. What?
System peripherals like Kinect are changing the way we play video games while our xBoxes are turning into home entertainment hubs, it’s hard deny that video games aren’t just for gamers these days. They’re not even just for play, as programmers are developing games to train teachers and help children with Cerebral Palsy. Kudo Tsunoda — former creative director of Kinect for Xbox 360 and designer of such games like EA Sports’ “Fight Night” — will be discussing the directions new game technology is taking. As someone who has developed innovative game features including “Army Men: Air Attack’s” Winch Mechanic and “Fight Night’s” Total Punch Control system, Tsunoda has an unique and knowledgeable perspective of the changes in systems and technology and how these changes will affect gamers and non-gamers alike.
Thu., Nov. 15, 6:30 p.m., free, Bossone Research Center, 3140 Market St., 215-895-2000, drexel.edu.
Over the years, fans and critics have begged Nintendo to take a step forward with its golden, multi-platinum The Legend of Zelda franchise. Nintendo’s last major release in the series, 2006’s The Legend of Zelda: Twilight Princess, garnered enough praise and attention to warrant its own historic place in the vault of Zelda masterpieces, but was still torn apart for its “throw every Zelda game in a blender and burn it to a game disc” approach to its development. Thankfully, such is not the case with The Legend of Zelda: Skyward Sword.
That isn’t to say that gamers won’t still be scouring the world in search of Zelda or collecting heart pieces — just about every beloved Zelda staple returns to Skyward Sword in full force. How these things are collectively put together, however, makes this a Zelda game that stands out nicely from its relatives, creating a cohesive adventure that never fails to keep gamers enticed. Unlike many of the past few entries, Zelda gamers are immediately given a sense of direction in what might be the most thoughtfully put together first 30 minutes of a Zelda game yet. Players are enraptured with a wholesome cast of characters that includes a version of Princess Zelda that — surprise, surprise — isn’t actually a princess. In fact, for the first time, players are given the sense that there is purpose for venturing across foreign lands to save the buxom beauty, rather than being sent off to fight against hellish fiends and traverse dark dungeons to save some uppity bitch in a tower.
But what Skyward Sword really nails is its execution of combat; gone are the days of waggling the Wii remote in frustration, and welcomed are the days of precise 1:1 motion control thanks to the Wii Motion Plus accessory. Controls are not quite as intuitive as one might initially prefer, but by the time a few hours have passed in the game, it becomes difficult to imagine pressing a button to control any of the franchise’s basic gameplay mechanics. Skyward Sword offers what is, without question, the most engaging combat ever to be found in the franchise, requiring strategic slice-n-dice swordplay against enemies that are shockingly talented at being a nuisance to take down.
What’s life without a few curb stomps and chainsaw massacres to ease the stress of your day?
Gears of War 3 comes packaged with all of the action-packed, gory goodness you would expect from Epic Games’ multi-platinum action-shooter series.
But beneath the hard exterior masked by loads of f-bombs and blood-spurting madness is a story that has more scope and depth than the average 15-year-old player might be able to grasp, with eerie comparisons to be made between the game’s primary natural resource and one of the real world — oil.
Yet it’s doubtful that even oil could reach the same level of “oh my god we’re all going to die” panic induced in the world of Gears of War 3. The game begins by once again introducing main character Marcus Phoenix, who is in refuge with his fellow COG members trying to avoid the emulsion-born lambent species as he sorts through his daddy issues. The bulk of the campaign has you trekking through all sorts of destructive and ooey-gooey locations as you make your way through the final chapter in the Gears saga, which I will admit, is quite satisfying.
The story provides something many video game “trilogies” (looking at you, Halo) have failed to in the past: closure. Gears of War 3 finds itself shining best when observed as part of a three-part package rather than as a single entity, despite what money-hungry game designers say about the game being perfectly fine as a stand-alone for newcomers. Watching Marcus Phoenix prance around the world of Sera in search of his father undoubtedly seems more Luke Skywalker to the unknowing audience than ever intended.
But with all of its crude humor and testosterone-overloaded one-liners, the series’ conclusion does find its moments of sentimentality, without ever feeling too over-the-top, sappy, or sacrificial of what makes the game so great in the first place. And just as you start to tap your fingers impatiently, the game picks back up and keeps your eyes glued to the television screen, making the roughly 15-hour experience one that is neither too long nor too short, but just right.
On the whole, the gameplay within Gears third entry remains largely untouched, staying true to the age-old “if it ain’t broke, don’t fix it” adage. Gears of War has always been such a blockbuster title because it dares to be different in a consistent way – it’s the anti-“run ‘n gun,” the salty alternative to your piece of tooth-decaying chocolate cake. This game’s atmospheric, cover-based, strategy-emphasized gameplay mechanics are no exception.
And the multiplayer? As competitive as ever, even if you’ll find major enhancements to be few and far in between. All the same, Gears of War 3 offers more multiplayer modes and roster calculations than I could possibly list in a review, with that alone making the game well worth its $60 price tag.
As the franchise prepares to take its rightful place among the video game greats, one can only hope that the Gears series will go more the way of The Sopranos and less that of Sex and the City; know when to let a good thing die.
Shawn Proctor sets his controller aside to hash out the goods, bads and uglies of the latest games and gadgets.
BACKGROUND: You’ve been preparing your whole life for the zombie apocalypse. Your pantry is filled with canned soup and vegetables. Your apartment's near a secret shelter where there's a cache of supplies at the ready. And The Walking Dead and 28 Days Later? They're always in the back of your mind when you head out for a run. You’re always ready.
So with this in mind, game designers Six to Start and Naomi Alderman partnered with Kickstarter to launch a new 
iPhone/Android app called Zombies, Run! They needed $12,500 to get it off the ground.
They’ve raised more than $50,000 to date.
PREVIEW: You are Runner 5, doing everything you can to keep your posse alive. Half the game consists of missions to collect items like ammo and medicine for your base. When you return home, the supplies can be distributed in your virtual outpost. The second part involves the story mode, complete with voice commands, guttural zombie sounds and scenes that delve deeper into the mystery behind the zombie outbreak. The description promises 30 unique missions in season one — each lasting between 20-30 minutes.
TIPS: Zombies, Run! will win you over because it’s simple. It's not concerned with speed or distance, just the amount of time on your feet. Moreover, the instructions won’t alter your favorite routes. Just press “start” and hit the road.
Shawn Proctor sets his controller aside to hash out the goods, bads and uglies of the latest games and gadgets.
BACKGROUND: Yo, it’s been a good decade for the Eagles, especially during the Michael Vick era, a time when the Linc’s scoreboard lights up like a pinball machine.
The rest of the league is running scared. Want proof? Look no further than Madden NFL 12. When Electronic Arts simulated the regular season, the Birds went 12-4 and Vick logged career numbers on his way to winning League MVP. What fan wouldn’t be thrilled with an Eagles QB passing for 29 TDs and nearly 4,000 yards?
Every ESPN expert, save one, picked Philadelphia to win the division this year, and EA even released a video specifically to help Madden players slow down the Eagles razzle dazzle offensive attack.
You almost have to feel bad for the Giants, ‘Skins and Cowboys. Not really.
Shawn Proctor sets his controller aside to hash out the goods, bads and uglies of the latest games and gadgets.
BACKGROUND: Infamous 2 follows up Sucker Punch Productions’ bestselling PlayStation 3 original, shifting the storyline of courier-turned-superhero Cole MacGrath from Empire City to the New Orleans-inspired New Marais. Not content with MacGrath’s previous slate of electrical powers, the game designers expanded his ability to cause massive amounts of destruction — and he’ll need every bit of it to deal with the nearly indestructible beast that's stalking him.
REVIEW: The game itself is a comic book fan’s wet dream: a world full of places to climb and slide, and enemies to hack, shock and destroy. Like a super-charged version of G4’s Ninja Warrior, MacGrath defies gravity and physics, putting the player in the thick of eye-popping battles and immersing game play. The voice-over work and graphics are excellent, on par with nearly anything on the market.
However, Cole MacGrath is pretty vanilla as a character. And his powers have logic holes that turnpike traffic could pass through. If electricity-based abilities could do this much, Spider-Man would be able to flip cars, spin webs, and shoot poison missiles from his fingertips. Regardless of the entertainment value, it’s all a bit ridiculous.
Shawn Proctor sets his controller aside to hash out the goods, bads and uglies of the latest games and gadgets.
BACKGROUND: When Nintendo 3DS hit the shelves in March it carried a price that threw most gamers into sticker coma: $249. With the promise of handheld 3D gaming without clunky glasses and The Legend of Zelda: Ocarina of Time aside, there just wasn't much incentive to fork over that much cash when other gaming thrills were available at cheaper prices. So to boost lackluster sales, Nintendo dropped the price to $169.99 and released the much-anticipated Street Fighter IV.
REVIEW: While not a handheld Batman: Arkham City, I figured Street Fighter IV on 3DS could be that kind of game-changer. At the suggestion of a friend, I tested it out with the 3D at half-depth and found, at times, it was like a magic eye image — only 3D when my eyes were almost crossed. After a few minutes, I adjusted and finally felt the same kind of wonder I experienced when playing its predecessor. Except this time I had access to 35 characters and cinema sequences I used to have to beat the game to see.
TIPS: Everyone I spoke to agreed the left button, which is the default heavy punch, was a pain to reach during game play. Instead, I suggest altering the button configuration so it's a jab instead. Not a perfect solution, especially when playing a character that uses rapid punches.
"3D gaming without the glasses—and the system fits in the palm of your hand."
That’s how Nintendo is billing its 3DS, basically a three-dimensional Game Boy, which comes out this weekend. I’m not normally a guy who runs out to see the latest gadget, but I was both impressed by this idea and a bit skeptical. For my generation, video games began with Super Mario Bros. — brightly colored, pixilated, two-dimensional. How did we get to this point?
When I first played a friend’s Nintendo, I was hooked by the idea of controlling a character. I could be another person, a person whose life was a lot more interesting than mine: Mario shot fireballs, he ate strange mushrooms, he plumbed (do plumbers plumb?). The idea of “graphics” never really crossed my mind: This was just what video games looked like.
Then came Genesis and Super Nintendo. Suddenly, the visuals were sophisticated enough to care about, yet still simplistic enough that game designers had to work within severe limits. Those limits forced real creativity: How do you make rain look real? How do you make a character’s movements convincing? As designers cleverly worked around the limitations, it became possible to see video games as a crude art form.
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