Showing posts with label atari. Show all posts
Showing posts with label atari. Show all posts
Thursday, May 12, 2016
Video Games' Prices Through the Years - It's a Pixel THING - Ep.#89
Are you happy with video games' prices? Do you buy and support this "new" practice for Special and Collectors Editions?
Let's take a look at video games' prices through the years!
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Friday, February 19, 2016
25 Years of Lemmings - It's a Pixel THING - Ep.#81
25 years ago, a tiny and basic character animation lead to one of the greatest video games ever made!
Let’s celebrate the birthday of Lemmings!
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Tuesday, January 5, 2016
It's a Pixel THING 2015 Moments - Special Episode
Year in review highlighting practically every single video game mentioned on the show and some special moments that marked 2015!
Come aboard!
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Monday, March 30, 2015
500 Subs Special & Future of the Channel - It's a Pixel THING
Thank you guys for this 500 subs celebration video! It's been an awesome ride!
In this special episode of the Pixel THING I bring back some memories from the 80s and 90s and talk about what will be the future of the channel.
Thanks, once again for all the support and for subscribing to the Pixel THING.
If you're into retro - or not so retro - stuff, please subscribe at http://www.youtube.com/user/ThePixelTHING and visit http://www.facebook.com/PixelThing & http://twitter.com/Pixel_THING
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Thursday, July 31, 2014
5 PlayStation 2 (PS2) Underrated Games
Almost 4000
titles have been released for the PlayStation 2 and, as you can imagine,
there’s hundreds of hidden gems out there.
These are
my 5 underated PS2 games that must belong on the shelves of every game
collector.
Splashdown was one of the first games that I’ve played on
a PlayStation 2. Back then, I was really impressed with what they’ve
accomplished. The water effects and player’s animations are marvelous and
superbly done.
Released for
the PS2 and Xbox in November 2001, it was published by Atari and developed by
Rainbow Studios, the same guys that, a year earlier, released the fabulous
Motocross Madness 2 exclusively for the PC.
It was the
second Rainbow Studio’s game for the PlayStation 2, after ATV Offroad Fury, and
they’ve managed to create a similar Wave Race kind of game, that was exclusive
for Nintendo machines, and bring this awesome water mayhem for the Sony and
Microsoft fans.
It has a
superb and exciting split screen 2 player mode, and there’s 18 exotic locations,
from Hawaii to Bali. We can choose to start a career, do some free riding or
play the arcade mode of the game. Obviously, career mode is the way to go.
Besides all this, there’s an extensive number of tricks that you can pull off
while in the air, just like in Motocross Madness and ATV Offroad Fury, but way
more realistic, and a freakin awesome soundtrack to keep the player motivated.
Check it
out! You won’t regret it!
Teenage Mutant Ninja Turtles, by Konami, brings the memories of
the arcade saloons of the eighties.
The game
features a single or 2-player co-operative mode in which you can play has
Donatello, Raphael, Leonardo or Michelangelo and each has his own unique set of
levels to complete. There’s also a versus mode where two players can fight head
to head. We’re given the option to choose one of the turtles and, as well,
Splinter, Casey Jones, Hamato Yoshi, The Turtlebot, Hun, Oroku Saki and
Shredder.
It’s a
basic button slash type of game, just like its old brother from 1989, and was
criticized for that simple fact. The music, sounds and animations are great and
faithful to the series. It keeps the player hunger for action, and there’s
plenty of it!
If you’re a
fan of beat-em-up games, this one is a must have! And with co-op mode, there’s
no excuse!
Finest Hour was the first console installment of the Call of Duty franchise, and was a PS2,
Xbox and Gamecube exclusive.
Developed
in 2004 by Spark Unlimited and published by Activision, it has a completely
different storyline from the original PC game, the very first Call of Duty from
late 2003. It’s based in real events from World War 2 and we get to experience
the action from the US, British and Soviet point of view.
If featured
an online multiplayer mode for up to 16 players simultaneously.
The audio
is of exceptional quality, from de sound effects to the music itself. It looks
like we’re watching an interactive movie. The voice of Sergeant Starkey, one of
the British commandos, was provided by AC/DC singer Brian Johnson.
Playing
first person shooters on a console maybe awkward, but Call of Duty: Finest Hour
is an essential add-on for all the fans of the franchise.
True Crime New York City follows the footsteps of its
predecessor, True Crime Streets of LA. But, sadly, critics gave it average and
poor reviews.
For me,
though, the vast depiction of Manhattan and its many landmarks, the innovative
transportation options, like using the New York City subway system, and the
simple fact that many buildings are accessible to the player, are extreme good
qualities that sets this game apart from previous open world titles.
Ok, maybe
there’s some bad frame rates from time to time and minor technical issues here
and there that seemed to have resulted from a rushed release. It became
available before Christmas of 2005 and was published by Activision.
In this
game, you’re the cop. You need to avenge the murder of your mentor and take
control of the streets. You can arrest, interrogate, use informants, extort,
frisk, and more. But, at the end, your fate will be tested: your actions may
turn you into a Bad Cop.
Due to its
bad reception, a planned sequel named True Crime: Hong Kong was canceled.
Luxoflux, the team behind the development of the True Crime franchise, was even
shut down in 2010.
I enjoy
sandbox/open world type of games and I’ve had a blast with True Crime New York
City.
Rainbow
Studios returns to their heritage with MX
Unleashed, the next generation leap from its older brother, Motocross
Madness 2.
For the
despair of PC gamers all over the world and devoted followers of the Motocross
Madness series, this title was only available for the Playstation 2 and Xbox.
But, for the record, if Rainbow Studios hadn’t been acquired by THQ, MX
Unleashed would have been called, with no doubt, Motocross Madness 3 and also
available for the PC.
Published
by THQ in the beginning of 2004, MX Unleashed is one big off-road playground.
There’s Supercross and outdoor Nationals series to participate, just like in
Motocross Madness. But, newer stuff was obviously included, like taking a
monster truck, a helicopter or a bi-plane out for a ride in the massive
freeworld environments. But be aware! There’s a limit for your exploration!
MX
Unleashed features an accurate physics engine. The bike and rider react to the
surface in a natural way and your speed, the angle of the bike and how you’re
balancing the weight, all of this affects how your bike responds to the
terrain. The controls are sharp and accurate and the trick system is simple and
fairly basic to execute. To be honest, everything feels right in this game.
It also has
an awesome soundtrack, but, in game, I prefer to listen only to bike’s engine
and all other sound effects.
The PS2 has
a great library of games. I’ll be covering much more titles from the
best-selling video game console in history.
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Saturday, June 28, 2014
Indiana Jones and the Last Crusade (1989) PC/Amiga Review
For the PC
I’ve recently purchased this game through Steam, but I’ve also got the Amiga’s
Kixx XL 1992 floppy re-release of this awesome title.
Inside a pretty
looking big box, there’s the three floppy disks, a folded manual that includes,
besides all basic info, the Translation Table that is simply the copy
protection codes that are asked when you start the game. Also inside comes a
Kixx XL complete catalogue of their re-releases back in 1992. And, finally, the
crown jewel: Dr. Henry Jones diary, like the one we see in the movie. I haven’t
read it yet, but I believe that it’s filled with interesting stuff. It has hand
drawings, sketches, newspaper pieces, letters and even the map showing the
canyon of the crescent moon! It looks like it was written by hand. It’s just
amazing the awesome stuff that used to come inside these big boxes back in the
day.
Back in
1989, Steven Spielberg brought us the third movie of the Indiana Jones
adventures, my favourite one. The Last Crusade transports us into the quest for
the Holy Grail, where we have to fight against the Nazis and avoid Hitler
getting his hands on the cup of Christ.
The graphic
adventure point-and-click game was released for PC, Atari ST, Macintosh and the
Amiga. There were also a CDTV edition of the game, but it had any graphical improvements
over the original. It only included extra musical content on the CD.
It was
published by Lucasfilm Games, the defunct LucasArts, and it was the third game
to use the SCUMM engine. It follows closely the film’s plot and, sometimes, go
beyond that.
Being a graphic adventure, it misses almost all the action scenes
of the movie. These were present in the extreme difficult Action Game version
that I played to exhaustion in my ZX Spectrum: the caves, the circus train, the
Venetian catacombs, the jumping from window to window in the castle of
Brunwald, the zeppelin and, finally, the traps and puzzles of the temple of
Petra, in Jordan, where the holy grail is being kept. Although, the graphic
adventure game had a few arcade fight sequences that could be avoided by
picking your dialogue carefully.
The
Spectrum version of the Action game received the best reviews and was number 2
on the charts because of RoboCop. As seen on my last post about Ocean
Software, Robocop was number one for 18 consecutive months.
Lucasfilm
Games introduced, in this graphic adventure, the possibility to complete the
game in several different ways. They called it the IQ Score, or Indy Quotient.
By doing this, George Lucas game studio found a way to maintain players
interested in finishing the game more than once. This was one big problem with
Sierra’s adventure games and made all the difference.
As
mentioned before, this title has a built in copy protection at the start of the
game. If you enter incorrect codes for three times in a row, the game goes into
demo mode and when Indy is asked by Donovan to translate the tablet, he fails
completely and he’s throwned outside by Donovan himself, ending the game.
Later
was also released a PC CD-ROM version with 256-colour graphics that didn’t have
the copy protection.
Many of the
scenes unique to the game were conceived by George Lucas and Steven Spielberg
themselves during the creation of the movie. This explains the almost singular
success of LucasArts in this area, not only with the Indiana Jones series, but
also with their many Star Wars titles. George Lucas was always available to to give
some ideas and transmit confidence to the teams behind these awesome titles.
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Monday, June 23, 2014
Ocean Software, Rise and Fall of a Giant
Repeatedly
named the Software House of the Year, Ocean Software was one of the largest and
most respected producers in the gaming world, a company that adapted and converted,
in a masterful manner, the most successful Hollywood flics and arcade titles
for the various platforms, ranging from the ZX Spectrum to Commodore Amiga and
also for the Super Nintendo Entertainment System and Sega Mega Drive (aka as
Genesis is the US).
We were,
for fourteen years, bombarded with adds of their latest releases in all gaming magazines.
Ocean’s logo stamped on the cover was all that it took for the game to sell millions
of copies. This shows the strength and the quality of the brand.
It all
started in the early '80s when its founder David Ward, after a visit to the
United States, realized that videogames would be a good business to invest in, as
shown by the emerging potential of the industry in that country. Thus, in 1982,
he founded the company Ocean Software and slowly started hiring programmers for
its headquarters at Manchester. At the end of the first year, Ocean had already
achieved profits of 500 thousand pounds and more than 200 thousand games sold.
Then, David Ward became president of the company and his partner, Jon Woods,
commercial director. By that time, Ocean had already 60 developers from across
England with an average age of around 19 years.
In addition
to its talents within the company, Ocean was also proud of its external
sources, including Jon Ritman and Bernie Drummond, Denton Designs, Sensible
Software and Digital Image Design.
David Ward said
"The key to sell a lot of games is to
make them identifiable to the public" and, thus, Ocean assured licenses
for major film successes, television series and arcade games despite their
first titles were total flops: Knight Rider, Street Hawk and Transformers were
examples of bad conversions.
However, in
1987, profits of Ocean already ascended to £ 10 million with over three million
games sold. By this time, Ocean acquires the "defunct" rival Imagine
Software, the company responsible for two classic hits like Renegade and Yie Ar
Kung Fu, cementing its international reputation through the Ocean brand with
excellent conversions for Konami 8bit arcade machines.
Ocean grew
exponentially and its influence reached its peak. The developers were able to
create fantastic games and started having fun while doing them.
By this time,
Ocean decides to reward their employees putting their names in the credits of
each game. Programmers, artists and musicians were now more motivated than ever
and thus wanted the title to be the best possible, cause their name was now
exposed to the world.
Obtaining
licenses to create games from movies was, at that time, very easy and cheap.
Movie studios did not have the perception of the potential that videogame
industry had started to have. There were attempts, by Atari, to recreate the
movie ET: The Extra Terrestrial. Spent £22 million and the results were much
lower than expected. Ocean was determined to do it as it really should be done
and Gary Bracey was responsible for acquiring the rights.
One of the
best licenses was Robocop. This low-budget movie had a huge acceptance from the
public and the game sold millions of copies in different platforms. It was
probably one of Ocean’s most profitable games and its license was insignificant
in monetary terms.
Between all
this success and popularity, there was also room for failure. One of the worst acquired
licenses was Hudson Hawk. The film, written and performed by Bruce Willis, was genuine
garbage and the game does not go beyond that.
Anyway, more
than 100 games have comfortably placed Ocean on top of the charts through the
years.
However, tension
began to rise. There was the need to release the game simultaneously with the
premiere of the movie and, sometimes, that forced programmers to work 24
consecutive hours in order to obtain the final product on time to be sent to
the duplicating machines.
The arcade
licenses were also very important to Ocean. Between 1983 and 1992 half of the
games published by the company were based on movies or on arcade games.
Simon
Butler worked on many film and arcade successes, such as Total Recall, Platoon,
Darkman, The Adams Family and Combat School, and recalls that the conversion to
8-bit machines – Spectrum, Commodore 64 and Amstrad – were always the most
challenging and complicated to perform. One of the most successful conversions
of arcades was Chase HQ. Bill Harbison, who joined the team in 1988, confessed
that, to do an arcade game conversion, he needed to have the machine itself in
the office and, while playing, he would draw sketches of the scenarios as reference.
There has
always been competition and Ocean wanted to be the best. Its biggest opponent
was initially U.S. Gold. Later, when the first consoles started to emerge, the
extinct Acclaim also became Ocean’s largest rival. Even internally, healthy
competition also existed. The various teams were always wanting to better
themselves and exceed expectations.
The
evolution and changing time eventually came with the 16-bit machines. Programming
for these new machines now takes twice as long and Ocean was not afraid of the
challenge. They were excited!
The early
90s were, for Ocean, times for reflection. Remained the question of how the
industry would develop. Then, in 1994, a new company within Ocean, Tribe, was
formed to meet future challenges that had to be overcome: the giant leap from 8-16bit
for the 32-64bit.
Were then
created separate teams, each comprising a team leader, programmer and main
designer. Games began to be planned six months before any programming was
initiated and, in 1996, Tribe was already composed by 80 members.
That same
year, the company ended up bought by French Infogrames. The headquarters
remained in Manchester until Infogrames also purchase Gremlin Graphics in 1999,
which led them to change the entire base of operations to Sheffield. Shortly
after, Ocean brand was extinguished. GT 64 Championship Edition, for Nintendo
64, was Ocean’s last game.
Who is
between 30 and 40 years old, recall with some sadness and nostalgia the
disappearance of Ocean. They left a remarkable legacy that, even today, still
manages to impress.
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Sunday, April 8, 2012
Ocean Software, Ascenção e Queda de um Gigante
Por diversas vezes nomeada a Software House do ano, a Ocean Software foi um dos maiores e mais respeitados produtores mundiais de videojogos, uma companhia que convertia de modo magistral os títulos de maior sucesso das arcadas e adaptações cinematográficas dos grandes sucessos da época para as diversas plataformas, desde o ZX Spectrum ao Commodore Amiga, passando pela Super Nintendo Entertainment System (SNES) e pela Sega Mega Drive.
 |
| David Ward e Jon Woods |
Fomos, durante duas décadas, bombardeados com anúncios aos seus jogos em todas as publicações da especialidade. Bastava apenas o logótipo da Ocean estar estampado na capa do jogo para vender milhões de unidades, tal era a qualidade desta marca.
 |
| Um anúncio da marca para captar a atenção dos jovens programadores |
Tudo começou no no início dos anos 80 quando o seu fundador David Ward, após uma visita aos Estados Unidos, percebeu que os videojogos seriam um bom negócio no qual deveria investir, pois constatou a emergente evolução e potencial do ramo naquele território. Assim, em 1982, fundou a empresa Ocean Software e foi, pouco a pouco, contratando programadores para a sua sede em Manchester. No final do primeiro ano tinha já obtido lucros na casa das £500,000 e mais de 200,000 jogos vendidos. David Ward tornou-se, então, presidente da empresa e o seu sócio Jon Woods diretor comercial. A marca Ocean transformou-se na EA (Electronic Arts) da época, com 60 programadores oriundos de toda a Inglaterra com média de idades a rondar os 19 anos.
Para além dos seus talentos dentro da empresa, a Ocean orgulha-se, também, das suas fontes externas, nomeadamente Jon Ritman e Bernie Drummond, Denton Designs, Sensible Software e Digital Image Design.
"A chave para a venda de muitos jogos é torná-los identificáveis para o público", afirma David Ward e, assim, a Ocean assegurou as licenças para os maiores êxitos cinematográficos, de séries televisivas e das máquinas de arcada apesar dos primeiros jogos não terem sido grandes sucessos: Knight Rider, Street Hawk e Transformers foram exemplos de más conversões.
Entretanto, em 1987, os lucros da Ocean ascendiam a já £10 milhões com mais de três milhões de jogos vendidos. Por esta altura adquire a "defunta" rival Imagine Software, empresa responsável por sucessos como Renegade e Yie Ar Kung Fu (dois enormes clássicos), cimentando a sua reputação internacional através da marca Ocean com excelentes conversões das arcadas Konami para as máquinas de 8 bits.
A Ocean crescia exponencialmente e a sua influência atingira o auge. Os programadores estavam a conseguir criar jogos fantásticos e começavam a divertir-se enquanto os faziam, conforme se pode constatar no segundo vídeo que se segue.
O primeiro vídeo trata-se de um documentário que relata como a Imagine se transformou numa empresa fantasma, fruto de um "mega-jogo" que nunca chegou a ver a luz do dia.
Por esta altura, a Ocean resolve premiar os seus colaboradores colocando os nomes de todos eles nos créditos de cada jogo. Programadores, artistas e músicos estavam agora mais motivados que nunca e, desta forma, queriam que o título fosse o melhor possível, pois o nome deles estava exposto ao mundo.
Obter licenças para criar jogos a partir de filmes era, naquela época, muito fácil e barato. Os estúdios de cinema ainda não tinham a percepção do potencial que esta indústria começara a ter. Tentativas houve, por parte da Atari, de recriar o filme ET: The Extra Terrestrial. Gastaram £22 milhões e os resultados ficaram muito aquém do esperado. A Ocean estava determinada a fazê-lo como realmente deve ser feito e Gary Bracey era o responsável pela aquisição dos direitos.
Uma das melhores licenças foi Robocop. Este filme de baixo orçamento teve uma enorme aceitação junto do público e o jogo vendeu milhões de unidades nas diversas plataformas. Foi provavelmente um dos jogos mais lucrativos para a Ocean e o seu licenciamento foi irrisório em termos monetários..jpg) |
| Gary Bracey e o atleta Daley Thompson (testando o jogo com o seu nome) |
Pelo meio de todo este sucesso e popularidade, houve também espaço para o fracasso. Uma das piores licenças adquiridas foi a de Hudson Hawk. O filme, escrito e interpretado por Bruce Willis, foi uma autêntica infelicidade e o jogo também não passou disso.
Entretanto, a tensão começava a aumentar. Havia a necessidade de lançar o jogo em simultâneo com a estreia do filme e isso obrigava os programadores a, por vezes, trabalhar 24 horas consecutivas por forma a obterem o produto final a tempo e horas de este ser enviado para as máquinas duplicadoras.
As licenças das arcadas eram também muito importantes para a Ocean. Entre 1983 e 1992 metade dos jogos editados pela empresa eram baseados em filmes ou nas arcadas.
 |
| Simon Butler |
Uma das mais bem sucedidas conversões das arcadas foi a de Chase HQ. Bill Harbison, que se juntou à equipa em 1988, confessou que para se fazer uma conversão de um jogo das arcadas necessitava de ter a própria máquina no escritório e, enquanto jogava, ía copiando os cenários desenhando esboços como referência.
Sempre houve competição e a Ocean queria ser a melhor. O seu maior adversário foi inicialmente a US Gold. Mais tarde, quando as primeiras consolas começaram a surgir, a também extinta Acclaim tornou-se no seu maior rival. Mesmo internamente, a competição saudável também existia. As várias equipas estavam sempre a querer superar-se e exceder as expetativas.
A evolução e o tempo de mudança acabou por chegar com as máquinas de 16 bits. Programar para estas novas máquinas levava, agora, o dobro do tempo e a Ocean não estava com receio do desafio, mas sim excitada.
O início dos anos 90 foi, para a Ocean, de reflexão. Permanecia a dúvida de como a indústria iria desenvolver-se. Então, em 1994, formou-se uma nova empresa dentro da Ocean, a Tribe, para enfrentar os desafios futuros que tinham de ser ultrapassados: o salto gigante dos 8/16 bits para os 32/64 bits.
 |
| GT 64 Championship Edition, o último jogo da Ocean |
Nesse mesmo ano, a companhia francesa Infogrames acabou por comprar a Ocean. A sede manteve-se em Manchester até a Infogrames comprar também a Gremlin, em 1999, que os levou a mudar toda a base de operações para Sheffield. Pouco depois, a marca Ocean foi extinta. GT 64 Championship Edition para a Nintendo 64 foi o último jogo da Ocean.
Quem se encontra entre os 30 e os 40 anos de idade, recorda com alguma tristeza e nostalgia o desaparecimento da Ocean. No entanto, esta deixou um legado notável que, mesmo nos dias de hoje, consegue ainda impressionar.
Seguem-se alguns dos melhores exemplos da excepcionalidade artística da Ocean Software:
WIZBALL [1987] Commodore Amiga
(também disponível para Spectrum, C64, Amstrad e Atari ST)
MATCH DAY II [1987] Amstrad CPC
(também disponível para Spectrum e C64)
TARGET: RENEGADE [1988] ZX Spectrum
(também disponível para C64 e Amstrad)
OPERATION WOLF [1988] Commodore Amiga
(também disponível para Spectrum, C64, Amstrad e Atari ST)
CABAL [1988] Commodore Amiga
(também disponível para Spectrum, C64, Amstrad e Atari ST)
BATMAN: THE MOVIE [1989] ZX Spectrum
(também disponível para C64, Amstrad, Amiga, Atari ST e PC]
OPERATION THUNDERBOLT [1989] Amstrad GX4000
(também disponível para ZX Spectrum, C64, Amstrad, Amiga e Atari ST)
CHASE HQ [1989] Commodore Amiga
(também disponível para ZX Spectrum, C64, Amstrad e Atari ST)
NAVY SEALS [1990] Amstrad GX4000
(também disponível para ZX Spectrum, C64, Amiga e Atari ST)
RAINBOW ISLANDS [1990] ZX Spectrum
(também disponível para C64, Amstrad, Amiga e Atari ST)
MIDNIGHT RESISTANCE [1990] Commodore Amiga
(também disponível para ZX Spectrum, C64, Amstrad e Atari ST)
PLOTTING [1990] ZX Spectrum
(também disponível para C64, Amstrad, Amiga e Atari ST)
PANG [1990] Commodore Amiga
(também disponível para ZX Spectrum, C64, Amstrad GX4000 e Atari ST)
TOTAL RECALL [1991] Amstrad CPC
(também disponível para ZX Spectrum, C64, Amiga e Atari ST)
JURASSIC PARK [1993] Sega Mega Drive
(também disponível para Amiga, NES, Master System, Game Boy e GameGear)
MR NUTZ [1994] Super Nintendo Entertainment System
(também disponível para Amiga, Mega Drive e Game Boy)
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