263 - Crowdfunding Encounter
Play • 57 min
Crowdfunding services like Kickstarter, IndieGogo, and Fig have disrupted traditional game production and become an inescapable part of how video game consumers and developers interact, but the crowdfunding revolution within video games is less than ten years old.  Today's Retro Encounter is a discussion of how crowdfunding has affected the modern gaming landscape, as well as a few of our favorite (or most notorious) crowdfunded video game project.  

Listen to the newest Retro Encounter after pledging to the $0 tier!  

Featuring: Michael Sollosi, Robert Fenner, Tina Olah; Edited by Brian Ingemanson

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Dev Game Club
Dev Game Club
Brett Douville and Tim Longo
DGC Ep 244: Ocarina of Time Bonus Interview with Lani Lum
Welcome to Dev Game Club, where this week we explore Ocarina of Time a bit more through an interview with industry Executive Producer Lani Lum. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Podcast breakdown: 0:48 Interview 1:07:25 Break 1:07:54 Feedback Issues covered: nerd markings, "why are you studying anthropology?", drawing the short straw, transferring into production, unsung heroes, "this is a game about a girl?", video games being marketed towards boys, still waiting on a female protagonist, making programming a male job, art becoming specific with graphical power, a female arm for CounterStrike, opening doors, a less linear feeling game, the comfort of early childhood encounters, a game you can trust, room for so much debate, rolling onto Hyrule Field and the model, revelatory moments, struggling with camera control, overcoming the feeling of size, introducing the game to a new generation, listening to the music in your life, the difficulty of looking back, "I don't think I'll ever play a more perfect game," the sense of discovery, context-sensitive controls (and a modern version), "games will never be the same after this," two kinds of people: those who care about the timeline and normal people, the possibility Link turns into a skeleton, Brett the Heartless, Tim the teary-eyed, using the Triforce to hop the line, innocence and lack of cynicism, asking yourself the right questions, being honest with what we're doing, using influence rather than control, mapping the pieces of the triforce to game development, the perspective of the Triforce in different games, Tim swayed by passion, the complexity and expectations of Flight Simulator, Flight Simulator in VR, shipping while working from home during a pandemic with a nine hour time difference, the importance of representation and the mishandling, family focus, transferring into your adult self as wish fulfillment, the timing of recording and recent events, the cautionary tale of becoming an adult, motion capture and Ocarina, inverse kinematics in games, skipping the game play, we've gotten away from feeling we have to force people to play a particular way, if the game is claiming to be good at a thing it should be compelling enough that people want to play it, free-to-play and intrinsic interest, the value proposition, games in school. Games, people, and influences mentioned or discussed: Turok, Threewave Software, Aion, NCSoft, Microsoft, 343 Studios, Halo (series), Xbox Game Studios, Microsoft Flight Simulator, Counterstrike, Republic Commando, NES, The Karate Kid, Indiana Jones, Gamecube, Harry Potter, Breath of the Wild, N64, Minecraft, Koji Kondo, Roblox, Super Mario Odyssey, Mario Kart Double Dash, Kingdom Hearts, Shigeru Miyamoto, Starfighter (series), TIE Fighter, Super Metroid, Wii, Nintendo Switch, Dungeons and Dragons, mysterydip, Drew, Freaky Friday, big, 18 Again, Jennifer Garner, Elizabeth McGovern, Elizabeth Perkins, Moon, Duncan Jones, Kevin Spacey, Michael Justice, Tomb Raider, Majora's Mask, Shadow of the Colossus, League of Legends, Sam, Math Munchers, Oregon Trail, Where in the World is Carmen Sandiego?, Lemonade Stand, Robot Wars, Manhole, Ken and Roberta Williams, Wizard and the Princess, Mystery House, Rogue, Sierra, Hitman, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: Another Interview! Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub DevGameClub@gmail.com
1 hr 44 min
Arcade Attack Retro Gaming Podcast
Arcade Attack Retro Gaming Podcast
Arcade Attack
Sound Test Vol.2 - My Life in Racing Games
Keith's back with another music pod! At last!! Was it worth the wait? You betcha! A tale of how young Keith fell in love with 8-bit SEGA racing games, then 16-bit SEGA racing games, then SEGA arcade racing games, you get the hint (hahahahahha). But seriously, let him tell you tales via the medium of sound and some of the best soundtracks to racing games ever created. Splash Wave - Outrun - Master System (1987) - Hiroshi Kawaguchi Enduro Racer - BGM 1 - (1987) - Hiroshi Kawaguchi Super Monaco GP - Concentration - (1990) - Tokuhiko Uwabo Super Hang-On - Winning Run Mickey Ver. (Mega Drive version released 1990) - Katsuhiro Hayashi, Koichi Namiki Power Drift - Artistic Traps - (1988) - Hiroshi Kawaguchi F-Zero - Big Blue - (1990) - Yumiko Kanki, Naoto Ishida Road Rash - Grass Valley - (1991) - Rob Hubbard Virtua Racing - course select - (1992) - Takenobu Mitsuyoshi Street Racer - Frank's course - (1995) - Matt Furniss Daytona USA (Saturn) - The King Of Speed - (1993/1995) - Takenobu Mitsuyoshi Sega Rally (Saturn) - Conditioned Reflex, My Dear Friend, Rally - (1994/1995) Takenobu Mitsuyoshi, Naofumi Hataya, Takayuki Hijikata Wipeout - (PlayStation) - Cold Comfort - (1995) Tim Wright (as Cold Storage) Manx TT Superbike (Saturn) -Track 5 - (1997) - Howard Drossin Gran Turismo 2 - Arcade Mode - (1999) Masahiro Andoh, Isamu Ohira Burnout 3 Takedown - Broken Promises - (2004) - Moments in Grace Tourist Trophy - TT Mode Menu Music - (2005) - Sun Paulo and Makoto Outrun 2 Coast to Coast - Risky Ride - (2006) -Hiroshi Kawaguchi, Fumio Ito, Richard Jacques Fancy discussing this podcast? Fancy suggesting a topic of conversation? Please tweet us @arcadeattackUK or catch us on facebook.com/arcadeattackUK All copyrighted material contained within this podcast is the property of their respective rights owners and their use here is protected under ‘fair use’ for the purposes of comment or critique
1 hr 36 min
Retro Asylum -  The UK’s No.1 Retro Gaming Podcast
Retro Asylum - The UK’s No.1 Retro Gaming Podcast
Retro Asylum
Episode 240: Exile
In this, the very first show of 2021, Dean, Chris and Mads talk about their experiences playing December's game club game Exile on the BBC Micro. Thanks to all of our Patreon’s who made this episode possible. William E Rimmer Ninjixel TJ Andy Hudson Ricardo Engel Adrian Nelson Alastair Barr Straight2Video RoseTintedSpectrum Matthew W James Bentley Wiedo Belochkin Tony Parkinson Gaz H Mal Woods Zach Glanz Richard Rogers Cane and Rinse LamptonWorm Salvio Calabrese Mitsoyama Rhys Wynne Clint Humphrey MARK BYLUND Paul Ashton Chris Rowe Jon Sheppard Laurent Giroud Martin Stephenson Aaron Maupin Jim-OrbitsIT Jon Veal Thomas scoffham Andy Marsh Patrick Fürst Laurens Andrew Gilmour Stephen Stuttard Matt Sullivan Magnus Esbjörner Darren Coles Garry Heather Edward Fitzpatrick Nick Lees Blake Brett Q and A with Peter Irvin. Q: Where did the concept of the game come from? Was it influenced by earlier videogames? A: The concept for Exile started as just the idea of a man with a jetpack exploring an underground cavern system, having to solve problems to progress, fighting off hostiles. It wasn’t influenced by other games, more from TV/film - like Star Trek, Blakes 7, Forbidden Planet. Q: Was the game built around the plot or did the mechanics of the game come first? A: The mechanics came first and we kept adding stuff to the game engine until we knew what the limits were and how far we could go with the resources available. The plot crystallised over time, after we worked out what could be achieved, then we had to populate the map to match and make a playable game. Major way points were decided, like the Rune Door and Triax’s lab, and the scattering of other puzzles, equipment and encounters designed to get the player equipped to pass through these way points. However we sometimes had “we could add this cool thing” moments and had to include that - like the digital speech on the large RAM BBC micro version. Q: Nowadays, there is infinite memory to craft a story and provide lots of context for the game. That was not possible for you. How early did you develop the idea of a novella? A: To include a novella was decided quite late in the day. Yes, it was a way to help explain the game back story better but it was also a way to add perceived value to the game, and reduce piracy - the thinking being that people would pay more and pirates would think they were missing out on important stuff if they did’t have the full package, though I’m not convinced by that. Q: How much of what you and Jeremy learned from Thrust did you carry forward into Exile? A: With Thrust, Jeremy showed that implementing physics well - gravity, thrusting, multi-body mechanics - was actually rewarding for the player; it was pleasing just to fly around. We were both interested in physics so that had to be a big part of Exile, and a lot of time was spent getting the physics engine right - all the acceleration rates, gravity, impacts, wind forces, floating, etc work in balance and to feel ok but coded with very little memory. Q: Were there any interesting alien life forms that you prototyped but had to cut? A: There were a few but the details are lost to me by the passing of time. Most memorable now was a dog - which was to be the player’s faithful companion, helping out as best he could. He was included from the beginning as it came over from an unfinished game I was doing before Exile called “Wizard’s Walk” - a wizard travelling down a long pretty cave populated by hazards. The dog used too much RAM for its graphics in Exile - it needed extra frames due to walking up diagonals. It also had to be indestructible, and manage to get around the map as well as the player or the game wouldn’t work, so it ended up being removed and we put in Fluffy which was small alien bundle of pixels and trivial code to control. Q: Some game reviews show screenshots that are clearly from a different game map. Were review copies sent out that were radically different or were these more likely pictures from earlier prototype builds? A: I don’t recall any wrong maps being reviewed. Perhaps on the Amiga version? The BBC Micro Exile game map was generated by a tiny algorithm to produce the straight tunnels, a scattering of caverns, some individual tiles and areas that could be hand-defined (like for the top ship, the top underground base, Triax’s lab, various doors, etc. The map code was fixed in stone at a very early stage because changing it would have meant repopulating the entire game. Q: The manual quite bluntly tells players that it’s a game which requires thought. Where you worried that people wouldn’t “get it”? A: Exile was hard to play in parts and required people to use their brains in some places to solve the natural puzzles. That wasn’t the way games were back then - most were short duration entertainment requiring little thought. We designed Exile as the sort of game we wanted to play, hoped others would accept it, but knew if they got stuck they could ask their friends or get advice from one of the games magazines. It isn’t a “levels game” where you just shoot your way through and collect stars, it was more like a movie - one big adventure. It was also more difficult than it should have been partly due to the limitations and efficiencies of the physics engine and shared general purpose code between many creatures. Many people didn’t complete Exile, or even get as far as the excitement of destroying the maggot machine, the earthquake and the flooding caverns, but I like to think they still got value for money. It’s hard to balance a game for all abilities when the resources are so tight and trying not to allow dead ends in progress were the player to have inadvertently wasted all the required resources to overcome upcoming obstacles, but in retrospect perhaps some things should have been easier. Q: The purple, vertical blast door near the start has a gap at the top which can be flown through, with enough time and patience. Did you know about it when the game shipped, but decided it wasn't a big enough game-breaker to fix? A: There were many such collision “features” - a side effect of a general purpose physics engine with limited resources to prevent special cases. Anyway, quantum tunnelling happens in physics, so surely that’s fine! Q: Are there any (other) bugs in the game which you look back on now and think “ah, if only we could patch it!”? A: There were many of what I call “features” rather than bugs in Exile and I think we knew about most of the ways things could go wrong but had no spare RAM to fix. My favourite one was, with your back to a vertical door, holding something, suddenly turning around while thrusting forward and do a throw - the thrown object can usually be made to appear on the other side of the door to you. Sometimes you could use a similar system to get yourself through! There were so many things to balance - like the relationship between the speed of a firer, the speed and dimensions of bullets and the thickness of doors, otherwise they could tunnel through the door or bullets hit the firer. Q: Did it bother you that the published solutions made use of physics/engine glitches to get the coronium rocks out of the eastern area, instead of the 'correct' solution which involves creating additional coronium by luring slimes through a piece of solid rock, converting them to yellow balls, then passing them through the underwater structure containing red blobs to the west of the windy shaft? A: No, I’m not really bothered about players making use of things they found. Exile is about exploration and experiment, so finding shortcuts, even if relying on “features” is still in that spirit. We wanted several ways to do many of the puzzles anyway, and the eastern tunnels were meant to be a natural area uncorrupted yet by Triax, where the player could experiment to di…
2 hr 5 min
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