Twice-removed from its inspiration, Aldo’s Adventure is a copy of a Donkey Kong clone. The game, assembled by programmer Dave Ibach and his son Ben, resembles a page from a series of increasing blurry photocopies, losing the fine details and solidity that hold the master document together. » Read more about Aldo’s Adventure
Few franchises have the instant pedigree of the Sim series. Outside of SimCity, most of the Sim games never reached any kind of widespread success, but if you bought one, you knew what you were getting just based on the title. By their peak in the mid-90s, Sim games had become a genre unto themselves thanks to Maxis’s master craftsmanship. Each game was among the most engaging simulations a given subject had to offer.
So it comes as a surprise that on a number of occasions, Maxis recruited outside talent to make Sim games. And even more shockingly, one of these projects, SimTower: The Vertical Empire, is intimate enough to stand equal to – if not a head above – all the others. » Read more about SimTower: The Vertical Empire
While I wrap up this semester and get ready for a relaxing summer, here’s another great sample of forgotten game music.
Traffic Department 2192 has an epic, bombastic score despite working with an incredibly limited selection of Sound Blaster instruments. Two particular pieces, INTRO and INTRO2 (so cleverly named), deserve special recognition for sounding like grand orchestral scores within their technical constraints. The two pieces play one after another during the game’s opening sequence and do a good job contrasting the triumphant beginning with the decidedly dark, somber shift in tone.
The soundtrack for Traffic Department was composed by three people: Robert A. Allen, John Pallett-Plowright (who only wrote one song), and Owen Pallett (also known as Michael Pallett-Plowright). Allen and Owen Pallett composed INTRO and INTRO2 respectively. Remarkably, Pallett was just 13 years old when he composed INTRO2! Little things that put your own life in perspective, and it makes the game’s music that much more engaging.
EDIT: Since this posting, Owen Pallett was nominated for an Oscar for his work on the soundtrack for Her. That’s some serious talent!
Just a quick and sad note: Norio Ohga, the Sony Computer Entertainment founder who’s generally credited with inventing the CD, died earlier this week. His design for the compact disc was hugely influential and paved the way for DVDs, Blu-Rays, and CD-ROMs. The CD was a crucial piece of technology for gaming’s coming-of-age, and it’s always unfortunate and a little distressing to see crucial figures from gaming history passing on. It’s a testament not only to how old this technology is, but also to how far we have come in just three decades or so.
Oftentimes, the simplest games are the most fun. When a formula doesn’t have much nuance or complexity, it can engage the player without being prohibitively hard to learn.
Enter Gravity Balls. There’s nothing brilliant about the design; in fact, the idea is simple enough that anyone could code it. But it’s so goddamn infuriating, and I can’t stop playing it. » Read more about Gravity Balls
If there’s one concept that games have mastered, it’s the futuristic blood sport. Sure, movies like The Running Man came first, but Smash TV, MadWorld, and their ilk turned those fantasy game shows interactive and pretty much left nowhere else to go. Just don’t tell that to Zephyr.
Designed by the team behind the Might and Magic series, Zephyr nails the hubbub of a gleefully televised cavalcade of murder. Nearly every second features a fictional sponsor, a cheesy commentator, and 90s electronic rock music. The ultraviolent vision is top-to-bottom perfect – including the bits where the rookies needlessly, endlessly die. » Read more about Zephyr
Hey boys and girls! I decided that during downtime when I’m busier, I would throw some content up in the form of music highlights! So many of these weird old games have great tunes in them, so it’s worth pointing out some of the good ones.
This first one is the stock music piece “Telecom” used in The Labyrinth of Time in 1993. Whenever people reach out about the music from The Labyrinth of Time, “Telecom” is one of the bits that always gets the most praise. Understandably so; especially compared to the rest of the game’s music, “Telecom” is moving, complex, and multilayered. The last segment of the song richly combines half a dozen disparate instruments into a strange and elaborate noisescape.
The Labyrinth of Time‘s soundtrack consists of a 20-minute-or-so loop of music from the production archives at APM Music. This particular song by James Asher came from the album “Industry 2,” which seems to be filled with the blaring synth music that you’d find in a corporate training video in the 80s. With a few exceptions, the rest of the album is painful to hear. Thank goodness at least one interesting – nay, stellar! – track came out of it.
Quick, name a great edutainment game.
No, not The Oregon Trail again. Think harder.
The game you just thought about probably taught a single subject really, really well. Classics like Carmen Sandiego, Math Blaster, or even Mario’s Time Machine all focused on a single topic – geography, math, history, etc. – and drove it into children’s skulls with the hawkishnses of a car salesman, hoping they’d retain at least a little bit of whatever subject.
The Lost Mind of Dr. Brain is a little more ambitious if generalized in scope. It tackles the subject of brain functions, trying to expand players’ minds in comprehension, logic, spatial cognition, and linguistics. Not only does it work, it’s fun, and I had just as good of a time playing it as a twentysomething as I did as a hyperactive kid. » Read more about The Lost Mind of Dr. Brain
The Greens is an odd duck. The best way to think about this minigolf game is like a real minigolf course. It has a theme, and despite not doing much with it, it still has a hokey charm to it. (Plus its own problems.) » Read more about The Greens
The company Sierra On-Line was once a titan of the adventure game genre. Though their style of extra-difficult, character-driven, third-person adventure stories eventually fell out of favor to the first-person, contemplative solitude of Myst, they took one shot at that new genre mode with Lighthouse: The Dark Being.
On its surface, Lighthouse reads like notes from a committee meeting that tried to nail down what made Myst successful. You visit a bizarre uncharted world where you solve complicated puzzles in a open-ended locales with complex mythology and lots of journals to read. Almost in spite of that copycat-ery, Lighthouse leaves its own touches on how that sort of game can fill its setting with risk and conflict. Its twisted world delights more than its components suggest.
UPDATE: Lead designer Jon Bock shares some insight into the unusual art direction and story for this self-described “science-fiction folk tale.” » Read more about Lighthouse: The Dark Being