Archive for the ‘Uncategorized’ Category
Console: Playstation, Dreamcast, PC
Digital Release? Yes, PSN version compatible with PS3, PSP, and Vita for $5.99
Price: $7.50 (disc only), $10.00 (complete), $35.00 (sealed) per Price Charting
Dino Crisis really sounds like a winning formula if, like me, you are are fan of survival horror and dinosaurs. What could possibly go wrong? Well its time to revisit this Sony Playstation 1999 release and see if it stood the test of time or should have remained extinct.
Dino Crisis released when survival horror was hitting a peak in the industry, at least in terms of the “tank-like” control system. The Sony Playstation had plenty of games like it to offer. In the same year Dino Crisis released we also saw Silent Hill from Konami and Resident Evil 3: Nemesis also from Capcom. Interesting to note: Shinji Mikami – creator of the original Resident Evil – was heavily involved in the production of this game so much so his name was put on the front of the box in hopes it would sell the game. Clearly something worked as Dino Crisis managed to sell over one million copies.
Dino Crisis is set on Lisle Island and you play Regina, a member of SORT (Special Operations Rescue Team), because it wouldn’t be a Capcom game without a made up special unit. Regina, along with your team members Gail and Rick, are sent into the facility to hunt down Dr. Kirk who is a scientist working on a project titled ‘Third Energy”, which is believed to be linked to the production of dangerous weapons. Not long into the mission you find out most people in the facility are dead and the place seems rather empty, which should probably sound familiar for a survival horror game. Rather than the place being infested with a different common nasty, you find it’s dinosaurs that are responsible. So begins a survival tale of finding Dr. Kirk and getting out without becoming dino food. There really is not much to say on the story and it follows a very predictable path, even if you haven’t played other Capcom survival horror games. Still, if you hunger a more in-depth look at the complete plot, we did a game club on it that you’re welcome to listen to.
Dino Crisis is a survival horror game that uses the tank style controls that are really “love it or hate it” by this point. You have limited ammo and health items and are generally expected to run from enemies more than attack them. Dino Crisis does introduce some new mechanics to the mix as well. In this game you can ready your weapon and move at the same time, however when you shoot your weapon you still remain stationary. You can spin 180 degrees on the spot, which is handy for quick escapes in the game. There is also this unique mixing mechanic where you can combine ammo and health items to create special items to enhance your equipment. Another new health item allows you to continue from the room you left off, should you die, basically acting as extra lives without returning to the last room you saved in. This mechanic comes in very handy for some of the frustrating encounters. This game will, at times, allow you to make decisions on how the story progresses, triggered by the characters Rick and Gail giving you a choice on how to handle a particular situation. It’s a interesting mechanic that encourages more than one playthrough of the game and also helps you see the entire story – if you have any interest, that is.
A mechanic I didn’t care for in this game was the damage indication. There is no health bar, not even in your item menu. You are expected to watch Regina’s stature and movement to tell if she is injured. This sounds unique on paper, but most dinosaurs take a lot of health off especially on harder difficulties, making you more likely over use health items and get pretty irritated. Regina can also bleed, indicated by a small blood trail as you walk. Basically she will bleed out and die unless you stop the bleeding with a hemostat or health item that combines that effect. Surprisingly, these health items were pretty sparse.
The game feels much more puzzle-focused than action. You will regularly encounter puzzles which require you to find two discs and then enter a password by solving a logic puzzle. These are repeated throughout the game and get progressively harder. Though it is nice to see a game that asks you to use your head for a change, the backtracking through the environments to look for a single item gets very frustrating.
The graphics of the game are something new for the genre. The entire level design is now 3D rendered – this means all the items and environments are given their own 3D model – which is counter to what we’ve seen in the Resident Evil series that used pre-rendered backgrounds with single character models. Also occasionally the camera will follow Regina as she moves. It was probably a test what to expect from Resident Evil: Code Veronica, which used the trick often. Though the engine looks cool if you have a appreciation for game engines, to most gamers it will come across as ugly because the environments lack depth and detail when compared to pre-rendered environments used by most other survival horror games. This is to be expected due to the technical limitations of the time – early 3D provided you with flexibility or graphical quality, but almost never both.
Character models are standard affair, the dinosaurs really steal the show as they look very impressive especially considering this is an original Playstation game. It’s just a shame there is not more dinosaur types. You have the raptor, which is the main enemy you will face, pterodactyl which are just a pain, Compy which just chase you around, some four legged dino that does a hefty amount of damage. Then there is the T–rex, which just looks great and most encounters with it lead to one hit deaths unless you handle them properly.
There is not much music in the game just the occasional tension theme to add to the horror elements. The voice acting is absolutely awful, but why would you want it any other way for a Capcom game? The most memorable sounds are by far the dinosaur noises from the T-rex and raptor. Sometimes you’ll walk down a corridor and hear a raptor but it will never appear, a rare moment where the game actually felt scary.
To the games credit it really does try to make a game using Dinosaurs scary. The game introduces these “danger” segments where you walk down a corridor and a dinosaur essentially jumps you and the screen flashes “danger” you have to rapidly press any button on the controller to escape. It sounds like a good idea but like Quick Time Events (QTEs) in general these segments surprise you so suddenly if you don’t mash the buttons quick enough you die instantly.
I is not the longest game. Your first playthrough may take up to eight hours but that will significantly drop once you know where you are going. The game has multiple endings, harder difficulties and some extra modes unlocked once you have finished. Overall, Dino Crisis is a decent game that will absolutely appeal to fans of survival horror and gamers that have a appreciation for early game design choices like the 3D models. For everyone else it’s a hard sell even if you like dinosaurs because the game generally is not that memorable and doesn’t bring anything new to the table. I may have rated the game low but that’s only because I feel this won’t appeal to the mass market of gamers. Those that appreciate this game for what it brought to survival horror will be happy to add it to their collection.
Final Score: 2 out of 5 (our review policy and scoring can be found here)
Greetings retro gamers and readers of Gaming History 101,
Normally I do not find the following information necessary or standard, but the fact of the matter is that the world of video game coverage has changed. With most of my written reviews, articles, and stories there is a small amount of traffic that aggregates to the wonderful number of views this site receives everyday and I have no one to thank but all of you. Breaking it down, each video receives about double to triple the views and article would receive and the podcast blows all of them away by literally hundreds of times. At this point I cannot ignore the data, nor would I ever fight it, and concede that audio is the most popular medium for retro, followed by some following for video, and lastly with written. It then occurred to me that perhaps the volume of coverage I put into each game far surpasses the interest of most of you readers and, in truth, probably surpasses the volume I care to read in articles myself. For this reason I have decided to alter written coverage in the following ways:
- There will only be one or two “lessons” per month. These are long (typically 2000+ word) articles that get into detail on broad topics and thus aren’t commonly written. When I do cover them, these articles will remain the same. For the record, I think it has been around a year since my last lesson.
- Blog entries regarding neo-retro topics (ie: games or topics that harken to the days of retro) may be more frequent.
Finally, and probably the biggest news, is a revamp to the review policy. Typically I gave hybrid/retrospective reviews on games that seemed to relate back to the days when they released as well as give a modern perspective. Now reviews will be shortened to 500 words or less (I’m trying for 300 or less), which is a start breakdown compared to the now 1500-2000 word reviews. These reviews are now broken down within a single paragraph or two that gives you a quick perspective on the game, not to mention allowing a larger number of reviews to be done each month. You will see a significant increase in volume. Additionally there will now be a review score and a “would you like to know more” section (when applicable) added to the end of each review. While the “would you like to know more” link will typically attach to a related video, podcast, or extra article I write (usually the next day and with the same shortened format). The review score will be on a 5-point scale and allow the reader to get a quick snapshot. Since review scores are so varied from site to site, I have my review score guidelines pointed out below, including what each means. You can still expect my usual profile snapshot at the beginning of every review to let you know how to find the game, download instruction manuals, see box art, and if it the game is available digitally.
Review Score Guidelines
Nothing fancy, just a way to know where the game stands. As I have always felt, review scores (especially retro) require no more than a 5 point scale, no “.5″ necessary. Scores on Gaming History 101 will be rated on a 5 point scale, 1 being the lowest and 5 being the highest, and 3 being average, which is a rarity on most sites. Here are what the numbers relate to in general terms.
- Poor: Games with this score are typically broken in many ways. Whether there are programming glitches that prevent the game to be played, continued, or finished, games with this score demonstrate an overall lack of quality. This also means that from the perspective of the reviewer’s definition of fun and playability that it demonstrates almost no merit. Games of this score can be appreciated, but this is typically on a heavily biased or “cult” perspective.
- Fair: Games with this score are usually regarded in a negative light. While they may be free of flaws or have no drastic blemishes, the game has little reason to enjoy. In some cases this can be lack of proper instruction, misleading information, poor controls, or just an absence of value. Often these games are celebrated by a select few who see promise in what the game attempted to deliver but the title itself never came close to that vision. These are below average games.
- Average: It’s simply a game; no more, no less. This can be granted to titles that don’t particularly do anything impressive, but stand as a means to pass the time. They may be fun or even at times inventive, but overall they offer little to a user hoping to have a fresh experience. Sequels of the sprite-based era or titles that attempted new technology first (not necessary launch titles) often fit this category. There are many reasons to play games in this category, but rarely do they have a lasting effect or generate strong nostalgia as a complete experience.
- Great: Titles with this score go above and beyond to achieve a memorable experience for those that play it. Aside from bias (ie: genre, console, rarity), these are titles that should be played by any fan of gaming and in many cases should not be missed. Almost free of programming and gameplay flaws, these titles show that they stand above the rest for their platform and are often part of lists as to why to own the console. Additionally these tend to be of the first re-released when given an opportunity.
- Excellent: While the highest score, these games are not perfect. Perfection has not been achieved yet in game design, but if you are going to argue that case any title with this score creates a compelling point. Brought together by innovative design, professional programming, and amusing gameplay, these titles are not to be missed. Not branded on so-called classics as often as most would like to claim, these titles should be played in spite of a bias. They were and continue to be achievements in the realm of gaming.
There you have it, a taste of things to come. Starting in August you will see a significant increase in the number of reviews posted and by all means please feel free to request reviews in the contact area. In the meantime, happy gaming.
Executive Editor/Site Owner
Gaming History 101
Mascots, you have to love them. No, wait, you don’t. For the most part mascots have been one of the dark spots on a game publisher’s marketing blitz. At first there was only one iconic mascot, Mario from Super Mario Bros., and frankly he was an accidental mascot that Nintendo had never imagined would become its poster child. After Mario other companies were consistently trying to establish mascots no matter the negative cost to the consumer. Mario is an exception not because he’s a particularly good or mistakenly genius mascot, he’s just iconic because his game was the catalyst to the return of video games after the crash of 1983. During the mid 80s Nintendo established a handful of strong franchises that are beloved by many fans and despite Mario being the “leader” per se, he’s definitely not alone when Nintendo wants to sell a product. I would argue that Link (from Legend of Zelda), Kirby (from Kirby’s Dream Land), Pikachu (from Pokemon), and to certain extent Donkey Kong (from Donkey Kong/Donkey Kong Country) and Samus (from Metroid). Much like Disney, Nintendo brings with it a cast of characters and franchises that all assist the overall brand in creating long running quality games. Everyone wanted to have that same wonderful family in the 90s (all of the above named characters had at least one title on the NES by 1992), but they seemed to miss the point that these characters were not created to be mascots, they just happened to get popular enough to become mascots.
Sega, the leading direct competitor to Nintendo, was first on the scene to try and establish an iconic mascot. In the Master System days it attempted to put Alex Kidd (from Alex Kidd in Miracle World), probably because Alex Kidd was in a platforming series and seemed most likely to be a cartoon character like Mario. This failed miserably because Alex Kidd in Miracle World wasn’t a great game and few fans of Sega’s console immediately named the title as a must have. Opa-Opa from Fantasy Zone also shared a few months as Sega’s next attempted mascot, another complete failure despite its title being of the more fondly appreciated titles in retrospect. On the NES some 3rd party publishers attempted to establish mascots as well. Hudson attempted to make Master Higgins from Adventure Island its iconic mascot, which is hilarious considering that true fans of the Hudson library always associated the much more appropriate bee as the mascot. The only semi-successful early attempt was probably Capcom and Mega Man, which is mostly due to the fact he had a whopping six titles on the NES and his second and third outings became beloved titles that even today make the top of gamers’ all time list. It wasn’t until Sega decided to take its aggressive new campaign with the Genesis attempting to thwart Nintendo that a manufactured mascot finally succeeded in being the voice of an entire company.
Fast Times at Sega
Sega was desperate to find a mascot to take on Mario and with the Sega Genesis gaining speed in both Japan and America, many believed that one great mascot with its own platforming series could dethrone the giant. Several anthropomorphic animals were designed to do the job – some that would go on to be first party titles at Sega: Mighty the Armadillo, various conceptual dogs, an old man in pajamas made to resemble Theodore Roosevelt (this design would later go on to create Dr. Robotnik), a rabbit that could extend his ears for collectibles (would later become Ristar from the self-titled game), but it was an attitude heavy teenage hedgehog named Mr. Needlemouse that was chosen.
While Mr. Needlemouse was created by Naoto Oshima, a designer at Sega, programmers Hirokazu Yashura and Yuji Naka were responsible for turning him into Sonic. Yashura is probably more integral in terms of the actual game Sonic the Hedgehog as he designed most of the levels and the gameplay, but Yuji Naka brought him to life. Japan’s love for American pop culture gave his personality, which was hilariously described in design docs as Bill Clinton’s “Get it Done” attitude mixed with a teenager’s sass all wrapped in a bright blue (his original color was teal) outer fur to accompany his shoes, directly intended to match the color’s of Michael Jackson’s leather jacket in Bad. Naka did miss some important details however, like the fact that hedgehogs can swim, which was pointed out after certain people at Sega asked why Sonic died in water. He also integrated some quite Japanese concepts like large fangs to display power and a human girlfriend named Madonna – a commonality in Japanese fictional cartoons and manga but a taboo in America. Enter Madeline Schroeder, the self-proclaimed “mother of Sonic” at Sega of America, who made Sonic a bit softer with larger less sharp quills (probably based on the Bart Simpson concept), a much larger head, green eyes instead of black, and a slightly more slender body. His famous move in both advertising and games was to take his index finger, smile at you, and wave it back and forth in a “no” motion, proving that his attitude ruled his personality. His other major trait was that he could run incredibly fast, a unique trait of mascots and game characters that fit perfectly with Sega’s claim of “blast processing”, which offered super speeds (and in fact was twice the strength of the SNES processor at 7 mhz).
With the character created as well as a game to accompany it, Sonic the Hedgehog hit stores and became the pack-in game for the Genesis in the summer of 1991, just before the release of the SNES in holiday season 1991. Sonic was all over the place, taking up 4 pages in your copy of Electronic Gaming Monthly (because he was THAT fast), and you couldn’t say “Sega’ without also mentioning “Sonic”. It was a pretty easy sell, too, with the Genesis retailing at $99.99 (half of the upcoming SNES) and the graphics quite similar to the early screens of Super Mario World. Sonic had the same personality in game as he did on television, impatiently tapping his foot and giving you a dirty look on screen if you left him in idle too long, whereas Mario has always ignored the fourth wall and stared blankly while he waits. Each level composed of various routes to the end, allowing both speed and non-speed players to enjoy the game equally – I’ve taken nearly five minutes exploring all that Green Hill 1 zone has to offer and also flew through it in a perfect run of 33 seconds. He was equally different and similar to Mario enough that a large number of fans flocked to Sega’s console, myself included, to encompass an impressive 55 percent market share over Nintendo’s 45 percent in 1992. Unfortunately time would prove not to be as nice to Sonic as it was to Mario due in most part because Sega couldn’t find a proper way to move him to 3D polygonal gameplay, but for the early 90s, Sonic temporarily dethroned Nintendo and became a pivotal mascot to Sega that still survives today. As a result, everyone started jumping on board.
Quantity over Quality
Immediately following Sonic, the concept of the mascot exploded in the mainstream hoping to be the next big partner to take on Mario. It was a horrid mess of anthropomorphic game characters that ended up in completely inappropriate places. The examples are too many to name but a few examples include Sparkster, an opossum, from Rocket Knight Adventures becoming a temporary mascot for Konami and appeared in the game and manual for Snatcher. A bunch of games that received a franchise and never should have like Gex, Bubsy, Conquer, Aero the Acrobat, Zero the Kamikazee Squirrel, and oh so many more. While a lot of these games showed some success, in a more competitive world or time they would have pathetically fallen to the wayside. Still, the anthropomorphic animal can garner some praise with certain companies, like Naughty Dog’s Crash Bandicoot becoming the temporary mascot for the Playstation – Naughty Dog later admitted that they came up with the character as they attempted to make a Sonic-like character that worked in 3D. Longtime mascots like Taito’s Bub and Bob from Bubble Bobble received updated looks for various Playstation-era games and Pac-Man is now synonymous with Namco.
Mascot use Today
Nowadays the mascot is still a clever marketing ploy best utilized by Nintendo and Sony. As the Playstation consoles continued, Sony was able to acquire a family of mascots much like Nintendo has including Ratchet & Clank, Sly Cooper, Jak & Daxter, and even Sackboy, while also retaining more mature mascots like Kratos from God of War and Cole from inFamous. Microsoft is a bit of an anomaly with only a few recycled Rare characters from the N64 era, including Banjo and Kazooie, and Master Chief from Halo. It’s not that important these days, though, as mascots are now extensions from brands instead of replacements.
As we look back over time many people wonder why certain mascots did or didn’t work. I personally have a simple answer: the games. Mario wasn’t intended to be a mascot and Sonic was manufactured as a mascot from scratch, but both of them have solid games that back the character they represent. When we go to the game store or read the preview, just the mention of some characters, like any Ratchet & Clank game for me, will immediately drive us to that game. As marketing professionals and brand managers struggle through a world of high budget titles and large risks that cost tens, even hundreds, their jobs with every failure it’s important to focus on the game. Mario, Pac-Man, and even Rayman caught on because they had amazing games that were referenced along with the company. Both Sonic and Sackboy may have been used as mascots prior to their release and thus reveal an underlying plan, but they would be nothing if the games they starred in weren’t great. This can directly correlate with the fact that as Sonic’s games, and many other mascot games, diminish in quality, so does the strength of the mascot. In honor of these hits and misses we will be featuring reviews for various mascot games on various platforms all month. If you’re not into mascots, don’t worry, we’ll be doing plenty with non-mascot games as well.