In the third episode of Pixel Fusion take a gander at Bioshock Infinite. The game has received overwhelming critical acclaim for its narrative, world, setting, characters, music, and design. But we couldn’t help but notice one aspect of the game which seemed to be glossed over or forgotten: gameplay In many reviews, while all these other elements were covered in great detail, the actual in game mechanic seemed to be hardly mentioned.
So this got us thinking. Seeing as Pixel Fusion is the podcast where we talk about mechanics in video games, this seemed like a timely subject. Why the lack of focus on gameplay in a video game (keyword game)? In a game touted to truly innovate in so many other areas, do the gameplay mechanics follow the run of the mill first person shooter road map? Zach and I address these points and more as we dig deep into the world of Bioshock Infinite.
Sub-Terrania was one of my favorite oddball titles on the Genesis. It was always the game I seemed to played right after Sonic 2 (more than likely because Sub-Terrania just so happened to be right after Sonic in my small alphabetically arranged collection). A new game by the name of Flowstorm originally caught my attention because of similarities to the aforementioned Sub-Terrania. Though it kept my attention because of its unique twist.
Klei’s booth caught my attention at PAX East for a number of reasons. First of all, Mark of the Ninja won my heart last year. Yet they were showing again at their booth. I wondered why, especially when their latest game, Don’t Starve (which is presently in public beta), officially releases later this month. They were showing that game too. But I wondered: why are they were showing both games at the same time?
Turns out they had three good reasons.
I started writing a game in 2011. The first chapter took me a month. The second chapter took me twelve. I didn’t mind. The second chapter was nearly a hundred pages and could stand on its own. But I still didn’t know how to make it. So I did something completely illogical: I started playing indie games and writing about how videogames as a medium is growing up and starting to tackle important topics. It’s not the most logical course of action. But that’s what got me here.
I know, we came on a little strong with the first episode. I mean here we just started this little audio fling with you, and we’re already getting into serious game mechanic talk. So let’s slow things down a bit and let you get to know us here at Pixel Fusion.
For the second episode of Pixel Fusion, Zach and I talk about how this whole idea of Pixel Fusion came to be, and why we’d like to start a serious podcasting relationship with you the listener. I know I said I’d cool it with the commitment talk, but we kinda have a little crush on ya.
Fighting games are a big deal, and have been at varying levels since Street Fighter II was released to arcades in 1991. Street Fighter IV helped reignite a long dormant flame for a lot of people. And now the EVO Championship Series, a tournament dedicated to fighters, is just growing bigger and bigger each year. While the industry has changed significantly since the 1990′s, the format itself is still largely the same: two players face off against each other while choosing from a myriad of characters depending on the game.
The 1990′s were dominated by 2D fighters, usually sporting exceptional animation. Capcom’s Darkstalkers series, along with the third numerical entry in their Street Fighter series, are still regarded as having some of the best 2D video game animation ever created. Sprite art is an expensive process these days, courtesy of the increase in screen resolution, making it a niche practice for the majority of the gaming industry at large. While 2D fighters still exist, they don’t appear all that often, so when one with a level of polish pops up, people take notice.
Enter Yatagarasu, a 2D sprite-based fighter developed by Circle Edge, a small developer comprised of ex-SNK talent and some veterans of the Japanese fighting game scene.