It’s weird in the sense that Harmony is a far cry from what fans expect from the series. It’s weird in the sense that it uses familiar graphics and mechanics and music to create a game quite unlike its source material. And weirdest of all is the fact that it actually works. Harmony of Despair is no masterpiece, but it’s unique and even fun, and that makes it worth playing.

If there is one person in gaming journalism that I would trust to review a new Castlevania game, it is definitely Jeremy Parish.

(via 1UP.com.)

This is kind of super-awesome; a forum post with a bunch of “demakes” of video games created by this artist for a gaming mag. It’s like taking the iconic imagery of the last few years and boiling it down to a pixel art minimalist style.

Love it.

Here are a bunch of demake mockups that I’ve made for swedish gaming mag Level over the last years. Many of these were made quick and dirty (relatively speaking) in order to make deadlines, so they’re not all that pretty to look at. But I figured I should post them somewhere so they don’t just gather dust on my hard drive. Any feedback is of course appreciated.

This guy needs a blog where he posts these as he makes them. They’re amazing.

(via Pixelation.)

Mark J. Ferrari, who also illustrated all the original backgrounds for LucasArts The Secret of Monkey Island and Loom, invented his own unique ways of using color cycling for envrironmental effects that you really have to see to believe. These include rain, snow, ocean waves, moving fog, clouds, smoke, waterfalls, streams, lakes, and more. And all these effects are achieved without any layers or alpha channels — just one single flat image with one 256 color palette.

Unfortunately the art of color cycling died out in the late 90s, giving way to newer technologies like 3D rendering and full 32-bit “true color” games. However, 2D pixel graphics of old are making a comeback in recent years, with mobile devices and web games. I thought now would be the time to reintroduce color cycling, using open web technologies like the HTML5 Canvas element.

This demo is an implementation of a full 8-bit color cycling engine, rendered into an HTML5 Canvas in real-time. I am using 35 of Mark’s original 640×480 pixel masterpieces which you can explore, and I added some ambient environmental soundtracks to match. Please enjoy, and the source code is free for you to use in your own projects (download links at the bottom of the article).

Ferrari really was a talented artist in the medium. Monkey Island and Loom are classics partially because at the time they were visually arresting.

The demo of the HTML5 Canvas elements has to be seen to be believed. Show the additional options to see the palette shifting apart from the image itself.

And the code is LGPL to boot.

(via EffectGames.com.)

Abby’s Girl Scout troop was invited to group seats at a Cards game this past weekend, which included a walk around the warning track at the park. (The group seats were, as you would expect, very high up.) This is the first time any of the children were able to go to a game, and the first time Amanda and my parents had been to the new Busch Stadium.

Ben Kuchera on why Robotron 2084 is one of the great games:

The game popularized the twin-stick design, where one joystick moved your character and the other controlled your direction of fire. (You only had one weapon.) The joysticks were of course digital back then, so you could only move and shoot in eight directions. There was no scrolling and there were no surprises. The game showed you the entirety of the level for a second before play began; you had a tiny moment to see the four walls and to take in where the enemies were and in what numbers. This was the game’s way of bowing at you before the attack.

(via Masterpiece: Robotron 2084.)

The secret to Farmville’s popularity is neither gameplay nor aesthetics. Farmville is popular because in entangles users in a web of social obligations. When users log into Facebook, they are reminded that their neighbors have sent them gifts, posted bonuses on their walls, and helped with each others’ farms. In turn, they are obligated to return the courtesies. As the French sociologist Marcel Mauss tells us, gifts are never free: they bind the giver and receiver in a loop of reciprocity.

A great essay and a look into why so many of the people on your Facebook friends list are playing a game they will never win that intrudes upon their real life and isn’t even fun.

(via Cultivated Play: Farmville | MediaCommons.)

I grabbed the new Transformers game earlier today and gave the first Decepticon campaign level a spin this evening. This is a game that’s specifically meant to target my nostalgia and then attack it for ridiculous effect.

The best thing about it is that this is (so far) a pretty competent game. It’s full of giant robots blasting the crap out of each other, a story about Megatron’s megalomania, takes place on a planet where just about everything transforms, and has some solid fundamentals. It plays basically like a hybrid of Gears of War and Modern Warfare 2 in that it’s a third-person shooter (with no cover mechanic) and is heavy on the action.

Of course, you do have the ability to transform at will between vehicle and giant robot mode, which is half the fun—run into a room, shoot a few fools, then jump into the air and transform in mid-air into a car to zip away and recharge before attacking again.

Then again, all they needed was this trailer, because Peter Cullen as the voice of Optimus Prime could basically have said any kind of dialogue they wanted and all I would hear was “buy this game.” When I hear Optimus, I’m five again.

I haven’t dropped into the multiplayer yet other than during the demo, but it of course has a progression system like most shooters do now (though it tracks each class you can play as separately). And what’s with everything Activision having a Prestige-style system now? Blur had it, too.

John Davison:

The most pervasive trend was the whole franchise reboot thing. It’s something that came up at the very beginning of this year, but now we know for sure that the games industry is excited about giving its back catalog a Star Trek style reskin. Medal of Honor, Mortal Kombat, Twisted Metal, Lara Croft, Driver, XCOM, Kirby, Kid Icarus, Donkey Kong Country, even Need for Speed Hot Pursuit (in some regards) all plunder the past and reimagine things in a contemporary way, and seem to do so effectively. This is a topic for a future editorial, but it’s possible to look at this in two different ways. On one hand it’s exciting to see brands that we love given a chance to shine in front of a new, younger audience, but on the other you do have to wonder why the whole industry has become so creatively barren that it now has to feed on itself so ravenously.

Great points on the highs (and lows) of the aggregate messaging of this year’s E3. I’m looking forward to a follow-up article on this “reboot” thing that I agree was starkly front-and-center from almost every major player.

(via E3 2010: The Real Trends of E3, News from GamePro.)