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Tiny consoles for everyone: Now there’s a mini-C64 in development

It looks like the remarkable success of Nintendo’s nostalgic plug-and-play mini-consoles has inspired UK-based Retro Games to try the same trick with the Commodore 64, as the company has announced plans to produce an unofficial C64 Mini console.

These sorts of unofficial plug-and-play retro game consoles are not a new phenomenoon in the game industry, but this one is worth paying attention to because Retro claims that in addition to coming pre-loaded with 64 “licensed classic pre-installed games”, the C64 Mini can be used to actually create new (C64) games.

According to the company, curious devs will be able to plug a USB keyboard into the (already keyboard-shaped) C64 Mini and use it to code new C64 games, presumably in BASIC.

It’s very similar to functionality advertised for The64, a similar (but smaller) C64 retro console that the same development team pitched on Indiegogo in an (apparently unsuccesful) effort to secure funding.

However, it appears as though they managed to find a retail partner in German firm Koch Media, which owns well-known game pubilsher Deep Silver. With the backing of Koch, Retro says it plans to release the C64 Mini in early 2018 for $70.

It’s worth pointing out that Retro repeatedly refers to the planned mini-console as “TheC64 Mini”, presumably because the company hasn’t licensed the rights to use the Commodore name. While it’s not made clear what software the C64 Mini uses to emulate the C64, that earlier Indiegogo campaign for The64 notes that (in that case, at least) Retro licensed the Commodore 64 BIOS, game ROMs, and more from a company called Cloanto

If you want to brush up on the C64 and how it changed the game industry after its 1982 debut, take a moment to look back at Gamasura’s classic historical profile of the Commodore 64.

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Watch Q-Games’ Dylan Cuthbert share stories of coding Star Fox

Veteran game dev Dylan Cuthbert appeared today in the latest episode of Double Fine’s ongoing “Devs Play” series of design-focused Let’s Plays videos to share game dev trivia about the making of the 1993 Super Nintendo game Star Fox.

It’s worth watching because while Cuthbert is now well-known as the founder of Q-Games (The Tomorrow Children), in the ’90s he was working at Argonaut Software as one of the core programmers on Star Fox and its canned sequel.

This week Nintendo released its SNES Classic mini-console, which counts both Star Fox and the never-released (before now) Star Fox 2 among its library of 21 SNES games. To mark the occasion, Double Fine (in conjunction with 2 Player Productions) published the video of Cuthbert telling stories about his time working on Star Fox and Star Fox 2 as someone else played through the original game. 

Devs who enjoy the video might want to check out its companion piece, another Devs Play video published today in which Cuthbert chats about working on the (Japan-only) 1992 Game Boy shooter game X, which is much akin to Star Fox. You can find both videos and many more like them over on the Double Fine YouTube channel.

If you’d like to hear more from Cuthbert about what it was like to work on a Star Fox sequel and see it mothballed until this week, check out our recent chat with him about Star Fox 2.

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Speedrunners Love Splasher, Available Now on Xbox One

It all began at the Stunfest Festival, an arcade gaming event for which a lot of players, fighting game pros and speedrunners, save the date each year. It was not only the perfect place to organize a massive playtest session, but we also met the godfathers of the French speedrun scene: speedrunners Realmyop and Prospere. So we asked them to talk about their collaboration with the Splashteam for making Splasher a speedrun friendly title.

Realmyop: I met Romain during a French video game festival. We played the demo a lot, talked about Splasher and we agreed on the great opportunity provided by the game in terms of speedrunning.

Prospere: Splasher is made of the best 2D platformers, and for me it was very natural to work on integrating a whole speedrun system inside the game. It’s simple: today I can’t imagine a good arcade platformer coming up without any descent “competitive” features.

Splasher Screenshot

Realmyop, the “88 miles per hour” guy, has built a team with speedrun experts Prospere, Twyn and Kilaye. These dudes speedrun games for more than a decade, and incarnated the perfect crew to help us. Some of them even made a lot of speedrun on the last Rayman Origins and Legends platformers, games I’ve worked on too!

Realmyop: Our main goal was to make the game “Speedrun Friendly”, we were not there to tell how to build the levels, the gameplay mechanics, or the graphics and sounds. We wanted the speedrunners to feel at home but also welcome newcomers to the genre.

Prospere: Speedrunning games have always been a niche thing, with their own patterns, dedicated websites and unofficial leaderboards … it’s an underground community. But I think It’s about time that a wider audience get introduced to this very cool kind of eSport.

Splasher Screenshot

It’s not easy to achieve this goal, and there is a lot of parameters to work with. First because the speedrun is a way of playing that requires special tools. Realmyop and the runners shared a lot of precious advices during our collaboration.

Realmyop: In many games, there is no timer and most speedrunners are using external tools to time their runs. Even worse, sometimes the timer is buggy and can’t be used as what the speedrunners call the “in-game time.” So, our first work was to build an accurate stopwatch, useful for speedrunners which provides rigorous information at the right time. We took our inspiration for the stopwatch from metrics used by the speedrunning community such as “splits.”

Prospere: Splasher is our second speedrun design mission, right after last year’s indie hit Furi. It was a great experience to work with Romain, and seeing our features integrated in the game a couple of days right after our meetings. The cool thing is that we took time to iterate a lot, with a very reactive and passionate developer, and the results were there.

Splasher Screenshot

As long as we’re adding and tweaking these speedrun essentials into the game, we also started to design different modes, or let say different ways of speedrunning Splasher. We had to ask ourselves this question: What are speedrunners used to see?

Realmyop: We worked on what speedrunners call “categories.” For example: most games can be played in two main categories, “Any%” and “100%”. There is way more categories, every game can be different and the categories are made by the speedrun community. In Splasher, we tried to anticipate the categories that could be played, and we implemented 3 of them directly in the game.

Prospere: As our knowledge of the game was increasing with time, we were able to tell “this path is slightly better than this one”, “here you can optimize by doing this or that” etc. We were the high end playtesters, haha.

What speedrunners are used to see, and comfortable with, was not our only concern because attracting neophytes was part of the plan too.

Realmyop: All racing games are using Time Attack to record best times and some are even using medals as a reward to get the players to play again and again the same track to improve their time. Using this mechanic, we pioneered a full run of the game, and coupled it with the more typical achievements.

And building a community around the game was also something we were willing to do.

Realmyop: One important thing is the community, you need to follow it, to listen to it and stimulate it. We’re still following the runners and their progression, we’re always surprised by the performances and seeing gamers being so dedicated.

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Surviving the unexpected in indie development to make Ruiner

Ruiner is a new twin-stick shooter from Reikon Games that’s dripping with atmosphere, a pulpy murder-filled story, and intense action that’s…well, admittedly rather difficult. It’s another feather in publisher Devolver Digital’s cap, and we were lucky enough today to get to talk with Reikon co-founders Magdalena Tomkowicz and Jakub Styliński on the Gamasutra Twitch channel. 

It was a fun time, and a great chance to look at a game that mixes pulpy, polished violence with an interesting revenge story. You can watch our full conversation with Tomkowicz and Styliński up above, but in case you’re already on your way to KILL THE BOSS right now, here’s a few noteworthy takeaways. 

There’s storytelling power in top-down spaces

Tomkowicz, the game’s narrative designer, was kind enough to explain her philosophy for fitting a proper revenge story inside a twin-stick shooter. She shared some practical tips, including making sure no line of dialogue was longer than 3 lines, but also she said part of the goal was to make sure much of the game read “like a comic book.”

In comic books, Tomkowicz said, readers still take a long time to read pages even though there’s less dialogue than prose. So with Ruiner, she attempted to paint the game’s story through images the player can process as they move through the environment, helping add flavor to the top-down perspective. 

Be prepared for ANYTHING

Styliński spent a lot of time talking about how, despite years of experience at companies like CD Projekt Red and Techland, the Ruiner development team couldn’t have predicted the challenges they’d run into. The worst of them (which they survived) was when it licensed a track for Ruiner’s announcement trailer…which had to be promptly taken down because the musician they’d licensed the track from had used music they didn’t own. 

As Styliński said (in exasperation), there was literally no way to predict this happening, so the journey to make sure they could have an announcement trailer for PAX East was a huge challenge that they hadn’t anticipated. If you’re going indie—even with experience—Styliński advices you to get ready for challenges like this, along with the normal creative and technical ones. 

Faceless characters don’t have to be generic characters

Lastly, Styliński and Tomkowicz talked about the main character’s design, and how his faceless LED helmet gives players a character they can project their own ideas onto. We asked how they felt about their hero compared to the supposedly “relatable” generic shooter heroes of years before, and they said that there’s still something specific about Ruiner’s violent hero that rewards player’s imagination, instead of depressing it. If you’re working on a game in need of an interesting hero, Tomkowicz’s insights might help you make something memorable. 

For more developer interviews, editor roundtables and gameplay commentary, be sure to follow the Gamasutra Twitch channel.

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Video: Applying 3D level design skills to Hyper Light Drifter’s 2D world

How much of level design’s best practices are specific to a particular genre or presentation style, and how well do level design skills transfer between different formats?

That’s the question game designer Lisa Brown sought to explore and help answer at GDC 2017, in an intriguing talk about how she applied 3D level design skills she’d honed at Insomniac Games to her work as a level designer on Heart Machine’s 2D game Hyper Light Drifter

It was packed with practical takeaways and peppered with interesting examples of how Brown was (and wasn’t) able to translate her experience designing spaces in big, open 3D games like Sunset Overdrive into 2D and apply it to Drifter.

Her talk was well worth watching, even if you’re not a level designer by trade, and now you can do so completely free via the official GDC Vault YouTube channel!

In addition to this presentation, the GDC Vault and its new YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC, GDC Europe, and GDC Next already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.

Gamasutra and GDC are sibling organizations under parent UBM Americas

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Niko Partners’ Zeng Xiaofeng’s tips for publishing in China

Despite the importance of the Chinese market is to the global games infrastructure, and how many publishers are trying to buy into the region before it’s too late, China itself still seems a little bit unknowable.

Western developers have long been localizing for the Japanese market, and the ground zero of the eSports revolution is fixed squarely on Seoul. But a mixture of censorship, restrictive government policy, and genuine differences in taste has kept the China’s games culture remote. 

Since 2002, Niko Partners has studied and interpreted Chinese gaming trends, filling the gaps and answering the questions for anyone interested in bringing their product across the Pacific. I recently caught up with senior analyst and China director Zeng Xiaofeng, and asked him what he thought were some of the crucial things Western publishers need to understand when trying to break into the games market in China. 

The first, and arguably the most imperative thing Xiaofeng detailed is the labyrinthine process of successfully (and legally) licensing a video game in China. Despite the country’s notable flirtations with the free market, all mobile games that enter the Chinese public forum must be pre-approved by the government, or more specifically, the State Administration of Press, Publication, Radio, Film, and Television.

Some of the restrictions are notably arcane. For instance, all the text in games released in China must be written entirely in Chinese. Also, in order for a company to receive their revenue, they need to secure a very specific license from the government. The only problem is that those licenses aren’t available to foreigners.

As of July 1st, the arduous process involves completing an application, sending it to provincial authorities for approval, who will then forward it along to the municipal office for another once-over, before being sent back down the chain for a final handover. “There is so much red tape that it filled a 100-page regulatory report we released,” says Xiaofeng.


Dungeon & Fighter is still popular in China a decade after its debut

In the West, we pretty much download our apps through either the App Store, or the Google Play Store. Those two platforms are built into our phones, and it seems extremely unnecessary to seek out an externalized merchant. But that’s not the case for Chinese Android phones. The country has a massive third-party app store industry, and it can be really difficult to get your head around. 

The sector makes sense when you think about it. Google has been blocked in China since 2014, so naturally, other tech companies native to the region flocked in to fill the gap. Xiaofeng tells me that if you’re going to launch a successful Android game in China, you’ll need an intrinsic knowledge of the myriad consumer choices.

To give you some sense of the app store industry’s depth, here are some of the major players. Baidu, which shares a name and ownership with the China’s largest search engine. Tencent, the company that purchased Riot Games, runs the massive social networking site WeChat. Then there’s Wandoujia, a startup with over $120 million in VC funding.


Wandoujia CEO at recent keynote

We’ve heard horror stories about people who hole up in Internet cafes to play MMOs for days on end. But Xiaofeng says that many internet cafes in small or mid-sized Chinese cities serve utilitarian purposes – they are literally the only way some people can play games.

Xiaofeng believes that the setups at the more elaborate cafes in cosmopolitan areas of China are a window into future market opportunities in the West. There, cafes are outfitted with the horizontal, 5v5 set-up you might be familiar with from live eSports broadcasts. “They are great for eSports viewing and participation, and for coaching as well,” says Xiaofeng. “In the US, they hardly exist at this time, but I feel that more will be built with the high-end eSports focus in mind.”


Cross Fire is another title that’s been a consistent hit in China for over a decade

The Japanese and Western gaming markets are pretty diverse. You’ve got epic, fully immersive single-player adventures like Final Fantasy and Horizon: Zero Dawn, annualized sports franchises like Madden and FIFA, and casual multiplayer endeavors that run the gamut from Call of Duty to Gang Beasts. That’s not exactly the case in China.

Xiaofeng tells me that gamers in the People’s Republic prefer long, grind-y persistent experiences. “Chinese players love to level up and be competitive,” says Xiaofeng. “To the point that they would rather turn off the graphics if it helps speed up gameplay in order to level up faster.” 

In 2015 TechInAsia reported that the most popular PC games in China were the free-to-play Korean first-person shooter Crossfire, the massively-multiplayer isometric beat ‘em up Dungeon & Fighter, and (of course,) League of Legends. There’s a real commitment to games. These are the exact same three games that were the most popular in China back in 2013.  Dungeon & Fighter and Crossfire were released in 2005 and 2007 respectively, and League of Legends has been available in China for eight years.

Xiaofeng also notes that Chinese gamers are turned off by realistic imagery, and instead prefer their content to be drawn with “anime-style graphics and cartoon-style avatars.” But despite this general preference, and all of the cultural affinities Ziaofeng highlights, it’s telling that PlayerUnknown’s Battlegrounds is currently one of the top-streamed games on the Chinese streaming site Douyo. Game fans in China are not immune to global trends.

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Get a job: Hangar 13 is hiring a Sr. Animator

The Gamasutra Job Board is the most diverse, active and established board of its kind for the video game industry!

Here is just one of the many, many positions being advertised right now.

Location: Novato, California

Who We Are:

Let’s talk some truth: Making games is hard. It’s a collision of art and technology that’s about as predictable as a tornado. There’s no secret formula, no foolproof blueprint—but it certainly helps to have a reason for making games in the first place. “Every Player’s Story is Unique.” At Hangar 13, that’s why we make games. We’re currently creating an intense action game set in an immersive world and with a strong narrative, but player agency is at the heart of everything we do. We want to give players the freedom to choose how to overcome challenges and make meaningful decisions that shape the world and characters around them.

Hangar 13 is the newest 2K development studio. We’re focused on creating AAA games for console and PC. The studio is comprised of industry veterans drawn from a diverse range of studios, who have collectively shipped hundreds of titles across a wide variety of genres. We are located just thirty minutes north of San Francisco, and we recently released our first title, Mafia III. We’re currently building our own proprietary engine and tools in service of our next AAA title, still unannounced.
 
What We Need:  

Hangar 13 is seeking a Senior Animator for our upcoming project teams. You will work closely with the animation lead and the lead game designer to create visually compelling narrative animation within our game. We expect you to have a passion for games as well as demonstrate a clear knowledge of the principles of animation in your work. As an animator with Hanger 13, you would be responsible for animating characters using a combination of keyframes and motion capture. You will work with our Lead Animator to figure out how best tell the story of our characters and our world both in and out of gameplay.
 
Job Responsibilities Will Include:

  • Create high-quality scripted animation that matches the visual style of the game
  • Mentor other animators contributing to narrative animation
  • Set a high bar for the animation team for quality and pace
  • Implement animation in game in our proprietary animation system and scripts
  • Plan, animate, and implement in-game story moments and scenes
  • Organize complicated sets of animation data
  • Direct motion-capture sessions
  • Manage animation outsourcing

Who We Think Will Be A Great Fit:

Minimum Requirements:

  • Experienced character animator
  • 3+ years game experience in animation using Motionbuilder and / or Maya
  • Strong communication skills and a positive attitude
  • The ability to problem-solve and prioritize issues
  • Ability to collaborate with peer-level Game Designers
  • Ability to collaborate with team in another country
  • Experience with motion-captured animation data
  • Ability to take direction well
  • Able to respond elegantly to difficult creative changes, often late in the process
  • Self-Motivated towards solving creative problems
  • Must have current U.S. work authorization

Skills:

  • Animation implementation knowledge
  • Fluency with Motionbuilder and Maya
  • Animation outsourcing experience preferred 
  • 3+ years game industry experience

Interested? Apply now.

Whether you’re just starting out, looking for something new, or just seeing what’s out there, the Gamasutra Job Board is the place where game developers move ahead in their careers.

Gamasutra’s Job Board is the most diverse, most active, and most established board of its kind in the video game industry, serving companies of all sizes, from indie to triple-A.

Looking for a new job? Get started here. Are you a recruiter looking for talent? Post jobs here.

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SteamWorld Dig 2 Gets a Hot New HOME Screen Icon

SteamWorld Dig 2 is an excellent game on the Switch eShop, meeting expectations and also delivering the IP’s most successful launch. It’s certainly among the ‘must-have’ downloads, but the ever-demanding Switch audience has had one complaint – its HOME screen icon.

To be fair, the launch logo was a bit rubbish.

You’ve no doubt spotted the past tense there; Image & Form has pushed out a little update to change the logo, as it had promised. 

HOME menu logos can be a bit of a hot topic when they’re underwhelming. TT Games changed the dodgy launch logo for LEGO Worlds, and Sumo Digital has finally relented and promised to change the Snake Pass icon back to the original following the poor reception to the newer iteration.

Nice one, Image & Form.

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Hardware Review: Wireless Fighting Commander for SNES Classic By Hori

The SNES Classic has finally hit stores, and along with it Hori has released the Wireless Fighting Commander, a pad that seeks to remind players of a bygone era of turbo buttons, slow motion functions and other features designed to give players the edge they needed in the days when home consoles were practice for days spent in arcades.

We’ll be blunt: we love this controller. At first glance it may seem like any other wireless controller, albeit with some bells and whistles, but for those of us that were gaming during the SNES era the attention to detail and care taken with this product are every bit as impressive as the SNES Classic Mini itself.

Even the box is a throwback to official Super NES products from the ‘90s, with the design evocative of the packaging to Nintendo’s own controllers. The pad bears Hori’s old logo, which its pads carried in the ‘90s, too. The nostalgia doesn’t stop there, either. The pad itself is a revival of the wired Fighting Commander that Super Famicom owners could pick up in Japan.

The only change made to the design of this pad is the fact that it’s now wireless – a welcome addition to any console in 2017. The controller is powered by two AA batteries, which are included in the package, and it’s connected to the SNES Classic via a wireless dongle that protrudes a fair bit from the console, and has a red light on it to indicate the controller is connected. The unit we received for review was already paired with the receiver out of the box, but if you need to pair your controller the process is as simple as they come:

It also carries all the accoutrements one would expect of a ‘90s fighting game controller. Each button can be set to be automatically held or rapidly pressed using an array of two-stage switches found on the front of the pad. The first stage enables the turbo function, while the second stage tricks the console into thinking the button is held down. There’s also a slow motion feature on deck with two stages of speed as well. The slow motion effect is achieved by rapidly pausing and unpausing the game, which itself is achieved by rapid simulated presses of the start button. This feature was considered useful in fighting games of the day by allowing one to input moves during the pause delay.

All these features make for a charming controller to have for nostalgic reasons, but beyond that the Wireless Fighting Commander is just a plain good controller, too. The d-pad and buttons feel every bit as good as those found on the real deal. The buttons themselves aren’t concave like the official controller’s Y and X button, and they’re larger too. The L and R buttons are both in their traditional positions atop the controller and in a third column to the right of the face buttons. Initially it would seem that having a layout like this could cause some confusion or lead to mis-pressed buttons, but we had no issues with the controller layout across any of the games on the SNES Classic.

The wireless functionality worked very well under even the most demanding of situations. In our testing area we placed the SNES Classic directly above a wireless router with several wireless devices positioned nearby. Even under these conditions the Fighting Commander didn’t skip a beat.

The Wireless Fighting Commander is a love letter to those that bought the special controllers that lined the pages of gaming magazines in the halcyon days of the 16-bit era. From its packaging to its presentation to its build quality, there is little to find fault with. Like Nintendo, Hori has resurrected a product that some will have incredibly fond memories of and built it in an uncompromising way. It’s the only Nintendo-licensed third-party option on the market right now and it’s easy to see why. If you want to go wireless with your SNES Classic, this is an absolutely essential product.

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The Tenta Brella is Your New Splatoon 2 Weapon This Weekend

Splatoon 2 is a game that keeps on giving, mostly through new weapons and occasionally with a new stage. One of the reveals in the recent Nintendo Direct, the Tenta Brella, is our new weapon for the weekend.

You can see some pics of it below.

If you need a reminder of what it’s all about, the Nintendo Direct segment below should help.

As always the update will likely kick in 6pm Pacific / 9pm Eastern today (29th September), which means the early hours of the morning (2am UK / 3am CEST) in Europe.

Will you be trying this out over the weekend?