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The Sinking City yanked from stores in dispute over publishing rights

The maw of Cthulhu, though vast and unknowing, must still bow before the might of a publishing dispute. French developer Frogwares announced today that it has requested that The Sinking City be removed from most game stores after a dispute over the game’s publishing deal with Nacon (formerly known as Bigben Interactive). 

In a statement on its website, Frogwares claimed that Nacon took multiple steps to both deny payments to the developers and act as though it was the IP-owner for the game. Frogwares states that their original deal was for Nacon to publish the game on Xbox One, PS4, Steam, and the Epic Game Store, but after its launch in June of 2019, the company began allegedly reneging on promised payments and claiming that certain stores weren’t paying royalties. 

During this time, copies of the game were allegedly sold without Frogwares’ logo on the front or back of the case, and the studio’s name was removed from marketing materials. Nacon (under its former name Bigben) apparently also published a tabletop RPG without Frogwares’ involvement that claimed it was the copyright holder of The Sinking City. 

On April 20th, after a year of back-and-forth on these issues, Frogwares says it moved to terminate its contract with Nacon. This opened up a new legal minefield, one caused by the COVID-19 pandemic. After the pandemic began, France passed emergency laws meant to protect companies during the pandemic, and Bigben claimed that because of these laws, Frogwares could not terminate its contract.

Frogwares, for its part, says that a Force Majeure clause in the contract still allows them to initiate the termination. They also say that Nacon has refused to pay 1 million euros worth of royalties. 

This finally led Frogwares to request the game be removed from the Steam, Epic, Xbox One, and PS4 game stores. The game is still available on platforms where Frogwares has published the game itself. These include Origin, Gamesplanet, and on Nintendo Switch. 

This is an unusual reversal for Frogwares, which endured another publishing dispute with Focus Home Interactive in 2019. In that case, Focus Home had allegedly “wrongfully delisted” Frogwares’ Sherlock Holmes games. 

We’ve reached out to Nacon for more information, and will update this article when they respond.  

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Get a job: Windwalk Games is looking for a Lead Artist

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: Austin, Texas

Windwalk Games is a YC-backed gaming startup founded by an ex-Rioter that is dedicated to building the next generation of huge, online, social games. We are building games that are fun to play and can support vibrant, dedicated communities of diehard fans. Our current focus is building THE genre defining game in the Social Deception genre. If you love games like Mafia, One Night Ultimate Werewolf then keep reading.

Our game, Enemy on Board, is an action packed take on social deception. Enemy on Board is currently in open alpha. 

We are currently on the hunt for a lead artist. Someone who can work closely with our team and own the visual direction of Enemy on Board and our future games.  We are a small studio so we are looking for someone who is excited to wear multiple hats and just get stuff done. You will be helping build and manage a squad of contractors AND create kickass art as an IC. We are looking primarily for candidates based in Austin, Texas but are open to exceptional remote candidates.

Requirements

  • Excited to join a small, dynamic, fast growing startup

  • 4+ years as an Art Lead or Contributing Creative Director

  • Has shipped 2+ games in the above roles. (Or similiar live service experience)

  • Kickass IC skills in one or more of the following areas: UI Art/Design, Character Concepting, Environment Concepting, 3D Modelling, 3D Animation

  • Ability to get the best out of contractors in the following disciplines: Animation, Character Art, Prop/Environment Art, UI Art, 2D Marketing and VFX

Responsibilities

  • Drive the artistic vision and provide feedback and direction to implement that vision

  • Direct the creation of art both internally and by third parties

  • Evaluate, hire, and work with contractors across all art disciplines. Emphasis on Concepting, 3D Modelling, Animation, 2D Asset/UI

Things that make you a better fit

  • Experience owning the creative direction on small teams

  • Experience working at a startup or directly with entrepreneurship

  • Experience working and managing remote art teams

  • Experience with live service structure and deadlines

Please submit a cover letter, resume and link to your portfolio. Applications without these materials will be ignored.

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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Facebook’s VR rebranding changes Oculus Connect to Facebook Connect

Facebook has made some changes to the branding for its VR/AR dealings, including a change that removes the Oculus name from its yearly VR/AR developer event.

Facebook Connect, previously known as Oculus Connect, is now booked as a virtual event on September 16. The Oculus to Facebook shift is a small one in the scale of things, but its timing is notable given Oculus recently announced that it is starting to transition away from Oculus accounts (and toward Facebook accounts) for its entire line of VR gear.

In a blog post, Facebook explains the rebranding as a reflection of the fact that “Connect has grown to include so much more than Oculus, with research updates and product news from Spark AR to Portal from Facebook.” The company is also rebranding its entire VR/AR department as Facebook Reality Labs, a name that previously belonged to its R&D division.

Upload VR notes that a Facebook spokesperson has confirmed that the Oculus branding isn’t being retired by any means, despite the slight shifts we’ve seen in recent weeks. 
 

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Get a job: Join Remedy Entertainment as a Programmer

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: Espoo, Finland

Remedy Entertainment, the creator of Control®, Quantum Break®, Max Payne®, Alan Wake® and Death Rally®, and one of the leading independent game studios in the world, is looking for a Programmer for a key role working on Remedy’s projects.

We are looking for a Programmer to help unify our digital character creation workflows. We have recently started from scratch to unify our character creation pipeline, presenting an unique opportunity.

While this a full-time software engineering role, the character technology team has also worked on implementing existing skinning algorithms, novel convolutional neural network architectures, facial blendshape solvers, custom photogrammetry hardware and statistical analysis of motion capture among others things. 

Responsibilities

  • Help develop an industry leading digital content creation pipeline
  • Adhere to high quality programming standards
  • Support the teams involved with character creation with tools to make their work easier

Requirements and qualifications

  • Minimum 2 years of experience working in the game industry (preferably on AAA titles) or VFX industry
  • Proficiency in at least C++ and Python
  • Curiosity, ability to learn fast and to communicate concisely
  • Experience working with Autodesk Maya or MotionBuilder APIs
  • Excellent verbal and written communication skills (in English)

The ideal candidate will also have

  • A degree in computer science or software engineering
  • Experience with any of the following: custom in-house game engines, test driven development, continuous integration, UI frameworks, API design, parallelism

What is in it for you?

  • Yes, you get to move to Finland where the quality of life is exceptional and cost of living is affordable
  • Moving to a new country can be intimidating, but our relocation service is there every step of the way to take care of you. You can concentrate on work, while we’ll take care of everything else
  • You will be offered competitive compensation with a bonus system
  • We work hard, but at Remedy we believe in a great work life balance. Happy people work better. In Finland you get up to 5 weeks of paid vacation every year. This is on top of public holidays and other special occasions
  • Above all, you get to work on awesome, unique video games that the global audience is interested in at a studio where your input is valued. We try our hardest to keep our team sizes and the work load sensible, so your contributions feel valuable

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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Don’t Miss: A game design deep dive into Rocket League’s rocket jumps

Game Design Deep Dive is an ongoing Gamasutra series with the goal of shedding light on specific design features or mechanics within a video game, in order to show how seemingly simple, fundamental design decisions aren’t really that simple at all.

Check out earlier installments on the heredity system of Hero Generationstraffic systems of Cities: Skylines, and the plant-growing mechanics of Grow Home.

Also, dig into our ever-growing Deep Dive archive for developer-minded features on everything from Amnesia’s sanity meter to Alien: Isolation’s save system.

Who: Dave Hagewood, Founder and President, Psyonix

I started as a contractor for Epic Games working on a mod I designed for Unreal Tournament 2003. That mod eventually became “Onslaught” for Unreal Tournament 2004. After that, I grew Psyonix into a studio specializing in Unreal Engine technology and we worked behind-the-scenes on a lot of top games including: Gears of War, X-Com: Enemy Unknown, and Mass Effect 3. Eventually we were hired as the primary developer for Square Enix’s Legacy of Kain-themed free-too-play game, Nosgoth.

In between working on these games we did our best to release original content, including the cult hit Supersonic Acrobatic Rocket-Powered Battle Cars for PS3 in 2008. Years later, after we had grown in size, we released a completely updated version called Rocket League, which brings us to where we are now!

What: Rocket flying in Rocket League

In our PlayStation 4 and PC game, Rocket League, players control cars capable of both double-jumping and boosting; most advanced players learn to manipulate our physics model and “fly” by skillfully combining the two abilities. While we developed this mechanic almost by accident while designing Rocket League‘s predecessor, Supersonic Acrobatic Rocket-Powered Battle-Cars, we love the way it adds depth to the game’s skill curve and made sure to include it while building Rocket League.

The story of its design starts during SARPBC’s development, where we started out with a car that can jump that had a lot of air control. We were trying to figure out how to expand on this concept and, since lots of games have turbo boosters or pads you roll over that boost you forward, we tried some things like that.

But then we decided we wanted an actual player-controllable boost. We never thought about it in terms of being a “rocket booster” — we thought about it as being a pure “max speed” increase or a boost of acceleration, like nitro.

Personally, I’ve always been a fan of real-world physics in games; rather than faking things behind the scenes, I prefer to keep the physics simulation as pure as possible. So we literally just applied a force to the back of the car, since the car is also a physics object, to create this turbo boost. Then, we created these pickups you could drive over that would fill you full of “boost” fuel that would allow you to go faster.

All this work was done before we even decided to try car combat in SARPBC; it was when we were experimenting with obstacle course-type gameplay, where you’d try to jump over long valleys and drive up ramps and see if you could make it past certain areas. While we were playtesting those courses, we started realizing that players could use the jump mechanic and the air control to pitch up, and then if they triggered the boost at that point, we discovered they could use the momentum from the jump to just rocket off in whatever direction they pleased. You could literally fly straight up, if you wanted.

Why: Because there’s nothing like it

We fell in love with rocket boosting because it’s an interesting mechanic: it’s not automatically going to work every time, and it does require a bit of player skill to pull off. For instance, if you’re flying over the ball and you want to stop yourself with a rocket boost, you have to overcome that momentum — you can’t just hit a button and fly off in a different direction. You have to learn how to finesse it, and that was really cool for the obstacle course game we were originally trying to create.

Later, when we moved on to car combat, we kept it because it was such a cool idea. We were trying to figure out ways to fly through the air and shoot each other, and honestly, that was one of the reasons we even experimented with other game modes. The verticality that the rocket boost afforded us added an extra dimension to the game that we didn’t want to get rid of. It made the game feel very unique, and we wanted to embrace that. 

We actually had another mechanic that was like an energy grappling hook you could fire, hit a ceiling and swing around the map. That was kind of cool and kind of crazy, but it felt super-limited in comparison to the rocket boost. The boost gave players the room to become so skilled at something that they really felt like they had earned the right to pull off these crazy advanced aerial maneuvers. It created “wow” moments where players would say, “Oh my god, I can’t believe you just did that!”

With something like the grappling hook, players would default to the same moves every time; but with rocket jumping, this pure physics-based propulsion system allowed for a scaling of skill that made the game feel satisfying to master.

Results: Following the fun

Designing Rocket League‘s rocket-boosting mechanic was an interesting process; because it was so much more emergent than other games that we’ve worked on. Usually, we start out with a very concrete plan of what you want to do, but in this case we really started out with just a very simple mechanic: cars that jump.

We like cars that can jump. We know they’re fun to play with. Even in the earliest stages of development, it was just fun to drive around the map, and that’s when we realized that we knew we were on to something.

Looking back, we call this game design strategy “following the fun” — trying to figure out what direction we can turn in that’s actually going to make this game more fun, and what directions to avoid turning in so we don’t make it less fun. In retrospect, even some of the more obvious turns we thought we’d make, things like “we have to have weapons” or “we have to have grappling hooks” or whatever, we wound up avoiding because during development we realized they didn’t actually make the game more fun to play.

As a result, we literally drove development towards where the fun was, until we ended up with the soccer mode that now forms the core of Rocket League. Rocket jumping is a critical mechanic to that mode because it affords players room to grow their maneuvering skills and outmaneuver other players. I think that’s a big part of why the game has the longevity that it does.

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Devs exit Lab Zero Games over owner’s persistent pattern of misconduct

Several developers have announced their departures from Skullgirls dev Lab Zero Games over the last few days, with all calling out the behavior and lack of accountability of studio owner Mike Zaimont as the reason. 

“Mike Z creates an unsafe work environment for everyone,” tweeted departing artist Brian Jun alongside a longer statement on his exit. “He is the sole owner of Lab Zero Games, and removing him is difficult. He originally agreed to leave, but is unwilling to make a reasonable compromise, so I’m taking my exit now.”

Following Jun’s announcement, Indivisible creative director Mariel Kinuko Cartwright and Indivisible and Skullgirls animator Jonathan Kim have both followed suit under similar circumstances.

Zaimot was accused of making inappropriate sexual comments toward a Twitch streamer and a cosplayer earlier this year (via Kotaku), and came under fire around that same time for making an on-stream “I can’t breathe” joke shortly after a police officer suffocated George Floyd. Those events sparked a conversation among Lab Zero Games staff, and Jun says they collectively realized that their own uncomfortable interactions with Zaimont weren’t isolated incidents, but were instead part of a larger pattern. 

“What we realized was that there was a pattern of behavior that I don’t think we had fully understood until then,” writes Cartwright. “A pattern of hostility, insults, threats, lying, and harassment that many of our team had not openly shared with each other before.”

“Mike Z had sometimes made me feel unsettled at times, but I never knew how broad his actions were,“ writes Jun. “This was a clear pattern of systemic abuse and lack of empathy while himself refusing to accept feedback and not showing a willingness to change.“

According to the accounts of exiting staff members, the board of Lab Zero Games placed Zaimont on administrative leave as it worked to negotiate terms of his departure, but was met with unreasonable demands. Jun says Zaimont used his position to disband the board after negotiations fell through, then reneged his plans to depart the studio. 

Kim adds that Zaimont proceeded to dodge responsibility for his actions and continued to intimidate staff, then “gave all employees until August 31 to leave if they’re unsatisfied, and so now we’re here.”

“Instead of leaving Lab Zero peacefully, Mike refused to listen and has decided that everyone in the company, including people he’s victimized, are wrong. His actions are insulting and unacceptable,” writes Kim. “Lab Zero has always been about the great team working together to create amazing work. But Mike has taken advantage of and hurt that team, and I can no longer stay in a company that includes him.” 

Those departing staff members also add that Zaimont’s status as studio owner wasn’t intended to be permanent, and instead was originally planned as a transitional role before ownership would be transferred to the studio’s employees.

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Network N is hiring a Group Editor – join us!

Network N is hiring a Group Editor who will manage the editorial teams within Network N’s publishing department. Ensure successful execution of the brand strategies, and work with the other members of the Publishing Management Team in order to achieve the department’s overall objectives, both editorial and commercial.

We do require that you have at least five years of experience in a senior editorial role, with a demonstrable track-record of improving and growing online brands. You will also have experience of managing editorial teams and budgets, have delivered promoted content work, and have knowledge of best publishing practices and SEO. It’s also important that you have a passion for videogames.

The role is based in Bath, UK, though there is potential for a remote-working candidate based anywhere in the UK. Benefits include 28 days holiday, an auto-enrolment pension, competitive salary (c.£40k, depending on experience), profit share scheme, and a variety of other perks including a Perkbox subscription and regular social events. You can check out the full details of the job on Network N’s official site.

The full list of responsibilities includes:

  • Developing, refining, and ensuring the execution of the brand strategies for our owned sites
  • Assisting with all aspects of the promoted content campaigns across the portfolio, including pitching, execution, and ensuring successful delivery
  • Working with our Audience Development Manager to ensure consistent audience growth across our brands
  • Working with our Head of Publishing Development to refine and optimise our web platforms in order to achieve the department’s strategic objectives
  • Working with our Ecommerce Editor to maximise ecommerce revenues and opportunities
  • Ensuring adherence to brand guidelines and maintaining a high bar for quality across our websites
  • Training and developing our site editors and cell leaders to the highest possible standards
  • Managing our site editors and providing guidance, feedback, and pastoral care
  • Providing support for the Network team regarding business intelligence and site recruitment
  • Working alongside our video and social media teams as required
  • Understanding and managing business unit budgets where required
  • Building and maintaining industry relationships, and representing Network N at relevant events
  • Other as requested by the Publishing Director

To apply, simply send your CV and a covering letter to ‘[email protected]’.

You can also find the full details of the role on the official Network N site.

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Rocksteady†™s response to claims of inaction outlines past and future anti-harassment plans

After a few days’ wait, Rocksteady has issued its statement on earlier accusations that it largely ignored a 2018 letter from female staff disclosing cases of sexism and harassment faced while at the studio.

While the studio says it did in fact investigate the complaints at the time and improve policies surrounding its commitment to inclusion, Rocksteady says that it is now working with an independent third-party to help address any current complaints with the studio’s internal culture.

“Right now we are as passionate as ever about creating an inclusive culture and we are listening carefully,” reads the statement. “We are determined to stand up for our staff and stand firm against any unacceptable behavior.”

This comes after a Guardian report earlier this week accused the Batman studio of inaction two years after several women working at the studio wrote a letter to leadership about misconduct they’d experienced in the workplace. Ten of the sixteen women that worked at the studio at the time signed the letter, which chronicled moments of sexual harassment as well as inappropriate comments.

One of the key figures in that letter’s creation, senior writer Kim MacAskill, followed up The Guardian report with comments that Rocksteady was “inept” at dealing with the issues, aligning with The Guardian’s note that the response was a single training seminar. 

Rocksteady’s statement paints a picture of a larger response, saying “in response to the initial communication, we met with all our female staff, we listened, and we dealt with the issues raised. All formal complaints were thoroughly investigated, addressed appropriately, and a number of serious measures were taken in response to the issues that were surfaced, including discipline or termination of staff.”

Despite the discrepancy, MacAskill says in a tweet that the statement and Rocksteady’s intent behind it is an attempt to improve.

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Get a job: Wizards of the Coast is looking for a Lead Client Engineer

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: Renton, Washington

At Wizards of the Coast, we connect people around the world through play and imagination. From our genre defining games like Magic: The Gathering® and Dungeons & Dragons® to our growing multiverse, we continue to innovate and build new ways to foster friendship and connection. That’s where you come in!

Are you a veteran software designer with experience developing and supporting a live game service?

The Magic: The Gathering Arena team is looking for an experienced engineer to help manage and direct the engineering team who builds and maintains our game client in Unity. In close collaboration with designers, artists, and other engineers, you’ll be one of the main drivers of designs and decisions within the team.

What you’ll do

  • Directly manage, guide and supervise a team of software developers while contributing to the entire project
  • Design and implement solutions for Magic: The Gathering Arena in alignment with architectural designs and program needs
  • Provide consultation on sophisticated projects as a top level contributor/specialist
  • Communicate and iterate on technical designs and decisions with the team and help troubleshoot and resolve technical problems as they arise on production environments
  • Use your experience to grasp issues quickly and make critical judgments in the absence of complete information
  • Work with a variety of other departments to build technical requirements

What you bring

  • Bachelor’s degree in computer science or 5 years of experience in professional software development.
  • 6 years of total job experience
  • Experience leading and mentoring effective teams.
  • Experience with front-end software development.
  • Proven understanding and experience working on client/server architectures.
  • Strong coding, debugging and problem-solving skills and the ability to write readable, maintainable code.
  • Strong communication and teamwork with diverse groups of people in various roles.
  • Software development experience with multiple platforms (Windows, iOS, Android, etc.)
  • Sound knowledge of software engineering, software engineering methodologies, and the impact of early decisions on later development stages of software projects.

We are an equal opportunity / affirmative action employer

The above is intended to describe the general content of and the requirements for satisfactory performance in this position. It is not to be construed as an exhaustive statement of the duties, responsibilities, or requirements of the position.

We will ensure that individuals with disabilities are provided reasonable accommodation to participate in the job application or interview process, to perform essential job functions, and to receive other benefits and privileges of employment.

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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Don’t Miss: The tricky history of Tony Hawk’s Pro Skater

[In the latest in a series of Gamasutra-exclusive bonus material originally to be included in Bill Loguidice and Matt Barton’s new book Vintage Games: An Insider Look at the History of Grand Theft Auto, Super Mario, and the Most Influential Games of All Time, the duo presents a history of Tony Hawk’s Pro Skater, the game that popularized a niche genre and sparked a host of imitators in the early part of this decade.]

Screenshot from Atari’s 720 Degrees arcade game.

Extreme sports video games have a long and storied history, culminating with the first Tony Hawk’s Pro Skater in 1999, which ramped the genre to superstar status. As we’ve seen, nearly every game in this series has predecessors, and Tony Hawk’s Pro Skater is no different.

Games like 720 Degrees, a 1986 arcade skateboarding game from Atari, and Skate or Die!, a 1987 multiplatform home release from Electronic Arts, made scores of gamers happy, but it was Tony Hawk’s Pro Skater that would take the genre successfully into the realm of 3D[1], offering unparalleled levels of control and fluid motion so critical to such games, in turn spawning a whole slew of me-too products that wanted to outperform and be more extreme than skateboarding icon Tony Hawk himself.


Screenshot from Skate or Die!, Commodore 64 version.

Of course, extreme sports — also referred to as action or adventure sports — are not limited to the skateboard. The term can represent any over-the-top or dangerous sporting activity, which is particularly at home in the world of video games.

From the early Olympic sports video games, culminating with Epyx’s multiplatform California Games (1987), which featured skateboarding, freestyle footbag, surfing, roller skating, flying disc, and BMX minigames, to the classic NBA Jam (1993) and NFL Blitz (1997) series of highly stylized and simplified arcade sports video games, there has been no shortage of compelling, action-packed alternatives to traditional sports gaming.

What Tony Hawk’s Pro Skater, which has now generated $1 billion in sales across the course of the series,  added was an extraordinary level of realism to the over-the-top antics that resonated with many players who were turned off by the overly competitive nature of the previous games. By making it about technique over style, Tony Hawk’s Pro Skater expanded its audience to far more players than any other game of its type before.


Screenshot from the surfing event in California Games, Commodore 64 version.


Box back for the Sony PlayStation version of Midway’s NBA Jam Tournament Edition (1994).

Screenshot from the arcade version of Midway’s NFL Blitz (1997), which put a more violent twist on the over-the-top antics of the successful NBA Jam formula.


[1] Sega’s hit Top Skater (aka, Top Skater Sega Skateboarding) arcade game from 1997, which featured a skateboard controller and railings as part of its oversized cabinet, was one of the first 3D skateboarding simulations, but was as much about racing as it was about performing stylish tricks.

Despite the eventual release of mostly mediocre home skateboarding controllers thanks to the popularity of games like Tony Hawk’s Pro Skater, Top Skater never received a home port.