Saturday, 20 February 2010

Sega Reveals Virtua Fighter 5: Final Showdown

Yesterday at the AOU 2010 arcade expo in Japan, Sega revealed for the first time the latest instalment in the Virtua Fighter series, in what appears to be the last iteration of VF5 before they move on to creating a fully-fledged sequel. Anyone still waiting for a VF5R port to arrive may want to let go, as now there’s very little chance of that happening. Instead, Sega may well be holding back to release this latest version onto consoles, though it will be at least six months before they announce anything of the sort, as not to impact on potential arcade sales.

In addition to releasing a trailer for the game. Sega also revealed that all items and unlockables from VF5R would transfer over to FS, putting hardcore Japanese arcade VF’ers at ease.

Whilst no more details about VF5FS were given at this time (arcade release date?) we can probably expect some major tweaks to the gameplay, in addition to some subtle changes and balance adjustments.


However from the trailer alone, we can already see some of the obvious changes being implemented as well some things which only die-hard VF fans are likely to notice. Firstly, we have what looks like a complete wardrobe change for all of the characters - all of which are far more outrageous than any of the cast’s original outfits - though we don’t know if these consumes are just additional ones or are actually the default numbers, plus we can see some new items to unlock during play.

Secondly, in terms of gameplay changes we did see a few improvements, such as some new cancels being performed by Pai, along with tweaks to how certain moves hit/react with certain characters - Taka for example didn't get knocked down after being hit by Jacky, which always happened when doing the same move in VF5R.


Currently that's all we know for now, but being excessively huge Virtua Fighters fans here at IQGamer, we will definitely be bringing you all the latest on Virtua Fighter 5: Final Showdown, just as soon as we find out more ourselves.

Until then, head over to virtuafighter.com and sign up for the petition to bring both VF5R and VF5FS onto PS3 and 360. Together, lets make it happen!

Thursday, 18 February 2010

Editorial: Sega Outsources Sonic 4 Development

When Sega announced Project Needlemouse late last year it was said that the game would be developed via a collaboration between different in-house studios worldwide. It turns out however that this wasn’t actually the case, and that a separate company outside Sega is handling the game. Osaka-based Dimps corporation is essentially doing all the coding and modelling work on Sonic 4, with a so far un-named studio inside Sega handling all the character and art design work.



Now this isn’t the first time that Sega have developed a Sonic game with outside assistance. They did the very same thing way back in the early nineties when creating the Master System and Game Gear series of Sonic games. The first game was developed by Ancient Corp - a company managed by renowned Sega musician and sound designer Yūzō Koshiro - whilst the remaining later instalments were done by Aspect Co, Ltd, another external company with ties to Sega. So it’s not quite so unusual as you might have first thought, to have a lead franchise handled and developed externally.

Going back to Sonic 4, you might like to know that Dimps, were actually the company responsible for making all three Sonic Advance games for Sega on Nintendo’s GameBoy Advance handheld system. These titles were the closest thing in terms of gameplay and polish to the original Megadrive/Genesis Sonic The Hedgehog games, featuring classic loop-de-loops, interesting level designs requiring you to both explore and build up momentum for the faster sections, as well as having new take on the classic bosses found in the original games. However after the first Sonic Advance game, Dimps began the age-old trick of expanding the gameplay for the other characters, whilst making the level layouts more convoluted and confusing.

Sonic Adv2 and most certainly Adv3 were slower games than the first one, having greater emphasis on pure platforming and exploration rather than speed. However the addition of extra characters, and making the stages longer and more complicated affairs in order to fit their different playstyles just didn’t work very well. Sonic Adv3 especially felt overly complicated in this respect, and didn’t feature the same level of ebb and flow seen in the first two arguably polished instalments.

In regards to these criticisms, we hope that Dimps actually look towards the type of design used in not only the first Sonic Advance, but also to those found in the original four Megadrive/Genesis titles that set the benchmark for all future Sonic games to follow. However we also have a lot of hope too, considering that the they single-handily managed to produce a fairly faithful 2D instalment for the first time some seven years ago, there’s no reason to not expect them to do it again for Sonic 4, especially considering Dimps as accompany, is quite similar today as it was back then, unlike Sega who shed most of it’s highly regarded game designers and visionaries back in 2004 a year after they were purchased by Sammy Corp.

It’s with this particular statement, that Sega aren’t really the same Sega we know and love anymore – except for maybe AM2 – that perhaps having an external development team, with experience in producing more traditional Sonic The Hedgehog type games, is a far better bet than having Sonic Team produced the whole thing themselves, considering that their output has been less than stellar since the demise of the Dreamcast.



Overall, the news comes as a welcoming surprise, not only bringing back some of the excitement I felt after Sega announced the game, but also re-establishing some of my faith lost soon after seeing that teaser trailer shown off on the same day. Arguably, having Dimps involved is a good sign that Sega themselves is taking on the responsibility of making sure we have a game that is both as good as it can be, whilst also being faithful to the games it is supposed to succeed.

Dimps might have made some missteps with Sonic Advance 3, but like so many of us growing up, they can also learn from their mistakes and move forward with a greater understanding of what works well, and what doesn’t.

Sonic The Hedgehog 4 will be released sometime this summer for XB Live Arcade, PSN, and Nintendo’s WiiWare online shop. We’ll be following this one closely here at IQGamer with more in-depth coverage to come.

Wednesday, 17 February 2010

Heavy Rain: Demo Impressions

Late last week Sony released a demo of Quantic Dream’s upcoming Heavy Rain (HR), a game that promises to evoke some sort of deep emotional response from all who sample its delights, branching out and away from being just another interactive movie into something else completely, a new experience in which you should be able to ‘feel’ with the characters and become entangled in their own troubled minds, or so that’s the idea they are hoping for.



My interest with Heavy Rain peaked after playing through two sections of the game at the Eurogamer Expo back in October last year. It felt very much like an more in depth version of Sega’s hugely loved, but massively unsuccessful Shenmue, featuring greater levels of interactivity during the Quick Timer Event style (QTE’s) cut scenes, along with better dialogue and tighter direction, whilst also having less of the rather cool, but mundane stuff; like being able to pick up and look at various items in the shops you ventured into, or simply having fun by harassing random people in the street.

However unlike Shenmue, Heavy Rain’s slice of cinematic gaming is a far more tightly directed and concise affair, spending an increased amount of time setting up a connection between the player and the characters on screen, whilst also making you feel what they are going through both mentally and physically. In this aspect director David Cage and the developers at Quantic, have taken the time to present a much greater link between the actions displayed on screen with what happens on your controller. In this new PSN demo - in which there are two separate scenarios to play - the second one best demonstrates the combination of visual cues and control used for that effect perfectly.



In the second part of the demo, the game sees you playing as Norman Jaden, an FBI investigator closely analysing a crime scene found just over by a railway line, gathering evidence and making small connections to the serial killer. At one point the evidence you find leads you up a wet, muddy embankment, and it’s here that the game showcases one of the much talked about links to evoking emotion.

The way the QTE system is used in this section is incredibly immersive, and really does add to the sense of feeling the developers are trying to create. As you are climbing up the bank, the game makes you push and hold down a series of buttons, slowly making the combinations more difficult for your fingers to reach - making it uncomfortable for you - while at the same time moving across the pad with the face buttons and then bringing in both L1 and R1 into the mix, moving back and forth between them. If you let go of either of the two buttons still in play, you will find yourself sliding back down to the bottom and having to repeat the process all over again. When you’ve finished gathering any evidence you might need and begin heading back down. The game gives you a much easier, but by no means less successful, set of combinations to push as you run down the bank attempting to not slide on your arse as you do so. Essentially this involves quickly alternating between pushing the L and R buttons as you take each step before reaching the bottom.

The controls in this scene cleverly combine your own emotions with the character’s on screen, and it does this by either pairing up the buttons you push with what your character is doing, or by simply making you feel their difficultly using harder to reach button combinations at different speeds. It’s a nice concept that could have fallen completely flat on its face. However Quantic Dream seem to have thought things through very carefully and have not been at all brash with their implementation.



The same style can be found in the more regular QTE fight sequence from the first part of the demo, though perhaps less convincing, in which various rolling motions with the right analogue stick are used, along with frantic button presses and various timed releases to produce an exhilarating effect, making you completely involved without so much as quick second or so break in between actions. A more hectic and expanded version of the system used in Shenmue is what this most feels like, and if Yu Suzuki’s game were released today then I would probably expect something similar.

Along with these mandatory QTE events, the game also has some more sedate sections, which has you briefly talking to people and examining evidence scattered around a crime scene. In this scene the controls are also context sensitive and used to produce the same effect in a similar way. You might find yourself rolling the right analogue stick a quarter-circle in a forwards-upward motion to pull out your ID badge for example, or pushing down on the stick to pick any evidence you might find. Again, all these motions attempt to make it feel like you are actually doing these things instead of arbitrarily pushing a button baring no resemblance to the movement you are performing.

It’s pure genius; it really is, and it never feels forced or contrived either, which is exactly how any well thought out gameplay system should be.



The voice acting however, and the dialogue isn’t quite so inspired, quite often failing within the small self contained contexts found in the demo, with flat delivery and a decidedly clichéd script. The most noticeable thing is that the conversations never flow smoothly when you are in control of choosing a response, giving out answers or asking questions. Instead the often-stilted dialogue comes out much better during the pre-scripted parts of the scene in which you have no control, flowing far more like a real conversation. However as with any game giving you multiple choices for dialogue, it’s not always possible to blend the different responses in a way that seem natural without taking away some of the users freedom in how the they will want to express themselves. It’s just a common side effect of this open system which is always going to be present. Although with Heavy Rain setting the bar so high for trying to evoke an emotional response, it can seem quite jarring to the experience, especially when you have either plainly flat delivery of vocals, or enthusiastic over-acting which comes across as cliché.

Despite this, the choices you make and how the characters respond in conjunction with the controls, all make Heavy Rain a very interesting prospect. Sure, we don’t know how the outcomes in any of these two scenes will impact on the rest of the game, or really know enough about the characters to care about them, or even to make a connection. But we do know, that all these little nuances add up to form something quite different and a potentially very involving experience. Perhaps Heavy Rain might not end up making you cry- which according to David Cage is one of his ambitions to achieve in a game - but instead be sucking you in deeper than you have ever been before, giving you a greater feeling of connection through the controls, dialogue, and story.



We will find out in a couple of weeks time how successful Mr Cage and Quantic Dream have been in delivering their promises. However, even if they haven’t, they’ll still have made what looks like could be one of the most intriguing, inventive games around; something that hardly any developers these days can put a claim to. Either way, I will be giving this one a thorough play through before delivering any definitive conclusions in the eventual IQGamer review.

Until then you should check out Beames on Games for another interesting take on Heavy Rain, along with more talk of that illustrious multi-million dollar flop that was Shenmue, which by the way, if you haven’t actually played already, should really pick it up along with a Dreamcast and do so.

Monday, 15 February 2010

Street Fighter IV Coming To... iPhone!

In a rather ambitious move, and one that I thought never would happen, or really expected, Capcom have announced that they are in the process of porting Street Fighter IV to the iPhone. Bizarrely over the last few weeks I had been thinking and talking about how a version of Street Fighter II might work if they ported it to Apple’s portable platform, without ever realising that they were doing almost just that.

Having a simplistic fighting game control well on the iPhone would be no small task, and here we have Capcom attempting to replicate SFIV’s intricate gameplay system without the use of any real buttons or even a directional slider. What’s more impressive though, is that they reckon that they’ll be able to pull it off whilst keeping a reasonable amount of graphical fidelity from the console versions, and get the game out by March. Certainly going by the screenshots below, it may just about be possible.



On the base of it SFIV for the iPhone will use both a virtual touch screen d-pad and buttons for its controls, with players performing all the routine quarter-circle motions and 360-degree rotations by rubbing their fingers over the touch screen, much like in GTA Chinatown Wars. However it appears that the game only uses four buttons for attacks instead of the usual six, with two being used for a punch and kick respectively, and the other two, we have no idea, though it looks likely for pulling off special moves or focus attacks. A range of options allowing players to configure the virtual control’s position, button transparency, and set-up will also be available for maximum comfort and ease of use, which is absolutely essential if they are serious about providing a solid experience for the SF faithful to play and enjoy.

Visually the iPhone version of SFIV features art assets taken directly from the current-gen PS3 and 360 versions, aptly scaled down with minimal detail loss and with the spectacular Super and Ultra moves remaining intact. As you can see the results are very impressive, and it would be nice to see something like this being made for the PSP – a platform in which the hardcore can more seriously take to potable play. However to see this up and running so solidly on the iPhone shows that Capcom are both serious and committed to making this work.



In addition to having touch screen controls and similar graphics, the game will include a wealth of familiar faces, including the likes of Ryu, Ken, Zangief, and Chun Li, plus some characters new to the SFIV universe. Various modes such as Arcade, Tournament, Dojo (training essentially), and Versus are all being included, so not only can you practice getting to grips with the new controls, you can then try out your new found skills against your best mate who just downloaded the game out of curiosity.

So far the iPhone edition of Street Fighter IV is looking good, and I personally cannot wait to see this running in the flesh at a hopeful 60fps. Really, I just wanna see if they can get a sensible degree of accuracy with the motion controls and show that the iPhone can successfully be used as a base for serious hardcore games.

Saturday, 13 February 2010

Tech Analysis: Bioshock 2 (PS3 - 360)

Earlier this week we brought you our in-depth analysis on the technically proficient Dante’s Inferno, a game that impressed us with its startlingly solid approach to achieving almost 100% parity across both PS3 and 360, and if it weren’t for a slight horizontal blur on the 360 version, it would have been absolutely identical. Now at IQGamer we roll out the same treatment for Bioshock 2, going over every detail with a fine toothcomb seeing just how close both PS3 and 360 versions are, and of course take a look at the reasons behind any technical differences we find.

First impressions of Bioshock 2 are rather good, there initially seemed to be very little in the way of differences between both versions of the game, with texture detail being very similar and sharpness being pretty much equal. Lighting looked also to be on par for both PS3 and 360, with the only difference I noticed were with regards to the gamma levels being lower on 360, making for some loss of shadow detail in dark areas. However just a few minutes into the game things began to change, and it was extremely clear than something was going on with regards to how the effects were rendered in both versions, and the impact it was having on overall image quality.

Before I go into detail about those changes I’ll start by saying that Bioshock 2 renders in 720p (1280x720) for both platforms, with the 360 gaining an image quality advantage from having 2xMSAA (multi-sample anti-aliasing) and the PS3 version once again having no AA solution whatsoever, though a slight edge blur is present without affecting edge sharpness to any detriment. The level of sharpness with regards to the actual geometry is identical across both platforms, and this only changes when certain visual effects are present, in which case the PS3 game seems to blur noticeably over the 360 one.



In terms of texture detail and filtering, there are advantages and disadvantages on both versions to consider. These are the same ones we find on most cross platform PS3/360 ports or conversions. The 360 game seems to have a very slight edge in texture quality and detail, though not always in all circumstances. In most areas textures are actually identical across both platforms, and in other areas in which some textures seem blurrier on PS3, they are in fact the same as on 360, with the blurring caused by the lower resolution alpha and transparency effects being rendered.

In terms of texture filtering, anisotropic is present on the PS3 with 360 instead using the older trilinear method, meaning that texture detail is clearer from further away on PS3, which can lead to some of that version’s less detailed textures actually looking more detailed from a distance.

The PS3 also sees a small advantage in the area of texture streaming and with the LOD system present in the game. When playing through both versions one thing that did strike out at me was that texture pop-in was a semi-regular occurrence on 360, with on some occasions in which the higher quality mipmap would load in only a few feet away from the object you were approaching. This issue was quite infrequent and by and large didn’t affect the most prominent areas of scenery. By contrast when playing the PS3 game I noticed hardly any texture pop-in whatsoever, despite the fact that the extra level of filtering made it easier to spot any potential issues with this problem.

The reason behind this seems to stem from the fact that the PS3 game is streaming textures directly from the Hard Drive, in which there is a 5GB mandatory install, whereas the 360 is having to load them in directly from DVD. Essentially the PS3 has greater available bandwidth to do this via the HDD compared to 360’s DVD drive, which allows it to push through more higher quality textures at faster speeds, though not necessarily displaying more texture detail, as this is still limited by the system’s internal RAM.

Earlier we mentioned that there was a noticeable difference on how each version renders its transparency and alpha effects. Basically on PS3 all effects are rendered in as little as a quarter of HD resolution, whilst they are of full resolution on the 360. As we have pointed out before in our Dante’s Inferno comparison, this is done on the PS3 to save bandwidth as there is much less available than on Microsoft’s console. The PS3 only has around 21.6GBs per-second worth of bandwidth available for framebuffer effects compared to a huge 250GBs that the 360 can draw upon. This means that in order to render all the same visual details they have to be displayed at a lower resolution in order to fit into the bandwidth requirements of the PS3.



The effects of this can be seen above. Notice how the water running down the stairs is much blurrier than the surrounding stairwell and the stairs themselves. The same thing can be seen with almost all water, fire and particle effects in the game. It does mean that although textures are almost the same in both versions, the lower resolution effects tend to blur out those very same textures on the PS3. Basically the high res bump mapping and texture detail is effectively being displayed at a lower resolution and upscaled every time a transparency or alpha-based effect is rendered on top of them. With this happening frequently - as Rapture is an underwater city, leaking and slowing decaying with age - you find that the entire scene has a tendency to blur when all these visual effects are present, thus negating any advantage the PS3 version might have had with its use of better filtering and superior LOD system.

These lower res effects also feature less animation than those of the 360 game, with most of the water effects being affected, along with some rather strange errors when it came to rendering certain flame effects, and seemingly random objects in Rapture’s various rooms. Some pixallation occurs when viewing these at various angles and at long distances, and although this isn’t as apparent up close, you can still see that something doesn’t look quite right. In addition it seems that there is less, or more subtle use of bump mapping on the PS3 when compared to the 360. Sometimes it appears that the levels used are the same, at other times it seems like the PS3 is lacking in that department. Perhaps the reduced resolution alpha effects are to blame, as in areas in which there is very few of them, the bump mapping appears to be much better and can reach parity with the 360.

However there are many times when the use of lower res buffers hardly impacts upon image quality at all, looking nigh on indistinguishable from the 360 version. From what I’ve observed, this mainly applies to pools of water located on the floor in small dark corridors, or areas with low light levels. In these cases texture detail, bump mapping and IQ of the effects looked only slightly worse, and sometimes pretty much identical, showing that you don’t always need the technical advantage to produce similar results. Unfortunately this is the exception rather than the rule when talking about Bioshock 2.

You see, another issue is that these reduced resolution effects, and strangely rendered texture anomalies on the PS3 also give the game a slightly more washed out look than the 360 one. Differences in gamma between both versions we also believe attributes to this as well. The 360 game has lower gamma levels than the PS3 which means any details in really dark areas suffer from a slight black crush. Even after calibrating both consoles and the TV, the two versions couldn’t be matched up in a way that didn’t reduce the black levels of the 360 version, whilst still failing to reveal shadow detail. It’s not a massive difference, and doesn’t impact in the enjoyment of the game in any serious way, although people playing the PS3 version first will certainly notice.



Performance wise there are similar trade-offs but between smoothness and screen tearing. The PS3 version suffers from next to no screen tearing whatsoever when compared to the 360, though it does slow down more frequently in heavy battle scenes with lots going on.

Bioshock 2 runs at a near constant 30fps for most of the time, with only occasional screen tear and slow down only really occuring when lots of stuff is happening on screen at once. Occasionally I’ve noticed that the game will tear for a split second just randomly as you are venturing along Rapture’s many corridors and communal areas. Not sure why this happens, and it doesn’t seem to be performance related. The most likely candidate is triple buffering, in which the game renders several frames as a back up in case one or more of the frames are torn. It appears that occasionally the game loses one or two of its frames to tearing, and the triple buffering system accidentally displays one of those instead of a clean frame.

This however comes as a cost to the framerate, and when the PS3 game slows down it does so more frequently than the 360 one and for longer. The controls tend to suffer slightly as a result, loosing responsiveness for a brief second or two on top of the slight lag caused by the use of triple-buffering.

With the 360 game the framerate is a much steadier affair, although in response you get a greater amount of tearing. What looks to be happening isn’t always a case of a greater volume of tearing, though this does happen, and much more than you might think, but rather when the tearing occurs, it simply stays on screen a little longer than when the same thing happens on PS3. On the 360 the game also tears frequently in the overscan area of the picture, something that never occurs on PS3. Now this is an area that you simply cannot see unless you turn off the overscan option on your TV. So for 99% of people it won’t be seen at all, and naturally because of this, won’t impact in any way on your experience of the game.

In terms of performance there is no clear winner here. The PS3 drops framerate more often but has virtually no screen tear, and the 360 one doing the opposite; suffering from a greater amount of tearing but having much less in the way of slow down, making the game a smoother more responsive experience. Either way both versions present the gamer with a smooth enough engrossing experience, and the slow down on PS3 doesn’t prevent you from really enjoying the game, as it doesn’t happen very often.

In the end whilst both versions of Bioshock 2 are excellent in their own right, it is the 360 version which takes the lead, with it’s higher resolutions effects, better bump-mapping and smoother framerate, making for an all round more immersive experience. The PS3 game with its low resolution effects, although still a great game and one which looks pretty damn good at times, ventures into a slightly blurry mess on occasions when lots of water, transparencies and particles are on screen. Sadly that can be pretty often, which is a real shame as these effects are integral to helping create Bioshock’s wondrous and foreboding atmosphere.

Either way if you only have a PS3 don’t be discouraged, as many of the issues seen here are not always apparent, plus you get next to no screen tearing and a still very good looking game (in many places at least), just not as technically accomplished one.

Overall if you have both systems and given the choice, I’d say that the 360 game is the one to get.

If of course you've had enough of reading about all this tech stuff, or simply looked at those pictures instead, head on over to Beames on Games for the full review of Bioshock 2.

Wednesday, 10 February 2010

Why 60fps Is Important: Visceral Games

On Monday we covered Dante’s Inferno in one of our regular Tech Analysis features, and one of the main points I made was how well the game managed to hold a steady 60 frames per-second. In fact the demo never drops any frames at all, and in the final game I’ve been told that it does so only on a three or four occasions. This is certainly a feat most games in the current gen simply do not achieve, and perhaps should look toward, especially when it has such a strong impact with regards to gameplay.



Now I’ve always been a firm advocate of having 60fps as the benchmark that all software developers should aspire to. The fluidity and motion clarity for graphics, and the extra degree of accuracy with regards to control, are all vastly important for creating a solid, perfectly fine-tuned gameplay experience, especially where timing is involved. 60fps isn’t just about how good things look, or how smooth they can go. It also plays a large part in how responsive the controls are and how quick you are able to respond to them. For example a game running at 30fps will give you only half the degree of control and range that you get when running at 60fps. You will loose much of the precision and accuracy gained by using a higher framerate.

However, visuals are also still an important backbone for the next-gen experience, and with 60fps comes not only smoother motion, but also a cleaner judder free image, one which retains more detail when moving at high speed compared to the same image running at 30fps. In effect you get detail visible on screen for longer periods whilst having a smoother more impressive look.

Visceral Games seem to agree, and in an in-depth interview with Gamasutra confirm how important having 60fps really is.

Jonathan Knight in the interview stated how he pushed forward the notion of the game (Dante’s Inferno) needing to run at 60fps to the dev team, making sure everyone was committed to making it happen, whilst still finding ways of displaying the same impressive special effects found in 30fps titles but at 60.

"I think any artist would be lying if they said that they didn't prefer to have more bandwidth," he said. "Any milliseconds you give them, they're going to use it on just one more effect, or what-have-you. But what we found is, it's more of a question of willpower than a technology question. And you just have to commit to it, and say, 'Here are your budgets. Here's the box we're gonna play in.'

He followed up with:

"30 frames is a very challenging box to play in as well, and so once you just get everybody bought into that, then what I've found is that the visual effects artists, and the environment artists, and so forth, they just found ways to make stuff look good at 60, and you just have to hold them to it."

In addition Knight also feels that 60fps can help improve the overall quality of the visual experience:

"If you were to take a screenshot, you might be able to point out, like, 'OK, here's the compromise you made because of your frame-rate,' but when you sit and play the game, the overall visual experience is enhanced by the fast frame-rate. So, I can't really decouple graphics from frame-rate; I don't feel like it's an either/or situation."



His statements seem to reflect those found in other studios that champion the use of higher framerates, such as Infinity Ward, Polyphony Digital, Turn 10 and Sony’s Studio Liverpool. All of which stand by the use of higher framerates not only as a means to push the envelope graphically, but also to enhance the overall gameplay experience.

With Visceral Games on board, it’s good to see at least another developer committing to pushing higher framerates this generation, and with the 3D revolution potentially only a few months away, it will become increasingly more important to do so.

IQGamer will be publishing an in-depth feature on 60fps and why it matters in the near future.

Monday, 8 February 2010

Tech Analysis: Dante's Inferno

Dante’s Inferno may be a blatant God Of War rip off, but it is also one of the best examples of platform parity across PS3 and Xbox 360. It does so not by playing to the strengths of each machine, but by simply having an engine which barely taxes either system, making some concessions to alleviate the issue of PS3 having a lack of available bandwidth, and 360’s need to fit the framebuffer into it’s 10mb worth of EDRAM.

You could almost say that Visceral Games effort is an almost exemplary example on how to get a game running and looking identical on both platforms, or rather almost 100% identical. The only exception we noticed to that being a slight blurring of the image on 360, but more on that later.



Dante’s Inferno runs at a flawless 60fps on both PS3 and 360, with no noticeable sign of screen tearing or framerate drops, which in it self is quite impressive for a multi-platform title. However it does this through using only a limited number of memory and shader intensive effects. So what we have here is mostly flat looking textures, with bump mapping reserved for the characters and only certain parts of the environment.

The game is rendered on both PS3 and 360 in 720p (1280x720) with no anti-aliasing of any kind. This allows the framebuffer to fit into the 10mb EDRAN found on 360’s GPU, whilst making the conversion to PS3 much easier as it doesn’t put a stain on the bandwidth. The resolution of transparencies and particle effects usually lowered on PS3 due to the lack of available bandwidth has been compromised on both versions. So instead of 360 having the usual advantage when it comes to displaying loads of multi-layered effects, it’s merely equal across the board. Again this basically allows the smooth running of the game on both platforms whilst keeping the actual look identical; certainly, it’s how Visceral have achieved the constant 60fps on display.

Anisotropic filtering and texture detail is like for like across both versions, demonstrating clean and clear characters and vistas, though the overall sense of scale is rather small, and the detail itself is somewhat simple when compared to the likes of Bayonetta or Devil May Cry. Serviceable is how I think you could best describe the overall look and technical application.



Now earlier we mentioned that both PS3 and 360 games were almost identical, except for a slight blurring on the 360 version. This blur whilst being hardly visible during fast moving scenes can be clearly seen in the still screenshots above, and during more sedate moments of gameplay. It seems that there is a horizontal 1-pixel wide blur on all edges, with no apparent reason as to why. It could be that the developers still wanted some sort of AA solution, but seeing as 720p 2xAA may not have fit into the EDRAM, they thought a simple blur approach would suffice. It’s perhaps the only blemish on what can be considered one of the best multi-platform conversion examples available on both consoles.

Overall, Visceral Games have shown just how to successfully accomplish a good multi-platform conversion without sacrificing too much from each version along the way. Sure they could have played up to the 360’s strengths and added higher-resolution effects and more particles, or had extra HDR lighting on the PS3 game, but it would have taken longer to develop and required more optimising for both versions. This is a problem most would rather avoid, so it’s easier to go down the safe route, and keep your development budget under control and get good results, rather than having it spiral out with two different versions, each having their own tweaks, and neither achieving parity.

Date’s Inferno shows you don’t need to achieve a massive technical accomplishment when creating a game, but rather just a well thought out approach and a solid underlying engine, which can perform on both systems without needing to radically tailor features to each one.

In this respect Visceral have been successful, and I imagine that more developers will go down the same path seeing as it can work so well.

Friday, 5 February 2010

Editorial: Can Sega Make Sonic 4 Succeed?

Yesterday Sega unveiled Sonic The Hedgehog 4 to the world, and in flurry of excitement and burning anticipation we brought that news to you at IQGamer. Today the dust has settled and a dead calmness has set in, bringing with it feelings of anxiety and doubt as to whether what we saw yesterday could really live up to its promise. The legacy sewn by those faithful four original Megadrive games is not something easily replicated, even for Sega who produced the graphically impressive but rather flawed Sonic CD some 17 years ago.

Given Sega’s track record these last few years, filled with failed 3D attempts to capture that 16bit essence, a disastrous reboot in the form of a next-gen Sonic Adventure sequel, along with a handful of outsourced 2D handheld instalments which seem to completely forget just what Sonic games were all about, my cause for concern is far from being misplaced.



Having this all-new 2D Sonic game as a sequel to Sonic and Sonic & Knuckles is a tall order to fill. Creating a canonical successor in a similar style and with respect for the source material is no easy task, especially some 16 years on. Only a few developers such as Capcom with Street Fighter IV, Mega Man 9 and Bionic Commando Rearmed have truly succeeded in doing this.

Sega looks like it’s trying its best with what they have, and in an interview with GameSpot, Ken Balough seemed to be addressing most of my concerns, along with other die-hard fans. Essentially he told GS that the team was going back to the MD games, and using them as the template for Sonic 4, however the style and tone of the game would be as if the series was created today rather than 16 years ago.



In the trailer released the visual look of Sonic 4 was clearly a natural follow on from the likes of Sonic 2, with a hint of Sonic 3 and demonstrating a modern twist on the proceedings. However there are certain things which don’t look quite right. Sonic’s character model for starters looks a bit iffy, almost like a throwback to the design used in Sonic and the Secret Rings, and currently suffers from some uncomfortable running animations. The stage shown in the trailer also looked a little too much like it was from a well made mugen game, and lacked the style you'd expect from a true sequel to Sonic and Knuckles, whist also feeling slightly unfinished from a graphical perspective. However the inclusion of parallax scrolling in the background brought a twinkle to my eye, and it was rather impressive seeing the effect updated using todays hardware. From a stylistic point of view though, Surely Sega should be looking at replicating a new take on the style featured in Knuckles Chaotix, or at the very least Sonic 3, especially as Sonic 4 is supposed to be a proper game in the series?



Maybe this will change as development progresses, though seeing as the release is only a few months away I have a sneaking suspicion that it probably won’t. Still, at least we have a style that fits in with the original Sonic games, with an updated look for the current generation. It could be much worse.



Gameplay wise it was most certainly impossible to gauge just how Sonic 4 will pan out. With only a couple of seconds of footage showing very little other than Sonic briefly jumping on a few enemies, and speeding through a corkscrew platform before reaching the end of the stage. Although comments from Sega’s Ken Balough can allow us to at least assume that they have forgotten about Sonic being about speed, and will instead be focusing on having cleaverer level design based around building up momentum; finding that ‘perfect path’ through the level, and effectively achieving max speed via skill instead of by simply holding down the d-pad in the forwards direction.

This is what needs to happen, as this insistence on speed is what killed the GBA games, and made Sonic Rush nigh on unplayable for anyone used to the MD games of old.

Sega should also create new enemies in the style of the old ones, rather than simply rehashing and updating existing badniks for the 21st century. Old bosses should be given new tweaks, and mixed up with some innovative new ideas all in keeping with what the classic franchise is known for. Maybe they should look towards both Sonic CD and Knuckles Chaoix for inspiration, as both these games had more elaborate set pieces and boss designs than their MD counterparts. In essence creating a really authentic follow up in the form of Sonic 4.



Musically rather than just also reworking old themes as with the graphics, Sega should ideally be looking to create original new music for both the title theme and the tunes to be used in the various stages themselves. A new theme tune, if they come up with one, should be in keeping with the style and direction the series was heading in with Sonic & Knuckles, whilst taking care not to parody the series iconic sounds, and simply build on the foundations laid down all those years ago.

Ultimately this latest instalment cannot be just a cheap fan service attempt, certainly not if Sega expect it to be taken seriously as a proper Sonic 4, although that would still make for a potentially lovely game, it wouldn’t do the franchise any real justice. And that is what they need to show, if they are to redeem the brand and successfully move it forward looking to the future.

Anything that fans do complain about, or which they feel maybe isn’t quite right, I do expect Sega to listen to and correct in further episodes. I also expect they’ll expand upon the things that worked in the first episode, the style and ideas explored, whilst evolving them forward in preparation for potentially Sonic 5. That is, of course if they manage to hit the ground running with part 1 of Sonic 4.

Either way, Sonic 4 represents a trial and proving ground to see if a revival can be done, and if Sega still has what it takes to make this happen.

For the sake of the character and the franchise I really do hope so.

Thursday, 4 February 2010

Sega Announces Sonic The Hedgehog 4

Today SEGA finally revealed just what Project Needlemouse is all about, and unlike what you may have thought; it’s not just a return to the character’s 16bit roots, but also a fully-fledged sequel to Sonic 3 & Knuckles. Say hello to Sonic The Hedgehog 4!

Sonic 4 is to be released as an episodic series of download titles making its way to all three major platforms (PS3, 360 and Wii), and will be a proper 2D game created using 3D graphics and visual effects. Both 360 and PS3 versions will run natively in 1080p whilst the Wii version gets 480p instead. Motion controls are being added to both the Wii and PS3 versions, though the PS3 game will only have mild Sixaxis usage.

SEGA also plans to rework some of the music from the classic 16bit titles, along with creating new tunes in a similar style for Sonic 4. We also assume all the classic sound effects will be brought back or updated in the same way too.

With regards to the gameplay, Sonic 4 will feature only Sonic as a playable character, and will keep his entire repertoire of moves from the first four Megadrive games, whilst including the homing attack from the Sonic Adventure series.

In an interview with GameSpot Sega associate brand manager Ken Balough stated: “We're going to deliver a Genesis-era Sonic game as if it were created today that goes to the core of what classic Sonic fans desire.”

Certainly hearing that, and seeing the short but sweet trailer, gives us hope that this really will be Sonic’s shining return to form.

Sonic 4 Episode 1 is due out for download sometime this summer.

Wednesday, 3 February 2010

Iwata Clarifies Wii HD, DS2 Rumours


Late last year various rumours started to materialise about how Nintendo might launch an enhanced Wii HD console shortly in order to both appease hardcore gamers, and to delayed the release of a true successor to the current system.

Today at an investors meeting in Japan, Satoru Iwata denied that he ever stated that there even was a HD version of the Wii in the pipeline. He continued by adding “If I were asked if a Wii that's been made compatible with HD -- just high resolution compatibility -- would be bought by players throughout the world, I'd of course say, 'Do you think it will sell with just that? It needs something new.”

In addition, rumblings about the successor to the Nintendo DS was also rife after Asahi Shimbun Daily reported that the next iteration of the DS would feature High-resolution graphics and motion sensing capabilities, along with at least two touch screens. However it appears that Iwata in the interview with them didn’t actually state this either. When asked the question he replied: “These are of course thought to be required. However, would it sell with just this?” however, the paper simply removed the second half of his response, according to Iwata.



Now whilst we probably can shoot down any rumours of a Wii HD, the news of a high resolution DS successor does make sense. Back in November last year, brightsideofnews.com reported that nVidia had been given the contract to work on Nintendo’s next hand-held system, specifically using their Tegra chipset. Though unconfirmed by Nintendo, and the fact that the source has been a little unreliable in the past, it does make sense that Nintendo would partner with someone like nVida, Ati or ImgTech this early along.

If a version of Tegra (a CPU/GPU on single chip) is used, it’s likely to be one of their med-to-high end varieties, and would produce visuals similar to the original Xbox or GamCube, and supports shader model 3.

As the timeframe for a new Nintendo handheld approaches, we’re sure to find out more sooner rather than later.

GT5 Possibly Delayed Again?


After $60 million and five years of development work, you’d think that Kazunori Yamauchi’s Pièce de résistance would be ready for release fairly shortly. Not so according to James Armstrong, an executive from SCEE’s Portuguese division. In an interview with Canarias Al Dia, a Spanish site, he stated that he thinks GT5 will arrive “this fall, before Christmas", before also saying that it’s "not yet decided". Right?

So when is Gran Turismo 5 likely to come out? Well, your guess is as good as ours, considering the gap between GT4 and GT5 is two years longer than the one between GT3 and GT4 on the PS2, and it’s not even out yet. It took only three years for GT4 to arrive after part 3 if you’re wondering.

Our best guess is that GT5 will arrive at the earliest, sometime this summer in Japan, with September being the very latest it could hit. Between September and Christmas sounds likely for Europe and North America.

Naturally, none of this has been confirmed by Polyphony Digital, though we wouldn’t be surprised if this there isn’t a smidgen of truth to be found.

The magical roundabout continues…

Tuesday, 2 February 2010

Halo Reach Engine: Early Tech Analysis

A few days ago Bungie released the first batch of in-game screenshots from their newest Halo title. Interestingly these appeared to be in full 1080p (1920x1080) resolution, and didn’t seem to be upscaled. In addition, the screens at first glance also showed off a few improvements to the Halo engine, such as possible AA (anti-aliasing) and for the first time, AF (anisotropic filtering).

Whilst it’s not uncommon for companies to release higher resolution rendered screens to the press with higher IQ than the final game, and Bungie did the same thing with Halo 3 (remember those 720p native screens?), the first official sighting of Reach’s gameplay looks to hold some truths in regards to the engine used in the final game.



The above screen was posted on Bungie.net and is obviously in 1080p. However there appears to be a huge level of AA on display, far more than the 4xMSAA used in certain 360 titles such as Dirt 2 and Race Driver Grid. This simple excess of AA can be explained away with the use of supersampling, a simple process in which an image is rendered at a much higher resolution, and then downsampled to form a cleaner smoother final image. This is basically a form of AA which requires a huge amount of processing power, due to having to render at a higher resolution than the one you want to display at, but is also very effective at eliminating jagged edges across the whole scene.

It seems that this shot was originally rendered at 2560x1440 (thanks to AlStrong for the pixel counting) with no AA, and then downsampled giving the smooth 1080p image. This is certainly something that won’t be seen in the final game. Instead we expect Reach to render either in full 720p, or using the same dual 1152x640 buffers found in the previous two games. Currently we have no idea on whether any form of AA will make it into the game, that all depends on if they’re using the same HDR lighting method from before, or if they have adopted the use of tiling in order to fit a 2xMSAA frame buffer into the 360’s 10mb edram.

Either way, in order to render in 720p or using the 1152x640 dual buffer method with MSAA, they will need to title. Especially as they claim to be pushing more enemies and vehicles around on screen than before at any given time.

However whilst we can’t judge what AA will be used (if any), or at what resolution Reach will be rendered at, it is possible to see at least 4x AF + maybe trilinear at work, or just AF with a bias towards certain textures. If you look closely at the ground you’ll see it blur much further into the distance than with both Halo 3 and ODST.

Texture detail in itself, has also been improved, with greater levels of normal mapping and improved shaders on many surfaces. Combined with the use of AF, the numerous bumps and curves of the cliff faces and surrounding scenery are much more apparent than before.

You can also find small elements of SSAO (Screen-Space Ambient Occlusion), particularly on some of the environment details, although rather subtle. It doesn’t appear to be present in the entire scene, with only a few points of visibility in other areas. A clear example can be found in the screenshot below, look at the metal shelving in the bottom right. The shading there isn’t quite correct, a usual side effect of using SSAO.



There’s no sign of the improved lighting model in the first-person screenshot either, though it’s very hard to tell, especially without seeing the same area, but from different angles as to analyse the shadowing and lighting. At present it looks very similar to ODST, and there’s no sign of the multiple independent light sources that Bungie stated is going into the game. Though those have been witnessed in other screenshots released, showing what looks to be from in-game engine cut scenes. (see above)

Arguably the gameplay build we’re seeing here is very early, and is almost certainly likely to see a noticeable improvement by the time the beta launches. Between now and then, we still have many questions that need answering. Will Bungie still be keeping the benchmark HDR of the last two games, in addition to the 30 or so real-time light sources being added? Are we going to be seeing AF plus a proper 1280x720 frame buffer. Or will the HDR be dropped for an easier 1152x640 with 2xMSAA and AF approach using titling?

We just don’t know yet, and I guess the beta is when we will find out about some of this stuff. The rest will no doubt have to wait for a more complete single-player build of the campaign, in which nothing will be paired down to deal with lag, split-screen and other concerns, which almost certainly impact on graphics.

Anyway, this small insight into Halo Reach’s graphics tech is all we have for now. But stay with as, as we’ll be following any developments very closely.

Sunday, 31 January 2010

Review: Tatsunoko Vs. Capcom (Wii)


The last two years have seen an unexpected resurgence in 2d beat’ em ups, as well as various titles associated with the hardcore scene; Street Fighter, King Of Fighters and Bionic Commando all making their well deserved comebacks, with the mainstream stalwart NBA Jam recently added to the shortlist. So it comes as no surprise that another instalment of the popular Vs. series was on the cards and ready to cross-combo, super-cancel us into oblivion.

Tatsunoko Vs. Capcom has arrived!

Now nobody really expected this particular instalment to arrive on these shores, what with the many licensing issues plaguing the Tatsunoko brand over in Europe and the United States. In addition with what must have been some very obvious concerns as to whether it was worth the time and financial effort to do so, given the fact that the brand remains a virtual unknown around these shores.

However it seems that those problems have been taken care of, with the exception of Hakushon Daimao whose licensing in European left him shafted from the game. Other than that, everyone is correct and present, and making up for the delay Capcom have added in a few extra unlockable characters not found in the original Japanese version, and an online play option exclusive to us.



It’s a great thing; it really is, as TvC provides some of the most intensely enjoyable tag-team Vs. action since the original Marvel Vs. Capcom. Every aspect of Tatsunoko screams out personality on its sleeve, from the completely eccentric J-Pop infused theme song, to the bizarrely odd end credits sequence. You will find a mix of uniquely styled characters, impressive background set pieces, and some of the most balanced action the Vs. series has seen. And it’s all completely bonkers!

The basics are much the same as with previous games, albeit here they are slightly simplified. In Tatsunoko you only use three attack buttons, Light Medium and Heavy, with a fourth button dedicated to special attacks, like calling in your teammate for a few extra hits, or to simply tag them into action. Punches or kicks are dependent on which direction you push the d-pad or stick in combination with any of the three attack buttons. Sometimes the differences will be subtle, like going from a straight punch to a basic uppercut. Or if you happen to be jumping in for a basic combo run, a flying kick can change into a punch or throw, and then cancelled into a hyper using the P button followed by the correct motion.



This system at first feels a little random, however after a few play throughs you find that it has a huge level of depth. Just accurately thinking about which attack to use and in combination with what direction instinctively, is almost as deep in some circumstances as having the full six-button set-up. What’s more it allows a degree of simplicity allowing inexperienced players to effectively have a good button bash and feel like they are at least kinda playing the game properly. With the same token it allows anyone to step in and have fun, more so than with Street Fighter IV.


Then you have all the intricacies of the Assist Moves, Hypers, Team Hypers, and various other nuances, in which hardcore players like myself will no doubt spend many hours learning and exploiting in the heat of battle. In fact there’s so much to learn and master here, you could almost argue that it’s almost as complicated as SFVI. Just through the sheer amount of moves on offer and how they change with the different button presses and combo team-up scenarios.

Perhaps the most intriguing element of all this is, is how one special move can turn into three just by changing which button you use. The effect and outcome is completely different, allowing a great range of intros and juggles to be played even at the most basic level. You could even combine some of these with the basic L, M, and H in quick succession as a perfectly usable starter for some of the games more intricate combinations.

Of course this is using either the Arcade Stick or Classic Controllers. A much simpler Wii Remote, or Wii Remote + Nunchuck combination is also supported, which strips down the controls even further. Using this option there is only one button for regular attacks and one button for specials, with the moves you do depending on which direction the D-Pad or Analogue stick is pushed. However it’s not possible to pull of anything but simple combos along with some special moves and hypers.



It’s lots of fun playing TvC, regardless of controller set-up, and the range of characters complement the move sets nicely. In fact anyone looking for various Ryu and Ken clone characters need not apply. Whilst the majority of moves are performed using the standard quarter-circle forward + attack technique, their styles can vary greatly. You won’t find twenty different versions of the same fireball or dragon punch here. In fact, the range on offer is something akin to an SNK fighting game, mixing many styles and personalities together.

In terms of modes, Tatsunoko Vs. Capcom simply features five; Arcade, Versus, Survival, Time Attack, Training, and Online. The Arcade Mode words as the game’s Story Mode, basically having you fight through a number of stages, coming up against a sub-boss around half way, and then squaring up against the obligatory final boss at the end. Versus, Training and Survival should all be is self-explanatory by now. And that just leaves Online.



Online play in TvC works surprisingly well, with very little lag in matches both domestically and ones found half way across the world. It’s surprising good compared with the problems I’ve been having with lag in SFIV recently. Naturally, running only a 1 Meg (I’m being upgraded to 8 Meg as I write this apparently) connection means that I do frequently experience some small amount of lag in worldwide matches, though nothing game breaking. The largest problem is the barebones matchmaking system, and the hassle of having to enter those somewhat pointless friend codes. It is actually easier to set up a random match, in which the CPU automatically pairs you up with an opponent, and then select them as a friend when the match finishes rather than painstakingly add people manually.


The only real issue is with regards to paired up matches. It’s completely automatic; to the point of where you literally cannot choose whom you fight against. This means you have no way of telling if the person you have been paired with has a good connection, though you can tell if they are of a similar skill level to you. A small icon lets you know what kind of player they are; defensive, offensive, combos-based etc. Plus looking at their Player Icon (like in SFIV) gives you a good idea; a higher end player is one most likely to have unlocked some of the really cool icons not available just by playing the single-player modes.

Unfortunately, whilst I was online I found there to be only a small community of players at any one time, and kept being pared up with the same three or four people constantly. I checked back a few hours later and things got much better, though bizarrely there were times in which I would go through a few different opponents, and then others where I was being pared with the same one a couple of times. This is perhaps the biggest problem with the auto matchmaking system; it can be really annoying to play against the same players over and over in such a short space of time.

So the single player modes work well enough, and the online is at least serviceable; well it’s outstanding in terms of performance, just poor in terms of matchmaking. However the game feels a little shallow with regards to the overall content available. It won’t take long to play through the game a few dozen times to unlock the extra characters and see all the endings, and then online with its limitations certainly won’t prove as addicting as SFIV service. But despite this TvC has so much going for it, and those issues niggling away at it are just that, little niggles which disappoint slightly but that don’t really damage the game.



Graphically you’ll find that Tasunoko Vs. Capcom features some of the most exuberant and fantastical visuals on the Wii. The style presented here is in the same form as with Street Fighter IV; 2.5D polygonal models coated with rich hand painted textures, and some lovingly created frames of animation. Backgrounds are full of little details and moving set pieces, some displaying some lovely specular sheen and reflective effects, along with excellent texture work. In addition some of the projectile and hyper combo effects are just staggering, featuring multiple-layered textured geometry being distorted, twisted and pulled apart. Most impressive is at the end of a hyper combo, which sees the screen form into a pane of glass before shattering to reveal the characters and continue the battle.

The style really appears to be more like the Capcom 2D fighters of old, mixing in styles found in previous Vs. games with the likes of Street Fighter Alpha and Street Fighter III. You could say that the visual style is even more suited to representing the 2D sprites and animations of the past, more so than in SFIV.

With regards to the technical side of things, there’s no use of any kind of AA (anti-aliasing) solution here, though texture filtering appears to be at least of a trillinear quality, and the overall look appears to be clean and sharp, much like both Mario Galaxy and Metroid Prime 3. The game certainly looks great on a standard CRT running in 480i via the official RGB cable, and it also fares better than most when upscaled on a fixed-pixel display. Naturally jaggies are more pronounced this way, and the heath bars look quite blurry, but the game still retains its clean and rather sharp image.



Moving on, I can honestly say that TvC represents another smooth return to form for Capcom and their incredible 2D beat’em up legacy. Whilst it may not be perfect, and lacks the long-term longevity that garners the rabid SFIV fan base, it does have its foot firmly in the dojo. And I can definitely see a small, but strong, hardcore following continuing to play and master all the intricacies available, both at home and in the arcade scene.

Admittedly, some may find the lack of recognisable faces a turn off, or the eccentric nature of the presentation and music off-putting, but I would urge them to give this a go. Especially any fans of previous 2D fighting games or even a more casual user who just recently got into Street Fighter IV. There’s a lot of fun to be had, and it would be such a shame if it all got lost due to unfamiliarity with the source material, or the inhibition to try something different.

Overall, the foundations have been solidly laid, and will no doubt be revised and expanded upon with the inevitable sequel. Given the quality and success that Tasunonko Vs Capcom deserves, it couldn’t come sooner. We highly recommend anyone with a penchant for 2D fighting games to pick this up and show your support, it’s worth it.

VERDICT: 8/10

Friday, 29 January 2010

Nintendo Reveals Metroid: Other M Details


It’s been a while since we last heard anything about Metroid: Other M, and we though the worst had happened to the series latest third person adventure. However, today Nintendo announced a summer 2010 release calendar for the title in Japan, and opened up a website to go along with the announcement.

A few details were also revealed about what we can expect from the title.

A return to heavy action-based sequences was touted, along with more traditional exploration-based elements characteristic of the classic Metroid franchise, which is extremely good news for fans. Yoshio Sakamoto (Metroid co-creator and Lead Scenario Producer) revealed that Other M will feature story progression much in the same vain as Metroid Fusion, and stated that the collaboration between Nintendo and Team Ninja is "unlike anything that's ever been done at Nintendo; it's more than just a collaborative effort -- it's one group working toward a common goal".

It is also comforting to know that along with Sakamoto, three other GBA Metroid designers are on board working on the main game design, whilst Team Ninja handle all the modelling work and actual coding.

Here is the official site.

Editorial: 3D Gaming And Why Gameplay Is Key


Everybody is seemingly talking about the 3D revolution and how it promises to be a completely immersive experience, how it will connect you and the game world together in a way simple 2D projection never could, and of course how amazing it all looks. But aren't we really forgetting something here? The reason we embrace new display technology, and in turn new advancements in graphics, is to surely to capture and create new avenues to explore and play.

Of course, that’s not to say 3D isn’t a largely visual thing. With limits being reached on just how much power can be packed into ever decreasing amounts of silicon, and the likelihood that the next generation of consoles could well be the last to see another extraordinary leap in graphics technology, 3D represents a way forward to take visuals to another level without necessarily increasing the amount of detail on screen as much as with previous generational leaps.

It could also completely enhance most of the games we play with one simple side effect, depth perception. The trick is, is that we need to be careful on how this is implemented, and whether the additional layers actually bring anything meaningful to the table.

Case in point. Games like Super Mario Galaxy or the likes of Uncharted 2 are the ones most likely to benefit from such an upgrade. Especially any title which is either having you making leaps of faith between ledges of precarious distances, or ones which require you to actively find, and exploit areas of surrounding terrain to navigate and scale. In these scenarios, the addition of depth perception created by the 3D effect could by and large help solve the age-old problem of being able to access just how far something is, whether the object you are looking at is an actual functional part of the scenery you can use, or just an impressive feat of bump mapping created to add detail for show.

The game design doesn’t have to change, and by that token I don’t need to see games blatantly making objects obviously jump out at you, directing clearly to an artificially clear-cut path, or simply firing off through the TV screen and in your face, like they trying to replicate Star Trek’s much-fantasised hollodeck.

Ultimately when used correctly, I’d imagine the 3D effect to work as a continuation of our natural stereoscopic vision, creating subtle layers of depth from our living rooms through the TV screen and into the game world. And in that world, the layers are all represented and spaced accordingly to the surrounding objects, by the sizes and distances which govern them. For us gamers if properly implemented, this whole notion of 3D could allows us to approach and judge certain things like we do everyday in the real world, and not like we have to in a current 3D game projected on flat our flat 2D displays. Essentially you can see the sense of scale being used, you can perceive how large something is relative to something else in the game world. It works very similarly to how your vision does in real life.



Take Little Big Planet for example. It’s a game which uses three distinct layers for gameplay, two in the background and one main one in the foreground, which forms the basis of most level layouts. Occasionally it can be difficult to judge which objects in those background layers are just for show between the ones which make up usable platforms for us to travel on. This is especially problematic with some of the homebrew designed creations, which lack both the planning and finesse of the developers own expertly constructed set pieces, but in which depth perception could well help with.

A recent 3D demonstration of LBP showcased to a handful of the videogames media, revealed how Media Molecule have created a distinct level of depth between each plane, and the background only layers used for show, allowing a clean and clear view on which platforms can be tackled on, and which are just there to make up the eye candy.

The same technique is being used to created a real sense of scale in Driving games like Gran Turismo 5, or in the case of Motorstorm Pacific Rift, to allow you gain a better understanding on how fast you are going, your proximity to surrounding objects, and helping you to navigate through the terrain without flying off the edge of that cliff you thought was still 20ft away. A game like Call Of Duty is also another one in which distances and spatial positioning are extremely important, and 3D could make the whole experience clearer for us to perceive, and ultimately allowing us to take an intricate level of mastery even further towards reality. Added depth in every sense of the word.



Arguably it sounds like a trivial matter, but something like depth perception is a fact we take for granted every time we pour a cup of coffee, or attempt to navigate that congested pile-up over by the traffic lights. By having the same advantage in games, we could truly be closer to bringing ourselves completely into the experience, delivering that excessively used immersion factor. Or maybe, to just be able to take things that are natural to us and put them into play in something decidedly unreal.

Granted, some developers may try the quick and easy route of having things fly out of the screen, or explode right in front of your face. But these things become tiresome very fast, and the audience will soon catch on to that fact. In some circumstances having this extreme 3D effect works really well, especially in the case of a grenade exploding right beside you, or debris falling from a dilapidated industrial site. Used in this way, the so called clichéd effects can help bring a certain level of immersion previously unseen in standard 2D presentations; certainly when combined with intelligent use of the depth afforded by this new technology. However, being used sparingly is particularly important. These effects only really work when used in context, if the situation actually benefits in a natural and organic way. Displayed in such a manner they should be pretty successful.

The truth is, is that 3D represents both sides of the coin, a visual evolution in the graphical cannon of gaming, as well as the ability for the first time in its history, to take gaming closer to what we consider reality. The first was polygon visuals, the second was 5.1 surround sound, the third was motion control, and now we have 3D bringing depth perception to the table.

The four cornerstones of gaming? Well, we’ll be able to find out later this year when 3D launches along side Natal and Sony’s own motion controller.

Wednesday, 27 January 2010

PS3 Bayonetta Gets Patched


The much troubled PS3 version of Sega's Boyonetta is to receive a patch tomorrow, one which sorts out the game's rather long load times. Once downloaded it will allow a Hard Drive Install option to be selected from the main menu, and should reduce loading to comparable levels found in the 360 version.

The patch is only being released in Japan for now, but we expect it to hit worldwide very shortly. Unfortunately it doesn't improve any of the large graphical discrepancies to be found in the PS3 game, most severly of which is the nearly halved frame rate - running frequently at an unstable 30fps compared to a mostly solid 60fps on 360.

It remains to be seen whether Sega will attempt to fix any of the other issues at present, seeing as the delayed PAL release saw little improvement. A few small tweaks may certainly be possbile. But it all comes down to just how many consumers are still interested months down the road, and whether Sega feel it's financially viable, considering those problems didn't put a dent in sales of the PS3 version.

IQGamer Launches!

Welcome to IQGamer. We started this blog as a beginning to something different, a new kind of games site, representing not only what we hope will become one of the definitive sources for the most in-depth technical analysis around, but also a fresh way of thinking when approaching conventional videogame journalism.

Of course we’ll still be reviewing the games, and hunting down that elusive news story. However we will also be providing you with accurate head-to-head comparisons and in-depth tech reports, along with intelligent discussions on subjects surrounding much of the industry and the wider media it transends. All of this delivered with our own distinct viewpoints, polarising through unbiased technical truths and the heart and souls of the individuals.

Some of these features will be posted up on here at IQGamer in the usual way, but we will also be presenting you with a regular pod cast. These will expand upon the points raised in our articles, fleshing out items of particular interest, and allow a platform for much needed discussion to take place.

Over time our plan is to expand IQGamer into a new breed of gaming site. One that we think will redefine what videogame journalism is all about, taking the fundamentals laid down over the years and gently reworking them into something more unique, and something which better represents where this whole notion of games coverage is going.

Until then this Blog will be the hotbed for us to trial out some of our new ideas, refine them down to a fine art, and eventually put them to work in an all encompassing gaming site. Or thats the idea, anyway.

We invite you to join us along for the ride.

Tuesday, 26 January 2010

Ninja Gaiden Sigma 2 - Tech Analysis

The original Ninja Gaiden Sigma (NGS) represented one of the first wave of 1080p enabled games to hit the PS3, which showed that despite the obvious limitations in pixel rendering power and somewhat strict memory constraints, it was possible to have a fully crafted next-gen title running in Full HD 1080… almost. You see NGS used a little trick of rendering in 960x1080, having only half of the 1920 horizontal resolution required for true 1080p, but also only using a small percentage of processing power, and framebuffer memory over the standard 1280x720. The PS3 then took care of scaling the horizontal res of 960 to a full 1920x1080. This didn’t look half bad to be honest, and showed up slightly more detail than the standard 720p mode. However overall IQ was diminished as a result, with more jaggies appearing on screen along with some unwanted screen-tear.

In addition to this neat 1080p trick, NGS featured some lovely HDR styled bloom lighting, coupled with hi-res texturing and improved shadowing over its Xbox counterpart, all at a glorious 60 frames per-second with 2xAA in 720p mode. This made NGS look good enough to stand against most competing titles at the time of its release, although this impact was not felt across all stages, and not at all times throughout the game.

Ninja Gaiden 2 (NG2) however did not feature a 1080p mode as such, instead opting for the 360’s scaler to do the work previously half done by the GPU in Ninja Gaiden Sigma. In addition, the game lacked intensity in its bloom lighting so heavily featured in NGS and featured some low resolution, rather flat looking texture work. The overall lighting appeared to be mostly static, comprised of pre-calculated shadow maps, which failed to react with moving objects on screen, and with just a single light source to engage with the scenery and characters. It felt like a bit of a rush job compared to NGS. Though the fact that the game was pushing around so much more stuff on screen, with limbs being hacked off and blood gushing out of every gaping wound, understandably meant that certain cuts had to be made visually.

Now Ninja Gaiden Sigma 2 doesn’t live up to the lofty claims of 1080p made by the first game. Not that it really needs to, seeing as it looks so much clearer and better polished in 720p than both the previous title and the 360 sequel. And that’s without any sniff of a good 1080p upscaling solution.

The first thing to address here is that NGS2 is rendering with a full 1280x720p framebuffer compared with a mere 1120x585 on 360 NG2, with both games using 2xMSAA for anti-aliasing. This means that before any other graphical upgrades are put into equation, Sigma 2 has a clear IQ advantage over the 360 game, both with regards to jaggies reduction, and cleaner polygon edges due to the absence of any upscaling being present.

The difference is instantly visible, as the polygon edges lose the slight softness they used to have on the 360 original, appearing much sharper and looking noticeably smoother, whilst at the same time showing increased clarity across the entire range of character and background models, along with the higher res visual effects. This in turn helps bring out more detail in the textures, which have also been either improved or completely redone from scratch. This improvement in IQ also puts NGS2 over the first NGS game on PS3 with both running in 720p as a direct comparison.

However not all is quite right, as there is something strange happening with regards to the AA in NGS2. It appears that there are times when it is seemingly disabled and then a few seconds, or even a few frames later re-enabled, with from what I can see, no logical explanation for this to occur. The loss of AA can bizarrely happen at any given time regardless of how much is being pushed on screen at once, or how the game is rendering its frames. There doesn’t seem to be a visible pattern when looking at frame grabs to determine if it’s some kind of variable AA, like seen in DMC4 or a new solution which provides a similar effect.

You can see below just what is happening, with the top screenshot clearly showing 2xMSAA and the bottom with no AA.


2xMSAA


No AA

As you can see the IQ is temporarily reduced when the AA is disabled, producing some jagged edges but hardly any real loss of meaningful detail. Of course the above is almost impossible to spot when playing the game, with only slightly more jaggies briefly appearing if the lack of AA lasts for more than a second or too. So it’s not really an issue just a strange observation, which in the interests of being thorough, felt that you guys should really know about it.

Earlier we mentioned that NGS2’s textures have either been improved or completely redone for this version over NG2. Well both have been reworked to a greater extent than what was done with the first game. Higher res textures have been used throughout, complete with a healthy dose of anisotropic filtering, which allows texture detail to be visible much further on in the distance than with basic bilinear or trilinear methods. The use of this filtering is greater than with NG2, again empathising the better IQ NGS provides when coupled with all the other improvements.

In addition moderate bump mapping and subtle specular highlights have also been applied, creating a mild sheen and depth that otherwise, would have the game’s many lovely floors and walls look flat and shallow, a problem which NG2 suffered from, and that is now absent here in NGS2.

The game’s upgraded lighting system also helps to provide both much needed depth and atmosphere to the proceedings. One of the main criticisms with the original NG2 was the flat looking, pre-calculated lighting model, which made the game look at times like an enhanced 720p Dreamcast game. Not so with NGS2, which features the return of the intense HDR bloom lighting from the first Sigma, and a greater use of spot lighting effects to create the illusion of at least some basic dynamic lighting. However the shadows cast by buildings and static objects still don’t react with Ryu or any of his enemies, with only the main lights affecting how bright of dark he becomes when in the shadows of large objects etc. There is never a transition when emerging to and from the shadows, just a subtle darkening caused by being further away, or in a different direction to the main lighting. When HDR is present this effect is heightened slightly, and distracts you from some of the last-gen shadowing on offer here.

Overall Sigma 2 presents us with a major improvement over both the original NG2 and NGS, with IQ, texture detail and lighting effects all extensively reworked giving us a much better looking game for it. Of course this improvement does come at a price, and this is in the shape of dismemberment being removed from the game, along with free flowing blood gushing from lacerated wounds. Instead we have simple decapitations, in which the heads will fade away as soon as they are cut, and the replacement of blood with a blue mist much smaller in size.

There is no doubt, whilst this change was mainly an artistic one, with NGS2 having a different director, it has played a large part in allowing the team to enhance the overall game engine back up to the standards set by the first NGS and beyond. Granted there is less chaos on the screen than before (and enemies are now more resilient to balance this out), but having a full 720p image with 2XAA is a worthy trade off compared to the lacklustre effort shown with NG2.

Lastly a point we haven’t yet touched upon with NGS2 is with regards to screen tear. Sigma 2 tears far more frequently than in Ninja Gaiden 2, which is no doubt due to the engine having to handle the extra workload of more pixels to render in addition to the other effects displayed over what NG2 had to do. It’s not a major issue, but like on occasion in 360 Resident Evil 5, can be a bit of a nuisance during a hard fought boss battle, or whilst scaling the games many attractive stages. The difference isn’t huge, but someone who’s played both versions will definitely notice.

The only other slight change we have left is with regards to the cut scenes. In NGS2 they are locked at 30fps, whilst in NG2 they are variable between 30 to 50fps depending on the scene complexity and effects used. If anything having the cut scenes locked to 30fps is a better choice as in NG2 they never reached 60fps, and barely hit a framerate close to that in most situations during those cut scenes.

Ultimately though for all the little changes, and that small increase in screen tear, Sigma 2 manages to fix most of the issues surrounding the 360 original, and more importantly manages to eclipse the first game without resorting to any kind of 1080p trickery. So from a pure technical perspective, NGS2 is the finest version of Ninja Gaiden 2 available.

Now all that’s left to see is if Team Ninja can get the Sigma engine running equally on both PS3 and 360 for the inevitable Ninja Gaiden 3, working on the strengths and weaknesses of both systems like Capcom and their MT Framework Engine 2.