PlayStation Phone Emerging?

Over the last few years there have been a few rumours doing the rounds singling out a potential link between the PlayStation brand and the mobile Phone. Many still believe that in order to truly succeed, as well as compete against the iPhone and DS casual market, that the PSP2 will effectively double up as a mobile phone and a lead gaming device, offering all the usual gaming and multimedia functionality on the go along with the ability to make calls.

Today, Engadget is reporting that Sony may well be planning to release a new mobile phone that not only has some serious gaming potential, but also that it features the prominent PlayStation branding firmly on its design. The new smartphone, currently in development at the Sony Ericsson wing of the company, is reportedly powered by the Android 3.0 operating system, and features a version of the Snapdragon SoC (system on a chip) running at 1GHz.

The device is speculated to have graphical capabilities somewhere in the region of the original PlayStation (PSX) to that of the PSP, and Sony are said to be interested in bringing existing franchises such as God Of War, Call Of Duty and Little big Planet to the system.

Apparently, the design of the phone is similar to both the Samsung Captivate and the PSPgo, featuring a panel that slides out to reveal the controls used for gaming. A d-pad and action buttons were mentioned, along with some shoulder buttons and a touch pad to replace the analogue nub found on all versions of the PSP. The device will also feature a 5 megapixel camera, and the overall screen size is estimated to be between 3.7 to 4.1 inches.

An October release date was said to be possible, which means that the device would arrive to market long before the PSP2 and provide Sony with a reasonable alternative to Apple’s domineering platform.

Interestingly, the phone is said to be labelled with the Xperia brand, although the PlayStation branding will also make an appearance. Could this be part of a unified branding strategy across all Sony platforms?

It definitely looks that way. However, having two devices with the strong PlayStation branding could very well split the market, with some wondering whether or not this phone is a proper successor to the existing PSP, or simply an extension of the brand in a different form. Certainly, it isn’t the PSP2, as rumours from other sources have already confirmed that it is being worked on independently from other mobile projects, meaning that this new smartphone is more of an extension of the whole PSN and PlayStation branding concept revealed by Sony a while back.

Saying that, the report also mentions Google, and the company's plan for a new 'ecosysyem' with Sony, so maybe this is only part of their original strategy.

Perhaps the biggest question that needs answering right now, is how this device will fit in the grand scheme of things with Sony’s own PSP2, and the PlayStation platform in general – something that isn’t apparently clear to us at the moment, and certainly makes little sense given the likelihood of the PSP2 emerging shortly.

Either way it is clear that the company sees incredible value in the space Apple currently occupy, and are looking towards this new cross branded phone as a way of entering that market.

Tech Report: Kinect - The Latency Question

There has been much talk about the high latency surrounding the Kinect, along with the heavy burden caused by the additional CPU usage that is needed to run the more complicated Kinect games. However this doesn’t have to be the case, and recently in an interview with CVG, Blitz Games and chief technical officer, Andrew Oliver revealed that they have developed a way around the limiting latency factor.

“There are various technologies involved. Some people are using a skeletal system, and it takes a little bit of time to calculate. It’s only a split second. We're actually using a different masking system, which can tighten things up. But this is all software-based, so where some people might see some little cracks, they're easily fixable by software. That is, the camera fundamentally works and gives you the input; game designers are running forward in a completely new area and learning this stuff. It's like any console. The first few games will look like nothing compared to second and third generation.”

He then elaborated on the question of how much lag can we expect to see using their approach, and how cleaver coding can almost eliminate it.

“It depends on what technology you're using. I have seen a few games with a bit of lag, but that is the software choice of the creators; they've programmed it a certain way, and they'll come up with new techniques. We will tighten and tighten it. There doesn't need to be a lag. We can get it down to maybe two frames behind, which is pretty insignificant; you won't notice. We're just learning new tricks. Ours is pretty tight.”

His comments make for interesting reading. Although we have always known that it was down to software in determining how the image is processed, we had no idea that the system in place was so flexible, that the developers can choose what data they want to use from the Kinect.

Ultimately, the way that Kinect works will always produce some lag, even if it is just a very small amount. There is no way around this. The device still needs to provide data to the Xbox 360 console in the form of a depth map, plus RGB camera image, whilst also performing basic set up routines with the sound sensor, before then transmitting it down the USB 2.0 cable to the machine, all of which results in a small amount of fixed lag.

In addition there is more lag added on top of this when the data gets processed by the 360 console. The amount of lag which takes place here depends entirely on how the developer chooses to interpret, and in turn use the data. They may choose not to use the RGB camera layer, instead simply relying on the depth map information, or they could just bypass any skeletal tracking altogether, thus saving on overall processing time but also resulting in lower latency but a more basic motion tracking system as a result.

Indeed, what we now know is that it’s the developer that decides which parts of the system to take advantage of. In effect they can choose to you all, or none of the above tracking methods according to what kind of experience they are looking to create. This means that they could produced a fairly basic game not too dissimilar to something you’d find on the Eye Toy, but with minimal lag. Or something which uses the full extent of the full body tracking available when using the depth map plus RGB camera image combined, resulting in a highly accurate and advanced experience, just at the expense of having noticeably more lag.

For project at Blitz Games they seem to be towing the line between the two. Although we can’t be sure as to how much complex data they are choosing to discard, we do know that to get the overall latency down to one or two frames, that you’ll effectively need to scrap most of the depth map information and forgo advanced skeletal tracking. Essentially, pairing back the image processing down to a bare minimum of what the Kinect can do, whilst also trying to maintain some of it’s more trademark features.

Having a less laggy system is always preferential with regards to any control system in gaming, whether that be a standard control pad or a motion-tracking camera. However, in this case finding a cleaver solution to the issue might also negate some of, or most of the additional features that the Kinect provides over other motion controllers.

You could argue, that what is the point in getting the lag down to one or two frames when you are having to cut back on many of the things which in essence makes Kinect so special. If you’re not going to be doing motion tracking, and just taking advantage of the standard RGB camera then why bother to use Kinect at all. Especially when a simpler solution such as the PS Eye could well be enough to handle the type of software you are trying to create.

So, assuming that Blitz Games aren’t using any kind of depth buffer at all for their title, then Ubisoft could easily convert the game over to the PS Eye with minimal issues. Effectively, if you’re only using a full-colour video stream to create image information for processing then you can do the same using other basic camera systems, thus defeating the point of using Kinect.

However, it is likely that the depth buffer is being used in some way with regards to determining specific object tracking with the final image, even if it isn’t as fully featured as the system used in Microsoft’s own titles. The depth buffer provides valuable information allowing you to single out certain objects for tracking without having to isolate them from an entire full colour image in order to pick out the specific parts in which to track. Using the depth buffer for this purpose would also cut down on the amount of processing that needs to be done. Again, highlighting another plus point for reducing latency with Kinect whilst still taking advantage of some of its advanced features.

All this is simply based on an assumption on what Blitz Games are using with their custom software solution. But without knowing exactly which parts of Kinect they are using, and to what extent, it’s a fairly moot point at this stage. Although it does beg the question of whether it is actually possible to produce a nearly lag-free experience when using any kind of advanced body tracking features with the device.

One thing we can say for sure though, is that titles featuring low latency are probably not using the skeletal tracking system, and that titles which have a noticeable amount of lag are. It’s really that simple, though not in terms of getting the low latency solution to really work effectively.

For Blitz Games solution they have taken to using the GPU of the Xbox 360 along with performing some less strenuous calculations on the CPU. So far most titles we’ve seen use the CPU to do most of the work, and according to Oliver doing it this way can be pretty slow in comparison.

“Well that's interesting, because obviously if you're trying to run your game and look at these huge depth buffers and colour buffers, that's a lot of processing. And it's actually processing that a general CPU is not very good at. So you can seriously loses half your processing if you were to do it that way. We've found that it's all down to shaders, but turning a depth buffer into a skeleton is pretty hardcore shader programming. What you tend to do is write all your algorithms, get it all working in C++ code, and then work out how to now write that in shaders.”

What he’s describing here is how the team at Blitz Games are effectively doing all the depth map processing and skeletal tracking on the GPU using customised shader routines.

“The GPU on the Xbox is very powerful but we've all only been using it for glossy special effects. A really good example of this is Kinectimals, as the most intensive thing that you can do on a GPU is fur rendering. So that GPU is doing all the fur rendering, and I can guarantee that it's also doing a lot of image processing too. It's brilliant that the Xbox has a really good GPU and can handle both these things, but actually writing that shader code to do image analysis is hardcore coding at its extreme!”

Like we mentioned earlier having the GPU handle the processing of all the image data from the Kinect can be incredibly difficult. Although the GPU definitely appears to be more suitable for such a task, it’s just that writing code to take advantage of that requires looking at the problem from outside the box. Now while this is pretty commonplace in PS3 development, on 360 it’s a far rarer occurrence. However it seems that for anyone looking to provide a different Kinect experience, that’s exactly what you will have to do.

Certainly, from the comments coming from Blitz Games’ Chief Technical Officer we can expect titles using the GPU to not only have lower latency, but also retain some of the advanced skeletal tracking feature specific to Kinect. Oliver describes how he and his team are already working within two frames of latency, which should translate roughly to around 132ms lag on top of what your HDTV is already adding to the signal.

Comparatively, top titles which run at 30fps, such as Halo3, are displaying 100ms of lag on top of your HDTV processing delay, and Sony’s own Killzone 2 is said to feature at least 150ms on top of that also. By contrast many first-party Kinect titles are operating at 200ms plus input lag.

When looking at these numbers it is clear that having around 132ms lag in a best case scenario is actually rather good, and is inline with what we expect from most ordinary games running at 30fps. Even Criterion Games’ Need For Speed: Hot Pursuit exhibits at least 100ms of lag at present, with the developers hoping to reduce that down to below the 90ms mark.

Playstation Move also operates within the same basic threshold, with the system capable of delivering games with only around 1 or 2 frames latency; that’s around 66 to 140ms lag on top of your HDTV. This means that through a custom approach to processing data, Kinect is more than capable of matching the Move’s higher numbers with regards to latency.

So, what has become apparent today is that games specifically created for Microsoft’s Kinect don’t necessarily need to have high levels of latency, with the overall complexity of the motion tracking method used signalling just how much lag will or won’t be present.

This also means that there will be a correlation between the kinds of games you can expect to have high latency on the Kinect to the ones that don’t. Titles which use the full potential of the device’s advanced body tracking capabilities, such as yoga or fitness games, are also the ones which will feature noticeably more lag. However, they will also be the ones to really demonstrate how different Kinect is compared to other motion control solutions.

Replicating your movements and translating them to your TV screen accurately is exactly why most people will be buying a Kinect, regardless of the latency. If the experience provides something far in excess of what was possible on the Wii, or on PS Move to the same degree, then it won’t really matter all that much.

What does matter however, is that developers have finally confirmed that they do indeed have a solution to the problem. Performing image analysis on the GPU is clearly said to be faster than MS’s own CPU solution. Plus, there’s always the choice of circumventing some of the full-body tracking in order to use a simpler system whilst still taking advantage of the device’s ability to generate a depth map.

In the end gamers will be sold on Kinect not simply by how much lag they encounter, but by the types of experiences on offer. And if those experiences do indeed manage to bring something fresh and innovative to the table, then adjusting to a little lag here and there isn’t likely to influence their decision to jump in. So, whilst the device might not be suitable for the types of ‘core’ gaming experiences we know and love, that’s not to say that other ones which can possibly cater to those, and casual users, won’t in turn come along and provide the best of both worlds with regards to low latency and advanced body tracking.

Ultimately, it’s going to take one or two years to really see the benefits of this technology, and like when learning new console hardware for the first time, cracks and small niggling issues are going to have to be worked out. Perhaps fittingly, this is also a statement echoed by Blitz Games, who believe that the kinds of experiences that you’re going to be getting in second or third generation of software will be far over and above what we are currently seeing today.

All that’s now left is for developers to really spurn their creativity by fully taking advantage of the various coding tricks and optimisations they’ve learned. And of course, for Microsoft’s marketing department to convince people that Kinect is really worth that £129 price of entry.

Eyes-On: Kirby's Epic Yarn

Kirby has always been one of those secondary Nintendo characters, playing the lead role behind the likes of Mario, Link and Samus Aran. But he’s also always been the more unique fellow of the bunch, and individuality as they say will get you far. So far in fact that after nearly twenty years and as many games he’s still going strong, and still playing second fiddle to other Nintendo heroes.

Some things never change, though with Kirby that should be re-written to some things always change, given the character’s unique shape-shifting abilities and power to use these multiple forms in the most unlikeliest of ways. The culmination then is with Kirby’s Epic yarn, a highly stylised platform adventure that is perhaps on first impressions almost as magical as the wondrous Super Mario Galaxy.


But let’s not get ahead of ourselves here. This is still a Kirby game, and in many ways closely follows the blueprint laid down for the series way back in Kirby’s Adventure on the NES. However Epic Yarn also looks like becoming one of the most imaginative straight up platform titles to date, which is something that is undeniably represented by the game’s unique art style and all round bubbly, happy feel.

Everything from Kirby himself, to the various foes he meets, the colourful vistas in the background, and the whole environment is covered in a fabric-like look. This look is initially somewhat similar to the paintbrush effect found in Okami, or the hand-sketched appearance of the world found in Yoshi’s Story on the N64. However, rather than being soaked in a lavishly painted or pencil drawn style everything looks like its been created from various types of fabric; a blend of cotton, wool, and other various textiles from cross stitch patterns to knitted designs all make up every single piece of the game’s unique visual appearance.

But this isn’t just an artsy graphical effect, instead this is something that is completely interwoven with the foundations of the gameplay and make up of Kirby’s world. As our squishy little friend bounces around the environment, platforms contract and expand, just like when you sit down on your sofa, or rest on a cushion in real life. This gives the game a kind of floaty feel to it - something that connects the art style to what we experience in reality, and in turn sucks us deeper into the experience.


Another nice touch is the how the use of zips, when pulled, reveals pathways to new areas throughout the stage, or how tugging on a thread dislodged from a piece of the background scenery opens up a door allowing Kirby to teleport into other parts of the level. You can also find openings which seem to take you behind the scenery itself, leading to concealed loot and other stuff to collect. It’s pure genius and just what you’d expect from the minds at Nintendo.

These elements shown off so quaintly in the gameplay footage I’ve witnessed so far really adds to the tangibility of a world made from various fabrics, with everything reacting as you’d expect, but also creating a real vibrancy and magical touch to things. Seeing Kirby transforming into a car for example, and watching him bounce across the screen in a completely un-realistic fashion but in a way so inexplicably natural in the context of the game world that it immediately takes hold of you, makes you almost fall in love with the concept on offer here, even if some of it isn’t particularly original.

Outside of the bouncy environment and beautifully realised fabric-inspired world, Kirby himself also has some neat little textile touches of his own, such as when he attacks enemies by whipping them with an arm made from what appears to be a woollen thread, or how instead he latches onto them before rolling them up into a little ball ready for throwing.

These little abilities make Kirby feel like he is part of the fabric nature of the world itself, and also allows the developers to try out new things in unexpected ways making the your time spent with him equally refreshing. It’s undeniably cool, and is just one of the many inspiring elements the game has to offer.


Like in previous titles Kirby can also once again transform into various objects, changing both shape and size gaining new abilities as he does so. However, unlike before he does this without needing to gobble up the various enemies he encounters instead having these abilities from the get go.

In Epic Yarn these powers are activated with either a single touch of the attack button when in certain areas - such as when Kirby is immersed in water thus immediately turning into a pink submarine - or in others by simply tapping a combination of the d-pad plus the attack button on the Wii Remote when in the air or on the ground. Doing this I’ve seen Kirby change into a car and a helicopter, each providing our pink friend with the means to complete his quest and unlock new areas and secret passages.

Simplicity is the key here, and according to Nintendo all the main actions can be performed by using just the d-pad plus the 1 and 2 buttons on the Wii Remote, with motion control being used just for specific abilities and not as the main way of doing things.


What’s cool about the way this is done is that you now have far more choice as to how you approach certain situations, and how you avoid potentially fatal encounters. Of course, some of Kirby’s abilities are restricted to when he is in certain areas of the environment; for example he can only change into a submarine when immersed in water, or turn into a parachute when falling in the air from a ledge rather than when jumping up off the ground.

Also to make things easier still (though hopefully not too easy) Kirby’s Epic Yarn is said to take a more relaxed approach to difficulty, being more of a smoothly calm challenge than a mountainous struggle for survival. I guess you could say that it is rather soft like its fabric-inspired exterior, which is both pleasing to hear but also faithful to what fans of the series myself might expect.

However, for those looking for something extra to keep yourselves occupied whilst playing through the game – just in case you find it a bit too pedestrian – there should be plenty of hidden areas and secret pathways to find throughout many of the colourful stages, along with lots of cool stuff to collect on the way.


So far it certainly seems like Nintendo, and the guys and gals over at the appropriately named Good Feel Inc are ticking all the right boxes with Kirby’s Epic Yarn, especially with regards to all the subtle touches being added throughout every facet of the game world and all of its characters. It definitely looks like quickly becoming one of the most exciting, and charming titles on Nintendo’s release calendar, whilst also being a fitting follow up to the character’s last home console excursion, Kirby 64: The Crystal Shards, which debuted nearly ten years ago.

Kirby’s Epic Yarn is due for release on the Nintendo Wii early next year, and as already stated, looks set to be another superb adventure featuring our favourite squishy pink blob. We look forward to hopefully get our first hands-on with the game in the near future, and certainly can’t wait for the final copy to arrive for us to review. In the meantime take a look at the inspiringly cute and rather lovely trailer for the game.

250gb Xbox 360 Kinect Package Sighted

Just when you thought that Microsoft were done announcing new Xbox 360 consoles, and launch day Kinect bundles, another one comes right along.

According to Joystiq the company are planning to release a 250gb Xbox 360 S Kinect bundle to run alongside the existing 4gb package announced last month. The 4gb model plus Kinect is set to retail for £250 in the UK, making it competitive against Sony’s PS3 plus PS Move deal (expected to be more expensive) whilst also shaving £30 off the price of Kinect compared to buying both the 360 console and the motion sensing device on its own.


No word was given on how much more the 250gb pack will retail for. However, if going by the price of the 4gb package something around the £300 mark sound reasonably accurate to me. This would still keep the machine competitive against a PS3 plus PS Move pack, whilst also giving users an expected reduction on the stand-alone Kinect price. Though non of these pricing plans for the 250gb bundle have yet been confirmed, and all the information that has been uncovered so far has come solely from a picture located on the outside of a 4gb 360 + Kinect hardware box.

No other details were revealed, other than the fact that a bundle with the higher-end Xbox 360 and Kinect was forthcoming. However it is believed that the bundle will at least include some demos of Kinect software, and assumingly a copy of Kinect Adventures like with the 4gb console bundle. Joystiq seem to belive that these demos may well be included as an aditional DVD on top of any existing software pre-loaded on the hard drive.

At present Microsoft have not given a response to the leak, although we expect an official announcement on the subject shortly.

The Kinect and 4gb 360 + Kinect package is due for a release on November 4th in North America, with confirmed details of a European launch yet to be announced.

Eyes-On: Donkey Kong Country Returns (Wii)

The Donkey Kong Country series of games were some of my all-time favourite when growing up. The beautifully rendered 2D sprites based off lush 3D imagery, and the truly moody sound effects and music meticulously complemented the incredibly smooth gameplay mechanics - something which bared more than just a small resemblance to the ‘perfect path’ methodology first found in Sega’s Sonic The Hedgehog 2.

Yessss sir, the DKC franchise was indeed some of the sweetest slices of gaming action I have ever encountered to this day, and now Nintendo, in conjunction with Retro Studios are hopefully bringing it back in style for 2010. Lets go bananas!


After seeing Donkey Kong Country Returns at E3 earlier this year, I’ll admit it; I didn’t really like the new direction the game was heading in at all. For me it lacked some of the charm of the three Super NES instalments, along with failing to completely replicate those games simple but highly addictive gameplay mechanics. There was also no sign of any Kremlins to be found, just a bunch of goofy and angry looking animals reminiscent of some of the poorer critters in DKC 3, and an overall blocky attempt at matching the style of the first game in the series.

If anything I felt that Donkey Kong Jungle Beat better represented where the series should be going, seeing as it not only maintained the series trademark curvy and smooth graphical look, but also some of its magic.


However after an extended exposure to DKCR my views have relaxed somewhat. Maybe it’s the fact that you can’t very well expect a linear continuation of the past, or that when looking back at DKC3, you can easily see a dramatic shifting of art styles in the subtle changes made to the series by original creators, Rare. In fact, I will probably say that DKCR is pretty faithful as a continuation of that game, just set on the original jungle paradise of the first DKC, and without those pesky Kremlins.

Either way I’m more than happy to receive another proper entry in the series even if it feels more like a New Super Mario Bros homage style title. Though that in it self is no bad thing, and we might just actually get the most exciting one of those yet with this latest DK outing.


As already mentioned the familiar faces of the Kremlins are officially out - or so it seems with no sign of K Rool and the old crew of crocodile-esque creatures anywhere to be found. Instead DK and the rest of the gang – in this case Diddy – must contend with the Tikki’s; another bunch of rabid critters who have only gone and stolen our favourite ape’s much loved banana horde. He must really hate this sort of thing, since this will have been the second time that it has actually happened.

Both Donkey Kong and Diddy Kong return to the fray in pursuit of said banana horde, with a range of new and familiar set of moves, and a brand-new real-time two-player mode to replace the old tag-team mechanic. This time around you control both characters simultaneously rather than as separate entities.

Our heroes also have most of their old moves from the first two games. DK can still barrel roll over enemies using the attack button, along with gaining extra jumping height and length by using for non-offensive purposes. Diddy does much the same thing, although with a cartwheel rather than a roll. The two friends can also team up once again, with DK being able to throw Diddy up onto usually unreachable platforms to gain access to secret areas and hidden items. Diddy also has use of a little jet pack this time around, in which he can use to briefly hover above the ground, or give a small-extended lift to any jumps DK does when he holds onto his back.


According to Nintendo when playing in single player the two characters are always teamed-up, with Diddy providing his additional skills at all times. When in played in two-player mode however, each player controls just one of the two characters for a more unique experience. This also means that due to the way the level design seems to work from in the trailer, it means than there also has to be some crossover in terms of moves between both Donkey and Diddy. In DKCR the ground pound move for example is no longer exclusive to DK alone, instead Diddy can also use a variant of the very same move.

This streamlined single-player design, with full individual control for two separate players means that the gameplay although very similar to the Super NES games, also has some pretty substantial differences. One of which is how the game’s health system works. In DKCR as you no longer constantly switch between both characters your health is now governed by a series of red hearts at the top of the screen; a return of the traditional energy meter not at all characteristic of the series.

Another, is that if one player manages to die in two-player mode, he or she then can come back if the other player bursts open a floating DK barrel on screen, much like the system seen for multiple players in NSMB Wii. Also, like in that aforementioned title the second player can choose to climb onto DK and take a backseat ride whilst the more skilled of the two players takes full control. After which, or even during, the second player can make a break back to freedom again.


Like with previous games in the series players are once again tasked with collecting bananas along with the four K O N G letters that appear in each level. Hidden bonus areas also make an appearance, but so far from what we’ve seen they remain rather inconspicuous unlike in the second and third DKC games, in which they where marked with a large ‘B’ indicating, yep you guessed it, a bonus area of sorts. Here in DKCR they seem to appear more as a natural part of the environment or as a disguised barrel, rather than the “here I am” type inclusions in later instalments.

In terms of level design and gameplay outside of the various move sets and team-up features, DK’s latest appears to be a direct extension of the classic gameplay featured in his first three games, but with some massive changes and enhancements. Along with the usual platform jumping and banana and item collecting, the game also sees you hop between areas to and from the background scenery adding in an extra depth to the experience. It looks very much like a faster-paced variant on the mechanic used so imaginatively in Sony’s Little Big Planet, with DK getting the same treatment here.

From the trailer we can see that mine cart stages make a triumphant return, as does the vine swinging and barrel blasting sections from previous games. The barrel blasting in particular looks far crazier than before, with both DK and Diddy being shot out at even higher speeds than ever expected. Some of the barrels also feature jet propulsion, whilst also moving backwards and forwards, and up and down, making things even harder to comprehend. And this is along with some moving and rotating at the same time.


It certainly looks a little too OTT at times, although it also fits in with the slightly funkier, more energetic look Retro Studios have created for the game. And it’s this look that both sets it apart from previous games in the series whilst also tying it in together nicely. What we have here is a return to natural jungle paths, dark caves, and lost cities type stages of the first DKC, but filled with creatures that are generally more suitable to populating the world than the heavy reptile influences of the past.

However it is also noticeable that the game has lost a little bit of the series distinctive feel about too, especially when you compare it with the Super NES games. That’s not to say that it’s particularily bad or anything. But I definitely think at present that it fails to live up to being a true DKC sequel, instead appearing to be something more a long the lines of a New Super Mario Bros Wii style reinvention. Then again, the game also looks like being lots of fun too, and Retro Studios have a solid track record behind them.


Visually, DKCR also runs into a few issues. Though it still looks reasonably nice, and represents a good attempt at recreating the style and feel of the original trilogy, whilst updating it for a new audience without alienating too many old fans such as myself. It also looks rather blocky too, and suffers from some ugly jagged edges where the Wii fails to provide any kind of anti-aliasing.

The actual characters themselves – both DK and Diddy, and some of the enemies – lack the smooth curved finish, and impressive fur shading effects from DK Jungle Beat, which is a shame, and sadly the environments don’t fare so well either. Although solid enough in artistic terms, technically they don’t share the same sparkle as the likes of DK Jungle Beat and Super Mario Galaxy, with much of the game currently looking slightly angular in places and a little blocky overall.


Coming from the powerhouse that produced the stunning Metroid Prime series, what we’ve seen so far is a little disappointing and not quite as smooth and polished as it could have been. At least the game does run at 60fps though, whereas all the trailers we’ve seen have been encoded at 30fps highlighting the rough edges slightly more than you’d actually see when seeing it first-hand.

Thankfully the animation itself is first-class, and is full of subtle little nuances packed full of personality. This really gives the characters and environments an organic, living feel to them. It also helps glaze over some of the less impressive parts of the game’s visual make up.


Of course, all this talk of slightly disappointing graphics and more outrageous gameplay mechanics may not make all that much of a difference as long as the game is really fun to play. And case in point, although I rather dislike some of the enemy designs in DKC 3, and found the soundtrack to be nowhere near as engrossing as the first two, I did still find myself having a massively enjoyable experience with plenty of little magical touches to be found along the way.

With DKCR it’s pretty clear that Nintendo and Retro Studios are taking a leaf out from Rare’s book in expanding the formula whilst not loosing sight of where it originally came from. And whilst I don’t like all of the changes, there’s no doubt that every facet of the game looks far better than the mediocre travesty that was DK64, and also appears very much in-keeping with the original DKC games when you start to scratch under the surface. Plus much of DKCR is strictly under wraps at this point.

Despite seeing so much new stuff in the E3 trailer for the game, there are still a few things that go unanswered; such as whether or not we’ll see the return of the map screen and hub world overview from past titles; how the save system will work; and if any of DK’s charismatic buddies will return. So far nothing has been confirmed with regards as to if any of the rideable animal friends will make an appearance, or whether members of Kong’s extended family will play some part in the overall grand scheme of things. Hopefully they will, but please, leave out any of those sorry souls from DK64.


We should hopefully find out about these things, and more, if we get a chance to go hands-on with game, and if not, then Nintendo will certainly drip-feed us with more essential info.

In the end I’ve loosened up quite bit to the game's change of direction and overall art design on offer here, along with the spiced up gameplay adjustments. And well, to be honest, simply appreciate another 2D instalment in the series regardless whether or not it is quite the way it would have been imagined back in the day. If anything DKCR is shaping up to be exactly what DK64 should have been - slight issues and personal disagreements aside, and minus that god-awful DK rap.

An Updated Look At The Visuals Of SSFIV 3DS

More of a quick update than anything else today, but still a decent one at that, concerning the delightful port of Super Street Fighter IV for the 3DS.

A few days ago Capcom released a few new screenshots showing the game in action. These new screens revealed not only a few characters not seen in earlier shots of the 3DS version, but also significant graphical improvements finally putting the game over and above anything the PSP could possibly do. It’s rather impressive!


First on the agenda today is the observation that none of the new screens feature that ink-shading effect seen in the earlier shots released at E3. Previous screens only showed off the game using this effect, which in turn made things look rather flat, albeit also very stylish. It now appears that, like in the PC version of SFIV and in the PS3 and 360 update Super SFIV, that you can turn on and turn off the ink shading as you see fit.



Visually the new shots definitely look more in keeping with the console versions of the game. In particular with the ink shading off the characters display noticeably more in the way of subtle details, and an increase in bump-mapping giving them a greater sense of depth compared to before.


The backgrounds have also been given a subtle overhaul, with a greater use of geometry being visible making things seem even more impressive. But to really appreciate just how good it looks overall you have to see the game being displayed side-by-side with its bigger brother in order to gauge just how close it is.


3DS


PS3/360

It’s pretty clear from the above screenshot comparison that Capcom have managed to get the game looking incredibly similar whilst using only a fraction the polygon power available to them with both the PS3 and Xbox 360. The developers also appear to be using the exact same character models as the two console versions of the game, just scaled back in geometry counts, and using a greater amount of normal mapping to replicate a similar level of detail.

And against the iPhone version of SFIV:


3DS


iPhone

Moving on, in the latest shots of the 3DS game self-shadowing is also still visible, which is nice, along with what looks like some kind of soft shadow filtering giving a smoother appearance to shadow edges.



As to be expected there is no anti-aliasing of any kind to be found in the 3DS version so far, and to be fair it is unlikely that there will be in the future either. Certainly, with the reasonably high geometry counts we are seeing, along with some advanced shader effects, normal mapping, and soft shadowing, it’s going to be hard enough maintaining that essential 60fps update as it is without trying to implement an AA solution in on top of that.

But to the honest they don’t really need to. The sharpness of the visuals, the detail, and the impressive use of various visual effects is outstanding for a first-generation title. It’s also way ahead of the now meagre looking iPhone version of SFIV (which failed to even feature true polygon backgrounds). The only disappointing thing is that we may well have to wait a little longer for the game than expected - Capcom are now saying that it is unlikely that it will be out in time for the 3DS’ launch.

Either way, we’re definitely looking forward to seeing it in action.

Tech Analysis: Singularity (PS3 vs 360)

Singularity is another one of those games which sits directly in between being distinctly average and almost underrated, perhaps veering more towards the former rather than the later. But anyway, Raven Games’ cold war era scientific and supernatural FPS throws around a few interesting ideas, and a cool time dilating mechanic which seemingly should be making a stronger appearance than it does here.

When talking about the game it’s hard not to mention other similar titles such as Bioshock, and Wolfenstien, both of which Singularity seems to take influence from, especially with regards to its dark and gloomy atmosphere and use of warped human-engineered technology. You can also feel touches of Valve’s masterpiece Half-Life 2 flowing through some of the experience too, mostly arriving whenever that time-dilation device is in hand.



Using the popular Unreal Engine 3, Raven games have actually created a technically competent release, one that actually fairs extremely well on both platforms. Usually the PS3 is the one to suffer with titles using the Unreal Engine, often having significant cuts in rendering resolution and alpha buffer size for transparencies and other such graphical effects. But not so with Singularity, which demonstrates that it is possible to almost achieve parity when taking the time and care to do so.

In motion both versions look pretty much identical. Or rather, most of the time they ‘do’ look identical. It’s hard to tell them apart other than from the occasional slightly more jagged edges on PS3, and the loss of a few specular effects in areas with lots of water. That and some performance issues are the only things separating the two versions apart.


Singularity is rendered in 720p (1280x720) on both Xbox 360 and on PS3. As per usual with games released for both formats, and those using the UE3, 360 owners get 2xMSAA while the PS3 gets no anti-aliasing of any kind.

However this isn’t quite as bigger deal as you might think. When in motion the use of 2xMSAA on 360 does very little if anything to set it apart from the PS3 game. The reason behind this is that the AA used in the 360 version is selective. It’s only applied on certain objects and in certain areas in specific conditions, meaning that most of the time it’s barely there at all. We’ve seen the same thing before with the UE3 on both Gears Of War 1&2 which only apply AA on objects without movement, or when you are standing still.

Seeing as the game features very little in the way of high contrasting edges the PS3 version rarely looks to display any more jaggies than the 360 game, and any differences are only really visible when both versions are put side by side in screenshots. So whilst 360 owners can boast about having AA included, in reality it’s more of a checkbox feature here than a real benefit to the graphical quality of the game.



Moving on we can see that texture detail is like for like across both platforms, as is the game’s use of texture filtering. AF levels appear reasonably good, though not exceptional, and just seem to get the job done of displaying clean-ish textures in the distance. Usually it’s the PS3 which commands the advantage in this area with RSX’s larger amount of texturing units, but this is clearly not the case here. In fact it’s the 360 which shows a greater level of AF than usually seen with many multiplatform titles, normally satisfied with going in for a bilinear or trilinear approach.

One area in which the PS3 version does edge ahead of the 360 build however, is with regards to the game’s lighting and shadowing system, which looks slightly more refined. Texture details and certain graphical effects tend to be accentuated, standing out almost like there is some kind of subtle AO going on, even though we know that there isn’t. Shadows are also subtly more defined, creating an added sense of depth to the image.


In terms of particle effects and alpha buffers both versions seem to look identical, with no lower resolution discrepancies to be found anywhere in the PS3 version. The striking similarity between the two can be seen in the screenshot above, where even when a large part of the screen is filled with effects the PS3 still manages to stay par the course along with the 360 every step of the way.

This is in start contrast to Bioshock 2 in which the PS3 build featured lower resolution effects for smoke, fire, water, and electricity, noticeably reducing the game’s overall image quality. Thankfully, for the most part, the same thing doesn’t happen here.


Interestingly the same cannot be said for the use of specular effects and normal maps. Here it’s the 360 build that commands a small but visible lead over the PS3 game. All normal maps in areas that feature water or wet surfaces are dialled back on PS3, and in turn lack the same levels of depth and intensity compared to what you can see on 360. Some areas feature lower resolution normal maps too, further reducing overall quality.

The above screenshots clearly shows off the differences between the two versions. Notice how on the walls in particular the normal mapping is less obvious on PS3, and that the effects creating their shiny wetness are clearly in a slightly lower resolution compared to the rest of the scene.

This is perhaps the biggest difference between the two outside of the PS3’s better use of lighting and shadowing, and the 360’s small commanding lead in overall performance.


So far nether version has really come out on top, with the PS3’s superior lighting being countered by the higher resolution normal mapping found in the 360 game. Instead it’s down to performance to perhaps provide us with the clearest look as to which version is technically superior. After all, frame rate issues and screen tear tend to have far more of an impact during gameplay than some cutback visual effects.

Not so surprisingly the differences apparent here aren’t all that noticeable. In the end the PS3 game does demonstrate more in the way of both screen tear and framerate drops, but also does so more subtly than you might think. Most of the extra tearing that occurs in the Sony version is only really present in the overscan area of the screen, meaning that most people will never see it. Another thing is that although the PS3 game does indeed fare slightly worse than the 360 one overall, the same issues are also present in that version too, just to a lesser extent.

Both versions start off running at 30fps and try to attempt to remain v-synced for the duration. However it is clear that the PS3 losses v-sync more often than the 360 casuing a small increase in screen tear. Surprisingly, even when the PS3 build does lose its command of this, the effect has no bearing on framerate whatsoever. Usually the way it seems to work is that the PS3 version substitutes a consistent framerate in order to maintain v-sync and in turn suffer from less screen tearing as a result. Whilst on 360 most developers favour the approach of dropping v-sync in order to keep a higher framerate.

Here we have a situation where we get more tearing and greater framerate drops on PS3 and less on 360. However, despite this there is very little in between the two when simply playing the game without looking for these things. Yes, some differences are subtly noticeable, but at the same time they are not game breaking or at all intrusive for that matter. Arguably the 360 does maintain a small lead in terms of performance, a lead that in the grand scale of things does very little in making it definitively superior overall; much like the build’s inclusion of anti-aliasing.


In conclusion Singularity is pretty much equal on both platforms. The PS3 game benefits from having slightly better lighting and shadowing, whilst 360 owners get better normal mapping and a small lead in commanding performance. When it comes down to it though, in motion you’d be hard pressed to tell them apart, and many of the things pointed out here I could only see when lining up the games side by side when standing still – not something you’d normally be doing when playing.

Your purchasing decision then solely comes down to which controller layout you prefer, and which of the two systems you like to use the most. Anyone looking to try out the game shouldn’t have any concerns as to which version they choose to buy, as it’s pretty much identical across the board.

Hands-On: Kane & Lynch 2: Dog Days (PS3)

You know the original Kane & Lynch was another one of those titles I’d rather forget, a game which not only failed to live up to its potential but also seemed oblivious to its failings, almost like it was content with merely being an idea, a proof of concept without proper execution. Coming from the developers of the successful, but slowly fading Hitman series we should have expected something much better, a title that maybe wasn’t so filled with sloppy control issues, poor AI, and repetitive online play.

Perhaps what is so surprising about this sequel, is that it manages to rectify a whole lot of problems found in the original creating a vastly more polished experience overall. Playing the brief demo for Kane & Lynch 2: Dog Days is quite an eye-opener when you look at just how much has been changed, and that what you have standing right in front of you is a largely different game on the whole.


Rather than resting on their laurels IO Interactive have managed to address many of the issues and concerns we had about K&L whilst also expanding on the atmosphere which worked so well the last time around with a new unique look that is as gritty and grimy as the game’s two lead protagonists. Set deep within the chaos of the Hong Kong underground, the developers have created a more tightly controlled, intense kind of game; a fast-paced third-person shooter reminiscent of a good John Woo actioner, making things all the more enjoyable as a result.

One of the main improvements with this sequel is that it runs a staggering 60 frames per-second most of the time, with only a few expected bouts of slowdown. The use of having such a high frame rate goes beyond making the game look reasonably impressive compared to the original, instead also improving the controller responsiveness and providing faster paced action overall. Upon booting up K&L2 this is immediately obvious; running around and swiftly getting that first headshot is faster and more immediate than before. Your level of control is improved not only in how quickly you can react, but also how accurate you can become at high speed.


Changes to the cover system also help in maintaining this fluidity. It is now possible to quickly move in and out of cover by pushing the ‘Cross’ button, or to move out by pushing on the analogue stick in the opposite direction to whatever your wedged hard up against. The system works pretty well, and is an improvement over the first Kane & Lynch, although isn’t as responsive or as manoeuvrable as the one found in Gears of War and Uncharted 2. I didn’t have any problems getting into cover, and then popping out and blasting a few enemies in the face before running towards the next suitable spot after a few minutes of play. Although things could be improved as there were times when I’d become stuck for a brief second or so in cover after pushing the required button to dislodge myself.

Gameplay-wise K&L2 is a much faster paced affair than the original. It really feels like the developers at IO Interactive have taken a leaf from Call Of Duty’s rulebook, specifically Modern Warfare’s. The way enemies pop up from behind cover and move between areas in order to flank you appears much like in Infinity Ward’s title. The same thing applies when they accurately take aim and attempt to gun you down with varying degrees of success, with foes constantly bestowing damage upon you if you get too careless, adding even more to the game's atmosphere and attempt at realism. Surprisingly, the constant duck and cover, run and gun nature of the game works very well, never feeling tired or strained throughout the limited time offered in the demo.

The action isn’t quite as furious as it is in Infinity Ward’s title, although is very smooth, and incredibly polished at the same time. Originality though is the one thing the game lacks, and in this case there’s very little outside the YouTube style presentation to set it apart from other comparable titles. Except perhaps the framerate, which improves things to no end, fully justifying the steep graphics cutbacks that have occurred in making this possible.


If there is one major complaint to be found however, then it’s with regards to the enemy AI. During various points throughout the demo I had several enemies jump out from behind cover and begin to run circles around Kane, while at the same time I could stay in my current cover position gunning them down as they did so. Not only that, when going around in circles they effectively failed to attack either me or my partner, instead looking like they had gone a little bit mad in the process.

This definitely needs to be cleaned up before release as not only does it make the game look a bit silly, it also breaks some of the atmosphere in the process. What they need to do is keep in some of the cool stuff; like how enemies pop in and out of cover, quickly moving to different spots trying to flush you out, whilst getting rid of the annoying glitches that break the illusion of a intensely staged gunfight.

Some of the NPC’s also suffer from quite stilted and stiff animations. These look rather outdated and much like the kind found in various on-rails arcade shooters. However, both lead characters move with much greater fluidity and rarely suffer from the same problems, with only occasional animations that appear out of place, or a little odd.


Visually, K&L2 looks reasonably impressive with regards to its smooth framerate but also has issues in other areas, mostly surrounding the game’s incredibly soft, and often fuzzy look. It is apparent that in order to achieve 60fps that the developers have sacrificed overall screen resolution, and in that respect the game falls down. K&L2 is decidedly sub-HD, with upscale artefacts being visible at most times and jaggies crawling the many clean lines on display. The varying inclusion of different filters used to create a security camera style look to the game, although a pretty nice touch adding even more atmosphere to the game, also do little to hide the low rendering resolution, and instead make things appear even softer and more undefined.

That said the grimy, understated, YouTube-esque screen presentation of the title fits in well with the characters and world that the developers are trying to create. The shady underworld of Kong Kong isn’t meant to look vivid, saturated and full of colour, its tone instead balanced against two unattractive and vile lead protagonists who would do equally as well at playing the role of the bad guys in this experience. Another cool touch is the ‘buffering’ message displayed when the game is loading, again adding that sense of being in a live surveillance feed of sorts.


So far, Kane & Lynch 2: Dog Days is shaping up to be a huge improvement over the first game, and seems like a largely enjoyable experience from the small sample offered up to us in the demo. The much faster-paced gameplay reminiscent of a third-person Call Of Duty makes the whole package feel tighter and far more exciting than before. While the unexpected decision to target 60fps makes for a smoother, more graphically impressive and responsive game as a result.

A few flaws still remain, such as the dodgy enemy AI, and the stiff animations of the NPC’s, which feel rather outdated. But if both of these issues were ironed out by the time of the game’s release in late August, then there shouldn’t be all that much to complain about. Bar perhaps the low-resolution nature of the game, and the fact that the two lead characters are still initially as unlikeable as ever, spouting a myriad of abuse whilst keeping their stark moral indifference to the world intact.

Hopefully, IO Interactive will surprise us with that last one. This is supposed to be Lynch’s story after all - something far more personal, so we expect to see some kind of humanity to be brought to the surface of the character at some point. After all he isn’t a militarily trained killer like Kane, instead being a far more wild and uncontrolled type. Dare I say more emotional, and arguably this provides at least a good starting point to get underneath and into the inner workings driving him to this kind of lifestyle.

That is of course, if the script writing and characterisation is as good as the gameplay. But I guess we’ll just have to wait in order to find out.

Editorial: Moving On From The NDS

In 2008, when the Nintendo DS was at its peak, nobody really expected a slump in sales to be heading its way. Although in hindsight, all the signs were there, albeit subtly rising to the surface with Nintendo providing the obvious reactionary response by releasing new hardware in the form of another restyled Nintendo DS console.


You could argue that after nearly five years on the market, that it was time for the company to be thinking about new hardware - about replacing the existing NDS with something considerably more powerful whilst also adding in another standout feature, a talking point which could convince existing owners to move over to the new machine; the recently unveiled 3DS.

That feature, and the talking point of the latest machine, is 3D - a format brought back to the attention of the mainstream by movie studios in an attempt to re-invigorate cinema screen ticket sales, whilst also fending off digital downloads and the increasingly popular digital rental market. The very nature of the format makes it far more suitable for gaming than film however, with depth perception being far more important in trying to gauge your next jump, or in making that critical headshot. Interactive content demands high precision and definitively accurate reactions, all of which can be increased via the added depth afforded by 3D.

It’s a natural fit, and one that has the potential to immerse the user into the experience beyond what was possible with current tech, while at the same time giving Nintendo that difference for a second time running. Nobody else has 3D gaming hardware like this. No one else has a portable 3D solution outside of the cell phone.

So, given the large drop in sales and rampant piracy that has plagued the DS in recent years a change in hardware is really for the best, and in that respect not really all that unexpected. 2008 marked the highest point for NDS sales. Riding high after the constantly repeating success of Brain Training and its sequel, New Super Mario Bros, Nintendogs, and various third-party hits like Professor Layton, cracks began to appear in the machine’s previously unblemished record.

Software sales for first and third party titles were down across the board, and despite an initially strong uptake of the new DSi console, sales started to tale off a few months later. Third party publishers for the first time began cutting back on all DS operations, sighting both piracy and a saturation of games being produced for the casual market as the cause of this change. Nintendo themselves had barely released any notable titles for the system outside of the new Layton game, and another instalment in the Mario & Luigi series of RPG’s, instead relying on more sales of existing products and me-too third party clones of its own titles.

But why the sudden drop off in sales, and how come after four straight years of success is the platform slowing down so rapidly?

A number of factors have to be considered. Firstly, the casual market has seen a massive explosion ever since Nintendo struck gold with the likes of Brain Training and Nintendogs, with competing titles covering practically every avenue of potential interest, from pets, to playing doctor, and string of brain teasing games and puzzle-based adventure titles.

A crowded market is rarely a healthy market, especially when consumers are so bogged down with choice that they simply decide to vote using their wallets, by not buying anything, or simply to look elsewhere for entertainment otherwise provided by the DS. This over abundance in choice it seems is equally restrictive in the sense that the choices available are limited to certain genres and titles that casual gamers have grown accustom to appearing on the format. Outside of these genres there is little innovation, and titles aimed at the ‘core’ gaming market are mostly ignored due to a lack of familiarity even if some of those are perfectly suitable.

It appears that the bubble has broken, and that a string of similar experiences simply won’t be enough to sway a vast number of new owners to the platform, especially when there are over a hundred million of them already. Combined with the fact that the world market has just hit a sudden downturn due to the recession, and that leaves consumers vary of splashing out, something that the gaming market, despite early signs pointing otherwise, is not immune to.

The other reason why so many publishers and developers have recently been turning away from the DS, and in turn why consumers find themselves with a lack of imaginative new software is piracy. That old dog is once again up to its old tricks in a re-run of what has happen countless times before with the old gaming platforms of the 1980’s, the original PlayStation, and continuously to this day with the PC market. Like with any popular platform the NDS is far from immune from the problem, instead further feeding the pirates with its gigantic userbase.


Simple piracy in it self isn’t a huge problem for the DS, it’s the widespread scale of the issue, and the fact that it has become a fairly commonplace thing amongst casual gamers, and not just the technologically literate hardcore. Everyone from the little girl next door to parents simply out to save a few quid have turned to illegal downloading and game sharing for the DS. The popularity of many micro SD card readers for the system, such as the infamous R4, has made this phenomenon possible, and the ease of obtaining both the hardware required and the games themselves, so widespread across so many demographics.

Although Nintendo have in recent months begun to heavily crack down on large illegal game distribution operations, and hardware manufacture, they may have inadvertently left it too late. The R4 and other similar devices have too much market share now in order to be effectively combated to a point of no longer being a problem. Plus with the DS platform itself aging rapidly (it’s five years old already) there is little financial sense it trying to salvage and rebuild the success that it has seen over those five years with the same hardware. Instead it makes far more sense to concentrate on a new console altogether, one which will feature much greater protection from the pirates, and that can also instil fresh imagination into the gaming public.

Enter the 3DS.


With the selection of original NDS games quickly depleting, and the machine largely falling out of favour with the hardcore crowd to the less successful PSP, Nintendo have a chance to re-build bridges with that audience as well as provide a platform that doesn’t alienate the current casual consumer. In fact the use of 3D however gimmicky it may at first seem, may just convince those very people to jump aboard and experience a more traditional form of gaming. After all, what is there to loose, you have complete backwards compatibility with the existing DS, making the 3DS more of an upgrade than a complete replacement, along with a whole host of visualy alluring titles. Granny or little Suzie may not see the appeal, but many others will.

Importantly, the 3DS more than anything else will provide a safer development environment for developers away from the piracy ridden confines of the current NDS platform. This new sense of security will also be backed up with a fresh way of looking at handheld titles. Maybe not fresh, in the sense of new gameplay experiences, but fresh in the sense of experiencing PS2-like blockbusters in full 3D anywhere you go, in addition to fan favourites such as Mario, Zelda, Resident Evil and Metal Gear Solid.

The NDS has definitely run its course, and now you can so easily see why and where most publishers development resources have gone. The shrinking selves of DS games will surely be replaced with a greater amount of 3DS titles come next year. Some may just be enhanced DS games aimed at the mainstream, whilst most look likely to be titles bread and nurtured for the ‘core’ gamer. It’s no surprise to learn that most Nintendo-based handheld software projects are being lined-up for the 3DS, both from first and third parties, and this in turn represents why DS software has dried up of late.

In the end, while it may seem like the DS is somewhat dying, and in a way it is, the future of the brand remains intact and ready for its second phase. Backwards compatibility ensures that the 3DS won’t alienate the current audience, or destroy the existing DS software chain overnight. But it will ensure the healthy continuation of the platform as a whole.

That is, of course if it becomes successful, although all signs point to it having an initially bright future. The rest, as always is up to the software and marketing, being able to convince the right people that this IS the right product for them. And with Nintendo’s recent track record that shouldn’t be a problem.

Street Fighter X Tekken Unveiled!

Late yesterday afternoon at the Comic-Con in San Diego both Capcom’s Yoshinori Ono, and Namco’s Katsuhiro Harada took to the stage together in order to announce the latest fighting crossover title, Street Fighter X Tekken.


It’s been hotly rumoured over the last couple of weeks that something was in the pipeline between the two companies, with many sources pointing to a ‘Namco Vs Capcom’ of sorts, a collaboration that would see franchises from each company battle it out like never seen before. However, instead of a cast taken from a pool of franchises the developers have decided to work in bringing the two most popular ones together in perhaps the most unexpected and unusual versus game yet. Although don’t call it a ‘vs’ title, as apparently it’s not one of those.

“This is history we're making. Two fighting games that have rivalled each other are finally standing on the same stage. This isn't just a showdown between Tekken and Street Fighter, but a decisive battle for Capcom and Namco Bandai Games. So I'm going to give it my all.”


Developed by a team at Capcom, and using the same engine that powered Street Fighter IV, Street Fighter X Tekken is the newest in a long line of crossover games created by the company, stretching back to X-Men Vs Street Fighter in 1996 and up to Marvel Vs Capcom 3 (released next year). The game will be rendered in the same 3D hand animated, hand painted art style as SFIV, and will feature the same solid 2D gameplay in keeping with such a title.

The game will feature Traditional ‘Versus’ and ‘Training according to Capcom, although they also plan to introduced new features to these modes in order to bring even more depth to the game. In addition to these enhancements players will be able to go head-to-head in teams of two via a ‘Tag Team’ mode. Like with the ‘Vs’ titles you will be able to combine the two characters special attacks together for stupidly powerful combo strikes, and visually impressive super moves. Things like crossover counters will be possible, along with a range of other team-up and assist moves.


After the announcement a trailer was showcased for the game in the same art style as the ones used for SFIV, along with a proper gameplay demonstration, in which both Yoshinori Ono and Katsuhiro Harada battled it out in a quick tag team match. Impressively the game looked to not only keep in all the signature moves of the four characters used (Ryu, Chun Li, Kazuya Mishima and Nina Williams), but also managed to successfully integrate the Tekken characters into the 2D fighting engine. Naturally Ono went for playing as the Street Fighters, and Harada as the Tekken Zaibatsu.

Interestingly, this Capcom developed instalment in the series might not be the only one we’ll be seeing. Namco have also confirmed that they will be producing their own Tekken X Street Fighter at some point later on down the line, much like with Capcom Vs SNK, and SNK Vs Capcom Chaos, by both Capcom and SNK respectively.

Street Fighter X Tekken is being developed for both the PS3 and Xbox 360 - currently without a release date - and marks the second collaboration between the two companies. The first being the little-known, Japan only RPG Namco X Capcom.

We’ll have more details on the game at IQGamer as soon as they arrive. Until then, why not check out the awesome teaser trailer in HD right here.

Tech Report: A Look At LBP2's Graphical Upgrades

Despite being a platformer with a slightly cutesy disposition, Little Big Planet is no stranger to technical excellence. You might not think that just by looking at it, but under the hood the original LBP was as interesting from a tech point of view as it was from a gameplay perspective.

Little Big Planet 2 then, appears to be much the same in this regard; the characteristic real-world physics of the title so integral to the very core of the game backed up by some impressive, and downright interesting engine enhancements. This is precisely the reason for us to be taking an extended look at the title. What we have here could almost be described as a full tech analysis of sorts, but in reality it’s more of a small glimpse, and dare I say, intriguing update into what media Molecule are doing with this sequel.

The first thing to notice, obviously, when going over the screenshots is the abundance of clean lines and smooth looking edges, or rather the distinct lack of any jaggies spoiling the scene. Now you might be thinking ‘supersampled’ when seeing the quality of the screens, and initially that’s exactly how I felt about the situation. However, this isn’t actually the case as all the screens you see on this page are direct-feed captures rendering in native 720p (1280x720), and are not downsampled from a higher resolution, as is usually the case with most PR shots released to the press.

The reason for the game’s lack of jagged lines and supersampled look then is clear - the use of morphological anti-aliasing has been implemented into the graphics engine.

Although the above anti-aliasing method has been confirmed by Media Molecule themselves you can still see some evidence of sub-pixel based jagged edges, another hint as to the inclusion of MLAA, as with supersampling this just wouldn't occur


MLAA has been featured a few times before here at IQGamer, namely when covering Santa Monica Studio’s God Of War 3, and more recently Guerrilla Games’ Killzone 3. It feels like not a month goes past without some new first-party title using the technique, a technique which is not only cost saving in terms of memory, but also in terms of securing the highest levels of image quality in a console specific release.

From the screens featured on this page it is apparent that the MLAA does far more for the image than what is possible via the more traditional MSAA, only to be beaten by supersampling (SSAA) which isn’t doable, realistically, on consoles due to the additional rendering performance incurred.

In LBP2, like with GOW3 the use of MLAA provides up to 16x MSAA coverage on some surfaces, and better than 4x on most others. The only area in which this form of AA falls down is when dealing with sub-pixel aliasing, where by any polygon edges smaller than the size of a pixel (this is a sub-pixel) receive absolutely no AA coverage at all. The same is true for MSAA as well, but not for supersampling which covers all aspects of the entire image. Regardless, this new form of anti-aliasing is a huge improvement over the 2xMSAA used in the first game.

Of course, the use of MLAA is just one part of many fundamental changes to the underlying graphics engine. For this sequel the developers have also opted for a solely forward rendering approach throughout the entire game, making transparencies and shadowing much easier to do.


Previously the original LBP used a differed solution to rendering lighting and shadowing in the game, which meant issues with displaying certain effects and also a reduction in shadow quality.

By switching to the traditional forward rendering approach this time around, the developers have been able to easily upgrade the shadowing system used in this sequel. Soft shadows are present throughout, which look much nicer than the hard-edged ones used in LPBP1, with shadows being cast for every main light source you can see, now without the need to pre-calculate them as shadowmaps like before. These soft shadows also blend in well with the game’s newly implemented use of screen-space ambient occlusion (SSAO), which is performed in real-time along with most of the lighting and shadowing.

This use of SSAO also gives an even greater depth to the image not found in the last game, complementing the range of visual enhancements on offer.

Seeing as the computational requirements for producing such graphics effects have probably also gone up, the resolution of these shadows is still relatively low compared to the rest of the game. I’m not sure how much resolution loss is occurring, although it is apparent that all shadows look slightly softer than you’d expect them to be, especially compared to if they were rendering in same resolution to match the rest of the game.

Transparencies however, now look to be rendered in a higher resolution than the first game, using proper alpha coverage, whereas before they were rendered in a half-res of sorts using the bandwidth saving alpha-to-coverage, which lead to a slight screen-door effect being present on all objects that featured it.

The true nature of the translucency is a nice touch, and goes well with other enhancements being made to the whole particle/effects system used through the game.


From what we can see LBP2’s use of soft dynamic shadowing in combination with SSAO is undeniably impressive, providing an incredibly life-like appearance to how the whole scene is lit at any given time. The tightly woven nature of the lighting and how it commands the way shadowing occurs in the game cannot be understated, and to this the addition of a global illumination (GI) style solution adds more believability into the mix.

In LBP2 light on some stages looks like it travels down from a main point (the sun, or a singular internal light source) into the world appearing like it reflects off some objects and onto others as it shades and lights the environment. An impressive visual trick, as in reality it isn’t being done in real-time at all, but instead is a pre-calculated simulation that uses something along the lines of a lightmap, moving these around on certain surfaces to create this effect.

The illusion of proper GI, and some cleverly implemented god rays is the focus here, convincingly backing up the original LBP’s realistic lighting model. Alone, these elements are merely hot discussion points. But when all brought together they bring a real sense of naturalness and cohesion to an abstract game world, much like in the way the use of physics provides us with some tangible connectivity between the game and our own experience of reality.

There's still a disconnect for sure, seeing as the whole style and notion of the game’s world is completely off-the-wall, but in it’s own little confines feels completely organic, succinct even. And that’s perhaps Media Molecule’s biggest success, not the visual wonderment that all these effects and improvements provide, but the ability for them to casually sink in and blend together so seamlessly into being part and parcel of the experience.

Low resolution shadows aside, and maybe some stray un-anti-aliased sub-pixel edges, LBP2’s tech has seen some noticeable changes, and some ingenious solutions to problems most lesser developers tend to flake over. The game isn’t visually outstanding from a ‘wow factor’ point of view, but instead has its moment in delivering small subtleties that do more for the overall experience than just for the sheer technical hell of it.