Author: Red Metal

Donkey Kong Country

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Donkey Kong Country

After receiving an unlimited budget from Nintendo, the company that revitalized console gaming in North America with the Famicom (the Nintendo Entertainment System/NES abroad), the Twycross, Leicestershire-based developer Rare created several games for them. The company’s first game for Nintendo, Slalom, which was originally released in arcades under the Vs. System, proved a modest hit. From there, they developed various games utilizing famous film licenses such as Beetlejuice and A Nightmare on Elm Street, but it was their original property Battletoads that would cement themselves as a force to be reckoned with.

Then, in 1990, the successor to Nintendo’s Famicom console, the Super Famicom, was released. It would see its international debut the following year as the Super Nintendo Entertainment System (SNES). Rare had been quite prolific throughout the third generation of console gaming, but after the SNES saw its release, they decided to limit their output. To this end, they invested the money they made from their various NES games in Silicon Graphics (SGI) workstations. These devices were notable for their ability to render 3D models in an era when such a thing was unheard of. It proved to be quite the financial risk, as each workstation cost £80,000 apiece. In doing so, Rare became the most technologically advanced developer in the United Kingdom. Rare tested the technology by creating an arcade installment of Battletoads before beginning work on a boxing game they named Brute Force.

Meanwhile, Nintendo was in a heated console war against the Sega Mega Drive (Sega Genesis in North America). Sonic the Hedgehog, Sega’s answer to Nintendo’s Mario series, had become a smash hit, and won the Genesis many fans in the process. Some of those fans included Disney animators, who lent their talents to Virgin Games to create an adaptation of Aladdin. It was notably the very first game to ever feature hand-drawn animation. Realizing they needed to think of something quickly to remain relevant, Nintendo, impressed with Rare’s work on Brute Force, bought a 25% stake in the company, which eventually increased to 49%.

Now part of a second-party developer for Nintendo, Rare founders Tim and Chris Stamper were contacted by Nintendo with an interesting proposal. Released in arcades in 1981, Donkey Kong was Nintendo’s breakthrough hit, turning them into one of the industry’s most respected developers. Despite this, it was the then-unnamed Mario, not the title character, who ended up becoming synonymous with the company. This may have been justifiable as Mario was the player character while the game itself had been named after its antagonist. Even so and with the exception of scattered cameo appearances and a Game Boy remake of the arcade original, the title character hadn’t been used at all since Donkey Kong 3, which itself fell into relative obscurity following the infamous North American video game crash of 1983. As journalist Jeremy Parish writing for USGamer pointed out, it was “quite an ignominious twist” for one of the medium’s most recognizable characters.

On the back of this, Nintendo wished to revive Donkey Kong for a modern audience, and the Stamper brothers were to do just that. Development began in August of 1993 with an estimated development budget of $1,000,000 and a team of twelve. The creator of Donkey Kong, Shigeru Miyamoto, did not work on the game directly, but he ended up contributing ideas throughout the development process. This game was to be a side-scrolling platformer, as much of the staff had grown up playing Super Mario Bros. and its sequels. Finally in November of 1994, Rare completed their work. It was called Donkey Kong Country (Super Donkey Kong in Japan), and it set a record upon its release for the most man hours ever invested in a video game’s development at 22 years. The game was highly acclaimed and a commercial success, selling seven-million copies worldwide in four months. As the third-best selling game in the SNES’s library, how does Donkey Kong Country hold up?

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Lufia II: Rise of the Sinistrals

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In 1993, the Japanese developer Neverland released Lufia & the Fortress of Doom for the Super Famicom – or the SNES (Super Nintendo Entertainment System) abroad. Although somewhat lost amid the slew of Eastern role-playing games that saw their own releases around the same time, Neverland’s effort received a warm critical reception with the American publication Electronic Games in particular calling it one of the best RPGs of the year.

The game also proved to be a modest hit – enough so that Director Masahide Miyata and his team began working on a sequel shortly thereafter. It was finished and released domestically in February of 1995 under the name Biography of Estpolis II. The game was released in North America in May of 1996 renamed Lufia II: Rise of the Sinistrals, which would see its European debut the following year. As its predecessor hadn’t been released in Europe, the game’s title was truncated to Lufia. Like the original game, Lufia II was a success, selling a little over 60,000 copies in Japan. This time, however, the critical reception was significantly more positive with aficionados of the SNES library considering it an underrated gem of a classic. Was Lufia II truly able to improve on the formulaic original?

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Keen Dreams

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Keen Dreams

Commander Keen in Invasion of the Vorticons was a massive success for Ideas from the Deep, a development team formed by programmers John Carmack, John Romero, and Tom Hall. With a clear hit on their hands, the team sought to break away from their company, Softdisk, and strike out on their own. Their boss and owner of Softdisk, Al Vekovius, confronted the team on their plans – particularly after he learned they had used company resources to develop the three games. They would work on the game after hours, even going as far as taking the computers to Mr. Carmack’s house on weekends. Mr. Vekovius proposed a joint venture between the Ideas from the Deep team and Softdisk, which ultimately fell apart when the other employees threatened to quit in protest. After three weeks of negotiation, the team agreed to produce a series of games once every two months for Gamer’s Edge, Softdisk’s subscription service. Ideas from the Deep, having renamed themselves id Software after one of the Freudian components of the psyche, then proceeded to use these games as prototypes for their own releases.

In spring of 1991, Mr. Carmack and his team began work on another Commander Keen game. Initially, they did not want to make another installment for Softdisk, but eventually decided that doing so would let them fulfill their obligations, and hopefully improve another set of games for publisher Apogee in the process. For this installment, id Software crafted a brand-new engine rife with new features, including the ability to have the background scroll at a different speed from the foreground and support for sound cards. As a result of these changes, it was decided that this game would be a standalone effort as opposed to a true sequel. Even with other members of the team working on another project at the same time, this game, entitled Keen Dreams, was finished in less than a month following the engine’s creation. Despite the previous three installments having been bestsellers, Keen Dreams did not receive much attention from publications at the time, and thus fell into relative obscurity. Now considered a “lost episode” of sorts, how does Keen Dreams fare in the grand scheme of things?

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Commander Keen in Invasion of the Vorticons – Episode One: Marooned on Mars

/ Red Metal / 8 Comments

In 1981, a company named Softdisk was founded in Shreveport, Louisiana. Some time later, they hired an alumnus from the University of Missouri named John Carmack. Despite not leaving the college with a degree, Mr. Carmack was an exceptional programmer – particularly in the field of the rising new medium of video games. He was initially hired to work on Softdisk G-S, an Apple IIGS publication. There, he met another programmer by the name of John Romero. With the help of Michael Abrash’s Power Graphics Programming, Mr. Carmack developed an engine capable rendering graphics capable of smoothly scrolling in any direction. This was practically unheard of at the time; IBM computers available for commercial use were not able to replicate such a feat.

With an engine capable of scrolling graphics to hand, it was only natural for Mr. Carmack and his colleagues to use it to create a game. Coworker Tom Hall encouraged Mr. Carmack to demonstrate the engine by recreating the first stage of Nintendo’s landmark platformer, Super Mario Bros. 3, which had been released internationally in 1990. Mr. Carmack and Mr. Hall were then able to do just that in a single night using a character the former had created for a previous game he called Dangerous Dave. The game, cheekily titled Dangerous Dave in Copyright Infringement, was then shown to Mr. Romero, who realized the implications of being able to bring the success Nintendo had enjoyed to personal computers.

PC gaming survived the 1983 North American crash by virtue of being a niche market and therefore largely unaffected by whatever problems had plagued the mainstream. The team’s manager, Jay Wilbur, was impressed with their work and recommended that they contact Nintendo themselves in the hopes of being able to create an authorized port of Super Mario Bros. 3 for PC platforms. This team of programmers, now going by the name Ideas from the Deep, spent the next three days working on the demo for the hypothetical port. Although Nintendo praised the efforts of this budding team, they ultimately turned down the offer, wishing the Mario series to remain exclusive to their own consoles.

Undeterred, the Ideas from the Deep team convened to come up with a completely original idea. Mr. Hall suggested giving the game a science-fiction theme, which prompted Mr. Carmack to envision a child prodigy saving the world. The protagonist’s name would be Commander Keen. It was after Mr. Carmack read the premise in an overdramatic voice that the group knew they had a winning idea on their hands.

The first three games in this new series, Marooned on Mars, The Earth Explodes, and Keen Must Die!, formed a trilogy called Commander Keen in Invasion of the Vorticons. They were all released simultaneously in December of 1990. The Ideas from the Deep team distributed their game using the shareware model pioneered by their publisher, the Garland, Texas-based Apogee Software. Specifically, the episodes could be obtained individually for fifteen dollars apiece or in a single lump sum for all three at the cost of thirty dollars – all via mail orders. This way, buyers could choose between paying an amount smaller than the price of a full game for one episode or a comparatively cheaper sum for all three. This distribution method proved to be a success for Apogee, as their sales levels had jumped from $7,000 per month to $30,000 by Christmas of 1990. Speaking retrospectively, it was speculated that this trilogy of games moved at least 50,000 copies. As a trilogy of games that afforded PC users an experience many of them otherwise had no access to, could they be said to possess the same timelessness of their primary influence?

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Familiar Territory: Tagged by AK of Everything Is Bad for You Once Again

/ Red Metal / 47 Comments

AK of Everything Is Bad for You has recently hit a milestone, for he now has 500 followers. Congratulations! To celebrate, he did a Sunshine Blogger Tag, and, in turn, tagged me (among others). It’s been awhile since I last did one of these tags, and he asked some interesting questions this time, so let’s say we get right to it?

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