“If there’s a singular presentation tweak worthy of discussion, it’s Matt Vasgersian’s retirement from the virtual commentary booth. He’s called The Show since 2006, and while undeniably routine and stale in recent years, Vasgersian became the series’ voice. Replacing him is Cubs/ESPN regular John Sciambi. Despite the repetition (Sciambi doesn’t have 15+ years of calls recorded) and occasional inaccuracy, he handles the material convincingly. It’s a worthy performance alongside color man Chris Singleton, and together, there’s a baseline to build on.”
“SNK has built a branded fighting game universe, for better or for worse. The boldness with which KOF XV descends into unintelligible anime nonsense is almost admirable. What was once about overthrowing corrupt organizers like Geese Howard has become an exercise in absurdist fantasy. Alternate dimensions rip open, and a sold-out crowd watching the finale still thinks they’re somehow safe being near this tournament location.”
“It’s also worth pointing out that there’s a repeated pop-up about community inclusiveness when you’re first browsing the menu, and while on the surface that feels like a corporation trying to please activists for brownie points, we also have to keep in mind that hockey in general suffers from a racial divide. For instance, HC Donbass player Jalen Smereck was hit with a racist taunt just last month, so NHL 22 propping up tolerance in the moment is timely.”
“Atari Playland was canceled before the game was fully designed, but Taylor said the gameplay would have involved floating superimposed ghosts for players to shoot. A player’s view would follow on-rails routes, filmed using a complex, pre-programmed series of camera movements and a rotating platform supporting elaborate sets that could stretch over 40 feet long, Taylor said.
Everything was planned to work in a system designed by Pacific Data Image (which would eventually become part of Dreamworks); every movement was mapped out in advance. “We made little vector models in their system and were able to preview those moves and then figure out exactly how we needed to build the models to make it all work,” said Taylor.
“Instead of celebrating legacy, The Show begs for regular cash infusions, none of which go to the foundation set up alongside this release – a mere dollar of each initial sale goes to lengthily named education fund, “Jackie Robinson Foundation MLB The Show Scholars supported by PlayStation Career Pathways”. Hilariously tasteless in generosity, considering the option to buy $100 worth of power-leveling Stubs on the PS Store – after paying upwards of $100 for the game itself.”
‘“I’m sure I’ll be busy,” development director Chris Corry remembers thinking when he joined the project late in the development cycle, in July 2004, after leaving LucasArts. “There will probably be a little bit of crunch for a month or two. You can put up with anything for just a couple of months. Not realizing at the time, of course, that I would be there for probably six or eight weeks before I would be calling recruiters again and saying, ‘Oh, my God, what have I done?’”
“Nintendo had little to no involvement once the crew was on the road. Without guidance, Chisholm was on his own. “This is how my research went: I would call a friend and go, ‘Can I talk to your 12-year-old son?’ And I get the kid on the phone. I go, ‘What’s a good score on this game?’ And he’d go, ‘Like, 50,000.’ I go, ‘Cool. Thank you,’” says Chisholm, explaining some of the gameplay inaccuracies in the film.”
For the past year, I’ve covered indie games for Forbes. Each feature included developer interviews and insights into this rapidly evolving (and crowded) market. These nearly 100 pieces covered the independent scene from across continents, with games varying in scope, budget, and scale.
“Does that mean the company might follow TMNT with Konami’s other popular brawlers like The Simpsons or X-Men? Bachrach paused for a few seconds when we asked him, then he replied, “Uh, we agree with you that they are very popular cabinets.”
He laughed. So, are those games happening too? “Maybe,” he said with another laugh. “I cannot confirm or deny that.”
“The story of Ghostbusters was the result of a two week brainstorming session in 1983 (with Reitman joined by stars Dan Aykroyd and Harold Ramis in Martha’s Vineyard), and a pure Reagan-era reaction. The supernatural entity Gozer was the villain, but so was the government.
“I’ve been sort of a Libertarian,” Reitman says. “I’m actually a double immigrant. Coming to Canada from Czechoslovakia and then immigrating to America from Canada did make me believe in the power of capitalism and the power of the intelligent individual which has been a theme from many of my films.”’