“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.”
Read my full feature on Nintendo’s transition to Hollywood at Polygon
Filed under Features
‘“Everyone on the team drew a straw,” Robinson continues. “That straw meant you had to fix any bug in the game, and you had to be on call. It was close to 20 of us. I would show up at 4, 5 o’clock, and I would produce my other games until 6 or 7. Everyone would submit their last overnight build and I would play until the morning. As soon as I hit a bug, I’d call up whoever was in charge that day, they would run in, fix it, and I would start the play cycle again. We gained 22 days back.”’
Read my full story on the development of Splatterhouse at Polygon
Filed under Features
“The main hook, that perverse, commercialized violence (particularly in such numbers), can’t sustain Sniper Elite 4 either. Seeing a skull rupture, brain jiggle, and fragments of each scatter with bullet impact rapidly turns repetitive. Larger scaled stage design only means more enemies and more of this one-off gimmick.”
Filed under Video Game Reviews
Matt Paprocki 