Posts tagged “PlayStation Network

Our 5 Most Wanted Games From The PS4 Conference.

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Sony came to the stage last night with a man questions to answer. Could they keep the momentum they had from their initial conference almost six months ago? What would their next-gen console look like? Would they have games that would wow not only their fanbase but those gamers who were on the fence? They finished the night in firm command of the conversation and possibly a hold on holiday sales for this upcoming year. The PS4 had a bunch of games that perked interest and here are the five I’m most interested in getting my hands on.

The Order 1886

  • Steampunk monster hunters, with a knights twist.
  • Initial story seems really interesting.
  • Cool looking weapons, let’s hope with lots of variety.
  • Hoping actual gameplay keeps some of this trailer’s style.
  • Multiple protagonists maybe?

Indie Games

  • Huge deal that Sony is continuing to foster the relationship with Indie Devs.
  • Bringing their games to the Sony platform will just bring more to the fold.
  • Don’t Starve, Secret Ponchos and Mercenary Kings all looked great.
  • Indie Devs can self-publish, again huge incentive.
  • Games look easily portable to Vita as well, many getting a PS+ push from the start.

KillZone: Shadowfall

  • The game looked better than the initial showing.
  • The new open, bright environments will do that game and the Guerrilla engine justice.
  • New Combat options including the “Owl” personal combat drone should be very cool.
  • Mutiplayer should be amazing as well.

Infamous: Second Son

  • Graphics looked amazing, crazy particle effects.
  • Really emotive characters.
  • Protagonist was a snarky bad-ass (New DMC Dante-esque)
  • Felt like a playable version of the Chronicle movie.

    Quantic Dream Demo

  • EXTREMLEY impressive detail.
  • Kind of graphics we really want from next-gen.
  • This kind of technology can help to create the emotionally deep gameplay we have been dying for.

Let us know what we missed and what you are excited for. Are you buying a Ps4 day one, if so tell us why in the comments below.

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PixelJunk’s awesome 4A.M. contest is underway

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I rolled on to my Facebook feed yesterday and to my surprise saw that PixelJunk was promoting a really cool contest for their game 4 A.M. If you haven’t heard of it, I posted a overview of the game some time back that had a great interview with Rowan Parker the lead designer of the game. Honestly I think this game’s existence is still the only reason to own a PS Move controller and is one of the best motion/music mash-ups games you can have with that peripheral. It is truly a one of a kind experience that you shouldn’t miss.

They are giving away a PixelJunk customized Sony Pulse Elite Headset and a Move controller signed by the whole 4 A. M. team!

Check their FB page for details: https://www.facebook.com/notes/pixeljunk/4am-spring-soundclash-win-pixeljunk-customized-sony-pulse-elite-headset/10151839761874972

After seeing this sweet swag I have to get my skills back on point. If you would like to see me perform check out and follow me on PSN under the name KAHJAH1

LET THE BATTLE BEGIN!!

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God Of War Multiplayer? YES PLEASE!

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We are back from vacation and want to wish you all a Happy New Year, we hope you all had a safe and prosperous 2012. We thank you for your support and plan on this being a great year as well.

This year is slated to have some of this generation’s most anticipated games: “The Last Of Us”, “Bioshock Infinite” and “Dead Space 3,” just to name a few. But I have another game that you might want to keep your eyes peeled for. “God of War: Ascension” from the fine folks over at Sony Santa Monica might have a sleeper hit in the making, at least on the multiplayer side, that is.

The multiplayer beta dropped last week on the PSN and at first I thought, “This can’t be any good can it?” But to my surprise it’s not just good, it’s very good. Good enough to perk my interest when the game comes out later this year.

You jump into the MP and find yourself in a palatial setting with the camera set behind a hulking mass of a man. From the start you can tell that this God Of War team is on to something new, but things feel familiar in a way. The role of gladiator is yours to undertake while you play these modes. You pledge your allegiance to one of four of the mythical gods—Poseidon, Ares, Zeus and Hades—each with different weapon types and “blessings” to bestow upon their champion.

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Each gladiator will brandish a different melee weapon depending upon with whom they align themselves. Followers will have swords and huge hammers at their disposal to begin with. Each weapon type so far has a very different feel to how they swing and interact with players. At first I played with the sword and loved how nimble you felt slashing your way through players, but once I got my hands on a mighty hammer I changed my tactics and play style to compensate for the heft of my weapon.

What makes this so much fun so far is that it doesn’t play like a hack and slash kind of game. It honestly feels more like the classic Dreamcast game “Power Stone.” Bouncing around the gorgeous multi-leveled playfield while dodging traps filled with fire or spring loaded pikes feels extremely good. At the same time, the controls feel familiar for long time fans of the GOW series. Combos are implemented the same way as in other games with new wrinkles thrown in here or there for fun. The parry system makes the game feel like you are fencing: you step toward your opponent, then make a split second decision to parry or feint. When an opening in his/her defense shows itself, you strike and hit them for damage.

When you figure out what the game is trying to show you, it quickly becomes evident that they developers are not trying to fit the multiplayer fighting engine into the GOW mythos; they are actually trying to do the inverse. It’s exciting and with the four-on-four gametypes, a lot of fun. You will totally be hooked when you trigger a trap that catches a pursing enemy, or when you finish one off with a super cinematic “Brutal Kill.” I just hope that there are more of those brutal kills per weapon or that you have the ability to unlock more while ranking up, because they are beautiful gory masterpieces to watch. I want more gore, SonySantaMonica.

This GOW team has a big hill to climb to overthrow the reign of Kratos with Ascension. An iconic videogame character with three huge critically acclaimed games to try to overtake. With that said, this gamer is ready to give you the benefit of the doubt after putting out a pretty damn good multiplayer beta that shows you not only are showing respect to the source material but are also willing to go out on a limb and try new and exciting things. For that alone you’ve so far earned my $60.

If you’ve played it, tell us what you think in the comments or if this has peaked your interest and you have questions hit us up on Twitter at @Spawnpointblog.


The Sound Shapers-D_Mise

Speed runs have been a part of gaming for as long as I can remember. Playing through a speedrun to challenge yourself to get the best time tests both your motor skills and patience. This week’s Sound Shaper has figured a way to make his levels some of the most played and enjoyed ones in the community by applying a deft touch when creating his soundscapes. Many of his levels have the flow and feel of some of our favorite platformers but with, in my opinion, better music.

This week’s shaper is D_Mise.

D_MISE

“When We Were Stars” – With over 1000+ plays this level is an easy level to complete. I really liked the way the super chill music comes together in the level. Some well-placed catapults, tractor beams, and a diverse art style make up most of this level. I can see why it would be so popular because it lends to speed runs and is pretty straightforward. It’s a great palette cleansing level.

WHEN WE WERE STARS

“Prepare to Launch” – D_Mise created a very cool aesthetic, in this level with all of its intricate ornate details. I don’t know why I love the “Space Invader” catapults so much but they are really awesome in this particular level. I would say though the star in this space-themed level is the music. With each note it opens up into this really dope almost R&B track. I loved the music in this one and appreciate the level of detail D_Mise put into it. I can tell that he really cherishes the experiences he wants his players to have in his levels. I appreciate that greatly.

PREPARE TO LAUNCH

“Hurricane Refugee” – Again, attention to detail is the key in this level, not only in the platforming but the care D takes with the music and art – it’s beautiful to behold.  The level sounds like something from the climatic end scenes of a Tron movie. Little flourishes here and there that mash up multiple types of games and a heroic soundtrack make this a delight to play. I like the fact that D_Mise makes pretty short concise levels. The fact that they are so full of character is a testament to him and his creativity.

HURRICANE REFUGEE

After playing through some of his levels I asked D_Mise to hangout and speak with us.

TSP: Give a little background on yourself and why you decided to play Sound Shapes.
D_Mise: I’m a 25 year old college student from New York City, and I grew up in the 8-bit era, full of bloops and bleeps. I create a lot of abstract art in my spare time, usually while listening to music, so Sound Shapes is a natural fit for me. I’ve never tried my hand at making music (unless you count the 3-ish years of trumpet/drum lessons when I was younger), and music has been my main focus in this game.
I bought Sound Shapes with the intent of playing it on a flight over the summer. I tried it the night before, and by the time I hit the airport, I was up to Beat School and Death Mode challenges. The flight took 3 hours, but it seemed like 15 minutes!
TSP: How do you plan out your levels? (Music first or art?)
D_Mise: Like most have said, music first. When I make a level, I tend to wrap it onto itself, joining two separate music sequences that fit together. I often start a new level and create audio, save it, and forget about it until week later (I have published 6 actual levels, and I have audio for 6 others). When I finally get around to starting, I try to imagine what the music reminds me of, and jump off from there. I sometimes sketch out design possibilities during my classes, since it’s usually on my mind all day.
Because audio is the primary focus of my levels, I tend to make them less challenging, with emphasis on flow of movement. I try to make them speed-run friendly, with lenient checkpoints and ample opportunity to hold the run button!
The art comes last, and I try to make nice looking stuff, especially in the rooms that are more challenging. The way I see it, if you’re gonna die 10 times, you might as well do it to some nice tunes and with some visual encouragement. Sometimes, my stuff turns abstract, and makes sense only to me. I’ll explain one of them later.
TSP: Do you make your levels on the PS3 or Vita?
D_Mise: Vita, for a lot of reasons. When I made my first level (“It’s Not Godzilla”), I made it on the PS3. Then, I uploaded it and later played it on the Vita, only to find that there were inconsistencies with audio and framerate. It’s almost unplayable toward the end! I never went back to try and fix it for the Vita, but it was a lesson nonetheless. Also, I’m rarely home (full time student, full time job), and I commute a lot, so the Vita is far more convenient, and Sound Shapes is my bread and butter.
TSP: What are your favorite levels that you’ve made and why?
D_Mise: “When We Were Stars” – This was my first “real” level. I wanted to tell an abstract story of a fallen star finding its way back. It starts out in the wreckage of collapsed stars, and then goes on to five dudes trying to recreate a star, then to a colder environment, and eventually ends on a collapsing frozen throne, before joining the stars. It ended up with a lot of plays in a short time, and I was flattered that the community liked it so much. So then I got cracking on a new level, and I released “Permission to Launch”. Both managed to break 1000 plays each, which I didn’t expect at all!
“Hurricane Refugee” – Was first called Hurricane Refuge (one letter makes a big difference to me). I had a lot of time on my hands during Hurricane Sandy, so I figured what better way to commemorate the occasion than to release a new level. I decided that the best way to make it through the actual storm was sleep (and Sound Shapes), and so, I mirrored that. You start in the clouds, enter a pipe into the night, and then enter another pipe into a dream. I used the deadmau5 orbit creatures to give it a hurricaney/cycloney feel, and there are 3 instances where you get hurled through the air. I like it because it’s a bit personal to me; it marks a natural disaster that kept me indoors for way too long, during a time where I felt I needed a break from the whole work and school grind. Creating became my outlet.
“Buggin’” – Man, this level was my first attempt to participate in the Theme-A-Week, and I chose #CRES, but I was nowhere near done by the next Theme-A-Week’s reveal. I suck! I decided to release it anyway, two weeks later without a fancy hashtag. While creating the track, I felt it reminded me of skittering sounds, so I chose some insects as a theme. Then, I made a spider, and called the level “Insectinoids.” Then, I realized that spiders aren’t insects, so after a grueling renaming process, I called it “Buggin.” The music ramps up toward the end, since the theme was #CRES. There’s no plot, no real continuity between segments; just some bees and earthworms and fire ants. I thought the music buildup was cool, especially the honeycomb room.
“Save The Princess! #ASYM (Symmetrical)” – I wanted to participate in a Theme-A-Week before the end of the world, and so I finally did with this level! My plan was to make a boss battle of some sort, along with a retro homage on the final screen. Once these ideas fell into place, the level and music created itself. I added a layer of urgency and tension through chat bubbles and sphincter moments. I’m strongly considering making a princess saga.
TSP: What is the favorite level you’ve played and why?
D_Mise: The very first level that floored me was the notorious “And I To Fire” by Jordanbuster. There’s a lot of depth to it, and I remember thinking to myself, “How much time did this take to make?” The more levels I create, the more I appreciate it. If there were a Sound Shapes vinyl, this would be track 1.
Also, there’s this way cool Metroidvania stage I remember playing that felt less like Sound Shapes and more like a Super Metroid 2 demo.
There are lots of others that I’ve played (I try to keep up with the Greatest Hits and levels on recent activity board), but I mainly watch my girlfriend play through the community levels. I help here and there, but there’s still a lot of rage quitting!
TSP: Any tips or tricks that you’ve learned?
D_Mise: A basic level making tip: make a blueprint. Lay out your sounds, and then put up giant sticky shapes to see how your level could progress. Toy with the BPM and scale, and if something interesting just isn’t working for your level, don’t be too proud to remove it! You can reuse ideas for future work, where it might just fall into place. A piece of advice I was given: if something is good, you can use it more than once. If something isn’t good, don’t use it ever again. Do what you want to do, and have fun!
After you have your blueprint, save and quit. Play your level and figure out if the audio/framerate dips and why. The answer is usually a clashing of two audio tracks that might play smoothly while editing, but for a freshly loaded playthrough causes lag. Another cause is the timing of getting certain notes, and the triggering of memory-heavy creatures and stuff.
Also, play test as often as possible! Force your friends, co-workers or whomever to play through it. Lure them with candy, beer, whatever it takes. I would get feedback like “I liked the other one better” from one person, with another saying the complete opposite. Take criticism well and often!
One trick: If you place a note and then place a duplicate note on top of it, it sounds louder for that slot (note: it can effectively stack ~4 times). You can use this for added emphasis on desired sounds within a loop or sequence. It’s very situational, but can bring something soft to the forefront in a major way.
TSP: What would you like see added to the game in future updates that would make your creations even better?
D_Mise: I’d love for more artists to lend more audio to play with. Maybe some Flying Lotus, Grimes (go Canada!), Anamanaguchi, or even Ronald Jenkees (awesome YouTube pianist) and Module (the guy who did the Shatter OST). Make it happen!
In addition to what a few others suggested (collaborative options, group rotating, screen by screen BPM editing, etc.), one update I’d like is a sort of chain trigger, which would hold off on playing a note/sequence until the entire chain is complete. I’m a fan of games that have some sort of huge payload, like getting a bajillion points at once, or massive critical hits. Perhaps this can lead to a scoring mechanic?
I’m just nitpicking though. I appreciate the simplicity (complexity?) of the creation engine, and the limitations encourage more original work.
Thank you for this way cool opportunity to talk about all this!

Big thanks to D_Mise and the Sound Shapes community for taking part in the series. The support has been really awesome especially from so many places around the world. Sound Shapes is truly an international phenomena and is bringing people together to create beautiful art. I’m happy to be a part of it and you should be, too.


The Sound Shapers – Anoy337

The “SoundShapers” is a series of articles and interviews that spotlight a different member of the Sound Shapes community weekly. Check out other posts here.

The outstanding thing about the Sound Shapes community is that levels will bubble up through various means. Between chatter amongst the heavy hitters on PSN or the different filters on the Sound Shapes community website there are dozens of ways for players to find great content. While digging through my “following” list I saw that many of folk’s favorite levels were from this week’s shaper Anoy337.

Some of his stand-out levels that I have played include:

“Fatal Progress” – Levels like this are special because they take the usual platforming conventions and flip them on their heads. Usually you try to avoid things that can kill you, but in FP you embrace death by jumping into the red hearts on every screen. It also makes the save points (usually a good thing) into a total annoyance to run into. Hitting some of them will have you re-spawn in a part of the level that takes you away from your goal. It makes this level really challenging and almost Vita-chucking. The payoff is well worth it if you can keep pushing.

“Breakdown” – Breakdown sets you up to believe that it won’t be a pain in the arse, but you soon see that it’s devious, treacherous and beautiful. You can see that going into making this level Anoy had a plan, and it was to push players to think before you leap. Besides the actual plaforming, there are a couple of screens that are really gorgeous to look at.

“Bonus Round_01” – So far this is my favorite Anoy level. It plays like a side-scrolling version of the classic game “Mousetrap”. I really appreciate craftsmanship and this one-screen level is chock full of it. What makes it cool is that you have to open gates all around the screen through quick movement, precision jumping, and sequencing. It’s extremely well thought out and is challenging and fun to play.

After playing his levels I had to ask him some questions about his method.

TSP: Give a little background on yourself and why you decided to play Sound Shapes.
Anoy337: Hi all, my name is Lee and I’m a tattoo artist by profession. I’m mostly drawing on people but pretty much whatever spare time I have usually gets donated to video games. Among the many I enjoy is the gem that is Sound Shapes. The ability to use such an amazing platform to freely create your own “songs” is what won my heart.
TSP: How do you plan out your levels? (Music first or art?)
Anoy: To be honest I try not to have a standard approach to making the song but rather choosing my underlying concept first and then approaching it in whichever way is more practical for concept of song. Sometimes however I take a more loose approach and sort of try to let the song just make itself, if that makes any sense.
TSP: Do you make your levels on the PS3 or Vita?
Anoy: I use my lovely little lady, the PS Vita. Sometimes I play on my PS3 but I have made all my levels on my PS Vita thus far. I prefer the touch screen over cursor.
TSP: What are your favorite levels that you’ve made and why?
Anoy: Well this is a tricky one because I have lost many a level before doing online backups and some of them are amongst my favourites. My top published level would have to be “FATAL PROGRESS”. I could maybe have done more with the music but I love how it can make you fear save points if you play it too long, which is usually evident when you play a normal level afterwards. Also I felt making the only thing that could kill you in the level a heart seems to help you embrace death easier.
TSP: What is the favorite level you’ve played and why?
Anoy: There are so many amazing songs and creators out there it would be unfair to choose only one. A stage I enjoyed very much recently though was the “Shape Invaders Song” by Gasssst. It had some innovative game play ideas and a really nice style also. But with guys like Daftbomb, Beejabides, TT, Jool, Gezouten, Earlee and all the many other amazing Sound Shapers working hard, it’s guaranteed another winner song will be uploaded probably while you are reading this interview. Thanks again for making this possible Queasy Games and Sony.
TSP: Any tips or tricks that you’ve learned?
Anoy: Mmmmmmmmm…don’t use elevators the other way around, no matter how tempted. I recently learned that shapes isn’t enough for a good level; sound is also very important. Think about the player objectively when making your song and know who you’re trying to make the song for, even if it’s just for yourself. Most importantly don’t over complicate panels and try to spread out the songs; I struggle a lot with this one.
TSP: What would you like see added to the game in future updates that would make your creations even better?
Anoy: I heard something about a curve pack 🙂 which was my only wish at first, but recently when getting into the sound side I find that a volume adjustment on individual game objects seems like something that could be very useful. I’m not too sure however on how the programming behind it would work so it might not even be possible. Other than that, maybe some weapons to fight back against the reds in Sound Shapes 2.

Anoy also gave us some shout outs:
I would like to thank Kahlief ‘kahjah’ and The Spawn Point Blog for this opportunity. You guys are doing an awesome job. Thanks also to all Sound Shapers for working hard at making dope levels and a very special thanks to all the queasies @Queasygames for making this amazing medium its truly the canvas of our time. You guys rule.

Thanks again to Anoy337 for sharing his great work with the community and taking time to chat with us at The Spawn Point Blog. We hope that you all are enjoying the #SoundShapers series and Sound Shapes. Check back here next week to see our interview with DUSTINISGOOD.