DOCSLIB.ORG

Super Smash Bros Ultimate Review Written By: Brian (Zyndae) Backus of 89 Bit Productions on 12/11/18

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Super Smash Bros Ultimate Review Written By: Brian (Zyndae) Backus of 89 Bit Productions on 12/11/18 Super Smash Bros Ultimate Review Written By: Brian (Zyndae) Backus of 89 Bit Productions on 12/11/18 Every time Nintendo releases a new system you know two things are always going to be true. A new Mario Kart is on its way and a new Super Smash Bros is coming as well. Nintendo released the Nintendo Switch in 2017 and shortly after that they took Mario Kart 8 for the Wii U and packaged it with the moniker of “Deluxe” and launched it again with added content for the Switch. There was never a doubt that Smash Bros was on the way but gamers the world over were all afraid that it was going to be just a port and not anything new. Well, truth be told, they are not exactly wrong, but there is still so much more. Super Smash Bros takes the likes of Mario, Samus, Link, Pikachu, Fox, Kirby, Donkey Kong and a million more characters and pits them up against each other in a fighting genre style game. Okay there are not a million fighters but the series has come a long way when it started with just 12 and now there are a whopping 72 characters not including the already announced DLC fighters. Everyone is here. Every character ever made in the history of the franchise, every stage in the history of the franchise ever made, every concept ever used is all here. The best part about it is not only is every character back this time around, but all the music from almost all of their respected games is also on this cartridge allowing you to use your Switch as a proverbial Walkman, if you will, and have the music at your fingertips. Besides seeing Final Fantasy favorite in Cloud, Capcom’s blue-bomber Mega Man, or even Ryu and Ken from Street Fighter they are all here. I love that I can see Sega’s Sonic versing my favorite plumber of all time, Mario. These battles are fantastic to play out in the ever growing questions of “who would win if…?” Even Konami allows Nintendo to use the likes of Solid Snake from Metal Gear Solid series fame. The possibilities are endless with this outing. Not only are the old characters all back but there are plenty of new ones as well and as previously mentioned more are coming. Because of the disdain for Brawl and the amount of unfair content in Smash for Wii U it seems Nintendo has balanced the game a lot more. Don’t get me wrong there are still some characters that are far superior to another but things feel more fleshed out. Nintendo took the time to make these characters right. You even had to open the characters. This outing the series starts you with just 8 characters, the original 8 that Smash 64 starts with. It was fun having to get challenged again from a random generated character list. Unlocking the characters isn’t that hard either. You can go through Classic Mode with a character and get challenged automatically by a new fighter or you can go through the Spirit World. Regardless, if you lose to the challenge of the character they are placed in what I call a pool. They eventually will re-challenge you but not in the traditional way they did the first time around. A small symbol displays on your screen when they are ready to fight again giving you another go around and this time with a character of your choosing. The fights get harder and harder as you progress but never feel too unfair. Normally if I lost to a challenge it was because I was playing as a character I don’t play as often going through their Classic Mode. The Spirit World is where the game changes the most. The Spirit World is a side-quest adventure that gives you an alternate way to unlocking characters. Characters that you unlock in this mode will unlock in the entire game but characters you unlock in other ways will not unlock in this mode. You are placed on a large map that reminds me a lot of Mario World. You move your avatar (in the beginning it is Kirby) to selected lit up spots on the map and challenge that location. If you win you can progress to the next area on the map and eventually you will get to a new character. If you beat them they unlock in this story mode and in the game. I like and dislike the Spirit World. It gives the game a story and a purpose to play but I am not a fan that you start with who you do. If you are not skilled with a particular fighter going through this may prove difficult. I also liked the Spirits you can collect. They are basically small token that you equip, so to speak, that can level up and give you advantages while in combat. They can be upgraded, traded away, or released back into the real world in exchange for better spirits. The spirits all take on forms of characters from almost every game ever released on a Nintendo system and is neat to see characters that you may have forgotten about. The bad part of the Spirit World is that the constant small Skirmish battles get boring and drag on especially when you are stuck with a character you don’t enjoy. I do love the attempt at a better story than what Brawl gave us on the Wii but still feel that it was lacking and could have been done better. The Spirits are fun to collect and level up and play with but all in all it felt to me like an empty attempt to add something that wasn’t needed. Nintendo placed this in to give the game “girth” so to speak and that what this mode feels like, an added on extra content you just do not need. The online in this game has got to be the worst I have played. Granted the servers are packed right now and Nintendo will (hopefully) fix this issue but I have to rate the game out of the box. The game lags badly online and the fact that I have to pay the subscription now to play Nintendo games online angers me because these issues should not be that, issues. Then to make matters worse, if your internet kicks you off of the game you can get banned for bailing on the game. For a game series that has an unprecedented fan base, people buy Nintendo’s consoles for this game, you would think that the biggest draw would be the online and it’s terrible. What I do like about the online, however, is when you beat an opponent you get their created “Dog Tag.” These are kind of like little trophies that you can collect from each player. You simply get a copy of it; it’s not like when you lose you lose your tag as well. You can then trade in the tags to help you in the Spirit World to obtain better spirits. The concept of the online is great but it is executed poorly. With all that said this is by far the best Super Smash Bros game ever made and by far. Everything you could ever ask for is in this game and more. However, because it is Smash Bros the novelty wears off fast because after all the characters are open and you have played versus enough times it becomes the same as it always has, just Super Smash Bros. Even though there are plenty of new characters, and even though there is an entire Spirit World to explore I cannot rate the game on just that. If the Spirit World was also a full-fledged RPG then that would have made a difference, but it feels tacked on. This game has a lot of content and lets be real it technically has all of the content ever but the game as a whole fails to bring really anything new to the table. Like said above, every single concept in this game just leads me back to the same thing, “It is just more Smash.” The game is polished to a level like no other, the controls are tight, and the music is spot on. It is fun like Smash always is and the game is beautiful. For the reasons listed just now and the reasons listed earlier this game is a 9.5 out of 10. .
Load more

Recommended publications
  • Ssbu Character Checklist with Piranha Plant
    Ssbu Character Checklist With Piranha Plant Loathsome Roderick trade-in trippingly while Remington always gutting his rhodonite scintillates disdainfully, he fishes so embarrassingly. Damfool and abroach Timothy mercerizes lightly and give-and-take his Lepanto maturely and syntactically. Tyson uppercut critically. S- The Best Joker's Black Costume School costume and Piranha Plant's Red. List of Super Smash Bros Ultimate glitches Super Mario Wiki. You receive a critical hit like classic mode using it can unfurl into other than optimal cqc, ssbu character checklist with piranha plant is releasing of series appear when his signature tornado spins, piranha plant on! You have put together for their staff member tells you. Only goes eight starter characters from four original Super Smash Bros will be unlocked. Have sent you should we use squirtle can throw. All whilst keeping enemies and turns pikmin pals are already unlocked characters in ssbu character checklist with piranha plant remains one already executing flashy combos and tv topics that might opt to. You win a desire against this No DLC Piranha Plant Fighters Pass 1 0. How making play Piranha Plant in SSBU Guide DashFight. The crest in one i am not unlike how do, it can switch between planes in ssbu character checklist with piranha plant dlc fighter who knows who is great. Smash Ultimate vocabulary List 2021 And whom Best Fighters 1010. Right now SSBU is the leader game compatible way this declare Other games. This extract is about Piranha Plant's appearance in Super Smash Bros Ultimate For warmth character in other contexts see Piranha Plant.
    [Show full text]
  • Super Smash Bros. Melee) X25 - Battlefield Ver
    BATTLEFIELD X04 - Battlefield T02 - Menu (Super Smash Bros. Melee) X25 - Battlefield Ver. 2 W21 - Battlefield (Melee) W23 - Multi-Man Melee 1 (Melee) FINAL DESTINATION X05 - Final Destination T01 - Credits (Super Smash Bros.) T03 - Multi Man Melee 2 (Melee) W25 - Final Destination (Melee) W31 - Giga Bowser (Melee) DELFINO'S SECRET A13 - Delfino's Secret A07 - Title / Ending (Super Mario World) A08 - Main Theme (New Super Mario Bros.) A14 - Ricco Harbor A15 - Main Theme (Super Mario 64) Luigi's Mansion A09 - Luigi's Mansion Theme A06 - Castle / Boss Fortress (Super Mario World / SMB3) A05 - Airship Theme (Super Mario Bros. 3) Q10 - Tetris: Type A Q11 - Tetris: Type B Metal Cavern 1-1 A01 - Metal Mario (Super Smash Bros.) A16 - Ground Theme 2 (Super Mario Bros.) A10 - Metal Cavern by MG3 1-2 A02 - Underground Theme (Super Mario Bros.) A03 - Underwater Theme (Super Mario Bros.) A04 - Underground Theme (Super Mario Land) Bowser's Castle A20 - Bowser's Castle Ver. M A21 - Luigi Circuit A22 - Waluigi Pinball A23 - Rainbow Road R05 - Mario Tennis/Mario Golf R14 - Excite Truck Q09 - Title (3D Hot Rally) RUMBLE FALLS B01 - Jungle Level Ver.2 B08 - Jungle Level B05 - King K. Rool / Ship Deck 2 B06 - Bramble Blast B07 - Battle for Storm Hill B10 - DK Jungle 1 Theme (Barrel Blast) B02 - The Map Page / Bonus Level Hyrule Castle (N64) C02 - Main Theme (The Legend of Zelda) C09 - Ocarina of Time Medley C01 - Title (The Legend of Zelda) C04 - The Dark World C05 - Hidden Mountain & Forest C08 - Hyrule Field Theme C17 - Main Theme (Twilight Princess) C18 - Hyrule Castle (Super Smash Bros.) C19 - Midna's Lament PIRATE SHIP C15 - Dragon Roost Island C16 - The Great Sea C07 - Tal Tal Heights C10 - Song of Storms C13 - Gerudo Valley C11 - Molgera Battle C12 - Village of the Blue Maiden C14 - Termina Field NORFAIR D01 - Main Theme (Metroid) D03 - Ending (Metroid) D02 - Norfair D05 - Theme of Samus Aran, Space Warrior R12 - Battle Scene / Final Boss (Golden Sun) R07 - Marionation Gear FRIGATE ORPHEON D04 - Vs.
    [Show full text]
  • Qt1sn790gg Nosplash Bd41110
    ii Copyright 2016 By Susan Forsyth iii Funding Acknowledgement This dissertation was supported by: • The University of California, San Francisco Graduate Dean’s Health Science Fellowship • The Eugene Cota Robles Doctoral Fellowship • Dissertation award from the Tobacco-Related Disease Research Program (TRDRP), grant #22DT-0003. iv Acknowledgments I would first like to thank the participants who gave freely of their time and stories. Without them this dissertation would never have been written. I knew almost nothing about video games before I started this and their patient explanations of things most obvious was greatly appreciated. I would also like to thank my advisor, Dr. Ruth Malone. In 2008, when I sat in my first graduate class, I was not sure if I even belonged. Dr. Malone encouraged me and helped me believe in myself as a person and as a scholar. She opened doors for me that I did not know even existed. Ruth has mentored me for the last eight years, and for this I am honored and grateful. I would also like to thank my dissertation committee, Dr. Ruth Malone (chair), Dr. Kit Chesla and Dr. Roberta Rehm. Their gentle and careful guidance has seen me safely through one of the most challenging journeys of my life. I would like to thank my qualifying exam committee, Dr. Christine Kennedy (chair), Dr. Ruth Malone, Dr. Roberta Rehm and Dr. Susan Kools. Through your expertise and direction this project was shaped into what it is today. I would also like to thank Dr. Lisa Bero and Dr. Donna Odierna. I joined their reasearch group for ten weeks and stayed five years.
    [Show full text]
  • Concert Program
    The Gamer Symphony Orchestra at The University of Maryland umd.gamersymphony.org Fall 2011 Concert Saturday, December 3, 2011, 2:00 pm Dekelboum Concert Hall Clarice Smith Performing Arts Center Kira Levitzky, Conductress About the Gamer Symphony Orchestra and Chorus In the fall of 2005, student violist Michelle Eng sought to create an orchestral group that played video game music. With a half-dozen others from the University of Maryland Repertoire Orchestra, she founded GSO to achieve that dream. By the time of the ensemble’s first public performance in spring 2006, its size had quadrupled. Today GSO provides a musical and social outlet to 120 members. It is the world’s first college-level ensemble to draw its repertoire exclusively from the soundtracks of video games. The ensemble is entirely student run, which includes conducting and musical arranging. In February GSO had a special role at the Video Games Live performances at the Strathmore in Bethesda, Md. The National Philharmonic performed GSO’s arrangement of “Korobeiniki” from Tetris to two sold-out houses. Aside from its concerts, GSO also holds the “Deathmatch for Char- ity” every spring. All proceeds from this video game tournament benefit Children’s National Medical Center in Washington, D.C. GSO has also fostered the creation of two similar high school-level ensembles in Rockville, Md., and Damascus, Md. The Magruder High School GSO was founded late in 2008 and the Damascus High School GSO began rehearsals this February. Find GSO online at umd.gamersymphony.org GSOfficers GSO Founder: Michelle Eng Faculty Advisor: Dr. Derek President: Alexander Ryan Richardson, Dept.
    [Show full text]
  • Concert Program
    THE UNIVERSITY OF MARYLAND’S GAMER SYMPHONY ORCHESTRA HTTP://UMD.GAMERSYMPHONY.ORG/ SPRING CONCERT 2009 Dekelboum Concert Hall Clarice Smith Performing Arts Center Saturday, May 9th, 3PM CONCERT PROGRAM “Hikari” Hikaru Utada, Yoko Shomomura Kingdom Hearts Arranger: Alex Song “Hikari” is the main theme song of the Japanese release of Square’s Kingdom Hearts, an action role-playing game featur- ing characters from Disney films and from Square’s Final Fantasy games. The piece delicately opens with two phrases from the high and low voices, which are then joined by the entire orchestra for the main theme. After a brief interlude consisting of solos from the French horn, oboe, clarinet, and bassoon, the music takes on a march-like feel and later climaxes with a final, resonant chord. “SSBM: Final Destination” Tadashi Ikegami Super Smash Brothers Melee Arranger: Christopher Lee The end stage of Super Smash Bros. Melee is just one big platform where the player fights Master Hand and Crazy Hand, the game’s “gods,” depicted as disembodied white gloves. This arrangement features Melee’s “Final Destination” theme, as well as the game’s menu music. A version of the Final Destination theme originally appeared as the credit music in “Super Smash Bros.” for the Nintendo 64. Both themes are remixed many times in Brawl, the sequel to Melee. Metal Gear Solid Medley Harry-Gregson Williams, et al. Metal Gear Solid, MGS 2: Sons of Liberty, MGS 3: Snake Eater Arranger: Gerald Tagunicar The main protagonist, Solid Snake, is a Special Forces stealth operative who repeatedly faces super-weapons of mass destruction, known as Metal Gear.
    [Show full text]
  • The Gamemason Press Release
    GEORGE MASON UNIVERSITY’S STUDENT INVOLVEMENT AND COLLEGE OF VISUAL AND PERFORMING ARTS ANNOUNCE GAMEmason FRIDAY, APRIL 5, 2019 GEORGE MASON UNIVERSITY CENTER FOR THE ARTS AN ALL-DAY GAMING CONVENTION FEATURING OVERWATCH AND SUPER SMASH BROS. TOURNEMENTS BY GMU ESPORTS INDUSTRY PANELS, Q&A’s, AND APPEARANCES INCLUDING VOICE ACTOR DAVID HAYTER AND GAME DESIGNER JOHN ROMERO (FAIRFAX, VA) George Mason University’s Student Involvement and the College of Visual and Performing Arts announce GAMEmason (Gaming, Appearances, Meet and Greets and Experiences), an engaging all-day gaming convention April 5 from 11:15 a.m. to 9:30 p.m. in the Center for the Arts Concert Hall and throughout the Music Theater building. The convention is a collaboration with the Computer Game Design Department, Game Analysis Design Interest Group (GADIG), GMU Esports, GMU Anime and Gaming Society, and GMU Voice Acting Club. No matter the interest or genre, there will be something to enjoy for gamers and gaming enthusiasts. GAMEmason features educational panels, appearances, and meet-in-greets with major power players in the gaming community, including David Hayter, Canadian-American voice actor for Solid Snake in the hugely popular “Metal Gear Solid” video game franchise and John Romero, award-winning game development icon whose work spans more than 130 games. Participants can discover the ins-and-outs of game design and new technologies such as augment and virtual reality with expert Mason professors, relive childhood fun with arcade games, and peruse gaming industry merchandise in the Concert Hall lobby. The event also includes bring- your-own communal gameplay opportunities and food trucks throughout the day.
    [Show full text]
  • Nintendo Co., Ltd
    Nintendo Co., Ltd. Financial Results Briefing for the Nine-Month Period Ended December 2011 (Briefing Date: 2012/1/27) Supplementary Information [Note] Forecasts announced by Nintendo Co., Ltd. herein are prepared based on management's assumptions with information available at this time and therefore involve known and unknown risks and uncertainties. Please note such risks and uncertainties may cause the actual results to be materially different from the forecasts (earnings forecast, dividend forecast and other forecasts). Nintendo Co., Ltd. Consolidated Statements of Income Transition million yen FY3/2008 FY3/2009 FY3/2010 FY3/2011 FY3/2012 Apr.-Dec.'07 Apr.-Dec.'08 Apr.-Dec.'09 Apr.-Dec.'10 Apr.-Dec.'11 Net sales 1,316,434 1,536,348 1,182,177 807,990 556,166 Cost of sales 761,944 851,283 715,575 487,575 425,064 Gross profit 554,489 685,065 466,602 320,415 131,101 (Gross profit ratio) (42.1%) (44.6%) (39.5%) (39.7%) (23.6%) Selling, general and administrative expenses 160,453 183,734 169,945 161,619 147,509 Operating income 394,036 501,330 296,656 158,795 -16,408 (Operating income ratio) (29.9%) (32.6%) (25.1%) (19.7%) (-3.0%) Non-operating income 37,789 28,295 19,918 7,327 7,369 (of which foreign exchange gains) (143) ( - ) (9,996) ( - ) ( - ) Non-operating expenses 995 177,137 2,064 85,635 56,988 (of which foreign exchange losses) ( - ) (174,233) ( - ) (84,403) (53,725) Ordinary income 430,830 352,488 314,511 80,488 -66,027 (Ordinary income ratio) (32.7%) (22.9%) (26.6%) (10.0%) (-11.9%) Extraordinary income 3,830 98 4,310 115 49 Extraordinary loss 2,135 6,171 2,284 33 72 Income before income taxes and minority interests 432,525 346,415 316,537 80,569 -66,051 Income taxes 173,679 133,856 124,063 31,019 -17,674 Income before minority interests - - - 49,550 -48,376 Minority interests in income -83 35 -127 -7 -25 Net income 258,929 212,524 192,601 49,557 -48,351 (Net income ratio) (19.7%) (13.8%) (16.3%) (6.1%) (-8.7%) - 1 - Nintendo Co., Ltd.
    [Show full text]
  • A Posthuman Examination of Video Games and Cyborg Bodies Zachery Tyler Rakes [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 My Avatar, My Self: A Posthuman Examination of Video Games and Cyborg Bodies Zachery Tyler Rakes [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Computer Sciences Commons Recommended Citation Rakes, Zachery Tyler, "My Avatar, My Self: A Posthuman Examination of Video Games and Cyborg Bodies" (2016). Theses, Dissertations and Capstones. Paper 996. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. MY AVATAR, MY SELF: A POSTHUMAN EXAMINATION OF VIDEO GAMES AND CYBORG BODIES A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in English by Zachery Tyler Rakes Approved by Dr. Kristen Lillvis Dr. Walter Squire Professor Eric Smith Marshall University May 2016 ii © 2016 Zachery Tyler Rakes ALL RIGHTS RESERVED iii CONTENTS List of Figures .................................................................................................................. v Abstract ........................................................................................................................... vi Introduction ..................................................................................................................
    [Show full text]
  • Proposing a Gaming Language Analysis Procedure to Reveal Video Game Ideology Through Ludic Linguistics
    REGISTER JOURNAL Vol. 12, No. 2, (2019), pp. 235-261 p-ISSN: 1979-8903 ; e-ISSN : 2503-040X Website: http://journalregister.iainsalatiga.ac.id/index.php/register/ Proposing a Gaming Language Analysis Procedure to Reveal Video Game Ideology through Ludic Linguistics SF. Luthfie Arguby Purnomo* Institut Agama Islam Negeri Surakarta [email protected] Khristianto Universitas Muhammadiyah Purwokerto [email protected] DOI: https://doi.org/10.18326/rgt.v12i2.235-261 Corresponding Author* Submission Track: Received: 21-07-2019 Final Revision: 21-11-2019 Available online: 01-12-2019 ABSTRACT This study proposes a procedural analysis on the implementation of ludic linguistics to analyze gaming language with wordplay, the core of focus in ludic linguistics, as the point of departure. To formulate the procedural analysis, theories of language play by Crystal ideology of influence and ludonarrative model by Aarseth, wordplay in the gaming context by Paul, intended meaning level by Stiles, wordplay transmission by Winter-Froemel, game interface types by Stonehouse, and indexical storytelling by Fernández- Vara were applied as the theoretical foundation. To provide a vivid application of the proposed procedural analysis, wordplays appearing on game assets from Konami’s Metal Gear Solid, Metal Gear Solid 2: Sons of Liberty, and Metal Gear Solid 3: Snake Eater were taken as examples of analysis. The five- step procedure is able to show how wordplays in the gaming context are designed as mechanical cues to help gamers complete the games and as 235 REGISTER JOURNAL Vol. 12, No. 2, (2019), pp.196-214 p-ISSN: 1979-8903 ; e-ISSN : 2503-040X Website: http://journalregister.iainsalatiga.ac.id/index.php/register/ narrative cues to help them comprehend the story.
    [Show full text]
  • The Role of Culture in Video Game Characters Chris Pruett
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CommonKnowledge Pacific nivU ersity CommonKnowledge Interface: The ourJ nal of Education, Community Volume 5 (2005) and Values 2-1-2005 The Role of Culture In Video Game Characters Chris Pruett Follow this and additional works at: http://commons.pacificu.edu/inter05 Recommended Citation Pruett, C. (2005). The Role of Culture In Video Game Characters. Interface: The Journal of Education, Community and Values 5(1). Available http://bcis.pacificu.edu/journal/2005/01/pruett.php This Article is brought to you for free and open access by the Interface: The ourJ nal of Education, Community and Values at CommonKnowledge. It has been accepted for inclusion in Volume 5 (2005) by an authorized administrator of CommonKnowledge. For more information, please contact [email protected]. The Role of Culture In Video Game Characters Rights Terms of use for work posted in CommonKnowledge. This article is available at CommonKnowledge: http://commons.pacificu.edu/inter05/5 6/24/2014 The Role of Culture In Video Game Characters | Interface The Role of Culture In Video Game Characters Posted on February 1, 2005 by Editor By Chris Pruett <[email protected]> Japan makes a lot of video games. The country is home to some of the largest game companies in the world: Sony, Nintendo, Capcom, Konami, Namco, and Sega, just to name a few. In America, Japanese games have a reputation for being very high quality and very strange, and video game publications will often chalk oddities in Japanese games up to “crazy Japanese culture.” Even the most straightforward games from Japan often contain cultural cues that throw American players off, and as a result many consider Japanese games to be somewhat difficult to understand.
    [Show full text]
  • The Roles, Mechanics, and Evolution of Boss Battles in Video Games" (2018)
    Long Island University Digital Commons @ LIU Undergraduate Honors College Theses 2016- LIU Post 2018 The Roles, Mechanics, and Evolution of Boss Battles in ideoV Games Theodore Agriogianis Long Island University, [email protected] Follow this and additional works at: https://digitalcommons.liu.edu/post_honors_theses Recommended Citation Agriogianis, Theodore, "The Roles, Mechanics, and Evolution of Boss Battles in Video Games" (2018). Undergraduate Honors College Theses 2016-. 45. https://digitalcommons.liu.edu/post_honors_theses/45 This Thesis is brought to you for free and open access by the LIU Post at Digital Commons @ LIU. It has been accepted for inclusion in Undergraduate Honors College Theses 2016- by an authorized administrator of Digital Commons @ LIU. For more information, please contact [email protected]. The Roles, Mechanics, and Evolution of Boss Battles in Video Games An Honors College Thesis by Theodore Agriogianis Fall 2018 Digital Game Design and Development ______________________________ Faculty Advisor: Ramiro Corbetta ______________________________ Reader: Andrew Wallace ______________________________ Abstract The main focus of my thesis is boss battles, unique enemies in video games that are normally tougher than normal enemies. I explore their place in the gaming industry in order to formulate an idea of how the concept came to be, how they are created, how the concept has evolved, and how I can implement them into my future games. I’ve separated my thesis into five chapters, barring the introduction and conclusion. The first is a timeline of boss battles that have influenced the video game market and introduced new concepts. This chapter encapsulates the first boss ever in 1975 up to the late ‘90s and early 2000s.
    [Show full text]
  • Cyberpunk 2077 Mega Man Solid Snake
    £3 ALL FORMATS LIFTING THE LID ON VIDEO GAMES Cyberpunk Mega Man The changing face of 2077 a console icon Adapting tabletop RPGs to video games Solid Snake Metal Gear creator Hideo Kojima profiled CO-OP HORROR FROM THE DIRECTOR OF BIOSHOCK 2 Issue 2 £3 wfmag.cc 02 9772631672000 Subscribe today 12 weeks for £12* £3 ALL FORMATS LIFTING THE LID ON VIDEO GAMES Cyberpunk Mega Man The changing face of 2077 a console icon Adapting tabletop RPGs to video games Solid Snake Metal Gear creator Hideo Kojima profiled CO-OP HORROR FROM THE DIRECTOR OF BIOSHOCK 2 Issue 2 £3 wfmag.cc 02 9772631672000 Visit: wfmag.cc/12weeks to order * UK Price. 6 issue introductory offer The changing shape of video games he thing about game development later, the little junior Mike Bithell that lives in my is that it’s new. Every other art form laptop has done the job that used to take me a T has had centuries to assemble best morning, and better than I could. My first job in practices, approaches, and techniques games is now a button. And not even that pretty that are agreed upon. Even film, our youngest MIKE BITHELL or exciting a button. sister, has had a hundred years to define Mike Bithell is the The development of games is an exciting whatever the hell a ‘best boy’ is. developer and writer process that is forever changing. Experts of of Thomas Was That newness means that we can all see Alone, Volume and course exist, but to remain experts, they must Subsurface Circular.
    [Show full text]