The Transylvania Adventure of Simon Quest (TASQ) is a parody/homage side-scroller where you set out to resurrect and re-kill Dracula to one-up your rival! Conquer haunted mansions, discover minigames in the overworld, and win back the glory in this modern retro Classicvania! With customizable settings and classic aesthetics, The Transylvania Adventure of Simon Quest will be a title that veterans and newcomers alike can truly take a BITE out of.

CLICK HERE FOR THE WEBSITE

We’re Retroware (the publishers of the upcoming Iron Meat and Toxic Crusaders) and we’re once again teaming up with developer Programancer. Our newest title The Transylvania Adventure of Simon Quest (TASQ) is a parody/homage platformer set in a dark 8-bit world. Rival Stan Helsing robbed Simon of fame by killing Count Dracula first! Reclaim your glory by resurrecting Dracula piece by piece and slaying the dark count yourself!

CLICK HERE FOR STEAM PAGE 

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Before I get comments here or on my social media from both camps let me make something crystal clear.  I DO NOT support NFTs or cryptocurrency.  I don’t want to be a part of it, nor do I have any stake in it.  If you do trade in crypto or NFTs then that’s your prerogative.  This writing isn’t about NFTs as a whole and why they’re good or bad.  Rather what the companies mentioned above have decided to do or want to do with NFTs and why it’s a poor way of celebrating an anniversary.  If you don’t know what a NFT is, here is a video explaining what they are and the history behind it all.  Be warned that the video is over 2 hours long, there are no minced words, and the host takes a very clear stance on the issue.

Earlier in January Konami decided to hold a Castlevania Memorial Auction by auctioning off 14 NFTs from the franchise.  14 different images as well as music selections and animations from the games were put up.  According to PC Gamer, Konami made over $162,000 and will be receiving royalties if these NFTs are sold again.  Atari announced they would go one step further with loot box style NFTs.  The idea that Atari is going with is that these “GFTs” (what Atari is calling them) are meant to be gifts for the most die hard of Atari fans.  Like any loot box system your chances of getting a rare one is akin to getting a decent payday from the lottery.  According to the site that’s hosting this, gftshoppe.com, you have a 0.2% chance of getting what they’re calling an Epic GFT.  There is a roadmap saying that those who DO have a GFT can compete in games and other competitions to win certain prizes, but no real details are given.  All we have is a roadmap, but as Atari should know, things can change on a dime.  Square Enix’s President, Yosuke Matsuda, said in a New Year’s letter that he wants to implement NFTs in games.  However with the major backlash Square Enix and Matsuda saw after the letter went public, it’s unclear what will happen next.

So why are these companies selling NFTs a bad way to celebrate milestone anniversaries?  For one it alienates a vast majority of fans who are more than willing to give money for merchandise and new game collections.  Not everyone has a crypto wallet or is invested in NFTs, so only appealing to a tiny fraction of your fan base seems extremely counterintuitive.  Granted Konami did release game collections throughout the years leading up to the big 35th, but it was only digital releases.  If you wanted physical copies of these collections you would have to go through Limited Run Games and not.  50 years is nothing to sneeze at and true Atari has classic 2600 game collections available for modern consoles, but just having some t-shirts for sale on your website shouldn’t be where it stops.  It’s true, aside from the GFTs and some t-shirts that are mostly sold out, Atari doesn’t have anything else on their site FOR their 50th anniversary.  Sure the company never saw popularity like they did with the 2600, but there is so much more history than the 2600.  Fans would probably love a collection of Jaguar games, 7800 games or even a collection of Lynx games to play on newer hardware.  Personally I’d love a Jaguar collection as I have never owned an Atari Jaguar at all.  Those systems are becoming increasingly rare and it would be a shame to let those games vanish into thin air.

What scares me the most is that these sales of NFTs or GFTs won’t be just a passing trend, but a norm within video games as a whole.  Ubisoft is already going full steam ahead with their implementation of NFTs in their games.  With Matsuda wanting to get in on it and Final Fantasy XVI in development who knows what could happen?  As of now NFTs are usually just images or simple animations and sound clips, but there’s no telling what they can become if they stick around.  They could be special in-game items, high level weapons, or in the darkest timeline, items you need to beat the main story.  Turning a game into a bidding war for the super rich and leaving the rest of us out in the cold.  Thankfully we aren’t there yet and hopefully we never will be.  I understand most companies who are using NFTs are doing it because it’s a popular buzzword and they are making money off of it, Konami’s auction being a prime example.  I also understand marketing is hard and it costs money to put out celebration merchandise and to print physical media.  Money that Atari and Konami may not have, but going full force into NFTs or wanting to do NFTs as your main way of celebrating an anniversary is a slap in the face to fans you have been with you for years.  The fans who have been with you through thick and thin deserve better than this.

The post Atari, Konami, and Square, We Need To Talk. appeared first on Old School Gamer Magazine.

I’ve never seen an actual arcade cabinet of this game in my travels, so I’ve never had a chance to play with the real thing. The only way to play this game was via MAME or by tracking down an import only PS2 copy of the game that’s not easy to find either. A few years ago though, the game was made available for PS4 owners as it was released as an “Arcade Archives” digital release. Despite knowing that this game doesn’t live up to the standards of the Castlevania series; I decided to grab it. That was a mistake.

As soon as you start the game, you’re greeted to a quick scene of Simon and his brand new wife walking out of a church they just got married at. Dracula, seeing an opportunity to ruin Simon’s day, decides to kidnap Simon’s wife. As you could imagine, Simon is none too pleased and heads to Dracula’s castle to get his beloved wife back.

When the game begins, you are introduced to everything that makes Castlevania so great: Fantastic music, Gothic-looking backgrounds and a heroic vampire hunter armed with a whip. Unfortunately, Simon moves like a lumbering oaf, and he takes more damage then Sypha does in Castlevania 3 when hit…and you will get hit a lot because almost every section of the level is out to kill Simon. If the monsters don’t get you, the falling statues, crosses and cemetery fire will. This makes staying alive for a decent amount of time almost impossible unless you go through the level with utmost caution. Thankfully, the Arcade Archives version of this game allows a single save state that allowed me to adapt to all the dangers very quickly and helps you learn the quarks about what can kill you in this game.

The game immediately falls apart after the first stage and becomes astonishingly more relaxed as you progress. Enemies still have some cheap tricks they can use to damage you, but it is overused so much that you quickly learn to overcome the attack patterns. The developers seemingly ran out of ideas for surprises and designs for the rest of the game and instead presented you with the most generic levels you’ll see in the entire game series. The bosses featured in the game are huge, but complete pushovers and can be defeated easier than some of the regular minions in the levels. This game really must have been rushed out for release! Even Dracula is a cinch to defeat.

Konami tried to mix things up with this version of the game, by giving Simon access to a Mace and a Sword, but it doesn’t add much to the gameplay. Simon’s sub-weapons are available as well, such as the ax and the cross; but they still lack the uniqueness and impact that their console brothers have. I don’t know why Konami decided to ditch the Castlevania name for this title; maybe because they knew it didn’t have any right to be called that. Haunted Castle’s faults outweigh any reason to try it even with the Castlevania legacy behind it. Skip this one.

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I’ve been a huge fan of the Castlevania series since the original on the NES and have been playing any version I can get my hands on ever since. It didn’t matter if it was on the NES, SNES, N64, Gameboy, Gameboy Advance, DS, Genesis, Xbox or PlayStation. If the word “Castlevania” was included anywhere in the title, I wanted to play it. This was one of the games I bought used, shortly after purchasing my PlayStation as a nice action-adventure alternative to the sports titles I was primarily into at the time. I just assumed that a 2D Castlevania game on a 32-bit system would be an amazing gaming experience and I wasn’t wrong.

‘Symphony of the Night’ excels in just about everything it tries to do, which is a lot! Dracula’s castle, where the game takes place, is beautifully rendered, with so many details I find myself staying in rooms longer than required in order to enjoy the view. The music and sound effects are equally impressive and really take advantage of the CD quality available on the PlayStation. The game’s music is so well regarded that there are music CDs available for fans of the compositions. The voice acting can at times be a bit over the top and there are occasional localization gaffes, but it’s easy to overlook those minor grievances when everything else about the game screams excellence.

As for the gameplay, you play as Dracula’s son, Alucard, who has returned to his father’s castle to defeat Richter Belmont (of Rondo of Blood fame), who now appears to be possessed by evil after being lost in Dracula’s castle. Throughout your mission, you’ll also meet additional characters within the castle who help advance the plot. Most of them don’t have much to do or say with the exception of vampire huntress Maria Renard, Dracula’s servant Shaft, and Dracula himself, of course. But that’s ok, this game is about Alucard and his attempt at thwarting his father’s resurrection from the dead.
There is a very interesting and clever plot twist in the middle of the game (or at the end of the game depending on if you truly complete it or not) that caught many gamers completely by surprise if they discovered it. By now, it is likely common knowledge that the game isn’t truly finished when you fight Richter and the true goal of the game is to prevent Dracula from being resurrected by his faithful servant, Shaft (you damn right!). Shaft inverts the castle if you do not kill Richter and the entire second half of the game is played in this inverted version of the castle. This makes everything that was once familiar, unfamiliar again. This is also where the game gets truly difficult, so anyone who thinks the game is a breeze probably didn’t actually play through the “hidden” second half of the game.

Castlevania: Symphony of the Night is also known as the originator of the “MetroidVania” sub-genre of video games. What this means is that aspects of the Metroid/Super Metroid games (non-linear, access to areas that are closed until certain items or skills are earned/found) are melded together with Castlevania elements (gothic horror, hack and slash). This game also provides elements of RPGs with the level-up system & magic spells, strengthening Alucard’s attack as the game progresses.
For the Castlevania purists, there are still pieces of the castle to break that reveal special weapons, hearts (for use of your special weapons), money (which you can use in the shops to buy items) as well as potions and other items to help protect and strengthen Alucard. It wouldn’t be Castlevania if you weren’t able to also find food items hidden on your journey, except Castlevania: Symphony of the Night’s menu is more buffet style. You can find a variety of fruits, desserts, breakfast items, drinks, protein in the forms of meats and cheeses and even sushi. I sure hope they keep the castle at a nice refrigerated temperature.

Thankfully, you have an easy to access inventory screen to keep track of everything you have earned, bought and found and can equip and use items as necessary. There is also a map of the castle that you can use to see which parts you’ve been to and which parts you’ll have to back-track to once you’ve gained whatever magic or skill necessary to advance. While this might all seem like a lot to manage, the game and it’s secondary screens are intuitive enough that it takes very little time to learn. Also, it is not necessary to constantly go back and forth from weapon/item screen to game screen, so you don’t have to worry about interrupting the flow of the game too often.

In terms of my favorite character in the game, Alucard is the man, even though he may be mistaken as a woman at first glance with his long, flowing locks and feminine facial features. Don’t be confused though, this androgynous man-beast is a bad-ass. It helps tremendously that the programmers made his movements some of the most fluid jumping, striking, and dodging for any character in any video game, ever.

All of Dracula’s castle is a work of pixelated art, but my personal favorite section of the game is the underground caverns. The layout of the caverns force you to revisit them multiple times throughout the game as your experience and abilities change/increase. I like the grotesque water creatures that exist in the caverns. I like the mid-tempo electronic music that plays. I like the waterfalls that cascade down and all the secrets the caverns hide from you. Even the creepy Ferryman with his Crypt Keeper speaking voice is endearing. The only thing I don’t like about the caverns….those darn toads.

There are a lot, and I mean a lot, of weapons and items for Alucard to obtain in Symphony of the Night, but many of them are indiscriminate from each other. What really matters in this game are the relics. You gain relics typically after completing a section of the castle or defeating a particular enemy. Some can be found through trial and error and *cough, cough* walkthroughs posted online. Most of the relics must be found in order to progress through the game, however. One relic in particular, the Soul of Bat, allows Alucard to turn into a bat, which in turn allows him to access areas of the castle that he’s never been able to access before. Castlevania: Symphony of the Night does a great job of showing you early on what you can’t access, so it’s up to you to remember where you now have access to once the Soul of Bat is found. It’s one of the most satisfying acquisitions in a game filled to the brim with them.

No matter how long it’s been since I last played this game, I am perpetually in awe of how perfect it is. Castlevania: Symphony of the Night is simply a must own for any fan of the series, of action platformers or adventure games.

Grade: A+

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Old School Gamer chats with

About Citadale: The Legends Trilogy:

A Dark Lord plagues the land … and only YOU can stop him. Play as Sonja Dorleac and bring an end to the forces of darkness by wielding the legendary Shadow Blade. Battle the creatures of the night with swords, axes, shurikens and more – and face off against horrific bosses. If you prove your strength, you can unlock alternate endings for the first two games in the series. A boss rush mode for the original game can also be unlocked if you get the “good” ending in the first game!

For More on the Game, Click Here. 

Old School Gamer Magazine: How was this game born?

Ezekiel Rage: Citadale started out as a Castlevania Legends remake project – something I decided to do in order to learn the engine. Over the course of development, I ended up making it my own project instead – while still paying homage to Castlevania.

OSG: What was development like?

Rage: Very frustrating, to be honest. I had no idea how to do basic things. I also had a ton of ideas that couldn’t be put into the game because I didn’t know how! As you can imagine, I spent hours just fixing bugs I was to blame for because I didn’t learn the engine properly in the first place. And then there was this whole Wii U debacle where we accidentally released a beta with placeholder graphics on the Wii U eShop. That was the worst part of all.

OSG: What makes this game special?

Rage: To me, it’s special because it taught me how to use the engine. It taught me game design. I think the fact that the Castlevania series hasn’t had a traditional action game in decades only makes me feel stronger about my own efforts. The two new chapters allowed me to put in a few things that didn’t fit within the original game, Gate of Souls.

OSG: What games influenced this one the most?

Rage: I was mostly influenced by my love for traditional 8-bit action games. I think the main source of inspiration turned out to be ActRaiser – a Super Nintendo game. The combat, choice of weapons, and gameplay style are a direct result of that. Castlevania, of course, for the visuals and the music, sub-weapons, and all that. I tried to make a fast game with tough enemies like Ninja Gaiden, but I scaled back when porting Citadale to the PC.

OSG: What inspired the art?

Rage: The art was clearly inspired by Castlevania and classic gothic horror. However, there is also a clear Zelda influence in there – especially if you look at the bosses.

OSG: Why do you think people love horror games so much?

Rage: I think deep down people want the supernatural, the not-so-ordinary because it keeps us engaged and interested. Fantasy is great, sure – but horror stirs the core within us and gets that survival mode going: Fight or flight!

OSG: Why do retro-themed games matter?

Rage: I think a lot of modern gaming is superficial. You have your “play it quickly and be done” games on mobile – or bigger games with a ton of tutorials that focus on the latest graphics and cinematic influences. Players crave something simple and fun that just isn’t serious and epic – but something you can play quickly and still invest a lot of time in simultaneously. Most people would say nostalgia – the search for something simpler. I think nostalgia is a small part of it, to be honest. Gaming is a rather new medium – and as such, its history is much more condensed. I believe that lessons learned from games made in the ‘80s and ‘90s can still be applied today. To me, a game must be fun above all else.

OSG: What’s special about the story?

Rage: Truth be told, absolutely nothing. I know it’s not a very good answer, but it’s the truth. It’s a very traditional good vs. evil story with Dark Lords, tragic deaths, and heroes falling from grace. It may not be special, but it’s hopefully engaging all the same.

OSG: As an indie studio, what do you think you guys do differently than the big studios?

Rage: I think we can be more personal with the game, ourselves, and the players. A big studio has to be focused on the financial side because tons of jobs rely on that. But I can do whatever the heck I want to with the game. It also allows me to answer the players directly and stay in contact with them – which can yield some interesting results, to say the least!

OSG: Any fun stories or wild moments during development?

Rage: I lost a hard drive filled with work data because of a power surge. Everything was gone – the game as well as all other projects I had worked on. It took me a while to restore everything from the backups I made (some files were gone forever because I hadn’t backed them up yet). And then, of course, the aforementioned beta leak that cost me some sleepless nights.

OSG: How does this game disrupt the video game landscape?

Rage: I actually hope it doesn’t. I don’t want a big disruption, I want business as usual: People enjoying the game, and hopefully me being able to make more games!

OSG: Any chance at this hitting the Switch?

Rage: If Nintendo gives me a devkit, you can be damn sure this hits the Switch. That’s a big IF, though…

OSG: Who will enjoy this game the most?

Rage: People who enjoy 8-bit classics from the NES/Master System era. It’s clearly aimed at them. I think people with modern gaming sensibilities will find a few things off-putting.

OSG: How do you want this game to be remembered?

Rage: As the first in a new series, if all goes well.

OSG: What are your goals for the game?

Rage: That as many people as possible play it. I also want to develop more titles – not necessarily sequels. I just wanna make more games.

OSG: What’s next?

Rage: I’m working on a game called The Masked Mage – a 2D open-world game that focuses on story and exploration over combat. Hopefully, it will see the light of day at the end of 2017.

OSG: Anything else you’d like to add?

Rage: I want to thank you for the interview! If people enjoy my work, maybe some will even support me on Patreon. That would be AWESOME! (Obligatory plug is obligatory.)

—

Patrick Hickey Jr. is the author of the upcoming book, “The Minds Behind the Games: Interviews With Cult and Classic Video Game Developers,” from McFarland And Company. Featuring interviews with the creators of 36 popular video games–including Deus Ex, NHLPA 93, Night Trap, Mortal Kombat, Wasteland and NBA Jam–the book gives a behind-the-scenes look at the creation of some of the most influential and iconic (and sometimes forgotten) games of all time. Recounting endless hours of painstaking development, the challenges of working with mega-publishers and the uncertainties of public reception, the interviewees reveal the creative processes that produced some of gaming’s classic titles.

The post Old School Gamer Exclusive: Inside Citadale: The Legends Trilogy appeared first on Old School Gamer Magazine.

About A Robot Named Fight:

Combining the best of the Metroidvania and Roguelike genres, A Robot Named Fight’s monstrous creatures, huge item variety, quirky writing and synthwave soundtrack hit the sweet spot between retro and modern platformers. Also, the game features local co-op. Start a new game, have a friend join in and battle the Megabeast side-by-side ‘90s style.

For More on the Game, Click Here. 

Old School Gamer Magazine: How was this game born?

Matt Bitner: A Robot Named Fight was an idea I attempted some seven or eight years ago when I was first learning to program in ActionScript 3. It was something like “Mega Man meets Diablo” at the time. I left it on the shelf for a long time as I pursued a career making mobile games for a company called Hitcents. In early 2016, my grandmother died of complications with lung cancer and COPD and left me in a position to pursue the game full-time again. The game is dedicated to her. I’d had years to stew on the concept and learned a lot from my love of roguelikes and my hobby as a not-so-great Super Metroid speed runner. The result is the procedurally-generated platformer you see today.



OSGM: What has development been like so far?

Bitner: I’ve been developing the game more or less by myself for just over a year. My wife has done all of the social media marketing and I’ve had friends help with QA and creating trailers. My friend Zack T. Jones did the awesome art you see on the store page and helped me storyboard some of the intro and endings. In the final months, I got in contact with a PR firm, Novy Unlimited – and they’ve been a tremendous help in promoting it as well. Still, I’ve largely made the game in chronic isolation – constantly in crunch mode. It’s been really great to finally put it out there and have a community to interact with on Steam and Discord.

OSGM: What makes this game special?

Bitner: There are very few Metroidvania/roguelike mashups out there right now. I could be wrong, but I believe A Robot Named Fight is the only one out there with item-gated progression, a single overworld map, and permadeath. It’s also the only one I know of that’s more focused on the Metroid as opposed to the vania. The intended item order is randomized at every run. There are potential sequence breaks. It’s been getting really positive feedback from both Metroidvania and roguelike fans.

OSGM: What games influenced this one the most?

Bitner: The biggest influences on this game are definitely Super Metroid and The Binding of Isaac. I intentionally made the controls and player movement feel as close to Super Metroid as possible. I think Super Metroid is arguably the greatest game of all time. Myself and millions of gamers are forever indebted to Makoto Kanō and Deer Force.  The Binding of Isaac is far and away my favorite roguelike, and the nature of A Robot Named Fight’s meta-progression pulls heavily from Edmund McMillen’s modern classic. Still, you can see the influence of a lot of other games in there, too. Megaman, Contra, Doom, Abadox, Splatterhouse. That’s a long list!

OSGM: As an indie studio, what do you think you guys do differently than the big studios?

Bitner: “You guys.”

Making a game with a big studio or even a small team is radically different than making a game by yourself. With a team, you have the benefit of a more diverse skill set and the camaraderie of other people. You can stay focused on a more singular task. Developing the game entirely by myself has been daunting, but it has also enabled me to work quickly – understanding all the moving parts of the game inside and out. I haven’t had to compromise with others’ creative input, which has its pros and cons. It’s scary to self-finance a game and not have a steady income during development. I’ve learned to wear a lot of hats and often argue with myself over feature-creep and sticking to budgets and deadlines. The typical dynamics of a game development team have kind of manifested as personal neurosis.

OSGM: Any fun stories or wild moments during development?

Bitner: To be completely honest, development has been not so fun and wild. It’s been more taxing and arduous, yet fulfilling. Still, toward the end of development, I started streaming on Twitch while working – and a nice little community of several people grew around it. I would stream play tests – and they’d spot bugs for me, keep me company … and every so often encourage me to day drink. (I’m looking at you, Erik.) Since launch, more people have popped up on Discord and in the discussion boards on Steam. The other day, I was talking to a guy who’d found some cool sequence breaks that could potentially let you skip a large chunk of some runs. Stuff like that has been really rewarding.

OSGM: Why do you think preserving old-school game mechanics in new games is important?

Bitner: I think old-school games still have so much to offer the world of gaming. Hidden gems like Infiniminer and classics like Dungeon Keeper inspired the likes of Minecraft. Rogue was made in 1980. Metroid was ’86. Both of these games have inspired some of the most popular indie genres as of late. I imagine that there are a whole lot of genres waiting to be discovered in under-appreciated gems from the past. There’s also a kind of unpolished charm to a lot of old-school game mechanics that you’re not likely to find in too many AAA titles. Things that are strange or not immediately intuitive. To many, permadeath sounds like a terrible idea on paper, but it can be really rewarding.

OSGM: Retro-themed games are thriving on consoles today thanks to games the likes of Kamiko, TowerFall and Super Meat Boy among others. Any thoughts on this making its way to consoles?

Bitner: I would love to get my hands on some dev kits and start porting the game to consoles. It’s made in Unity, so it wouldn’t take very long to port at all. There are no concrete plans yet, but don’t rule it out for the future.

OSGM: What’s your favorite memory as a gamer?

Bitner: My parents got me a Sega Genesis for Christmas one year. I was only four years old when that system came out, so this was a few years later. I remember being through the roof. My reaction at the time would probably be a viral video now. So that’s a big one. Playing Doom on my dad’s 486 when it came out was a defining moment.

OSGM: How does this game disrupt the video game landscape?

Bitner: Metroidvania and Roguelike is a really unintuitive genre combo. Some of the principles behind those genres seem diametrically opposed. I’m really happy to be among the handful of games attempting to crack it. It has a lot of potential for the future. I hope A Robot Named Fight contributes a whole lot to the idea of what a Roguevania / Metroguelike / Roguetroidvanialike is meant to be.

OSGM: Who will enjoy this game the most?

Bitner: This is a really good question. I’ve been noticing that roguelike fans find the game a little too easy, while Metroidvania fans have found it to be too difficult. They each have their own contradictory gripes. I’ve been doing some extra balancing in the days since release to address some of this. It will be a very interesting game for people that enjoy speed running Metroidvanias. But ultimately, I believe the people that are fans of both genres will get the most enjoyment out of it. That includes me.

OSGM: How do you want this game to be remembered?

Bitner: I hope A Robot Named Fight is remembered as a forerunner of a really cool genre combo that hopefully takes on its own personality. I know that sounds lofty, but I guess what I’m really saying is: I hope someone makes an even better Metroidvania / Roguelike in the next few years. That might not be the best thing for me personally, but after almost eight years invested in the idea. I really hope to see it take off.

OSGM: What are your goals for the game? / What’s next?

Bitner: The game is complete in more ways than one, but I really hope to keep supporting it. Working by myself, I wasn’t able to get in every item idea and boss fight and an odd secret that I wanted to. I have a backlog of notes that I hope to slowly trickle in as free updates. Eventually, I might tackle a larger paid DLC. The nature of the game really lends itself to ever-growing content. Games like Terraria and The Binding of Isaac have really inspired me in that regard.

OSGM: Anything else you’d like to add?

Bitner: I hope people bear with me. This is my first solo release, but I’m dedicated to this thing.  I’m sure there will be some missteps along the way, but I really want to keep it alive for a good long while.

—

Patrick Hickey Jr. is the author of the upcoming book, “The Minds Behind the Games: Interviews With Cult and Classic Video Game Developers,” from McFarland And Company. Featuring interviews with the creators of 36 popular video games–including Deus Ex, NHLPA 93, Night Trap, Mortal Kombat, Wasteland and NBA Jam–the book gives a behind-the-scenes look at the creation of some of the most influential and iconic (and sometimes forgotten) games of all time. Recounting endless hours of painstaking development, the challenges of working with mega publishers and the uncertainties of public reception, the interviewees reveal the creative processes that produced some of gaming’s classic titles.

The post Old School Gamer Magazine Exclusive: Inside ‘A Robot Named Fight’ appeared first on Old School Gamer Magazine.