This blog is a tribute to the original Dead Rising, the game that helped usher back into mainstream consciousness the lovable appeal and popularity of the Zombie Apocalypse, a genre now near-oversaturated and encompassing almost all forms of media. Whether it be the hilarious Undead Nightmare expansion to Red Dead Redemption or real-life “Zombie Walk” social-event-meets-cosplay events, would any of these tongue-in-cheek, self-deprecating moments truly have been possible were it not for the fun people had photographing female zombie knickers for high ‘Erotica’ scores through the camera lens of the game’s everyman main character, Frank West, himself clothed in a tight-fitting red rose dress direct from Willamette Mall’s high-end fashion section? Wait, what? That wasn’t how you played the game? No way.

Esteemed origins

Japanese developers Capcom had previously frightened a generation of players in the mid-90′s with its original entry to the Biohazard/Resident Evil series, simultaneously coining a new term for the experience as we came to grips with the jump up in quality of the 32-bit generation. “Survival Horror” made its debut on the original Playstation and took gamers on a horrific expedition through a sprawling mansion and secret underground laboratories populated by nightmarish creatures, forcing them to salvage scarce healing and ammunition resources – knowing full well that the more the player explored the game setting, the more risk they’d encounter. The need to conserve bullets wherever possible, accompanied by both a harsh difficulty level and limited amount of in-game ink ribbons to simply even save one’s progress, ensured that the ‘survival’ aspect of the title was alive and well, even if that meant that the selectable player characters, Chris Redfield or Jill Valentine, often weren’t. Add to that a ‘horror’ attribute stemming from classic moments such as the infamous dog-jumping-through-the-window trick, the unsettlingly gorgeous but deliberately claustrophobic pre-rendered backgrounds and just as limiting “tank-like” control scheme which always kept players within the grasp of the game’s multiple and grotesque enemies, Resident Evil was an instant, terrifying success.
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Also seen on Gamasutra and Galaxy Next Door

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Inspired by a particular Tumblr blog, drawing this map has brought back a flood of memories and emotions. Around about 1997, I was hooked on the original Command & Conquer, having first read about it in one of those great 90′s UK game magazines (CVG I think it was) and deciding to get it on the Sega Saturn. (As an aside, I used to always hate how reviews of the Saturn version criticised the gamepad controls, especially the inability to assign teams of units to buttons – but you could! It was the PS1 version that didn’t have that function!)

After pouring hours into the game, and gaining perhaps far too much satisfaction in slowly building up a ridiculous and unnecessarily large GDI army to crush and torment those enemy NOD bases (I used to have my units wait patiently outside their barracks, annihilating any newly produced men as soon as they walked out), I had finally met my match. I mean, as far as difficulty levels and player feedback went, I’d gotten used to playing all night and failing missions, using that trial-and-error experience and coming back stronger the next time round. But wow…this one stage. It was almost as if there was hidden karmic balance code on the disc, keeping track of the number of enemy soldiers I’d brutally vanquished and just waiting for the right time to punish me for it and striking down with furious anger. And with the debut of the NOD Flame Tank unit, all it took was one, slow-moving, ugly-looking but devastatingly monstrous vehicle to achieve such righteousness.

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[Gamasutra Feature], [Mapstalgia]

Standing about halfway in the queue at a quarter to midnight, the sense of expectation and anticipation was overwhelming. Having waited over a year since the first trailer had been released, it was as if we were all lining up for one of the great film premieres; an unveiling that could be announced with pride to our future descendants, akin to that of attending, say, the world’s first screening of Return of the Jedi/King: “I was there”. In such a scenario, our unnamed grandchildren-to-be would probably look up at us with awe, envisioning themselves the coming of the next great trilogy that would eventually serve to define their own generations.

But in this scenario? No, not quite…

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[Gamasutra Feature]

This is the latest edition of an interview series, “Unmasking the Gamers,” humanising the people who play video games: the real character controlling that fictional character; the person behind that First Person game. Previous interviewee(s): Brendan Stapley, Andrew Doherty, Cody Winn, Chris Avellone Part 1, Chris Avellone Part 2, Jason Bergman, Chris Avellone Part 3, JE Sawyer

To continue the recent trend of this series and having spoken previously with Obsidian and Bethesda team members about Fallout: New Vegas, in this edition of Unmasking the Gamers I had the privilege of chatting with one of the key members and creators of the franchise itself, Mr Timothy Cain.

Having had a hand in titles such as Fallout, Arcanum: Of Steamworks and Magick Obscura, and Vampire the Masquerade: Bloodlines in a career spanning three decades, we discussed the evolution of the gaming industry, his experience in setting up the now-defunct Troika Games studio, some of his career highlights, and a bit more about the man himself.

Will Ooi: Hi Mr Cain, thank you very much for taking part in this interview series, and first of all congratulations on securing a role at Obsidian. How do you feel about this move, and what does it mean for your and Obsidian’s future plans?

Tim Cain: I really enjoy working at Obsidian. I know many of the people there from our time at Interplay or Troika, and I have played all of Obsidian’s games, so in many ways this new job was the smoothest transition I have ever made. Everyone there has been very friendly and welcoming, and I am excited to be back in the RPG game space.

But I should explain that I am a temporary contracted employee at Obsidian. I am considering joining another company in the spring of 2012 and have been talking with them since August, so in the meantime I am working at Obsidian on one of their games as a senior programmer. My contract extends thru March of 2012, at which time all parties (myself, Obsidian and the other company) can decide what the next step should be.

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[Gamasutra Feature] & [Fallout Wiki]