Tag Archives: PS1

The MoeGamer 2019 Awards: The #25YearsOfPlay Award

The MoeGamer Awards are a series of “alternative” awards I’ve devised in collaboration with the community to celebrate the sorts of things that never get celebrated in end-of-year roundups! Find out more here — and feel free to leave a suggestion on that post if you have any good ideas!

Today’s award comes from the fact that the PlayStation turned 25… err, yesterday, actually, but near enough.

It’s pretty fair to say that the original PlayStation was a defining influence on many gaming enthusiasts’ passion for the hobby, and for a wide variety of reasons. For those who had grown up with earlier systems, the PlayStation marked the moment gaming acquired real mainstream acceptance; for those new to the hobby, it was a platform that played host to a more diverse array of experiences than ever before.

With that in mind, today’s award celebrates a game from the original PlayStation era that I have incredibly fond memories of, not just of the game itself, but of everything going on surrounding it at the time I first experienced it.

And the winner is…

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Delving Into Air Combat – #1

I always find it interesting to head back to a series’ roots to see what has changed and what has stayed the same over the years.

I was particularly excited to start from the beginning of the Ace Combat series, since it’s one I’ve come to really enjoy in the last few years, and I sense there’s still quite a lot I’ve missed out on.

Would the original PS1 release from 1995 be worth revisiting today, I wondered?

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The MoeGamer Awards: Coolest Scoring Mechanic

The MoeGamer Awards are a series of made-up prizes that give me an excuse to celebrate games, concepts and communities I’ve particularly appreciated over the course of 2017. Find out more and suggest some categories here!

Today’s category suggestion is brought to you by my dear friend and talented pixel artist Mr Chris Caskie, aka MrGilderPixels. Check out his site for progress updates on his awesome wooden pixel art standees and wall plaques, and order some of his past work or commission a pixel art avatar on his Etsy shop.

Since we’ve looked at a bunch of short-form arcade-style games throughout the year, particularly shoot ’em ups, Chris suggested I should highlight what I thought was the most interesting or distinctive scoring system in the games I’ve played. So let’s do that!

And the winner is…

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Ridge Racer Type 4: Real Racing Roots ’99

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1998’s Ridge Racer Type 4 is the quintessential PS1 game.

Perfectly embodying the spirit of late ’90s “cool” that Sony was so keen to pursue with its platform, particularly in the West, the game is also a showcase for exactly what the humble PlayStation was capable of in its later years as well as a perfect balance between widespread accessibility and hardcore long-term challenge.

In short, it’s a comprehensive realisation of what Namco had wanted to achieve with the home versions of the Ridge Racer series ever since Revolution, and one of the most consistently enjoyable arcade racers ever created.

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Rage Racer: Point of Divergence

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While the arcade installment Ridge Racer 2 and its home conversion of sorts Ridge Racer Revolution went in slightly different directions, it was the third “generation” of Ridge Racer games where the two approaches finally diverged completely.

1995’s third arcade installment Rave Racer again acted as more of an evolution from the previous games, featuring more detailed graphics and a couple of new tracks as well as the circuits from the original Ridge Racer. Notably, it was also the first Ridge Racer game to put a strong emphasis on a female “mascot” character in its epilepsy-inducing attract mode; some conjecture this is actually the first appearance of longtime series “image girl” Reiko Nagase, though the hotpants-clad polygonal model doesn’t look a lot like how we came to know and love her in later installments.

1996’s Rage Racer, meanwhile, was a complete reinvention for home systems, featuring an actual single-player “campaign” of sorts to work through, with gradual progression and car upgrades as well as the abandoning of arcade game conventions such as tight time limits and checkpoints with which to extend it. The immediacy was still there, but now the game wanted to keep you in your seat for more than five minutes at a time.

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Ridge Racer Revolution: The One That Would Probably Be DLC Today

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After the success and critical acclaim of Ridge Racer, it was only natural for Namco to want to build on the series.

It went about this in a number of ways, including a three-screen arcade release for a more immersive experience as well as a spectacular “Full Scale” variant in which you sat in an actual car (a Mazda Eunos Roadster, to be specific, in a pleasing callback to Ridge Racer prototype Sim Drive’s predecessor) to play a version of the game on a massive projection screen with real car controls, functional instruments and fans blowing wind in your face — a setup which Ridge Racer 7 would pay homage to in one of its title screen CG sequences many years later.

A sequel was inevitable. Ridge Racer 2 followed its predecessor a year later, featuring new tracks, new music and the facility for up to eight people to play simultaneously by networking four two-player cabinets. This was then followed in 1995 by a home port in the form of Ridge Racer Revolution for PlayStation.

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Puzzler Essentials: Puchi Carat

I’ve always had a soft spot for block-breakers, ever since Arkanoid on the Atari 8-bit, and Puchi Carat makes me happy in all the right ways.

Combining elements of traditional classic block-breakers with mechanics from puzzle games such as the Puzzle Bobble/Bust-a-Move series, it’s an enormously addictive, highly unusual game that is simultaneously unique and absolutely representative of the time in which it came out.

In short, if you like adorable late ’90s anime style characters, coloured things going “pop” and gameplay that is as much about skill as it is about intelligence, Puchi Carat is definitely a game that you should check out.

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Puzzler Essentials: Cleopatra Fortune

Cleopatra Fortune is an arcade game from 1997, developed as a collaborative effort between Taito and Natsume.

It’s a falling block puzzle of the type that was fashionable throughout the 16- and 32-bit eras in the mid-to-late ’90s. But despite having a touch of Tetris about some of its mechanics, it’s an altogether unique experience. And, moreover, unlike some of the more well-known names in the puzzle genre, particularly in recent years, it’s not one that’s been endlessly cloned, reskinned and recycled.

It is, however, brilliant.

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Puzzler Essentials: Starsweep

Although the abstract nature of the puzzle game genre makes it theoretically possible to make a game out of pretty much anything, we tend to see a lot of the same sort of thing.

In particular, over the years, we’ve seen a lot of “match dropping things so that their colours match”, “swap things around to make lines of three like-coloured doohickies” and “shoot bubbles at precarious arrangements to make groups of three like-coloured blobs”. As such, it’s always rather pleasing to come across a game that does something a little different from one of these common conventions favoured by the most popular titles in the genre.

Starsweep, a game that originated in Japanese arcades and was subsequently ported to PlayStation and Game Boy, is just the ticket to refresh the jaded puzzle fan.

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From the Archives: On Two Working Designs Classics

If you’ve been gaming as long as I have, you probably remember an outfit called Working Designs.

Working Designs was an American publisher from the PS1 era that specialized in the localization of Japanese games — particularly RPGs, strategy games and shmups — and quickly gained a reputation at the time for being one of the best in the business.

The primary reason for this reputation was the fact that Working Designs’ Western releases of Japanese hits weren’t just straight word-for-word literal translations — rather, they were genuine localisations that made appropriate use of Western slang, turns of phrase and even popular culture references to give them a unique feel all of their own.

While opinions on this approach to localisation vary today, the effort the team made to make these games as approachable as possible was very much appreciated by the audience of the time.

This article was originally published on Games Are Evil in 2013 as part of the site’s regular Swords and Zippers column on JRPGs. It has been edited and republished here due to Games Are Evil no longer existing in its original form.

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