#kronos digital entertainment

[retrocgads]

USA 1997

[satoshi-mochida]

Fear Effect coming to PS5, PS4, Switch, and PC in 2025 - Gematsu

Limited Run Games will release PlayStation action adventure game Fear Effect for PlayStation 5, PlayStation 4, Switch, and PC via Steam in 2025, the company announced.

Here is an overview of the re-release, via Limited Run Games:

A lost classic finally returns. Fear Effect challenged assumptions on game aesthetics and art style when it debuted on PlayStation, and decades later its extraordinary blend of cell-shading and motion video still dazzles the eye… and the mind. Gunplay and magic meet in this groundbreaking action / adventure coming to a console near you in 2025.

Watch the announcement trailer below.

Announce Trailer

[z2z-gaming-and-random-art-ai]

Console Fighting Games of 1995 - Criticom

Criticom is a sci-fi themed 1v1 fighting game developed by Kronos Digital Entertainment and released on the PlayStation across Europe and in the US in 1995, a Japanese release of the game would follow in 1996 and a Sega Saturn release in 1997.

[thefreecheese]

The Free Cheese Episode 578: Fear Effect

This week on The Free Cheese, we get lost in the plot. We’re rolling through FMV backgrounds one screen at a time as we discover the nuance of Fear Effect. We discuss its supernatural plot, its attempt at survival horror gameplay, and how well the game’s art holds up today. Then, we rank it on The List. Reviews Joe Trial and error is what Fear Effect boils down to for me. I had a much better…

[gamemories]

[dokonskit]

I'm done playing Fear Effect. It was amazing! The only survival horror game on PlayStation 1 that I've finished (not counting Parasite Eve). It seems to me that the game is ahead of its time: animated backgrounds, wonderful animations of characters and their facial expressions, the presence of stealth and a wonderful visual style, which makes you not think that the game is for PlayStation 1. I also like the fact that the characters in the gameplay and cutscenes look the same. I couldn't figure out the plot completely, because I was playing with a bad translation into Russian, but it's quite commendable that the plot is served without any notes and letters, as in Resident Evil. I'm also pleased that fans compare Fear Effect with the cartoon Anastasia. This is a very unexpected comparison. I'm getting to the sequel — Fear Effect 2: Retro Helix, and I'll also start Clock Tower.)

Я закончил играть в Fear Effect. Это было потрясающе! Единственная игра в жанре survival horror на PlayStation 1, которую я прошёл (не считая Parasite Eve). Мне кажется, что игра обогнала своё время: анимированные фоны, прекрасные анимации персонажей и их мимики, наличие стелса и прекрасного визуального стиля, из-за которого и не подумаешь, что игра для PlayStation 1. Ещё мне нравится то, что персонажи в геймплее и в катсценах выглядят одинаково. В сюжете я не смог разобраться до конца, так как играл с плохим переводом на русский, однако довольно похвально, что сюжет подаётся без каких-либо записок и писем, как в Resident Evil. Также меня радует то, что фанаты сравнивают Fear Effect с мультфильмом Анастасия. Это очень неожиданное с��авнение. Приступаю ко второй части — Fear Effect 2: Retro Helix, а также я возьму на прохождение Clock Tower.)

[panzerdrako]

[legiongamerrd]

#Gamefemerides

Hace 23 años se lanzó Fear Effect 2: Retro Helix. Es un juego de acción aventura desarrollado por Kronos Digital Entertainment y publicado por Eidos Interactive para PlayStation. Es la precuela de Fear Effect.

#LegionGamerRD #ElGamingnosune #Videojuegos #Gaming #RetroGaming #RetroGamer #CulturaGaming #CulturaGamer #GamingHistory #Podcast #KronosDigitalEntertainment #EidosInteractive #FearEffect #FearEffect2 #FearEffect2RetroHelix #PlayStation #PlayStation1 #PS1 #PSP #PSVita #PS3 #Aventura #Accion

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[emotionalmultimediaride]

GOG releases 2 retro games from Piko Interactive

Two more retro titles have made it in DRM-free form to GOG with courtesy of Piko Interactive. Dark Rift, originally developed by Kronos Digital Entertainment and published by Vic Tokai in 1997, is a one-on-one fighter in which various characters duke it out to gain all pieces of the Master Key which allows the bearer infinite powers of the cosmos. Of course this is just an excuse to beat each…

[retrocgads]

USA 1997

[techturd]

[z2z-gaming-and-random-art-ai]

Console Fighting Games of 1998 - Cardinal Syn

Cardinal Syn is a 3D versus fighting game set in a world of clans locked in a never-ending war until united by the Wanderer and the Book of Knowledge. The Wanderer with his work done left the book, dividing it into 4 pieces one for each can with the hope they would remain peace between them. 

The Clans however returned to their warring ways until Syn arrived turning each piece of the book into a weapon and arranging a tournament for each clan's strongest warrior, with a promise that the victor would rule over all the clans of the Bloodland and the Book of Knowledge. 

Developed by Kronos Digital Entertainment who have previous experience with fighting games albeit the not so well received Criticom. The game was released on the PlayStation in January of 1998 in the UK, with a US release in August of the same year. Cardinal Syn was better received by critics than Criticom. 

1. Intro 00:00

2. Games Intro 00:10 

3. Gameplay 01:36 

4. Outro 07:43 

Console Fighting Games of 1993 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CFcKSo9Eglrv2NFDHAqNDRi 

Console Fighting Games of 1994 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CF-R5w4NujQcYo8cCcOMHYv 

Console Fighting Games of 1995 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CEUiZn8FlwHoMcwoOzUqchX 

Console Fighting Games of 1996 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CF0j9K_v7UqS3dxjwh6XIIM 

Console Fighting Games of 1997 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CFm1r27Q5PvbO_4CjYYsj4- 

Console Fighting Games of 1998 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CHG7kROLoO-HAXmmzib8cd4

[virtual-lara]

AVault - Philip Campbell Interview - Tomb Raider 1: Unfinished Business

Interview appeared on AVault website, dated sometime 1998. Article was written by David Laprad.

On Friday, March 20, Eidos Interactive gave legions of Lara Croft fans a very nice thank you in the form of four free add-on levels for the original game. Called Tomb Raider Gold, these never-before-seen levels were designed by Phil Campbell, producer and designer for a number of Eidos titles. The new levels are split into two sections: Unfinished Business and The Shadow of the Cat. Unfinished Business consists of two expert levels chronicling Lara's dramatic return to Atlantis, where she must destroy a hidden alien hatchery. The Shadow of the Cat levels take players back to the City of Khamoon to embark on an all-new adventure. The Adrenaline Vault was able to catch up with a busy Campbell and get his insight into the Tomb Raider Gold design process and all things Lara Croft.

AVault:

Thank you for taking time to speak with us. How long have you been involved with the world of Tomb Raider?

Philip Campbell:

I have been doing Tomb Raider-related work since March of last year. I was not involved with the original game at all. When Jeremy and Adrian Smith saw my work on another Eidos project, they asked me if I would like to design some expert levels. I worked at Core in England for a couple months creating concepts for a number of possible levels. Subsequently, I designed and built the two Unfinished Business levels. Later, I designed the Shadow of the Cat levels with the help of Rebecca Shearin, a senior artist here at Eidos.

AVault:

What other game development experience do you have?

Philip Campbell:

I started work at Domark in San Mateo a few years ago. Before that, I had been an architect for 15 years. Initially, I was art director on a couple of projects, and now I am handling producer and designer roles on a number of projects. Currently, I am working on Vermin with Kronos Digital and Omikron with Quantic Dream. I guess I am the office handyman! I try to get involved in all design related projects, ranging from external development to Tomb Raider publications, comics, and merchandising.

AVault:

Where does your work take you?

Philip Campbell:

Technically, I am a senior producer and designer working for Eidos USA and based in San Francisco. However, my current schedule has me spending six weeks in Paris working on Omikron and two weeks in Los Angeles working on Vermin. In Paris, I just completed the recording and motion capture sessions, and am currently concentrating on level designs. Although I work for the publisher, I supplement the Omikron design team. On Vermin, Tom Marx and I form a production team, helping the external developers with design issues. We have been very involved with this project from the beginning and are trying to break down the traditional concept of publisher and developer relationships by working closely with the team on all aspects of the game. Back in the U.S., I am currently designing a marketing, packaging, and website campaign for Omikron with the marketing department, and working on another Tomb Raider product.

AVault:

Working on another Tomb Raider product? Do tell!

Philip Campbell:

[to the sounds of his hands being tied by public relations] Soon! Very soon!

AVault:

Why is Eidos publishing Tomb Raider again, this time with extra levels?

Philip Campbell:

Tomb Raider Gold is an added value product. The four new levels, extra goodies, and the low price make it a great deal. There are probably a lot of new converts to Tomb Raider following Tomb Raider 2, and we wanted to make it easy for them to pick up the rest of the story.

AVault:

It is rumored the Unfinished Business levels are for expert players only. What special challenges confront players in these levels?

Philip Campbell:

The two levels that detail Lara's return to Atlantis are meant to follow directly from the end of the original game; therefore, we had to make sure the difficulty was as high, or higher, than the preceding levels. I do not think they are that difficult, but the player who really wants a test should play them before the Shadow of the Cat levels to limit the number of pickups and weapons.

AVault:

You do realize cruelty in game design is a punishable crime.

Philip Campbell:

I do not think we are being cruel! Devious, yes. Even sneaky. Hard, but fair. I think the levels reward careful play. No enemies materialize from thin air, nor are there random deaths, except for that one situation....

AVault:

Do the new levels concentrate on adventure-style puzzles, similar to the King Midas brain-buster from the original, or are they more focused on action, like the sequel?

Philip Campbell:

Both, although there may be a slight emphasis on action. The nature of the Atlantean foes makes them very tough enemies. On the other hand, the first Unfinished Business level is like a puzzle box. You must have an understanding of where rooms are in relation to one another. The Shadow of the Cat levels are more focused on mystery and mysterious puzzles. The player can get cat visions, and some objects transform. I loosely based a series of room puzzles on the Nine Lives of the Cat, an Egyptian hierarchy of gods. For instance, there is the Sun God room, where everything looks like it has been bleached out by the intense rays.

AVault:

Describe the conceptual development of these levels. Did you do any special research, and run into any unique design problems? I imagine you drew upon your experience as an architect.

Philip Campbell:

The Unfinished Business levels are based around a tight architectural construct. There are a lot of transparencies highlighting the connections between the various spaces. I imagined a giant underground hatchery, built out of the synthesis of a crumbling ancient architecture and a horrific kind of gunk. This is why you will find some very organic areas growing out of some fairly formal sets of rooms. Of course, everything is built upon the fiery red lava, and I wanted the lava to be constantly bubbling and popping throughout the levels. I worked around a lot of concepts I felt constituted good level design, such as foreshadowing events, allowing the player overall tactical views before a confrontation, building up the intensity as the action progresses, all the time considering dramatic camera angles and dramatically designed spaces. I did the Shadow of the Cat levels because I loved the Egyptian look in the original game, and wanted to add to the mythology of Khamoon. I did do a bit of research into Egyptian lore and culture, but mostly I imagined huge outside spaces, vast expanses of desert, and gigantic pyramids.

AVault:

Describe the actual dynamics of constructing the levels.

Philip Campbell:

The editor was a joy to work with. Rather than feeling like I was building models, plane by plane, vector by vector, I felt as though I was sculpting space, taking a solid block of matter and carving out an environment. Designing Tomb Raider levels involves a lot of late nights, on-the-spot testing, and subsequent tweaking and rebuilding. One of the great advantages of the editor is you can test as you go along.

AVault:

How easy was it to pick up the editing tools?

Philip Campbell:

The tools are geared to results, and I think part of the success of the original game is due to the quality of the level editor. It is very simple to build, test, and revise. The original did have some limitations, but these tended to focus the design rather than hinder it. Of course, my challenge was to build levels with the same high quality as the original, and I hope players find the maps challenging, compelling, and enjoyable.

AVault:

Do you think the editing tools could be mastered by the Internet community? What are the chances of them being freely released?

Philip Campbell:

Anyone with a creative eye could build playable levels, and I hope you will soon have a chance to do just that.

AVault:

You mentioned working with Rebecca Shearin on the Shadow of the Cat levels. Is there new art in Tomb Raider Gold?

Philip Campbell:

Rebecca and I came up with some concept designs the Shadow of the Cat levels, and she made some great new textures, many of which have a feline flavor. We had to stick very closely with the original textures for the Atlantean levels for continuity's sake, but I had a free hand as far as structures and constructs were concerned. For the Egyptian areas, I started out with pretty much the same texture set as the original, then gradually introduced new material as the mystery progressed. We were also aiming for more dramatic outside spaces than the original, so the levels ended up being pretty huge.

AVault:

What is your take on the Lara Croft phenomenon? Do you feel there have been any missteps along the way?

Philip Campbell:

Of course not! The whole Lara Croft and Tomb Raider franchise is the current preoccupation of many talented people at Eidos and Core. Everything is carefully geared to respond to our audience's wishes, and each step is meticulously planned. With a movie deal now in the works, it is critical for us to generate a quality script. Eidos makes sure experts are employed to deal with every conceivable expansion area for the franchise.

AVault:

Where do you see the franchise going?

Philip Campbell:

Tomb Raider is both a series and a franchise, and has potential to develop in many directions. The movie is an exciting opportunity, and as long as people want Lara Croft games, we will continue making them.

AVault:

Describe Vermin and Omikron, as you are able.

Philip Campbell:

Briefly, Vermin is an exciting 3D arcade action game, and Omikron is a real-time action and adventure title. Both look to be potentially great games, and we will be releasing more details as they develop. Certainly, they will both be featured at the Electronic Entertainment Expo this year, alongside our many other titles.

All rights belong to AVault and/or their affiliated companies. I only intend to introduce people to old articles and preserve them before they are lost.

[3dkandao-blog]

Correct use of VR camera

When it comes to VR camera, the biggest advantage is that it can increase the viewer's participation. However, these devices usually use a fisheye lens or a super wide-angle lens, so it is easy to bring obvious distortion of the image, which may not be in line with human vision. Therefore, users must pay attention to this before buying.

On the one hand, users need to install additional clients or plug-ins to view the actual shooting effect on the phone/PC. On traditional social networks, as well as mobile phones and computer platforms, VR live videos and photos have not been able to natively support VR videos and photos, so the sharing and dissemination of VR videos and photos has been limited.

Compared with traditional cameras, VR cameras are still in the early stages of development, so they need to be further improved and improved. For example, most of the current VR cameras are equipped with a fixed-focus lens, so it is impossible to achieve optical zoom like a conventional camera. It only allows VR photographers to take a partial view of the screen from the maximum field of view, thus causing a large loss of image quality.

If you're in the movie industry, or if you want to broadcast live VRs such as concerts, then buying or renting professional-grade VR shooting equipment is the best choice, including Jaunt One, Nokia OZO, Kronos and Zeus in the Digital Kingdom, etc. Wait.

If you are just a personal fan, then consumer-grade VR cameras such as Bublcam, Girobtic 360, Samsung Gear 360, Kandao 360 streaming camera, Nikon Keymission 360, and Ricoh Theta S are a good choice. These VR shooting devices are ideal for personal entertainment, but it is not enough to use professional-grade live broadcasts.

In 2017, participants in the VR shooting industry are injecting new vitality into the VR shooting industry through various channels such as technology and content. Although there is great uncertainty in the VR camera market, we are convinced that: through the VR industry chain With the joint efforts of all parties, live 360 camera will bring more surprises to the VR industry and consumers.

[dokonskit]

WHOA!!!