Like the 3D games on PlayStation, the Saturn and N64 really didn’t look very good, even when the late games on the SNES/Genesis could have been absolutely beautiful.”Ī late SNES game that filled the void was Donkey Kong Country, which, as Sutherland recalls, managed to keep up with the 3D visual trend despite being on a console designed primarily for 2D gaming. Greg Sewart, a graduate of Electronic Gaming Monthly, tells us: “There have been a lot of developer interviews where people in the industry at the time complained about the change. Prioritizing technological innovation over a game’s longevity potential, as many developers did at the time, may not always be in the art of the game.
“Fifth-generation consoles like the PlayStation and N64 have allowed games to showcase visuals that mass-market console owners have never experienced both that and the accompanying platform marketing made it clear that 3D games are the ‘cool new thing’”. “Everyone felt the same, the 3D future was going to come.” Like many in the profession, artist and game developer Jenna Fearon saw the great opportunity: “We’re totally blown away by what can be done for us at Tiburon right now.”īut it wasn’t just developers who were baffled by the possibilities, as Donkey Kong Country’s chief programmer Chris Sutherland remembers, who made 2D games like the recent Yooka-Laylee And The Impossible Lair. In the nineties, 2D basically had the roof.” Annunziata agrees. It depends on the incredible art direction.” So why leave fine-grained hardware behind to risk untested waters? For Tsui, these transitions over time are always inevitable: “This was the natural evolution of technology. “Look at the first three Mortal Kombat games. “I think having fantastic art direction in 2D games really sets them apart,” continues Tsui. This did not mean that every game that remained in the old size looked better. “The artwork was created specifically for these machines and we made them sing.” While 3D blended better with the background, the character models were more compelling. “Look at WrestleMania, these are still some of the best sprite work of any game to date,” says Tsui. “Since you’re comparing late-stage 2D with early-stage 3D, it’s a little unfair to compare.” The strengths and limitations of technology played a big role in the presentation of a game. “3D was very young back then, and most of these games look crappy now, while 2D stuff looks better,” he says. Josh Tsui, a game designer and artist formerly of Midway and EA, believes that many 2D games made in the early 3D era retain their weight. Specifically, I asked myself, ‘Can I jump into the water?’ So I tried it, and my brain tasted the chlorine in the pool for a second when my Mario splashed into that beautiful clear water.” Ed Annunziata, creator of Ecco The Dolphin and Mr Bones, told us: “The world changed when I played Super Mario 64. That didn’t take away from the game’s sensory intimacy. The visuals and controls of the legendary Tomb Raider aren’t as good as they used to be, and Super Mario 64, one of the first successful 3D platform games, gives players more work to control a flawed camera system so Mario and environmental hazards can stay visible.
Boring faces, motionless lips during conversations, stick-shaped character models, blotchy textures and spooky animations… the list of problems goes on and on.” But not all titles fell victim to obligatory polygons and age. Why would anyone want to step back from the front lines?Īn opinion piece published on TechRadar in 2010 read: “Going back to a 3D game from the early ’90s is almost painful now. However, in the mid-1990s, a significant wave of 3D games came along with fifth-generation consoles, when Sony PlayStation, Sega Saturn, and Nintendo 64 set out to change the market.
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The history of 3D technology goes back to 1974, first appearing in games like Maze War and Spasim, then shaped by the tank simulator Battlezone, rear cameras in racing games like Pole Position, and first-person shooters like Wolfenstein 3D. Take a look at video game media in the mid-nineties and a theme quickly emerges: the future is 3D and that future is now.
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