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Way of the Warrior an article
Way of the Warrior
Developer(s)Naughty DogPublisher(s)Universal Interactive StudiosDirector(s)Jason RubinProducer(s)Jason Rubin
Andy GavinDesigner(s)Jason Rubin
Andy GavinProgrammer(s)Andy GavinArtist(s)Jason RubinComposer(s)Rob ZombiePlatform(s)3DORelease date(s)NA November 1994
JP May 26, 1995
Genre(s)FightingMode(s)Single-player, multiplayer
Way of the Warrior is a fighting game released in 1994 for the 32-bit 3DO. It was developed by Naughty Dog and it received a "17+" rating for its violent content. The game was originally released in the U.S on November 1, 1994, and later released the following year in Japan on May 26 (the latter featured Japanese speech, though all of the text was in English like the U.S version). The game's soundtrack consists of music from the 1992 White Zombie album La Sexorcisto: Devil Music, Vol. 1.
Developed by Naughty Dog for Universal Interactive Studios, Way of the Warriorfeatures high resolution graphics, characters with detailed storylines, and ultra-violent finishing moves. Players have to combat different fighters, their own character's "shadow", and two bosses to achieve complete victory. Each character has a standard arsenal of offensive and defensive fighting moves, combination attacks, and special moves that kills the defeated opponent in an extreme manner.
Contents
StorylineDevelopmentReception
StorylineEdit
Players had to combat nine different World Warriors, his or her character's shadow, then defeat a dragon (High Abbot), and then a skeleton (Kull) in order to be sealed into "The Book of Warriors." Each character had a standard arsenal of offensive and defensive fighting moves, combination attacks, and special moves that killed the defeated opponent in an ultra-violent manner. The game also had several hidden characters that could be unlocked with secret codes.
CharactersEdit
The characters were portrayed by friends and relatives of Naughty Dog employees. They each had a distinctive code name and a profile.
T-Mike Gaines as Major Gaines (and hidden character, Major Trouble; both voiced by David Shane)Mitch Gavin as Shaky Jake (voiced by Rod BrooksJason Rubin as Konotori (voiced by Dave Baggett), The Ninja (voiced by Andy Gavin) and the voice of High Abbot (Dragon Boss)Tae Min Kim as The Dragon (and hidden character, Black Dragon; both voiced by David R. LiuSteve Chan as Nobunaga (voiced by David Shane)Chris Sanford as Malcolm Fox (and hidden character, Voodoo; both voiced byAndy GavinTamara Genest as Nikki Chan (voiced by Rita Dai)Carole May-Miller as Crimson Glory (voiced by Kip YoungVijay Pande as Gulab Jamun (a special hidden character, Swami)Andy Gavin as the voice of Kull the Despoiler (the final, Skeleton Boss)
DevelopmentEdit
Production of Way of the Warrior began in 1993. During that time Naughty Dog was bankrupt, and barely had any money to finish the game. Friends of the company were enlisted to portray the game's characters. As Naughty Dog could not afford a bluescreen or any kind of motion capture backdrop, a yellow sheet was glued to a wall in the developers' apartment. However, the apartment turned out to be too small. To film the moves in the game, Jason Rubin had to open the front door and shoot from the apartment hallway. The neighbors mistakenly believed that the crew were filming kinky adult films. Pillow cases and sheets, various items within the apartment, McDonald's Happy Meals and inexpensive knick knacks were used to create the costumes of the characters. To round out the experience, Jason Rubin joined in and participated by portraying two of the characters in the game. After the game was completed, Naughty Dog presented Way of the Warrior to Mark Cerny of Universal Interactive Studios (now the defunct Vivendi Games). Cerny was pleased with the product and agreed to have Universal Interactive Studios be the publisher of the game, as well as signing on Naughty Dog for three additional games (which would later become Crash Bandicoot, Crash Bandicoot 2: Cortex Strikes Backand Crash Bandicoot 3: Warped).[1]
Early print advertisements that appeared for the game mocked its intended competitor Mortal Kombat, and boasted that characters would have up to 9 fatalities each.
Naughty Dog later worked with American Laser Games to develop an arcade version of the game; prototypes were built and tested, but were never released. Aside from the controllers, the arcade version was identical to the 3DO version, and even used a 3DO Interactive Multiplayer system for hardware.[2]
ReceptionEdit
Several demos were sent out to various magazines plus a non-playable demo appearing on sampler discs for the consumer.[citation needed] While initial response was very positive, the final product received mixed reactions from the press.[citation needed] The reviewers of Electronic Gaming Monthly gave the game an average score of 3.75 out of 10, praising the graphics, animation, and fatalities, but panning the controls, especially the difficulty in pulling off special moves.[3] GamePro gave the game a negative review, citing dull character design, long load times, small sprites, weak sound effects, and shallow challenge. Contradicting EGM, however, they asserted that "Executing the special moves is not hard".[4]
By the standards of the 3DO, the game sold well, outdoing the 3DO port of SNK's Samurai Shodown.[5]
ReferencesEdit
^ "From Rags to Riches: Way of the Warrior to Crash 3". Game Informer 66(October 1998): 18–19. 1998.^ "Way of the Warrior". GamePro (66) (IDG). January 1995. p. 32.^ "Review Crew: Way of the Warrior". Electronic Gaming Monthly (62) (EGM Media, LLC). September 1994. p. 38.^ "ProReview: Way of the Warrior". GamePro (65) (IDG). December 1994. p. 174.^ Gameography: Way of the Warrior, Naughty Dog, Inc. Retrieved July 10, 2014
External linksEdit
Way of the Warrior at MobyGames
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B M COULOMBE an article
A little about me, founder of BMC Museum; B.M.Coulombe
Hello, my name is B.M. Coulombe, I have always been strongly intrigued by the Second World War, more particularly the Nazi Holocaust. In School, I found myself distraught, seeing color in photographs that everyone else saw black and white – looking into a mirror almost, as the facts and figures being set before me jumped into vividly flitting scenes of daily life – I could see the subtle things long consumed ; and understand individual worlds over seen then seemed by none aside me but time and kept alive but behind the eyes of those who’d survived. It was as if I’d been set on the wrong side of the glass in every museum I’d visited, always keeping quiet but wanting to explain, as the monotonous tour or lesson droned on with the same statistical numbers and general statements to shape and compress history into the hour, and thus rendering it meaningless .
I had so long observed how the war, as with all history (and more particularly society’s deemed less desirable parts) was represented in common education. What I observed simply was an incomplete picture, a confusing and disengaged mess of forced memorization and trivial facts learned if only briefly for the passing of a test and in total disregard to the real voices of war and genocide. In short, the relatable aspects, the humanity behind those facts and figures I saw slipping away, becoming lost in the mere few generational divides that separate our learning generation from what to their grandparents, and for some now great grandparents was all too real.
Fast forward a few of years ago and after a few prior of collecting, I found that I had acquired quite a vast (and always growing) collection of artifacts of daily life; nameless portraits and various articles that time had left behind – dusty old things forgotten and shown up without heirs. To many they seemed to be just simple old things, but to me they told their endless stories, each a looking glass through the eyes of different sides of wartime European life, and too the Nazi Holocaust. Then as I am now, an avid scholar and Second World War collector, I kept these things in a massive private collection until I was first inspired to found BMC Museum. Aside my always fascination with the European theatre, it was my seeing of the desperate need for tangible education. What I had observed years earlier and had become so distraught with – that being that we all learn a predetermined assortment of figures and facts but still were so distant from them that we ceased to learn the realism of the past that our ancestors lived and how without history there would have been no future, none of what we presently call our own. Thus was born a motto of sorts, two sentences that describe everything I and my museum stand for. “Remembering the war’s unknown and forgotten. Humanizing the facts and figures.”
The Mission of B.M.C Museum
That said, I strive to bring back a sort of emotional tangibility to learning about the war and Nazi Holocaust. Explaining history through the eerily left ambiance, the silence aloud – the absence that surrounds each remnant of stolen lives, teaching rather that we must not solely listen but let for a moment our daily chatter subside and quite simply see, think, feel something as seemingly insignificant as a left behind bit of tattered clothing or long left nameless portrait; take a moment to truly hear that all-consuming silence, the stillness, the one voice that force could not take. I believe that in that we can truly discover history, taking no more than a moment, even if just to pause and think, to see that the remnants time’s left behind are so much more, that they are in fact each subtle reminders of someone’s everything – entire realities, lives no different than ours completely consumed by the hands of faces all the while beside them – their worlds engulfed by those within their own.
To conclude, B.M.C. Museum strives to ensure the war’s unknowns and forgotten will never become any less than human. To paint in those black and white portraits and thus revive the humanity behind the detachment of generalized figures and facts so often used to define what was once to it’s people just as real as any of we are to another. Entire existences, frighteningly easily wiped from the earth as if never so, lives unlived and simply gone. With B.M.C Museum I can help preserve the subtle reminders of their worlds consumed, and speak the individual stories of stolen voices through the remnants of their lives.
Remembering those things that often sadly all some want to do is forget, for it is an unfortunate truth that our era will see the last of the eyes to witness such atrocity. The last of the voices that bring the all too close to home feeling to history, that almost tangible humanity and accounts of a stolen normalcy not unlike that which we often today take for granted. The faces and voices each one for all unknowns and forgotten, that too would without a heritage of remembrance become in time merely names, then nothing, as so much of even fairly current history does . In fact, the truth of history itself, (and more so it’s darkest chapters) would be gone if not for a new insight – if not for a museum not of statistical information embellished by it’s artifacts of standard fare, but a museum of less common artifacts – pieces of the very fabric of lives, worlds, families never gotten to know posterity, merely embellished by the statistics. And thus is my mission, a mission to teach not merely the facts used to define history in broad generalizations but individual humanities, untold stories of the voiceless through the subtle things they left behind. So that we may be their legacy, their remembrance when no one is left to remember, so that we may know a new sort of history, made up of each intimately human moment once lived, and that we may know we travel each day again over their time worn footsteps, but never end up in their shoes.