From from the beginning, we haven't quite understood Spider-Man: Friend or Foe. Is it a movie game? Is it standalone? Is it for kids, or can adults play too? We got in contact with producer Jamie Bafus to help us understand the rationale behind the new series.

A lot of people were confused when they saw Spider-Man: Friend or Foe announced so soon after Spider-Man 3. Can you tell us a little bit about the inception of the game, the vision for setting it apart from the movie games?

The previous movie-based Spider-Man games were rated "T" which left out the huge base of younger Spider-Man fans. With Spider-Man: Friend or Foe we set out to make a Spider-Man game that was not only suitable for kids but also fun for gamers of all ages.

When we were thinking of how to best create a family-friendly Spider-Man game, we liked the idea of combining all three movies together in one game, but we also had a concept for a team-up game which would have made it really difficult to follow the Spider-Man movie plots. So, we decided to pay homage to the movies in, what we think, are really fun ways and create something unique with the team-up aspect that we feel fans of all ages will want to play.

It's not too long into our interview with Tomonobu Itagaki before he issues us with an impromptu challenge. "If there's a game out there that is more beautiful, more interactive, faster and has better action than this game, please let me know." The Team Ninja boss has a train of thought that truly exemplifies the bluntest characteristics of that phrase. It's an unstoppable machine barreling down a track without diversion and without apologies -- because it's a train.

We conducted (oh dear) an interview with the outspoken developer at the Team Ninja offices shortly after the Tokyo Game Show, focusing on the aforementioned title, Ninja Gaiden: Dragon Sword. After the break, you'll find Itagaki's concise thoughts on Dragon Sequels, dual-screen slashing, how the competition stacks up and why multiplayer Ninja Gaiden might just piss you off.

Oh, Jade. You surely are Ubisoft's finest asset, with your playful and inquisitive eyes inviting us to relive the many adventures we had after our first and far too brief meeting. If only we could be reunited and take some more pictures of our escapades. If only mere images could capture your boldness, allure and glistening green lips! Where is Beyond Good & Evil 2?

Putting our reminiscing aside, we can talk about the other Jade at Ubisoft -- Jade Raymond, producer of big budget bump-off epic, Assassin's Creed. More specifically, we can talk about us talking to her about sandboxes, flower boxes, pushy crowds and Star Trek's Holodeck in a brief Tokyo Game Show chat. Find it after the break.

We had the opportunity to catch up with the father of Loco Roco, Tsutomu Kouno, and ask him a few questions about his newly released sequel, Loco Roco Cocoreccho. The interview was conducted along with Spencer Yip from Siliconera. We ask him what his inspirations were, why he decided to develop an "interactive screensaver" and whether there will be any downloadable content in the future. Find the full interview after the break.

What was your inspiration for the Loco Roco franchise?
I carry a PDA around with me wherever I go and I draw out any ideas that I have. Several years ago I found myself drawing Loco Rocos on the train in various forms. Around that time the PSP had first been announced so I started to think how I could turn my little characters into a game. I thought to myself: "there must be a way to have the shoulder buttons of the PSP control the movement."

We sat down at the Gaia Industries launch party of Street Trace for Xbox Live Arcade a few weeks ago in their Downtown NYC offices. The Xbox Live-enabled title is one of the most ambitious for the XBLA service, focusing primarily on online racing battles. As revealed in our interview Street Trace has come a long way, inspired by Tron, moving on to a PSP concept, and then finally ending up on XBLA.

Where did the concept for Street Trace come from?
The concept came from a game I actually built twenty years ago. Tron just came out and I was a kid, just about eleven or twelve and I made a little Tron-based game on the Zedex Spectrum, a really old machine.

It certainly sounds old.
That was the initial thing, and made it 3D about five years ago. And although it came from this initial idea of the trails, about three years ago we made this prototype. We changed it from being futuristic to grungy, and changed a lot of the stuff around. A lot of our inspirations are coming from games like Twisted Metal, Tony Hawk, SSX, the whole hoverboard and skating genre that we love. It's a mix of all those things.

After we played the excellent pre-alpha DS version of N+, we were asked by the game's producer, David Geudelekian, if we wanted to meet Metanet, the creators of the original N. It's sort of a strange feeling, to play a game and then be escorted directly to the people responsible for it, by another person responsible for it. Or, at least, it would have been, had Metanet's Mare Sheppard and Raigan Burns, as well as David, not been so genial. Metanet was at PAX promoting the Xbox Live Arcade N+, which they are developing along with Slick Entertainment.

Metanet's N+ booth, hidden behind Atari's in the corner of the exhibition hall, was as indie as the game, featuring a custom-built 360 display unit accessible only after a series of wall jumps and guarded by automated machine gun turrets; Mare and Raigan took a break from challenging convention-goers to multiplayer N+ (victors got t-shirts) to take part in an impromptu chat about the new multiplatform adaptation of their Independent Games Festival Audience Award-winning Flash game, its platforming influences, and even about their mysterious new game, Robotology. The interview continued via email afterward, when we weren't in one of the world's loudest places.

Ubisoft's Clint Hocking made a special trip to PAX this year to show off his latest project: FarCry 2. But this isn't your run-of-the-mill FPS sequel, as our liveblog of the demo details, but an ambitious open-world shooter set in the exotic locale of the African Savannah. We were lucky to grab a couple minutes of Clint's time following the demo for an interview where we asked about the FarCry brand, the possibility of console ports, and how long they think this open-ended game will take to finish.

Why use the FarCry brand to make this game?

Well, I think that's kind of a business question for Ubisoft but my answer to that is, Ubisoft started with FarCry, published it and obviously started making the console games. The same time they were doing that – keep in mind I started conception before FarCry Instincts even shipped. They were in production when I started conception. And Ubisoft knew at that time that they wanted a top tier PC sequel. At the same time they knew about FarCry; at that time Boiling Point was announced; we didn't know about Just Cause; they knew they were going to make at least two sequels on the console; LOST was on TV. Literally they said, "We're worried that we're going to dry up this brand."

We never thought we'd have a canonical God of War game on the cell phone but that's exactly what happened. We asked Phil Cohen, producer and designer of God of War: Betrayal, what it was like to squeeze such a huge franchise into such a limited platform.

How hard is it to get a high-paced action game onto a mobile device like a phone with limited memory and processing power?

"Hard" is a relative term. Every project is hard in its own way. For God of War, that had to do with getting all of Kratos' look, animations, combat and abilities that everyone expects to see, the variety of enemies and their deaths, and the isometric look to the environment. It really comes down to the tools, and our developer, Javaground, has the best mobile toolset that we've ever used. Of course, with every project you try to push certain perceived limits of the handsets and try to figure a way around them ... be it God of War or a casual game like Spider-Man 3 Puzzle. That's always a hard, but fun part of the development process.

What struggles did you and your development team encounter upon creating the visual aspect of this title?

With just a few hundred kb and much less on most handsets, we spent a lot of time coming up with a single tileset and palette swapping scheme that was diverse enough to portray multiple environments and lived up to the SCEA God of War team's high standards. That was probably the hardest part. Our Art Director, Nathan Leland, did a fantastic job.

How long was the development process for God of War: Betrayal?

I wrote the initial design document between September and October 2005 when I first got hired on, then it sat and stewed for a year before revisiting it in August 2006, the same month development started. The versions for high-end handsets were completed 9 months later in April. We wrapped up the final versions for low-end handset over the next 2 months, completing the 1st 6 handsets in June 2007. After that, the porting team took the game to over 200 handsets in a matter of weeks.

One of the many games being shown off at this year's Penny Arcade Expo was the expansion to one of the biggest RPGs from last year, Neverwinter Nights 2: Mask of the Betrayer. Obsidian's Nathan Davis, the Assistant Producer for the title, was on hand to tell us a bit about the highly anticipated expansion. Read on to see what he says on how they've fixed some of the lingering problems from NWN2 and details on some the cool stuff they've added.

Early on one of the major complaints with Neverwinter Nights 2 was with the camera system. Have you guys worked on making it better in the expansion?

We have improved our camera system quite a bit. So we have two new modes now including a character camera mode that is similar to the one in World of Warcraft and also a new strategy camera mode that is more reminiscent of what you would see in Baldur's Gate or Icewind Dale. The character mode is great for exploration and general activities, while the strategy mode is great for big combat scenarios where you want to have a good feeling for where all your teammates and enemies are.

One of the other problems with Neverwinter Nights 2 initially, was poor system performance. It was helped a bit by later patches, but you still needed a fairly powerful machine to run it. Have you been able to optimize this at all for the expansion?

Yeah, we've done a lot to improve that, we brought in programmers specifically work on performance issues and to fine tune everything. So we've gotten a better and more responsive game engine now. We're really trying to reach for a much improved graphical look to the game without creating a heavy draw on systems. We've tested the expansion on a number of different systems and it's running reasonably well. In general I think it's running better than the original NWN2.

At last weekend's PAX 07, one of the biggest titles Sony was showing was the latest build of Uncharted: Drake's Fortune. We were eager to get our hands on the action platformer to see if any of those problems from E3 had been fixed, but before that we were able to talk to the Line Producer for Uncharted, Sam Thompson about his game. He talks about tweaks and fixes to the game, technical details surrounding development and whether or not they'll be supporting Home. Check out the interview below and come back in a bit for hands-on report as well.

Can you go into the tweaks that have gone into this Uncharted demo since it's showing at E3 last month?

Absolutely, one of the things we did and we looked at very closely at E3 and after the show was the targeting system. And believe it or not the targeting system is still an evolutionary process and probably going to continue until we release the game. And one of the things we are doing to focus on this is bringing in test groups and getting a lot of peoples hands on the game and listening to what they have to say about it. The development team has taken an active roll as well, into kind of tuning the system. A lot of the time, artists won't have time to play the game until they're done with their contribution to the product. But we've really been trying to get everybody's feedback as often as possible because when you're dealing with a game like this it is an evolutionary process and it takes a lot of tuning to get the targeting system to where it needs to be.

The second thing we've done is that we noticed during E3 that there was actually problems with the way the enemies were animating and people were getting a little kind of frustrated. So we decided to change the way the enemies were reacting so there is no invulnerability state when they grab at their knees or flinch after taking damage. At E3, there was a two second window where they wouldn't take any damage, so it gave people the impression that you had to pump 60 bullets into the guy to kill him.

Earlier we posted some choice moments from our interview with BioShock's Lead Designer Ken Levine. Below is the full interview. There's more depth on the tech issues Irrational experienced, Levine's ability (or lack of) to harvest Little Sisters, their experience with the Unreal Engine 3 and an awkward moment about BioShock 2.

OK, so what did you want to talk about today in regards to these PC issues on BioShock?

Given the internets and what they are -- with their tubes and all -- I want to sort of talk about the concerns people have. We take the concerns people have very seriously. There's been some concern like, "What happens if it's three years from now, or ten years from now, when I want to play this game. And, you know, Irrational Games has been hit by a meteor?" We will unset the online activation at some point in the future -- we're not talking about when. If people have concern about that they shouldn't be worried about that. This activation is for the early period of the game when it's really hot and there are people really trying to find ways to play the game without buying it. Of course, there are a lot of people who are legitimately trying to play it. We're not trying to be Draconian, we're trying to find a balance.

Now, let's see if we can put this in the simplest terms, this screen thing has taken on a whole life of its own. The game was designed for widescreen. Instead of doing the normal thing and just chopping off the sides for full screen, you actually added more to the top and bottom so full screen people wouldn't lose anything from the sides -- a very nice thing to do actually. Thus, infuriating the PC owners and almost anyone else with widescreen because how dare you not give them more to see like they're used to. So, now this patch will add in the stuff to the side of the full screen. So, in essence, to use a visual term, this patch just zooms the camera out a little bit to appease PC widescreen owners to give the option of increased field of vision?

We started the game widescreen. We primarily designed it for widescreen. Then we had to ask, "How do we make it full screen." Your options are to put black bars at the top and bottom, keep same width perspective. Or you allow to ... add pixels to the top and the bottom if you can afford the frame rate -- we could. So the call was made to show those few more pixels. Now this is one of those things when you're making a game -- like I was making a game -- honestly, if somebody came from the future and told me this was an issue I would have laughed at them. I would have said, "Are you kidding me?" But that's what's interesting about gamers, they're an interesting and diverse group. Now that I know that there's this huge contingent out there that actually really cares about this, I wouldn't have laughed at them because they're stupid, I would have laughed because I couldn't have imagined that people are passionate about this. And now that we know they're passionate, we have a responsibility to respond to those people and give them what they want. It's their game, they paid money for it, they should be able to play in the way they want to play. We may disagree with them aesthetically, but sure, we'll make a patch and make if work for them.

We enjoy hearing the opinions of GameCritics.com and N'Gai Croal is well-respected around these parts, so when the two come together, such as in this new interview, we think it makes for a darn fine Saturday read. The topics are of the hot-button variety you'd expect (art, Ebert, etc.), but we thought that some of their takes on the issues were more than compelling enough to be worth your time.

Consider, for example, this chin-stroker from N'Gai: "I thought to myself, hell, Lester Bangs couldn't even be the Lester Bangs of music today, let alone videogames. The critic is going the way of the dinosaur and the dodo bird; he or she is an anachronism in an age where anyone can publish an opinion." Feel that tingling? That's insight. We hope this story will be a jumping off point for some good discussions today, the debate club nerd in us still longs for a little intellectual interplay when Saturday rolls around. So, let's discuss.

While we might not be impressed with his love for Screech, we can certainly agree with his love for The Last Starfighter. Who hasn't dreamed, at least once, that the game they're playing is secretly an alien training device? Maybe that's just us.

Karina Longworth at Spout scored an interview with King of Kong director Seth Gordon, and he gives her some interesting facts ... namely what he'd take on a desert island with him. A fairly decent list except for the aforementioned Saved by the Bell. Did he think she said torturous desert island?

Anyhow, check out the article and see how Gordon responds to Roger Ebert's now famous statement about video games as art. One choice quote, "I think it's a faulty distinction to divide games into sport vs. art. There's a huge spectrum of gaming and playing styles that ranges from the 'single narrative, single outcome' type of game to the 'every game is different' type of game and in that sense games are part sport, part art, and part puzzle."

Amen.

Whilst at the Develop Conference last month we, unfortunately, managed to miss our meeting with NCSoft's Richard Garriott. Thankfully we have still been able to get our questions answered via email. The majority of the following are responses by Brian Clayton, Executive Producer at NCSoft, who was directly involved with the Sony partnership. Richard Garriott answers the final two questions on MMO design.

Why choose to develop exclusively for Sony in the console market?

Brian: Sony has shown a commitment to developing robust console hardware with strong longevity which is crucial to any viable MMO console strategy. In addition, Sony understands that our MMO business model is different than the traditional console model and is giving us the flexibility to develop and publish AAA MMOs. We feel that together our strategic partnership will offer console gamers an experience that can't be matched anywhere else.