A computing platform or digital platform is the environment in which a piece of software is executed. It may be the hardware or the operating system a web browser and associated application programming interfaces, or other underlying software, as long as the program code is executed with it. Computing platforms have different abstraction levels, including a computer architecture, an OS, or runtime libraries. A computing platform is the stage. A platform can be seen both as a constraint on the software development process, in that different platforms provide different functionality and restrictions. For example, an OS may be a platform that abstracts the underlying differences in hardware and provides a generic command for saving files or accessing the network. Platforms may include: Hardware alone, in the case of small embedded systems. Embedded systems can access hardware directly, without an OS. A browser in the case of web-based software; the browser itself runs on a hardware+OS platform, but this is not relevant to software running within the browser.
An application, such as a spreadsheet or word processor, which hosts software written in an application-specific scripting language, such as an Excel macro. This can be extended to writing fully-fledged applications with the Microsoft Office suite as a platform. Software frameworks. Cloud computing and Platform as a Service. Extending the idea of a software framework, these allow application developers to build software out of components that are hosted not by the developer, but by the provider, with internet communication linking them together; the social networking sites Twitter and Facebook are considered development platforms. A virtual machine such as the Java virtual machine or. NET CLR. Applications are compiled into a format similar to machine code, known as bytecode, executed by the VM. A virtualized version of a complete system, including virtualized hardware, OS, storage; these allow, for instance, a typical Windows program to run on. Some architectures have multiple layers, with each layer acting as a platform to the one above it.
In general, a component only has to be adapted to the layer beneath it. For instance, a Java program has to be written to use the Java virtual machine and associated libraries as a platform but does not have to be adapted to run for the Windows, Linux or Macintosh OS platforms. However, the JVM, the layer beneath the application, does have to be built separately for each OS. AmigaOS, AmigaOS 4 FreeBSD, NetBSD, OpenBSD IBM i Linux Microsoft Windows OpenVMS Classic Mac OS macOS OS/2 Solaris Tru64 UNIX VM QNX z/OS Android Bada BlackBerry OS Firefox OS iOS Embedded Linux Palm OS Symbian Tizen WebOS LuneOS Windows Mobile Windows Phone Binary Runtime Environment for Wireless Cocoa Cocoa Touch Common Language Infrastructure Mono. NET Framework Silverlight Flash AIR GNU Java platform Java ME Java SE Java EE JavaFX JavaFX Mobile LiveCode Microsoft XNA Mozilla Prism, XUL and XULRunner Open Web Platform Oracle Database Qt SAP NetWeaver Shockwave Smartface Universal Windows Platform Windows Runtime Vexi Ordered from more common types to less common types: Commodity computing platforms Wintel, that is, Intel x86 or compatible personal computer hardware with Windows operating system Macintosh, custom Apple Inc. hardware and Classic Mac OS and macOS operating systems 68k-based PowerPC-based, now migrated to x86 ARM architecture based mobile devices iPhone smartphones and iPad tablet computers devices running iOS from Apple Gumstix or Raspberry Pi full function miniature computers with Linux Newton devices running the Newton OS from Apple x86 with Unix-like systems such as Linux or BSD variants CP/M computers based on the S-100 bus, maybe the earliest microcomputer platform Video game consoles, any variety 3DO Interactive Multiplayer, licensed to manufacturers Apple Pippin, a multimedia player platform for video game console development RISC processor based machines running Unix variants SPARC architecture computers running Solaris or illumos operating systems DEC Alpha cluster running OpenVMS or Tru64 UNIX Midrange computers with their custom operating systems, such as IBM OS/400 Mainframe computers with their custom operating systems, such as IBM z/OS Supercomputer architectures Cross-platform Platform virtualization Third platform Ryan Sarver: What is a platform
Next Generation (magazine)
Next Generation was a video game magazine, published by Imagine Media. It was shared editorial with the UK's Edge magazine. Next Generation ran from January 1995 until January 2002, it was edited by Neil West. Other editors included Chris Charla, Tom Russo, Blake Fischer. Next Generation covered the 32-bit consoles including 3DO, Atari Jaguar, the then-still unreleased Sony Playstation and Sega Saturn. Unlike competitors GamePro and Electronic Gaming Monthly, the magazine was directed towards a different readership by focusing on the industry itself rather than individual games; the magazine was first published by GP Publications up until May 1995 when the publisher was acquired by Imagine Media. In September 1999, Next Generation was redesigned, its cover name shortened to NextGen; this would start. A year in September 2000, the magazine's width was increased from its standard 8 inches to 9 inches, however this wider format lasted less than a year. Subscribers of Next-Gen Magazine received issues of PlayStation Magazine when the magazine's life-cycle was terminated.
The brand was resurrected in 2005 by Future Publishing USA as an industry-led website, Next-Gen.biz. It carries much the same articles and editorial as the print magazine, in fact reprints many articles from Edge, the UK-based sister magazine to Next-Gen. In July 2008, Next-Gen.biz was rebranded as Edge-Online.com. Next Generation's content didn't focus on screenshots and cheat codes. Instead the content was more focused on game development from an artistic perspective. Interviews with people in the game industry featured questions about gaming in general rather than about the details of the latest game or game system they were working on. Next Generation was first published prior to the North American launch of the Sega Saturn and Sony PlayStation, much of the early content was in anticipation of those consoles. Apart from the regular columns, the magazine did not use bylines; the editors explained that they felt the magazine's entire staff should share the credit or responsibility for each article and review those written by individuals.
The review ranking system was based on a number of stars that ranked games based on their merits overall compared to what games were out there. Next Generation had a few editorial sections like "The Way Games Ought To Be" that would attempt to provide constructive criticism on standard practices in the video game industry; the magazine's construction and design was decidedly simple and clean, its back cover having no advertising on it a departure from most other gaming magazines. The first several years of Next Generation had a heavy matte laminated finish cover stock, unlike the glossy paper covers of its competitors; the magazine moved away from this cover style in early 1999, only for it to return again in late 2000. Complete collection of 85 front-cover images Next Generation Wayback link for Next Generation Online Wayback link for Imagine Publishing
Ghosts 'n Goblins (video game)
Ghosts'n Goblins is a side-scrolling platform game developed by Capcom and released in arcades in 1985. It has since been ported to numerous home platforms, it is the first game in the Goblins franchise. It was directed by Tokuro Fujiwara. Ghosts'n Goblins is a platform game where the player controls a knight, named Sir Arthur, who must defeat zombies, demons, cyclops and other monsters in order to rescue Princess Prin Prin, kidnapped by Satan, king of Demon World. Along the way the player can pick up new weapons and extra suits of armor that can help in this task; the player can only be hit twice before losing a life. If the player loses a life, they are returned to the start of the level, or the halfway point if they have managed to get that far. Furthermore, each life can only last a certain length of time. After defeating the final boss, the player must replay the entire game on a higher difficulty level to reach the genuine final battle. Ghosts'n Goblins was ported to Amiga, Amstrad CPC, Atari ST, Commodore 64, Commodore 16, NES, Game Boy Color, IBM PC compatibles, MSX, ZX Spectrum.
The Commodore 64 version, released in 1986, contains music by Mark Cooksey, which borrows from Frédéric Chopin's Prelude No. 20. Due to the limited resources on the Commodore 64, it was somewhat different from the arcade version as it only features certain levels; the player starts the game with fewer lives. The version for Commodore 16/116 and Commodore Plus/4 released in 1986 by Elite Systems, was more limited than the C64 version, it was written to work on a Commodore 16, which had only 16 KB of RAM. Therefore, this version features no music. In addition, the remaining two levels and the gameplay are simplified. A version for the Amiga was released in 1990. While the hardware of the Amiga allowed an perfect conversion of the arcade game, it failed to emulate the success of the Commodore 64 version; the player starts the game with six lives, no music plays unless the Amiga was equipped with at least 1 megabyte of RAM. The standard configuration of an Amiga 500 had 512 kilobytes; the Famicom version was released on June 13, 1986, was the first Famicom game to utilize a 128 KB cartridge.
The North American NES version was released in November 1, 1986. The Famicom/NES version was published by Capcom; the Famicom / NES ports served as the basis for the Game Boy Color version, which utilized passwords to allow the player to access certain levels. Computer Gaming World called Ghosts'n Goblins "an excellent example of what the can do... while hardly groundbreaking, represents the kind of game that made Nintendo famous". Ghosts'n Goblins was runner-up in the category of Arcade-Style Game of the Year at the Golden Joystick Awards; the NES version of Ghosts'n Goblins was rated the 129th best game made on a Nintendo system in Nintendo Power's Top 200 Games list. It was a best seller for the NES, selling 1.64 million units. Ghosts'n Goblins is cited as an example of one of the most difficult games of all time to beat, due to its extreme level of difficulty and the fact the player must play through the game twice in order to beat the game, without any way to save progress. Ghosts'n Goblins was followed by a series of sequels and spin-offs becoming Capcom's 8th best-selling game franchise, selling over 4.4 million units.
Its sequels include Ghouls'n Ghosts, Super Ghouls'n Ghosts, Ultimate Ghosts'n Goblins in addition to producing the Gargoyle's Quest and Maximo spin-off series. Though originating as an arcade title, the franchise has been featured on a variety of PC and video game consoles with the latest entries in the series, Ghosts'n Goblins: Gold Knights, released on the iOS. Additionally, the franchise makes cameo appearances — the character of Arthur in particular — in other Capcom titles, the latest of which being Marvel vs. Capcom: Infinite; the NES version was re-released for download for Nintendo's Virtual Console in North America on December 10, 2007 and October 25, 2012 and in the PAL region on October 31, 2008 and January 3, 2013 while the Wii U version was released in both regions on May 30, 2013. The arcade version was released on the Wii's Virtual Console Arcade in Japan on November 16, 2010, the PAL region on January 7, 2011 and in North America on January 10, 2011; the original arcade version of the game was included in the compilation Capcom Generations Vol.2: Chronicles of Arthur for the PlayStation and Sega Saturn, which contained Ghouls'n Ghosts and Super Ghouls'n Ghosts.
The three games were collected as part of Capcom Classics Collection. The game was featured in the compilation Capcom Arcade Cabinet for the PlayStation 3 and Xbox 360; the Game Boy version was included in the Classic NES series for the Game Boy Advance, but only in Japan. Ghosts'n Goblins at the Killer List of Videogames Ghosts'n Goblins at Arcade History Ghosts'n Goblins at Lemon 64 Ghosts'n Goblins at Atari Mania Ghosts'n Goblins at the Amiga Hall of Light Ghosts'n Goblins at Curlie
A boomerang is a thrown tool constructed as a flat airfoil, designed to spin about an axis perpendicular to the direction of its flight. A returning boomerang is designed to return to the thrower, it is well known as a weapon used by Indigenous Australians for hunting. Boomerangs have been used for hunting, as well as sport and entertainment, they are thought of as an Australian icon, come in various shapes and sizes. A boomerang is a throwing stick with certain aerodynamic properties, traditionally made of wood but boomerang-like devices have been made from bones. Modern boomerangs used for sport may be made from plywood, plastics such as ABS, phenolic paper, or carbon fibre-reinforced plastics. Boomerangs come in many shapes and sizes depending on their geographic or tribal origins and intended function. Many people think of a boomerang as the Australian type, although today there are many types of more usable boomerangs, such as the cross-stick, the pinwheel, the tumble-stick, the Boomabird and many other less common types.
An important distinction should be made between returning non-returning boomerangs. Returning boomerangs are examples of the earliest heavier-than-air human-made flight. A returning boomerang has two or more airfoil wings arranged so that the spinning creates unbalanced aerodynamic forces that curve its path so that it travels in an ellipse, returning to its point of origin when thrown correctly. While a throwing stick can be shaped overall like a returning boomerang, it is designed to travel as straight as possible so that it can be aimed and thrown with great force to bring down the game, its surfaces are therefore symmetrical and not with the aerofoils that give the returning boomerang its characteristic curved flight. The most recognisable type of the boomerang is the L-shaped returning boomerang. Returning boomerangs were used to decoy birds of prey, thrown above the long grass to frighten game birds into flight and into waiting nets. Modern returning boomerangs can be of various sizes; the origin of the term is certain, but many researchers have different theories on how the word entered into the English vocabulary.
One source asserts that the term entered the language in 1827, adapted from an extinct Aboriginal language of New South Wales, but mentions a variant, wo-mur-rang, which it dates to 1798. The boomerang was first encountered by western people at Farm Cove, Australia, in December 1804, when a weapon was witnessed during a tribal skirmish:... the white spectators were justly astonished at the dexterity and incredible force with which a bent, edged waddy resembling a Turkish scimytar, was thrown by Bungary, a native distinguished by his remarkable courtesy. The weapon, thrown at 20 or 30 yards distance, twirled round in the air with astonishing velocity, alighting on the right arm of one of his opponents rebounded to a distance not less than 70 or 80 yards, leaving a horrible contusion behind, exciting universal admiration. David Collins listed "Wo-mur-rāng" as one of eight aboriginal "Names of clubs" in 1798. A 1790 anonymous manuscript on aboriginal language of New South Wales reported "Boo-mer-rit" as "the Scimiter".
In 1822, it was described in detail and recorded as a "bou-mar-rang" in the language of the Turuwal people of the Georges River near Port Jackson. The Turawal used other words for their hunting sticks but used "boomerang" to refer to a returning throw-stick. Boomerangs were used as hunting weapons, percussive musical instruments, battle clubs, fire-starters, decoys for hunting waterfowl, as recreational play toys; the smallest boomerang may be less than 10 centimetres from tip to tip, the largest over 180 cm in length. Tribal boomerangs may be painted with designs meaningful to their makers. Most boomerangs seen today are of the tourist or competition sort, are invariably of the returning type. Depictions of boomerangs being thrown at animals, such as kangaroos, appear in some of the oldest rock art in the world, the Indigenous Australian rock art of the Kimberly region, up to 50,000 years old. Stencils and paintings of boomerangs appear in the rock art of West Papua, including on Bird's Head Peninsula and Kaimana dating to the Last Glacial Maximum, when lower sea levels led to cultural continuity between Papua and Arnhem Land in Northern Australia.
The oldest surviving Australian Aboriginal boomerangs come from a cache found in a peat bog in the Wyrie Swamp of South Australia and date to 10,000 BC. Although traditionally thought of as Australian, boomerangs have been found in ancient Europe and North America. There is evidence of the use of non-returning boomerangs by the Native Americans of California and Arizona, inhabitants of southern India for killing birds and rabbits; some boomerangs were not thrown at all, but were used in hand to hand combat by Indigenous Australians. Ancient Egyptian examples, have been recovered, experiments have shown that they functioned as returning boomerangs. Hunting sticks discovered in Europe seem to have formed part of the Stone Age arsenal of weapons. One boomerang, discovered in Obłazowa Cave in the Carpathian Mountains in Poland was made of mammoth's tusk and is believed, based on AMS dating of objects found with it, to be about 30,000 years old. In the Netherlands, boomerangs have been found in Vlaardingen and Velsen from the first century BC.
King Tutankhamun, the famous Pharaoh of a
Future US, Inc. is an American media corporation specializing in targeted magazines and websites in the video games and technology markets. Future US is headquartered in New York City with small offices in Minneapolis. Future US is owned by parent company, Future plc, a specialist media company based in the United Kingdom, its magazines and websites include: PC Gamer Official Xbox Magazine TechRadar Maximum PC Electronic Musician Guitar Player Guitar World Multichannel News Broadcasting & Cable TWICE Founded in 1985 in the UK by Chris Anderson Future Publishing was the fastest growing UK publisher of the nineties. From a start in computer and video games magazines, Future diversified into sports, entertainment and general interest magazines becoming the UK's fourth largest publisher. Anderson wanted to expand Future into the United States, bought struggling Greensboro video game magazine publisher GP Publications, publisher of Game Players magazine in 1993; the company launched a number of titles including PC Gamer, relocated from North Carolina to the Bay area, occupying various properties in Burlingame and South San Francisco.
When Anderson sold Future to Pearson PLC he retained GP, renamed Imagine Media, Inc. in June 1995, operated it as his sole company for a few years. However, when Future bought itself out from Pearson in an MBO, Anderson came back on board, when Future floated on the stock exchange in 1999 Imagine's print magazines were merged with Future Publishing to form the Future Network PLC, a company floated on the London Stock Exchange; the on-line properties, including IGN, were put into a separate company snowball.com. Buoyed by the Internet economy and the success of Business 2.0 in the US, Future rode the boom of the late nineties. During this period the company won the exclusive worldwide rights to produce the official magazine for Microsoft's Xbox video game console and cemented its position as a leader in the games market. In the spring of 2001, buffeted by economic factors and the market downturn, Future Network USA went through a strategic reset of its business that included the closure of some titles and Internet operations and the sale of Business 2.0 to AOL/Time Warner.
By early fall 2002, Imagine Media had refocused on its core business, publishing five games and technology magazines: Official Xbox Magazine, PC Gamer, PSM: 100% Independent PlayStation 2 Magazine, Maximum PC and MacAddict. It was that Imagine became Future Network USA, adopting the name of its parent company, Future plc. Future used this strong portfolio and its strength in creating media for young men as a platform for growth into the action sports and music markets. In December 2005, after three years of organic growth and strategic acquisition, Future Network USA became Future US, to reflect its diversification into markets beyond games and technology. In 2005, Future US made its first venture into the women's market with the launch of Scrapbook Answers and with the addition of Women's Health & Fitness and Decorating Spaces, to its portfolio of titles with the Future plc acquisition of Highbury House plc. On September 19, 2007, Nintendo and Future announced that Future US would obtain the publishing rights to Nintendo Power magazine.
This came into effect with the creation of issue #222. On October 1, 2007, it was announced that Future US would be making PlayStation: The Official Magazine, which ended up replacing PSM and first hit newsstands in November 2007. With this launch, Future US is the publisher of the official magazines of all three major console manufacturers in the US. In 2012, NewBay Media bought the Music division of Future US. In 2018, Future reacquired majority of the assets sold to NewBay by buying NewBay outright for US13.8 million. Future used this acquisition to expand its US footprint in B2B segment. CD-ROM Today Daily Radar Games Radar Decorating Spaces Do! Future Music Future Snowboarding Magazine Game Players Guitar One Guitar World Acoustic Guitar World Legends Guitar World's Bass Guitar Maximum Linux Men's Edge Mobile PC netPOWER Next Generation Magazine Nintendo Power Official Dreamcast Magazine PC Accelerator PlayStation: The Official Magazine Revolution Scrapbook Answers Skateboard Trade News Snowboard Trade News T3 The Net Total Movie Women's Health & Fitness Official website
Video game programmer
A game programmer is a software engineer, programmer, or computer scientist who develops codebases for video games or related software, such as game development tools. Game programming has many specialized disciplines, all of which fall under the umbrella term of "game programmer". A game programmer should not be confused with a game designer. In the early days of video games, a game programmer took on the job of a designer and artist; this was because the abilities of early computers were so limited that having specialized personnel for each function was unnecessary. Game concepts were light and games were only meant to be played for a few minutes at a time, but more art content and variations in gameplay were constrained by computers' limited power; as specialized arcade hardware and home systems became more powerful, game developers could develop deeper storylines and could include such features as high-resolution and full color graphics, advanced artificial intelligence and digital sound.
Technology has advanced to such a great degree that contemporary games boast 3D graphics and full motion video using assets developed by professional graphic artists. Nowadays, the derogatory term "programmer art" has come to imply the kind of bright colors and blocky design that were typical of early video games; the desire for adding more depth and assets to games necessitated a division of labor. Art production was relegated to full-time artists. Next game programming became a separate discipline from game design. Now, only some games, such as the puzzle game Bejeweled, are simple enough to require just one full-time programmer. Despite this division, most game developers have some say in the final design of contemporary games. A contemporary video game may include advanced physics, artificial intelligence, 3D graphics, digitised sound, an original musical score, complex strategy and may use several input devices and may be playable against other people via the Internet or over a LAN; each aspect of the game can consume all of one programmer's time and, in many cases, several programmers.
Some programmers may specialize in one area of game programming, but many are familiar with several aspects. The number of programmers needed for each feature depends somewhat on programmers' skills, but are dictated by the type of game being developed. Game engine programmers create the base engine of the game, including the simulated physics and graphics disciplines. Video games use existing game engines, either commercial, open source or free, they are customized for a particular game, these programmers handle these modifications. A game's physics programmer is dedicated to developing the physics. A game will only simulate a few aspects of real-world physics. For example, a space game may need simulated gravity, but would not have any need for simulating water viscosity. Since processing cycles are always at a premium, physics programmers may employ "shortcuts" that are computationally inexpensive, but look and act "good enough" for the game in question. In other cases, unrealistic physics are employed to allow easier gameplay or for dramatic effect.
Sometimes, a specific subset of situations is specified and the physical outcome of such situations are stored in a record of some sort and are never computed at runtime at all. Some physics programmers may delve into the difficult tasks of inverse kinematics and other motions attributed to game characters, but these motions are assigned via motion capture libraries so as not to overload the CPU with complex calculations. For a role-playing game such as World of Warcraft, only one physics programmer may be needed. For a complex combat game such as Battlefield 1942, teams of several physics programmers may be required; this title belonged to a programmer who developed specialized blitter algorithms and clever optimizations for 2D graphics. Today, however, it is exclusively applied to programmers who specialize in developing and modifying complex 3D graphic renderers; some 2D graphics skills have just become useful again, for developing games for the new generation of cell phones and handheld game consoles.
A 3D graphics programmer must have a firm grasp of advanced mathematical concepts such as vector and matrix math and linear algebra. Skilled programmers specializing in this area of game development can demand high wages and are a scarce commodity, their skills can be used for video games on any platform. An AI programmer develops the logic of time to simulate intelligence in opponents, it has evolved into a specialized discipline, as these tasks used to be implemented by programmers who specialized in other areas. An AI programmer may program pathfinding and enemy tactic systems; this is one of the most challenging aspects of game programming and its sophistication is developing rapidly. Contemporary games dedicate 10 to 20 percent of their programming staff to AI; some games, such as strategy games like Civilization III or role-playing video games such as The Elder Scrolls IV: Oblivion, use AI while others, such as puzzle games, use it sparingly or not at all. Many game developers have created entire languages that can be used to program their own AI for games via scripts.
These languages are less technical than the language used to implement the game, will be used by the game or level designers to implement the world of the game. Many studios make their games' scripting available to players
Tomba! 2: The Evil Swine Return
Tomba! 2: The Evil Swine Return is a platform game developed by Whoopee Camp and published by Sony Computer Entertainment for the PlayStation. The game was released in Japan in October 1999 and worldwide in 2000, re-released in Japan in September 2011, in Europe in November 2012, in North America in November 2015; the game is a sequel to Tomba! and centers on the exploits of a pink-haired feral child named Tomba as he attempts to rescue his girlfriend Tabby from a race of anthropomorphic and antagonistic pigs. The game was received positively by critics, with particular praise going to the visuals and varied objective-based gameplay, with more mixed reception directed toward the audio. Whoopee Camp disbanded following the game's lackluster commercial performance. Tomba! 2: The Evil Swine Return is a side-scrolling platform game in which the player controls the titular character Tomba. Tomba! 2 is displayed in a full three-dimensional perspective in which movement is performed on predetermined linear paths.
Whenever Tomba reaches a point where additional paths intersect with his current one, a set of flashing arrows appear above his head. At that point, Tomba can move in any direction; some areas in the game enable the player to explore them in a top-down view, allowing Tomba to move around freely. Along with the ability to jump, Tomba can attack enemy characters by leaping onto their back, biting into them and tossing them in a straightforward trajectory. Tomba can increase the variety in his offensive measures by obtaining weapons such as flails and mallets. Throughout the game, different suits that can augment Tomba's abilities or protect him can be obtained. For example, the flying squirrel suit allows Tomba to glide long distances while the pig suit allows Tomba to communicate with friendly pigs. To reduce backtracking, magical feathers scattered throughout the game can be used to transport Tomba to any area, visited. Progress in the game is driven by the completion of a large number of "events", which are initiated by Tomba interacting with a character or environmental element and being given a task to accomplish or an obstacle to overcome.
Such events may consist of finding a lost item, rescuing a stranded character or clearing a blockade in the imminent path. Upon completing an event, the player is rewarded an amount of "Adventure Points", which can be used to advance toward a new area and unlock specifically-marked chests; the game features an inventory system that compiles the immediate given set of events for review as well as a collection of the items that have been obtained. Tomba is brought by his friend Zippo a mysterious letter addressed to him. According to the letter, Tomba's girlfriend, has disappeared. Tomba leaps into the sea in search of her. Tomba and Zippo wind up in a fisherman village. From there they move on to the Coal-Mining Town where Tabby's house is, but discover that she is unavailable. Gran, a denizen of the Coal-Mining Town, mentions seeing Tabby travel to the Kujara Ranch by trolley, but the trolley she used to travel there returns empty. A panicking trolley worker reveals that the Evil Pigs kidnapped Tabby when she tried to protect a pendant, given to her by Tomba as a gift.
Gran explains that the Evil Pigs have cursed the entire continent, gives Tomba a red Pig Bag, capable of capturing the Flame Pig that has cast his spell on the mines. Tomba ventures throughout the continent gathering the rest of the Pig Bags, he cures the Coal-Mining Town of its inferno by capturing the Evil Flame Pig, cures the Kujara Ranch of its perpetual snowfall by capturing the Evil Ice Pig, cures the Donglin Forest's gloominess by capturing the Evil Ghost Pig, lifts the Circus Town's curse by capturing the Evil Earth Pig and cures the Water Temple of its perpetual rainfall by capturing the Evil Water Pig. When all of these Evil Pigs have been captured, their leader, the Last Evil Pig, reveals himself to Tomba and tempts him to find his lair. Tomba and Zippo locate the Last Evil Pig in an underground area underneath the Coal-Mining Town, where the Last Evil Pig freezes time in a last-ditch effort to stop Tomba. A final battle against the Last Evil Pig ends with his capture. Tomba and Zippo find Tabby in the Last Evil Pig's lair and escape the collapsing area on the back of the flying dog Baron.
Following a feast at Tabby's home, Kainen appears and gives Tomba a tuxedo for him to wear as a reward for going on every adventure possible. Tomba is allowed to pilot the local windmill owner's new boat to return home. However, Tomba gets involved in an accident on the boat's maiden voyage. For Tomba 2! The Evil Swine Return, Whoopee Camp founder Tokuro Fujiwara transferred directorial duty to Kuniaki Kakuwa, but retained his other positions in development. A polygonal approach was taken to the game's graphics to achieve a greater freedom in expression; this shift to three-dimensional graphics allowed for concepts that weren't possible in the previous title, such as dynamic camera movement during cutscenes. Despite the change in graphics, the first game's basic systems and gameplay were preserved as to not alienate players of the previous title; the music was composed by Shiina Ozawa, with a new score by Ashif Hakik being recorded for the international version. The Japanese-language version includes the voice talents of Ichirō Nagai, Satomi Kōrogi and Yuki Matsuoka among others.
The game was publicly unveiled by Sony at the 1999 Electronic Entertainment Expo, was released in Japan on October 28, 1999. The English-language voices were provided by the Actors Phantasy Company. Peter Kepler provided the voices of several characters in the game, including Zippo, Gra