This sequel to Harmonix Music Systems' Frequency is designed to propel players through new levels of on-rails, rhythm-based shooting, to the tunes of top Sony recording artists including Crystal Method, Orbital, David Bowie, Weezer, Garbage, and others. As in the original, players ride a "loop" of music, triggering drum, bass, guitar, and other tracks with well-timed button taps.
With new backgrounds and graphical effects in a flashy, pulsing, neon-dreamlike style similar to that of the original game, Amplitude brings the rhythm-based play online through the PS2 Network Adaptor. In addition to chat modes and a ranking system, musically inclined gamers are able to post their favorite remixes online for others to access and enjoy.
~ T.J. Deci, All Game Guide
Review: Overall
Rhythm-based games could almost be considered a dime a dozen as of 2003, but this sequel to 2002's Frequency infuses enough energy, style, and twists on the genre to make it one of the standout titles on PlayStation 2. Featuring 25 licensed songs covering such varied music styles as hip hop, electronica, rock, and rap, Amplitude hits a high note for its clever use of colorful, 3D graphics to depict a song's six tracks as actual, physical tracks -- sending players on a roller coaster ride through futuristic, Blade Runner-like environments. Some will dismiss the game because it looks intimidating, especially when flipping through the lengthy manual or watching someone play for the first time, but those who give it a whirl will be entranced by its careful balance of rhythm and reflexes.
Players never have to look at the manual to learn how to play Amplitude, which is a testament to the simple design and helpful in-game tutorial. Like Frequency, the action involves tapping one of three buttons to the beat of the music, whose notes appear along the track as orbs positioned in one of three locations: left, center, and right. Unlike Frequency, which took place entirely in a tunnel, Amplitude looks and feels like a futuristic racer in the vein of Wipeout or F-Zero (complete with checkpoints). Players are automatically propelled down a color-coded track with a default view from behind a laser-equipped spaceship. Players literally blast each note as it passes over the circles displayed in front of the vessel, the act of which earns points and prevents the ship's energy meter from depleting.
The six colored tracks in each environment represent distinct parts of the song, transforming the guitar, drums, bass, vocals, synthesizers, and special effects into a distinct path running parallel with the other five instruments. Players are challenged to complete a string of notes (called a phrase) to activate each part of the song. They must then quickly steer the ship to the next track and repeat the process. The tracks constantly disappear and reappear as players complete phrases until the finish line is reached, signifying the song's end. Each missed note depletes a portion of the ship's energy meter, which ends the game if emptied, but players can salvage performances using one of four power-ups. Power-ups automatically complete phrases, double scores, slow phrases down, or send players on a shortcut above the track for a chance to earn bonus points.
Amplitude's hook is that it's not easy to master, often requiring nimble fingers to complete a particular song's intricate drum beats or bass lines. It also has a high replay value thanks to its online and multiplayer capabilities. Each song can be played on one of four difficulty levels, which increases the complexity of phrases. At its best, Amplitude feels like the coin-op title Guitar Freaks: hitting a series of riffs in perfect sequence breathes life into a particular song and will make players feel like virtuosos, for at least one brief shining moment. The pulsating colors, swirling backdrops, and throbbing beats can almost render players in a hypnotic state, which will either have them become one with their controller or lead to an epileptic fit.
Amplitude also feels like a puzzle game at times, something unusual for the genre, as players must quickly think of ways to maximize their score once they get a handle on the basic premise. Players earn multipliers by stringing together successful phrases and then jumping lanes to the next track without missing a note -- something that's not easy to do and requires split-second decision-making. There is a degree of freedom in Amplitude that is atypical of most rhythm-based games, in that players are free to jump tracks and begin phrases at different points in the song; that same drum riff giving you problems at the beginning of the tune can turn into a simple combination in the middle or at the end, so it may be beneficial to switch to another instrument or wait to get a phrase-busting power-up for assistance.
While the game improves on Frequency in many ways, there are still issues that make Amplitude sound a bit flat. The lineup of 25 songs may seem like a sizeable number, but they can get repetitive, and many of the featured bands are rather obscure. The online capabilities, while fine for multiplayer contests, do not allow players to download additional songs, which is a big disappointment. Nor can players slip in their own CD and have the game automatically decipher songs into playable phrases, which would have made the title a must-have. Other disappointments include meaningless avatars called "FreQs," which are onscreen personas that just dance to the beat instead of influence play. The silly thing is these extra characters and their equipment (such as sunglasses and hats) are designed to be an incentive for replaying the single-player mode on all difficulty levels.
Online competition entertains as an extension of the main game, and an excellent rating system rewards players who defeat other top-ranked players as well as those who complete more challenging difficulty levels. Some may complain about the multiplayer-exclusive power-ups, which can disrupt an opponent's track or have them bumped off a phrase before they finish it, but the optional power-ups do keep things interesting. Other variants like Duel Mode (HORSE) are entertaining for a few games but are not deep enough to be revisited often. Amplitude is a great looking and playing game that is ultimately hampered by a limited selection of songs. While players can create remixes and sample others online, the game could use an additional 25 selections to keep things fresh and lively. Fans of other rhythm-based games shouldn't be dissuaded however; what Amplitude lacks in song selection, it makes up for in style and sheer fun.
~ Scott Alan Marriott, All Game Guide
Review: Enjoyment
Players will want more than 25 songs after they unlock them all. The other criticism is that unlike a game like Guitar Freaks, players are "only" activating existing parts of a song rather than creating a melody from scratch. The lack of a peripheral also hurts the immersion factor to a degree.
~ Scott Alan Marriott, All Game Guide
Review: Graphics
The game offers twisting courses filled with color, streaking song lyrics, video billboards, dazzling light shows, and more.
~ Scott Alan Marriott, All Game Guide
Review: Sound
Crisp, clear sound effects and music featuring Dolby Pro Logic II support.
~ Scott Alan Marriott, All Game Guide
Review: Replay Value
Online support keeps things interesting with a ranking system and tracked stats.
~ Scott Alan Marriott, All Game Guide
Review: Documentation
The color manual is easy to read despite the yellow pages. Each phase of the game is explained, including setting up an online account.
~ Scott Alan Marriott, All Game Guide
Production Credits
Company 1: Sony Computer Entertainment America ; Product Marketing Manager: John Koller ; Product Marketing Specialist: Maggie Rojas ; Director - Product Marketing: Ami Blaire ; Director - Promotions: Sharon Shapiro ; Director - Public Relations: Molly Smith ; Director - Direct and Online Marketing: Steve Williams ; Director - Creative Services: Ed DeMasi ; Creative Services Manager: Quinn Pham ; POP Manager: Josh Bingham ; Promotions: Donna Armentor, Rommel Hernandez, Johanna Legarda, Mary Thomas ; Public Relations: Patrick Seybold, Ryan Bowling, Heather Crosby ; Director - Legal and Business Affairs: Shelly Gayner ; Legal and Business Affairs: Brian Fukuji, Kirsten Costello, Jim Williams ; Packaging and Manual Design: A.D.D. Marketing and Advertising ; Documentation: Hanshaw Ink & Image ; Director of Audio: Buzz Burrowes ; Producer: Chuck Doud ; Music Director: Chuck Doud ; Associate Producer: Mike Benton ; Director - First Party Quality Assurance: Michael Blackledge ; Senior Manager - First Party Quality Assurance: Richard Markelz ; Test Team - First Party Quality Assurance: Sam Bradley, Bill Person ; Technology Manager - First Party Quality Assurance: Kevin Simmons ; Lab Technician - First Party Quality Assurance: Ara Demirjian ; Project Coordinator - First Party Quality Assurance: Jason Villa ; Release Coordinator - First Party Quality Assurance: Eric Ippolito ; Game Test Engineer: Jim Harper, Michael Graham ; Assistant Lead Analyst: Marvin Blanton, Eric Rossi ; Analyst: Sean Daniel, Jarrett Jamili, Adrian Toler, Neil Musser, Sean Allen, Joe Castagno, Amy Lane, Marcos Ramirez, Ricardo Bedoya, Wil Hughes, John Macintosh IV, Jason Tonick, Danielle Canamar, Joel Sigua, Y Pham, Brian Sacco, Dwayne Anderson, Anthony Amos, Steve Gonzalez, Dave Ong, Mischa Chulavalli, Will Sheppard, Patrick Connor ; Company 2: Harmonix ; Project Leader: Greg LoPiccolo ; Executive Producer: Alex Rigopulos ; Lead Programmer: Eran Egozy, Eric Malafeew ; Art Director: Ryan Lesser ; Music Director: Josh Randall ; Producer: Tracy Rosenthal-Newsom, Daniel Sussman ; Audio Programmer: Denny Bromley ; Avatar and Systems Programmer: Jon Cummings ; Game Graphics Programmer: Damian Frank ; Game Shell Programmer: Christine Legge ; Game System Programmer: Steve Merel, Dan Schmidt ; Game Shell and HUD Artist: Jason Amone ; Lead FreQ Artist: Matt Gilpin ; 3D Metagame and Arena Artist: Dare Matheson ; Arena Artist: Adolph Wong, Brian Gibson ; FreQ Animator: Antonio Bolfo ; FreQ Artist: Jennifer Hrabota Lesser, Matt Taylor ; Art Intern: Nikki Laney ; Lead Composer: Kasson Crooker; Lead Sound Designer: Kasson Crooker ; Sound Designer: Chris Child, Pete Maguire, Tracy Mather ; Audio Intern: David Buchs, Jeremy Bridge ; EVP & COO: Mike Dombrook ; Network Administration: Jason Warburg ; Seneschal: Kris Fell ; Accounting Services: Melonie Newman ; Tester: DeVron Warner ; Assistant Network Administrator: DeVron Warner ; Tester: Jason Dean, Jeremy Tudisco, John Davidson, Nicholas Lamphere ; Band Videos: Rust Monkey ; Cutscenes: Lobo ; Tutorial MC: Akrobatik ; Fonts: Pixel Surgeon, House Industries ; Samples: Zero-G ; Legal Representation: Gene Landy ; "Baseline" Performed By: Quarashi ; "Baseline" Written By: Sölvi Blöndal, Omar Orn, Hauksson, Hussi Olafsson ; "Boom!" Performed By: P.O.D. ; "Boom!" Written By: Noah Bernardo, Marcos Curiel, Mark Daniels, Paul Sandoval ; "Cherry Lips (Go Baby Go!)" Performed By: Garbage ; "Cherry Lips (Go Baby Go!)" Words and Music By: Douglas Elwin Erickson, Shirley Ann Manson, Steve W. Marker, Bryan David Vig ; "Cool Baby" Performed By: DJ HMX, Naoko Takamoto ; "Cool Baby" Written By: Kasson Crooker, Naoko Takamoto ; "Dope Nose" Performed By: Weezer ; "Dope Nose" Written By: Rivers Cuomo ; "Everyone Says 'Hi'" Performed and Written By: David Bowie ; "I Am Hated" Performed By: Slipknot ; "I Am Hated" By: M. Shawn Crahan, Christopher Fehn, Paul Gray, Craig Jones, Nathan Jordison, James Root, Corey Taylor, Mickael Thomson, Sidney Wilson ; "Kimosabe" Performed By: BT ; "Kimosabe" Written, Produced and Arranged By: BT ; "Kimosabe" Vocals By: Wild Child ; "King of Rock" Performed By: Run D.M.C. ; "King of Rock" Remixed By: The X-Ecutioners ; "King of Rock" Written By: Larry Smith, Joseph Simmons, Darryl McDaniels ; "M-80 (Explosive Energy Movement)" Performed and Written By: Papa Roach ; "Nitro Narcosis" Performed By: Manchild ; "Nitro Narcosis" Written By: Brett Parker, Max Odell, Adam Bishop ; "Out the Box" Performed By: Symbion Project, Akrobatik ; "Out the Box" Vocals By: Jared Bridgeman ; "Out the Box" Written By: Kasson Crooker ; "Push" Performed By: Game Boyz ; "Push" Produced By: Ged Grimes ; "Respect" Performed By: Pink ; "Respect" Written By: Alecia Moore, Linda Perry ; "Robot Rockerz" Performed By: Komputer Kontroller ; "Robot Rockerz" Written By: Kasson Crooker ; "The Rock Show" Performed By: blink 182 ; "The Rock Show" Written By: Tom DeLonge, Mark Hoppus, Travis Barker ; "Rockit 2.002" Performed By: Herbie Hancock ; "Rockit 2.002" Featuring: Mix Master Mike, DXT, Rob Swift, DJ Qbert, Babu, Faust, Shortee ; "Rockit 2.002" Written By: Herbie Hancock, Michael Beinhorn, Bill Laswell ; "RockStar" Performed By: Production Club ; "RockStar" Produced By: Wally Gagel ; "RockStar" Written By: Wally Gagel, Scott Benzel ; "Shades of Blue" Performed By: Chris Child, Melissa R. Kaplan ; "Shades of Blue" Written By: Chris Child ; "Spaztik" Performed By: Cosmonaut Zero ; "Spaztik" Written By: Kasson Crooker ; "Subculture" Performed By: Styles of Beyond ; "Subculture" Featuring: Actual Proof ; "Subculture" Written By: T. Bashir, R. Maginn, M. Richardson, C. Fisher ; "Super-SprØde" Performed By: Freezepop ; "Super-SprØde" Written By: Duke ; "Synthesized" Performed By: Symbion Project ; "Synthesized" Written By: Kasson Crooker ; "Uptown Saturday Night" Performed By: Logan 7 ; "Uptown Saturday Night" Produced By: Pop Rox ; "Uptown Saturday Night" Words and Music By: Sam Hollander, David Schommer ; "Urban Tumbleweed" Performed By: The Baldwin Brothers ; "Urban Tumbleweed" Written By: Jason Hinkle, T.J. Widner ; "What's Going On?" Performed By: Mekon ; "What's Going On?" Featuring: Roxanne Shanté ; "What's Going On?" Produced By: John Gosling ; "What's Going On?" Additional Engineering By: Tim Conklin ; "What's Going On?" Written By: John Gosling, Lolita Gooden ; "What's Going On?" Published By: Chrysalis Music Limited, Mytukidz Publishing
In Amplitude, the player controls a ship (referred to as a "Beat Blaster") moving down a path of varying shapes and lengths, containing up to six tracks. Each color-coded track corresponds to a different aspect of the song, such as percussion, synth, bass, or vocals, and contains a sequence of notes. As the player hits buttons corresponding to the note placement on the track, the notes activate a small portion of the track. If the player successfully activates enough notes in sequence, the track is "captured" and the section will play automatically for a number of bars, freeing the player to capture another section.
The object of the game is to capture a sufficient amount of sections to reach the end of the song. If the player continually misses notes, an energy meter empties until the game is over.
There are several different powerups available to the player to make gameplay easier. Powerups are gained by activating a series of specially shaped and colored notes. Such powerups allow immediate capturing of tracks, doubling of points scored, slowing down the speed of play, and jumping into freestyle mode (which allows the player to riff to the music, gaining points without the difficulty of playing predefined tracks).
Modes
Amplitude offers four different modes of play: single player game, remix, multiplayer and online.
In single player, the object is to unlock and complete all of the songs. There are four levels of gameply difficulty: Mellow, Normal, Brutal, and Insane. Certain songs are only available to play on harder difficulty settings. Often the player is rewarded with pieces to construct and customize their "FreQ" avatar.
The remix mode in Amplitude is much like the one in Frequency. The player may place notes to every section of the song (except the vocal section) in whatever patterns they so choose, creating a unique version of the song. The effects (chorus, delay, etc.) and tempo of the song are also controllable. Finished remixes are available for gameplay in both single player and multiplayer modes.
Multiplayer mode offers three distinct modes: a typical gameplay mode, a head-to-head mode and a remix mode. The main multiplayer mode offers up to four players simultaneous gameplay through any of the unlocked songs. The head-to-head mode features Simon says-esque gameplay between two players, in which the players alternate creating riffs and then attempting to play them back. The remix mode is identical to the single player remix mode, but with the participation of more players.
Online mode offers multiplayer play with an internet connection. However, Sony of America shutdown the online Amplitude servers on February 26, 2007, preventing this feature from being used.[1] Despite the SCEA servers shutting down, online play is still available in European countries.
Songs
There are 26 songs in Amplitude, the majority of which are tracks by popular music artists, with genres ranging from electronica and dance to hip hop and alternative rock. Some of the tracks, however, were produced "in-house" specifically for Amplitude. For example, Kasson Crooker, who served as the musical director for the game, contributed the songs "Cool Baby", "Synthesized", "Robot Rockerz" and "Spaztik", as well as "Super Sprøde" as performed by his band Freezepop.
The following is a list of artists who contributed songs to the game, with corresponding song title, in order of gameplay. The fourth song in each section is a "boss" song while the fifth is an unlockable bonus song. "Spaztik" is unlockable only in the Insane difficulty.