All-American Makers - Netflix

America's do-it-yourselfers, innovators and entrepreneurs are getting the opportunity of a lifetime - to turn their big ideas into big money.. Every week four top makers from around the nation pitch their products to a panel of three experts featuring Printrbot founder and owner Brook Drumm, mechanical designer and robotics expert Brian Roe, and venture capitalist Marc Portney. Each maker's homegrown product is put through a series of rigorous tests by Drumm and Roe to find out how it works and if it lives up to its claim. Should the product make the grade it's then subjected to the scrutiny of real consumer focus groups. Based on the feedback of Drumm and Roe plus the focus groups, Portney decides if he wants to invest his own money in the maker's business and help bring the product to store shelves. From dog toys, thermal radar and grill gadgets to personal robots, hybrid recreational vehicles and stain repellent, the products featured on All-American Makers span the everyday to the amazing.

All-American Makers - Netflix

Type: Reality

Languages: English

Status: Ended

Runtime: 60 minutes

Premier: 2015-01-21

All-American Makers - Mischief Makers - Netflix

Mischief Makers is a 1997 side-scrolling platform video game developed by Treasure and published by Enix and Nintendo for the Nintendo 64. The player assumes the role of Marina, a robotic maid who journeys to rescue her creator from the emperor of Planet Clancer. The gameplay revolves around grabbing, shaking, and throwing objects. There are five worlds and 52 levels, and the game is displayed in 2.5D. The game was the first 2D side-scrolling game for the Nintendo 64, and Treasure's first release for a Nintendo console. The company began Mischief Makers's development in mid-1995 with little knowledge of the console's features. The 12-person team wanted to make a novel gameplay mechanic, and implementing the resultant “catching” technique became their most difficult task. The game appeared at the 1997 Electronic Entertainment Expo and was released in Japan on June 27, 1997, and later in the United States, the United Kingdom, and Australia. The game received “mixed or average reviews”, according to video game review score aggregator Metacritic. Critics praised Mischief Makers's inventiveness, personality, and boss fights, but criticized its brevity, low difficulty, low replay value, sound, and harsh introductory learning curve. Retrospective reviewers disagreed with the originally poor reception, and multiple reviewers noted Marina's signature “Shake, shake!” sound bite as a highlight. Video game journalists cited Mischief Makers as ripe for reissue either through the Nintendo eShop or in a sequel or franchise reboot. In 2009, GamesRadar called it “possibly the most underrated and widely ignored game on the N64”.

All-American Makers - Reception - Netflix

Mischief Makers received “mixed or average reviews”, according to video game review score aggregator Metacritic, and a “Gold Hall of Fame” score of 32/40 from Japanese magazine Famitsu. Critics praised the game's inventiveness, personality, “variety”, and boss fights, and criticized its brevity, low difficulty, low replay value, sound, and harsh introductory learning curve. Retrospective reviewers disagreed with the game's originally poor reception, and multiple reviewers noted Marina's signature “Shake, shake!” sound bite as a highlight. Electronic Gaming Monthly awarded the game their silver award. IGN's Matt Casamassina said that the game compensated for its average graphics with excellent level design and gameplay challenges. He added that the game's puzzles require thought, unlike those in other action/platform games, and that the game's objectives were not clear until after the first few levels. Casamassina praised the game's transparency effects, anti-aliasing, mipmapping, and scaling rotations. IGN described anticipation for the game as “tremendous”, particularly among the game's market of “younger gamers and 2D fans”. Nintendo Power thought that the game was the best side-scroller since Super Mario World. Next Generation wrote that “only diehard 2D platform fans” would be interested and did not feel that the game lived up to standards set by Mario 64. In contrast, GameFan said that Mischief Makers did for 2D what Mario 64 did for 3D, and suggested that Sega should be influenced by the game. GamesRadar retrospectively called Mischief Makers “pure, unadulterated awesome” and “2D brilliance”. The website summarized the game to be about “grabbing sad-faced aliens, shaking them until gems come out, and then hurling them at other sad-faced aliens.” Zachary Miller of Nintendo World Report asserted the game may be the console's most bizarre and surreal, but Gamasutra's John Harris said that the game's premise is “only strange to people who have never heard of anime”. GameFan described the game as “obviously deeply Japanese”, where “old school gameplay and 64-bit visuals finally meet”. Hirokazu Hamamura of Famitsu commended Mischief Makers's gameplay, which balanced its poor character design. Other Famitsu reviewers admired Treasure's signature robot designs and were puzzled by the company's choice to use buttons instead of the 3D analog stick. Nintendo Life's Jamie O'Neill praised the game's characters and disliked the controls. He compared the Calina character to the role of Shadow Mario in Super Mario Sunshine. O'Neill wrote that the intricate controls were “the antithesis of a friendly, approachable, and intuitive platformer” because the game used every button on the controller (including the directional pad), though he felt that players who persevered through the difficult controls would find them “inventive and unique”. He added that the complex controls allowed for experimentation that led to new and fun gameplay, and though the throwing enemies mechanic seemed to follow from Gunstar Heroes, the Clanball platforming was unintuitive. John Harris of Gamasutra wrote that the game borrowed other elements from Gunstar Heroes, as the games were similar in protagonists, collectible gems, and bosses. As the game took time to learn and understand, O'Neill left the reader to decide whether the game was “ultimately convoluted or bordering on sophistication and genius”. Nintendo Life's O'Neill thought the five world bosses were among Treasure's best (in particular, the transforming “Cerberus Alpha” boss), but found the mid-level bosses uninteresting. Peter Bartholow of GameSpot and Electronic Gaming Monthly's reviewers felt similarly. Sushi-X of Electronic Gaming Monthly added that the technique of looking for a boss's weak spot was similar to Metroid. Famitsu reviewers praised how the game encouraged players to experiment with the basic “grab, throw, and shake” gameplay. They also appreciated the cadence of Mischief Makers's short levels. O'Neill (Nintendo Life) thought the game had great variety in gameplay mechanics (from maze puzzles to outrunning lava), graphics (from bosses that scale back the screen to levels with screen rotation), and audio (from upbeat quirk to scary), and added that he was surprised to hear critics speak against the “unique, varied, and dramatic” sound. Scott McCall of AllGame too appreciated the sound, from the voice to the “almost indescribable” music. Gamasutra's John Harris noted its “tremendous variety” in gameplay—from a Track & Field remake to outrunning a missile barrage—as rare for 2D platformers, and commented that “it is obvious that Treasure poured their hearts into this game.” Peter Bartholow of GameSpot summarized Mischief Makers as “a good game that will leave players wanting more”. He liked the bosses, which made the player use all available skills, but felt they were short-lived and easily solved in the context of a short game with tutorials as one fifth of its levels. He did not consider the ending extension a suitable reward for returning to the levels, and predicted that most players would not finish the game more than once. Game Informer echoed Bartholow's comments about the game's brevity, and named the game's seven-event olympics as a highlight. Sushi-X of Electronic Gaming Monthly wrote that the game felt incomplete and lamented that “a decent player can finish the game in under three hours”, though Next Generation said the game was “certainly long enough”. The game's frequent reuse of a small selection of tiles, objects, sound effects, soundtracks, and bland backgrounds (compared to the “impressive” boss battle animations and effects) led GameSpot's Bartholow to suggest that Mischief Makers was limited by its cartridge space. He concluded that the “decent” game would be “truly excellent ... on another medium”. Zachary Miller of Nintendo World Report reported that the graphics did not age well into 2010. Electronic Gaming Monthly wrote that the game is “definitely a sleeper hit”. As Hardcore Gamer's Ryan Cartmel put it, the game went “largely unnoticed”.

All-American Makers - References - Netflix