It's the same issue you encounter with audio mixing. You have to clamp out-of-range values, even though they don't occur a lot. If you don't you get awful artifacts, and have to lower everything so that it can never overflow your range.
> Did you ever wonder why explosions and other effects looked so much cooler on the original PlayStation than they did on the Nintendo 64?
Begging the question, aren't we?! Of the examples displayed, I much prefer Star Fox's fx to Silent Bomber's. They fit the game's style well, and the explosions when killing an enemy are just the right amount of rewarding, while not being so ostentatious as to be distracting. SF64 nailed the game feel of destroying enemies, those small little intangibles that make the game satisfying on a visceral level, as Nintendo is so good at doing.
Begging the question, aren't we?! Of the examples displayed, I much prefer Star Fox's fx to Silent Bomber's. They fit the game's style well, and the explosions when killing an enemy are just the right amount of rewarding, while not being so ostentatious as to be distracting. SF64 nailed the game feel of destroying enemies, those small little intangibles that make the game satisfying on a visceral level, as Nintendo is so good at doing.
So the 'good explosions' were possible on N64 if you did the blending+clamp by hand?
https://en.wikipedia.org/wiki/Saturation_arithmetic