Battle Mania Daiginjou Manual Scans

This post is to archive scans for Vic Tokai’s 1993 Sega Mega Drive game Battle Mania Daiginjou‘s cover and manual. These scans are presented in 600dpi.

Create New Properties

When looking at the media landscape throughout the last hundred years or so we see different media fields repurposing and remaking works from each other. Books would be turned into movies, movies into books, songs into plays, plays into books, you get the idea. Revisiting old stories under a new light was nothing particularly uncommon. Sometimes for the better, often for the worse. While remaking or reimagining works has always existed in some form, the modern media has been mostly concentrated on remaking films and television shows. This could be mostly attributed to the sensibilities that are driving franchises, which end up making the most money. A single film might be marketable for a while, but when something new comes along, customers’ attention can be easily stolen away. What better way to keep that brand on the surface by constantly pumping content based on that popular thing? Franchises have survived catastrophic failures, like Highlander II: The Quickening, though similar bombs have effectively killed any viability of an Intellectual Property for decades.

Nowadays, it seems that IPs are harder to kill than ever before and corporations are banking on them like no other. We have over thirty years old franchises still seeing new entries, and while some aim to produce a new kind of experience, others rely on nostalgia to drive things home. These decades-old things were new at some point, and while they will always be new to someone, all the major ones are deeply carved into our cultural mindset. Darth Vader, the lightsabre, Captain of the starship Enterprise, horrible face-raping aliens, Ring to rule them all, Three Laws of Robotics, the truth is out there, down down-forwards forwards Punch makes a fireball and so much more what we know is through cultural osmosis. We know these things as modern media are the continuation of stories of old. Now we have the best tools humanity has ever had to spread these new ideas and stories out there for everybody to read, see and listen to, but we’re using these tools to revisit the same old stories with a new lick of paint. Even the Marvel movies that get celebrated are largely recreations of what was already told, just with few new twists there. Twists, which ended up making Thanos, one of Marvel’s strongest villains next to Dr Doom, a lacklustre shadow of his comic counterpart with only glimpses of the shades and colours he could’ve shown on the screen.

That is an issue that all long-running franchises have to deal with; new writers. While a chance to create something special, it’s also a massive risk that they’ll just fuck things up.

While the 1990s saw tons of reheats from the 1960s, the last two decades have been constantly called the era of remakes. While not wholly accurate, we can’t really deny a trend of taking dormant past IPs and trying to breathe new life in them. Charlie’s Angels has been revived at least twice during the new millennium, and the last time they did that was a massive failure in every respect. Ghostbusters was also revived twice (with the upcoming movie being the third time) with the Atari game being a success both financially and critically. The same can’t be said for the 2016 film, which almost ended the franchise then and there. The third time’s the charm. I don’t really want to mull over all this, you know what IPs have been successfully implemented to the new millennium and what hasn’t. We never needed a new Terminator or Predator flick, but we got ’em anyway, with each new movie being worse than the last. If you need a franchise ending example from recent years, look no further than The Predator.

Not even Star Wars has been spared from reusing old content for nostalgia. Despite Kathleen Kennedy making loud statements that they will pave a new road for the modern era of Star Wars for the new audience, they’ve resorted to nostalgia upon nostalgia all the while reusing old concepts and characters. Rather than taking the franchise in whole new directions, we’ve been revisiting characters and stories that were already told in a form or another. Pretty much everything Lucasfilm is currently pushing out in regards to Star Wars is revisiting old characters and concepts. Rather than pushing the IP, it has caved in to recycle.

The same can be applied to Star Trek, where each of the new series has somehow tied itself to past characters and concepts rather than trying something new and bold. Yet we had to see characters from Pike and Spock to almost the whole cast of The Next Generation. This sort of reliance on old and comforting characters and stories is largely a safety line; you can’t really fuck up too badly when the built-in audience will slob all over the franchise whatever you do with it. Herein lies the danger; you can burn your audience if you don’t handle the legacy of a property right.

Old marketing wisdom is that keeping your current customers is easier than gaining new ones. Looking at whatever media field you want, it seems like this has been twisted to something along the lines of Creating new IP is more dangerous than banking on an existing property. While the two don’t really exclude each other, we’ve seen the built-in audience being kicked away for a decade now. From games to films and television, we’ve heard the song of Get New Audience. Gamasutra went to the distance of telling us how gamers were over, a statement that has been echoing among the gaming press for a while with no results. Considering how closed and incestuous gaming and film industries (especially in the US), it’s no surprise that the same attitude would find its way to Hollywood. Many of the products that are now being made are not intended for the pre-installed audience. The marketing of course will always try to rope them in nevertheless, but as we’ve seen with pretty much all of these new entries, they’re not really wanted.

Everything was new at some point, and media can’t really be pushed forwards with rallying around the same shit all the time. While we haven’t seen major new entries to some of the oldest modern media icons, like Tarzan, they’re still there waiting for someone to take ’em for a spin. Dare I say that’s a problem to itself. Corporations want to bank on their IPs to the extent of not giving a damn how they are being treated on a larger scale, and damaging a franchise’s reputation and brand recognition has become an ever-increasing problem in the modern era. This is due to everyone being more connected to everyone else, and information is spreading like a running wildfire. It has become far harder to screw customers over. Perhaps that is also why corporations want to bank on old IPs, as they can sell the creators as fans among equals. By this point, I hope you’ve realised that’s an utter bullshit marketing gimmick.

If you have seen Masters of the Universe: Revelation‘s first five episodes, you’re probably aware of the latest example of this. Creators claim to be big fans, yet the story is another retread of What if Skeletor wins? storyline, the characters are not accurately portrayed and their major character points are missed and even large portions of unique elements are just either misunderstood or outright twisted out of shape. For example, Orko was portrayed as a lousy character that never amounted to anything in his life, either back at his home Trolla or at King Randor’s court. This, despite every iteration making a point that he is a great magician, one of their best, who just happens to have ended up in a dimension where magic works differently, thus him having a hard time making it work. In further expanded material, Orko’s position is that of a spy who was to keep tabs on the Power Sword and whoever wields it. In this light, Orko could be said to have acted for the sake of the cause. Instead, MOTU:R gives us a pathetic creature that tries to explain his tragic situation and backstory in order to artificially squeeze tears from the audience just to be killed. It’s hack writing at its finest and gives no real justification for either Orko’s death or otherwise, as it is so long-winded that any of the characters could’ve made any half-intelligent move and saved the day.

The backlash from MOTU:R has replicated pretty much the same patterns as any of these similar revived IPs with bullshit entry has, like Ghostbusters 2016. Some fans have found it objectionable content, and they have been in turn mocked. Not their points of arguments or anything that could be considered constructive, but rather the customers themselves have been mocked and belittled in the pettiest of ways combined with a healthy dose of slander and name-calling. It’s not a rarity nowadays for creators to talk down to consumers, often even attacking them. While this might win some browny points among their peers, the consumers will associate this negative PR with the creator and the brand. The aforementioned Ghostbusters 2016 is a perfect example of a short-lived shitstorm, after which pretty much everyone outside the Hollywood bubble agreed without many mincing words that it was a rather terrible movie.

A lot, if not all, of this drama and contention, would be easily sidestepped if all these re-used IPs were completely new and original instead. In this scenario, the works would be able to stand on their own legs without the baggage of old franchises. They’d also be able to realize that whole thing of creating a whole new consumer base and choose their own target customers. This would largely prevent any old farts from using decades of content as points of comparison, and thus criticism. It would be a win-win. Except this would mean they’d need to create something new that would be in direct competition with these already established franchises, and that requires a wholly different approach.

Yet we need new content, new ideas and new stories. The media landscape can’t survive on these old franchises for the rest of the executives’ lives. These people might be the most exciting or imaginative, yet they call the shots. Creators on the other hand should learn how to play them. Alternatively, circumvent the system altogether in whatever ways they can. You may ask if making a story like MOTU:R would be possible with a new IP, and the answer is yes. As the show already relies on flashbacks, there’s really nothing that could have prevented the series to be a whole new show with a whole net setting and characters.

Do you know why the Xenomorph is the featured image? Because it is arguably the most influential movie monster that was not based on a mythical being. Its influence is felt to this day in pretty much every single field of entertainment media and you can see it being ripped off, referenced and inspired by on an almost weekly basis. Even the classic Universal Movie Monsters had their inspiration in other stories. The Xenomorph, however, was something different. It strikes a different kind of core in the audience and opened new doors for horrific creatures. Despite the Predator being considered equal in terms of design, it is more human and can be understood to a large degree. While attempts have been made to create something that could be considered to compete on the same level of sheer uniqueness, very few monsters have come even close.

The wall to create something that could be the next Xenomorph, or the next Star Wars, is stupidly high. However, the entertainment industries, especially Hollywood and its bubble, have to get ready when old IPs stop making money. Disney has seen and felt how it feels to mismanage a billion-dollar franchise and lose money more and more with each new movie with Star Wars. It’s a downhill roll, and the only way they can climb up is to put something new to the table. Yet, even now, old and established is being tapped. Be it for the core fans or in chase of a new one, this losing battle should be cut short.

The world needs new stories to be inspired by. Even when it comes to money, it would be best for these corporations to bet on it as a long-term plan. Sadly, the more time passes, the more convinced I am there are no long-term plans with anyone. It’s all immediate action and short-term gains, be it in entertainment, politics or whatever.

An Intended View

I’m blaming television and monitor marketers for the current obsession for screen sharpness. Partial blame goes for people marketing every-advancing home video media formats. Sharper image! Better colour! Higher resolution! HDMI connectivity! It’s understandable that consumers would end up wanting the best picture and sound from their home media, be it whatever. This makes sense in regards to film and music, as the original recordings usually were in a better format than what you could have at home. 35mm film is, by any measure, superior to VHS or DVD, and if we’re completely honest, any digital format we currently have. We can’t really apply the digital age measurements to what is an analogue format, much like how we really can’t apply digital screens’ resolution to CRT screens. The technology and measuring system are not compatible with each other.

In which we end up with the current era of digital technology, and how easily we disregard the technological divide. The way we see old media nowadays is probably completely wrong. The strife for ever-better visual and sound has effectively beaten down the intended method of seeing something over what has been possible, and in many ways, this has been a marketing slogan at times.

Star Wars was, much like most other movies, was intended to be seen on the big screen. If you haven’t seen the movie in a theatre, “you haven’t seen it all”. Then, the inverse should be true as well. If something was meant to be seen on the small screen, in our case a 4:3 television screen, then we really haven’t truly seen it as intended. For example, nowadays we enjoy Star Trek at least on what we could call DVD-quality, and that probably is not the way it was ever intended to be viewed, digitally remastered or not. The show may have been recorded on film, everything from set designs to costumes, and their colours, was designed and made to be shown on 1960s television. Most often the television set was black and white with the picture quality probably being deteriorated due to the received signal. The farther away you were from the city, the worse the signal would get. If you had a rotator antenna, you had the best quality. Interface from planes and trucks would be a factor. The screen quality would vary widely depending on what sort of TV set people had, and also how well people fine-tuned the channel. That’s how Star Trek was expected to be seen, and that’s how people watched it.

With the advancing technology, we would end up seeing more of what was on the film, which in many places lead to an unintended result of seeing the (literal) seams of the sets and costumes. It becomes easier to ridicule these as cheap sets and costumes, but in cases of shows like Star Trek, that’s part of the low-budget television. With home releases on VHS, Laserdisc and later on digital media, we saw the show in resolution and manner like never before. What used to be hidden technology decades older was now in plain sight, and people would laugh at it. However, put the same media in its proper timeframe and technology, and things look a whole lot different.

An issue that has to be taken with the DVDs and digital remasters is that they still showcase the “original” in much higher fidelity than originally aired

We should not forget the change in culture as well. Television was new at the time, and image quality didn’t mean nearly as much as it does now. There was no prior generation of people who had grown with worse picture quality or the like. When television was new, the picture didn’t really matter. It was what it was and you worked with it. What mattered was the content and the novelty of it. Shows like Star Trek was something new and exciting, and seeing this more cerebral television show about humanity in the stars in a hopeful manner captivated people in the long run. Nowadays, with the proliferation of science fiction shows and dozens upon dozens of derivates, it’s very easy to put the original series down both in terms of its content and delivery.

Television has the benefit of having a pure analogue format in film. The images and sounds are recorded on pieces of film and tape; they are not set in stone and are relatively easily remastered according to modern digital standards. It’s work-intensive for sure, and probably requires tons of extra work if you wish to clean every single thing, but it can be done. Sometimes you have to use multiple different sections of film from different prints of the same movie to achieve this, but it can be done.

I recommend watching, or listening, to the whole three hours video. It covers pretty much everything this particular fan’s own restoration. It covers pretty much everything from how certain elements were layered in the original movie to how he uses multiple sources to restore parts of a individual frame to gain the best possible version of a shot

This is not possible for video games or any other purely digital media format. The moment a game developer, or any other creator of digital content, defines the way their work is seen or heard, it will be stuck to that moment. While they can future-proof their work and save everything in much higher fidelity than it would be currently possible to output, e.g. a digital movie was recorded in 4k in an era where 1080p was the standard, at some point the technology will catch up to them. 35mm film movies are being progressively ruined by noise removal algorithms and smoothening nowadays, in a manner, the same has been done to video games. The difference is, video games and their consumers have a completely different paradigm that, in effect, has skewed the idea of how raster graphics should be seen.

Composite – RGB – Emulator screenshot
The emulator screencap has also cut away the overscan area, which would not be seen in a real CRT screen, but would be visible on a flatscreen. See more in this video, where the two first were nabbed from.

The above three screenshots, while usable when comparing different signal qualities coming from the machine itself and how things look in emulation, isn’t how Sonic the Hedgehog was intended to look. As we are now, sitting in front of our computers or using some palm device to read and see these shots, we are not seeing the sort of middle-hand output. The end result of a console, or any other device for the matter that was using a CRT screen, is lost to us. The image we get from emulators, digital re-releases of games and whatnot to our modern screens is inaccurate how the game was developed and meant to be seen.

However, we can surmise some things from the above three screenshots. For example, Sonic is much bluer in the composite shot, with shading and the greens melding into each other in a natural manner. The further we go to the right, the sharper the image gets, but at the same time, we lose smooth surfaces and these melding of colours. We can also see a slight shift in the aspect ratio. It wasn’t uncommon for games to have oval circles that got stretched into proper circles due to how the console was outputting the signal or how a monitor might naturally stretch it, but props for the emulator shot for correcting the aspect ratio.

Dithering is often discussed topic when it comes to the Mega Drive visuals, as many Mega Drive games use dithering to smooth out colours. You would use two colours in dithering, which would meld together on a CRT and produce a third colour, melding them all in a nice gradient. However, this isn’t apparent in higher-end cables, which would show the dithering in a much distinct and crisp way, destroying the carefully laid graphics. Retro-Sanctuary has a short write-up on dithering I would warmly recommend giving a look.

Yuji Naka uploaded a short clip from 1990 showcasing the room where games were being developed, where we see a young Naka working on Sonic the Hedgehog‘s collision. You also get a shot at Michael Jackson’s Moonwalker being developed, particularly Michael’s walking cycle. These games were developed on and for CRT screens. It wasn’t until the seventh generation of consoles when games began to be fully developed for digital screens. Most, if not all sixth-generation games that used sprite graphics, were developed with CRT monitors and non-digital cables in mind. Now, what if we took a photo of that same Sonic title screen on an actual high-end CRT monitor and compared it to an emulated screen?

Sonic the Hedgehog (1991, Sega) – Genesis

https://platform.twitter.com/widgets.js

CRT Pixels is an account that posts these comparison shots between emulators and CRT screens. There are tons of images comparisons that showcase how dot graphics, sprites or pixel graphics, whatever you want to call them, were designed and drawn with CRT monitors in mind. When an already existing artwork has been digitised, the person in charge of digitization had to take into account how the image would be represented on screen. It could never have been a 1:1 transfer of data from a painting to pixels due to the sheer nature of the technology of the era. Considering how a machine could output an image that was intended to be stretched naturally on a CRT, sometimes the graphics had to be squished in a direction so that it’d look proper when outputted. This happens a lot with Super Nintendo games, which had led to some heated discussions about whether or not its games have to be stretched to a proper aspect ratio, or whether or not the console’s internal aspect ratio and resolution is the real one. The real answer, however, is that it varies game by game, as some titles relied on SNES’ internal resolution while other developers created their graphics the output devices in mind.

Of course, arcade game developers and manufacturers had the freedom to decide on these things on their own. Capcom’s CP System uses 4:3 aspect ratio across the board, but you probably see loads of emulator screenshots in 12:7 aspect ratio. This is because, before digital screens, we had non-square pixels. This is also is one of the reasons why we can’t apply modern screen resolution standards, which counts pixels per heigh and width, when we had no pixels per see, and even then they were non-square. Displaced Gamer has a good video on the topic in a much better package than what I could do. Though I might add that it didn’t help that we had some widescreen format CRTs as well, and people always wanting to fill the screens never helped in the matter. Something that persists to this day, as so many emulation enthusiasts force their old games’ ROMs into the widescreen format.

We are fast losing the way games, and many other forms of media were intended to be consumed. Emulation and game preservation has made immense strides in preserving video and computer games’ data, and have begun to replicate consoles’ and computers’ internal workings in 1:1 emulation manners, something that probably will be impossible to fully emulate with the PlayStation 2, this scene has largely ignored the intended way these games were meant to be seen. No, that’s not exactly correct. For years we’ve got dozens of different ways to mess with emulators’ output. We’ve had tons of different filters that add fake scanlines or smooth the emulated pixels for an effect, often trying to mimic how a game would’ve looked like on a CRT screen. Different renderers are trying to replicate the originally intended form, some a better effect, some mangling them to a horrible degree. However, consoles like the Game Boy Advance, don’t really need these sort of post-processing effects, when the display itself already had square pixels. Hell, sometimes watching sharp pixels can mangle a sprite to the point of you not knowing what the hell you’re supposed to see there, but with that softer quality via post-processor filters or proper CRT screen, the sprite’s shapes and colours make a whole new shape and shades you can’t see otherwise.

A paper describing a method to depixilize pixel art is probably slightly off the intended path. This post-processing method doesn’t take into notion how the graphics were meant to be seen, but rather it ends up re-creating an interpretation of pixel graphics in a smoother form. The end result is less than desirable, but in a manner could also consider this kind of approach to aim to recreate the original underlying artwork that was then used to make the sprites. This is not, however, how the games’ graphics were meant to be seen.

Post-processing probably will end up being a way to solve the issue of how old games are being represented in the future. Perhaps we simply need high resolution enough screens to properly portray non-square pixels and colours a CRT can shows. In essence, rather than emulating just the hardware, emulators would have to take into account the cable quality and how CRTs output the picture. Granted, tons of emulators already do this, but not as default. Most often you still get a modern interpretation of square pixel, internal resolutions when you open an emulator, necessitating individuals to go into the settings menu. Menu, where they have tons of options they might not know what to do with. While we are getting copy systems that emulate hardware to a tee, they are also machines that are made to have HDMI output only. Clone consoles like RetroN and all the Analogue consoles, like the NT Mini, only output in modern HD via HDMI. Sure, you have in-system post-processing to make the games look like they’re played on a CRT. That’s the breaking part really.

A Hi-DEF NES kit modification kit

Console modifications have been around since consoles have been a thing, with RGB output and mods to circumvent region-locking have been the most popular things. Nowadays, we have these custom made boards that you solder to your older console and have it output via HDMI cable. They’re often directly connected to the CPU and video unit, so it interprets whatever the console wants output and tweaks it so the image is compatible with modern screens. Much like their copy-console brethren, they have built-on filters. Nevertheless, both of them utterly destroy the intended manner of how to view games on these older systems. They might be crisper, sharper, have the perfect colour from the palette. That may be preferable to some people, and certainly makes these old consoles compatible with modern screens, but they nevertheless destroy the intended way these games were meant to be seen.

The issue may end up being about authenticity. Modders and certain parts of the electronics consumers don’t really want to let go of these old machines and will do everything to update them for modern standards. That is a losing battle in many ways, and perhaps the approach is wrong too. While we can change some of the inner components, like the leaking caps and that, we can’t really restore old technology per se. Perhaps rather than trying to find a way to emulate the CRT screen, we should find a way how to replicate that particular screen technology. However, considering how dead CRT technology is, I doubt anyone will go their way out and try to find a way to revive it. I’m sure if CRT tech would’ve kept advancing, the shape and weight would’ve dropped, but the flatscreen tech we have now is in most aspects superior. It may still be struggling with replicating the same range of colours and true blacks as even cheap CRT could do, but their utility really beats CRTs in every other aspect.

I guess we can’t return to the intended way games were assumed to be played and seen. Much like how we didn’t have any other options to play the games “back in the day,” the same kind of applies to what we have now. The difference is, from all the options we have nowadays, from line doublers, upscalers and such, that crude reality is your older consoles were not meant to be played on modern monitors let alone be emulated in a crisp, in-hardware pixel-perfect output. These older games were played on a piece of shit telly, and that’s how they were build to be.

Of course, some Australian cunts probably would tell you there’s only one way to properly play the game, e.g. using SNES’ internal resolution and not give one flying fuck about intentions. Consumers have created options for themselves, and only relatively recently game companies have awoken to what emulator filters have been doing for a longer time. Filters themselves need to be completely re-evaluated, as there used to be rather heated discussions between people who wanted those raw pixels and the people who used all sorts of filters. Of course, neither party were absolutely correct, though if you managed to attach your PC to a CRT screen via S-Video cable or something, then there was no need to use filters.

In the future, we will lose the intended method of viewing games, and the rest of the media, which were created in analogue means as intended as the world proceeds with digitalization. With time, we’ll either lose them altogether to time, or most probably, they will be replaced with the closest possible approximation. No amount of remaking, remastering or modding can save old media. All we can really do is preserve and repair them in order to keep things in their original form as much as possible. At least in gaming, emulation will always be the second-best option to the original thing, and to some, emulation is already superior to the original hardware. That of course is not playing or seeing games as intended, but that has not been a factor to many at any point. What matters to many is the sharper image with higher resolution, even if that would effectively destroy the carefully balanced image the developers put all their effort in creating.

Where to start with Getter Robo

Start with 2004’s New Getter Robo animation. Continue to wherever from there, as it provides you with the basic gist of things. Now, for the rest of you who want to dive a bit deeper and see justifications for these recommendations, let’s move on.

With the adaptation of Getter Robo Arc now being broadcast over the Japanese airwaves, there has been quite a lot of people wondering what’s the buzz in this fandom. Some of them have decided to give the show a go without many preparations, and have noticed that watching the fifth entry in a series that makes tons of callbacks to the previous four entries isn’t the best idea in the world. They can’t really be blamed, as Getter Robo Āḥ, or Arc, if you prefer, is really the first direct adaptation of a Getter comic we’ve got to this date. All previous animation works have been more or less original, with the original comic and TV animation being developed at the same time. This was kinda Dynamic Pro’s schtick in the 1970s; develop a new show idea and have a comic to run beside it. In a funny way, this also means the Devilman TV series predates the comic just ever so slightly.

The Getter Robo animation really was doing its own thing while the comics were spearheaded by Dynamic Pro’s staff, in which Ken Ishikawa would end up being the person who would build the series’ most recognizable elements outside the combining robot element. What these elements are is something I’ll leave you to find out, but needless to say Ishikawa’s work has left a massive impact on the robot animation genre to the point of Tengen Toppa Gurren Lagann is effectively a pastiche disguised as a love letter.

The problem in recommending where to start with Getter Robo isn’t really about the quality of the work or the like. It’s about you, really. I don’t know you or your tastes, so giving a recommendation on where to start will vary a little bit depending on the person. Some people would rather read a comic and don’t mind if something looks like it was made in the popular media stone age, while others simply can’t stand anything that’s older than their last Friday’s blowjob. As such, none of the following recommendations are in order per se, but I will start with a personal best recommendation… that I already opened this post with.

New Getter Robo (2004)

A 2004 standalone animation. The length is a manageable one cours, or thirteen episodes. What makes New Getter a best option for most people is that it still looks rather modern while retaining thick black outlines every retrolover will guzz over, but also because it lifts elements from every entry from the franchise up to that point. The series in fact mimics, and even straight-up adapts, specific scenes from the 1974 comics whilst giving them new context. The point of this show wasn’t to muddy itself with the franchise’s decades-long lore too much, but to showcase a cohesive and compact presentation of what Getter Robo is about. The show does it damn well, and it is much easier to enter than the other animations or comics in the franchise with some familiarity under your belt.

New Getter Robo is also the last animated piece Ken Ishikawa was directly involved prior to his death. You can pick it up with English language options on both DVD and BD. Dunno about streaming solutions, but you’re a smart boy and surely can figure that one out herself. There are numerous European releases as well, which most likely will be easier picks if you’re within the European Union region. You just have to know the language, most likely Italian or French.

Getter Robo Comics (1974 onwards)

Of course, if you’d like to have a pure start that won’t be dragged down by fans complaining about this or that, starting from the beginning with the original comic is a valid and sometimes even recommended action. Getter Robo may not be the most shining example of how good 1970s Japanese comics could’ve looked, but it isn’t bad in any way. While the writing is a bit wonky at times, with one of the main three characters effectively being just a jolly fat guy indistinguishable from later fat jolly guys, it’s an unapologetic comic with its own charm. Getter Robo and its sequel Getter Robo G are relatively short and can be breezed through fast, after which you can move into the main mean meat on the platter, Shin Getter Robo and Getter Robo Go.

Shin Getter Robo is canonically the third entry but was made after Go. The style and writing are a bit different, but it offers some necessary background information that opens some of the less developed backstory elements showcased in Getter Robo Go. The shift from Shin to Go is a bit jarring though, both visually and narratively, and thus some recommend reading Shin Getter Robo after Go despite their positions in the continuity.

Go itself is the longest entry in the comics, seven books in total, and as you can guess, is drastically different from its 1970s predecessors as it aims to retool and explore Getter Robo as a whole. While you could start with Getter Robo Go in principle, like many people did back in 1990 when it was the first proper Getter Robo comic in years, it would be recommended to read the prior entries.

Because pretty much every Getter Robo work after 1993 heavily refers to Getter Robo Go, including its sequel Getter Robo Āḥ, I’d drop reading the comics very early into your entry.  It makes appreciating everything else the franchise has to offer that much easier.

Naturally, there is no English release, but you can find European releases around, again either Italian or French. Otherwise, you’ll just have to do with Japanese original or with scanlations.

Getter Robo Animation (1974 onward)

Getter Robo the animation series has become somewhat a black sheep to modern fandom, especially in the west. This is because it lacks the same level of violence and insanity that the pilots have in the comics. It of course lacks the elements Ken Ishikawa would later introduce into the series, but we can hardly fault the series for that.

As a project that was running alongside the comic, the premise stays the same but with a more toyetic appearance and aiming to sell the Getter Robo toys to kids. Nevertheless, this is as valid starting point as any, as the series ran from 1974 to 1975, only to be replaced by its sequel series, Getter Robo G. The sequel series got few movies as well, crossing over with other Dynamic Pro shows running around the same time.

You could make an argument that the original animation is the most used entry in Super Robot Wars, despite being mixed with lore and elements from elsewhere in the franchise. It would finally be supplanted in SRW Z2, where Getter Rob Armageddon took its place as the mainstay entry from the franchise.

The one thing that makes using the animation as an entry point a challenge is that the only release with English subtitles is a Hong Kong DVD box. If you know Italian, I’d recommend grabbing their DVD box. You can choose with both Getter Robo and Getter Robo G as separate DVD boxes, or buy a combo. You can find fansubs too, which I believe is how most of the Western world has watched the show.

Getter Robo Devolution (2015)

This comic gets on the list for one reason only; it’s the only comic with an official English release by Seven Seas. It’s somewhat on the long side, but the artwork is beautiful. Perhaps not the best starting point overall, but the sheer fact that it is a modern take on the subject matter and does try to introduce everything it can in a way that anyone can understand the basic gist of things does make it a worthwhile point of entry. This can be considered a standalone entry that explores Getter Robo in its own way, something the franchise has mostly done after Ken Ishikawa’s death.

However, much like with the popular Getter Robo Armageddon, knowing beforehand some of the lore and concepts will make you appreciate it a helluva lot more. I’m personally a fan of Eiichi Shimuzu and Tomohiro Shimoguchi’s works, and it slightly pains me that I can only give this a lukewarm recommendation.

Getter Robo Armageddon (1998)

Alternatively, Change! Shin Getter Robo: The Last Day of Earth. One of the more popular entries on this list, and the one I recommend the least. It gets here on the list only because of peer pressure and its recognizable name. To many modern Western fans, this OVA was their first entry to Getter Robo and it was a rough start. Many of its callbacks went missing, and most people thought this was a sequel to the 1974 animation or there was an obscure radio drama from the late 1970s. It does have an audio drama prequel, which was produced after the OVA itself was finished.

There are a few reasons why this could be a starting point. The entry is mostly standalone, but many of its elements will go straight over your head without prior knowledge. As one of the first Retro OVAs of the late 1990s and early millennium, it strikes a certain nostalgic core that doesn’t exist among the Western audience (unless you grew up with whole tons of old Dynamic Pro related animation). It doesn’t go much through introducing its characters, or its world, but that’s less about Getter itself rather than a stylistic choice. At least for the first four episodes, which are the OVA’s best by far.

After that, the director got changed, the budget really took a hit and about half the show is slow and full of hot, empty air until the few last episodes kick in. We’ll never know what Yasuhiro Imagawa, the original director, had in mind for the OVA, but for better or worse, Getter Robo Armageddon has made the franchise more popular than most other entries. It’s just a bit convoluted and heavily relies on Ishikawa’s comics overall, not just Getter Robo, so as a clean entry point it is not exactly the best one.

These are just recommendations. Whatever seems the most fitting point of entry for you personally, go for it. Just don’t be a chump thinking jumping a later entry in a series will give you an easy time. Like any other long-running series, it’s good to look a little bit further back rather than jump into whatever the current hotness is.

A dreadful return

Parts of the Internet loves Metroid, but to an ill degree. Outside a few hot takes about sidescrolling games shouldn’t cost as much as games with three dimensions of movement, Metroid Dread has seemingly gained quite the amount of positive attention. Not that I’m here to piss into your cereal, but the developers of Dread have misunderstood Metroid to a degree. At its core, Metroid has been about powering up as you adventure through the game world in a balanced manner. There are obstacles that are required to beat, though not necessarily only in one manner. At its core, Metroid games are sidescrolling open-world games, or as we used to call them, adventure games. What does this have to do with Dread, and by that extension, that Metroid 2 remake on the 3DS? That modern Metroid is broken, and it was Fusion that shattered it.

For better or worse, Metroid missed the cereal train back in the day. Super Mario Bros. and Zelda were always the bigger franchises anyway

If you play any Metroid game prior to the modern era, there are few things you should notice. One of them is that Samus is strong by default. She may not have a long-range shot, but she has great mobility nevertheless and her rate of fire is not diminished like it is in Samus Returns remake and Dread. All the areas in the Classic era are filled with all sorts of little crawly animals you’re supposed to take down, which require Samus to be strong. It makes it much easier to kill enemies that fly in front of you as you power up, yet not all that necessary if you don’t want to item hunt. While Fusion manages to replicate this to a point, Samus Returns is a hollow game with large areas of one or two crawlies around, and this design change was made to compensate for the new melee and aiming mechanics. Much like how Other M had awkward as hell controls between third and first-person modes, Samus Returns suffers from awkward shooting and melee mechanics that necessitated changing the core play, and through that, how Metroid plays out. Perhaps you can argue that it offers a more relaxed pace for the game and the player is now required to time his actions better. However, the player already could dictate the pace they wanted, and weapons always took a degree of skill.

There is a concept of adding unnecessary mechanics for the sake of differentiating from the flock. Samus Returns reeks of this with everything it changed during the remake period to accommodate the melee mechanic. As weird it is to say aloud, Metroid is a shooting game much like Mega Man or Contra. Leave the melee for the Belmonts. Some fighting games, like Guilty Gear Accent Core, are faulty of this same thing, where there are additions of new mechanics for the sake of new mechanics that do not add any real value. In Metroid‘s case, this has caused a core change in how the game now must be played and approached while still being represented as being the same game. Metroid has become its own imitator. The surefire way to make a better Metroid title than Metroid 2 or Super Metroid (do you remember when people were arguing which one is better? I sure do) is to take the core element and expand upon them and see how far you can take them. The only reason people seem to prefer the melee mechanic is that Samus’ firepower was otherwise gimped and kicked down. If Samus Returns would have kept her firepower the same, there would be no reason for melee counters.

I don’t mind Samus’ new look though. It’s fine, but they should’ve stayed away from using white in the standard armour

An element that Dread is lifting from Fusion is the unkillable enemy chasing you. While SA-X is often cited as one of the more memorable things from the game, in Dread this seems to be a game-wide threat. This is turning Metroid into a stealth game, as now there seems to be a mechanic where you can turn Samus into a statue so one of these coloured robots (which look like iPhone store guards) can’t scan her. I’m sure we’re going to get story reasons why they can’t be destroyed and the game’s story will allow them to be destroyed by the end. That’s so goddamn tiresome. Metroid being an adventure game, an open-world title, fights this kind of written-in-stone story-driven progression fights against its nature. The same criticism was laid down on Fusion as well, though there it even broke the game’s core mechanic of non-linearity as you could only get items in a certain order as programmed into the game’s code. There was no sequence-breaking or creative choices done from the player’s part. Just like Samus Returns and Dread have minimised the player’s part in the exact same manner.

The thing is, Castlevania can do close-combat in non-linear games with some projectiles is because the overall design lends to it. It feels and looks like Castlevania, and more importantly, plays like Castlevania. It has balanced the game systems with the AI and game world to a fine point. Neither of these modern 2D Metroid Nintendo is making, and yes I am putting this on Nintendo as Sakamoto is still spearheading this franchise to hell, play like Metroid should. We have tons and tons of Metroid clones on the market with superior design in every aspect, and yet whatever the hell Samus Returns tried to be is shoddy lower-midtier garbage. Metroid doesn’t need to have melee attacks or counters. All of the play mechanics got gimped because of the want of this one extra mechanic that the game’s design can’t handle without breaking down. You can shave Samus Returns play to counter everything. All other mechanics are secondary and borderline useless. Unlike Castlevania, Samus Returns and Dread have screwed up whatever design the best of Metroid had to offer. Samus isn’t a goddamn ninja; she’s a fucking space Terminator. She’s not supposed to be a bac knock-off copy of her Smash Bros. version in her own games.

I won’t find any spot to talk about this otherwise, but holy shit doesn’t Samus Return have a terrible soundtrack. Most of the time you’re listening to this trash ambient soundtrack, and only in areas where you’re supposed to have a nostalgic rush you hear what is essentially re-used tracks from Prime. If you back and listen to Classic Metroid game soundtracks, the scary ambient things were saved for very specific areas and moments, but otherwise, you always had a rocking tune in the main areas. Maybe that’s for the better. Every time modern Metroid tries to do something new it flounders and fails like a fish on the Sun’s surface.

Speaking of white, these iPod dogs look less threatening and more… boring. Why would Samus shoot its face though? It looks like its most armored spot, while its lanky joints look like they would snap off from the ball sockets

Metroid is never going to escape Other M and Sakamoto. Hell, you might as well drop all hopes for Metroid Prime 4 at this point, as Metroid has long gone to be a story-driven adventure rather than the player’s adventure. Metroid was about the player facing a world and the sort of adventure that would be. Now, unlike its current contemporaries, it is about the player having to play out the outlined story. Best examples of this in the series? Metroid Fusion as a whole, and gimped world and adventuring in Metroid‘s GBA remake. Metroid has become about Samus despite Samus herself was never important. How the player had his adventure was, and we’ve lost it.

We can pinpoint the day when Metroid was lost. It’s the day when Gunpei Yokoi was killed in that car crash. I’m sure some people remember that there was an era where Yokoi’s name was attached to Metroid like Sakamoto’s is nowadays. I don’t like blaming one person for a failure of the whole team, but when you have a person who is put into a leadership position and publically proclaims his role in making and spearheading Samus’s story and knows her secrets, we can put his head unto the guillotine bed just fine. Just like with Link and other silent player characters, they’re supposed to be there for the player to play as. Take that away, and you’re forced to create a proper characterisation and framing for them, and seeing how video game writing is dumpster fire tier, and people like Sakamoto have zero talent or experience with actual story writing, you’re going to get stuff like repeating THE BABY the nth time.

Metroid Dread looks, sounds and probably will play cheap. This is sock-filling, a stopgap game. I’m sure it has a competent budget and all that, yet its lacklustre nature compared to independently made adventure games are laughing it out from the park despite their shoestring budget. Hell, just ignore what Nintendo is making and go play AM2R again.

Mega Man Legends Series Homepage image gallery

Capcom Japan used to run their website like they were fans of their own games. Contrast this to whatever modern corporate website you have now that is largely impersonal and doesn’t give you anything but the minimum. Certainly, you can still find businesses running websites that want to approach you as a person and as a fan, like Falcom’s in most cases, but more often than not they’ve become cold. Capcom’s http://www.capcom.co.jp/newproducts/consumer/dash, or Mega Man Legends Series’ Homepage, used to be a website that I visited numerous times during the first tens after stumbling upon it, but nowadays that link goes directly to a 404 error site. Luckily, someone managed to use the Waybackmachine to archive the site multiple times, but as with usual, a number of the images have their hyperlinks dead.

Seeing as I started my hobby of saving a lot of images from the Internet in case sites or users would vanish, this Mega Man Legends page was probably my first attempt at archiving images. Needless to say, a lot of images without their proper content are jarring, but gladly text is easier to archive than images. This post contains all the most relevant images regarding illustrations and similar stuff, with marketing material and such still being mostly available at Waybackmachine.

Continue reading “Mega Man Legends Series Homepage image gallery”

A Lostworlds novel is still lost to the World

Kenneth Flint’s The Heart of the Jedi is a cancelled 1993 Star Wars expanded universe novel. In 2015, it was published on The Star Wars Timeline in a re-edited form to fit the Legacy Expanded Universe of Star Wars, and has been now independently published on Amazon. The book is being sold with no profit in mind, only to cover the printing bill, but sadly this work isn’t the same as that 1993 cancelled book.

Why was the book cancelled in the first place? According to the author, Bantam Spectra considered the book not to fit then-new Expanded Universe timeline. We don’t have anyone else’s take what happened, and Flint’s Behind the Scenes story (readable at The Star Wars Timeline) is only his side we officially have. To get the whole picture, we should get someone who worked at Lucasfilm and Bantam, and was involved in the book to get a whole picture. We can assume that it was conflicting with other higher priority works under production, but we’ll probably never know. Nevertheless, Flint’s recollection does read like an education piece about not putting all your eggs in one basket. You can read a lot of pain between the lines.

Joe Bongiorno, the editor, wrote notes that he wanted to go give this “last Expanded Universe” novel the proper treatment like every EU novel before. It was never made to fit the then-new canon, but has been edited to fit the Legacy continuity for the given reason. This required shifting events slightly, renaming a planet (or rather, using a planet with little prior background) and changing things like shapeshifting species being more a common knowledge rather than something new due to something happening about ten years later in the old EU. While Bongiorno assets that no great changes were made and that the work is “essentially the same,” that’s not cutting it. While these edits were made under Flint’s blessing, it’s selling the audience and the work itself short. These edits mean the original cancelled The Heart of the Jedi is still unpublished as it has been replaced with this edited version.

You may consider this splitting hair. The book is now out there in physical form, and has been readable since 2015 online. However, the issue similar to the restoration of any old thing, be it a work of literature of furniture. It doesn’t matter how much the work has been edited and to what extent, but now that it has altered content, it needs to be treated as a new version of that cancelled version. The issue isn’t that it has been edited to fit the canon, new or old, the issue is that it was edited from its originally intended form. An argument can be made that if The Heart of the Jedi had been published in 1993 or later, it would have necessitated going through further revisions to fit the continuity that was being established. That would have been fine, that’s the nature of the beast. However, this does not stand twenty-two plus years after its cancellation, as the book was something fans were asking about for years on end. There was no need to go back and change it around. Fans, who were the target audience, would know the history and understand how it stands. This could have been a great act of preservation, a massive move to showcase a cancelled piece George Lucas himself supposedly liked. Yet, what we have in our hands now is an edited version of that particular book. Making changes to fit this work to the canon, when it never fit any canon, was a straight-up mistake.

The flavour blurp on Amazon funnily asks the “House of Mouse, don’t sue me”. Whatever your bottom line is on how Disney has handled Star Wars as a property, they still own it. Disney should have a case for property infringement. You can argue however much you want that this is a non-profit work (which in itself doesn’t actually mean profit isn’t made by someone) or how it is for collectors only, but there should have been permission from Disney to make things clear-cut. Clearly, there is a demand for old Star Wars books and Disney can easily argue how this book diverges purchases away from their official works. I’m honestly surprised the lawyer team hasn’t moved in for the kill yet. This isn’t exactly filling the bill for being transformative, it’s not a parody and you could argue it is diverging profit away from official Star Wars books. It might not be the most sensible move on their part regarding PR, but Disney hasn’t really given one flying fuck about that when it comes to Star Wars. Maybe this is flying under their radar.

Sadly, a lot of social media posts I’ve seen pushes Amazon sales as some sort of middle finger towards Disney. This really isn’t how it should be seen, but a number of users have claimed to have purchased the book just because Disney isn’t seeing a dime on it. I find this incongruent. While the old Star Wars is still in demand, this work isn’t the actual old Star Wars.  It was still made to fit a mould that it was never intended to be in. This is contradictory in spirit, but I guess buying an edited Lostworlds Star Wars novel in physical form is deemed a worthwhile effort. As a side note, Lostworlds refers to numerous unpublished, cancelled or lost pieces of Star Wars media. The name was coined by Kevin Furman for his site, until it went down in 2004  someone on the Jedi Council Forums, though Kevin Furman was the first one to collect all the information for this site, which went down in 2004. Thanks for Kevin to point this out in the comments. The Star Wars Timeline resurrected and continued on with Furman’s efforts to catalogue these lost media.

If I haven’t stated my case on this clear enough, it’s not that the edited version of The Heart of the Jedi has been edited to fit the Expanded Universe. It could’ve been the new or the old, doesn’t matter. It is that the book itself was edited at all. That I can’t support as someone who wants to preserve and archive media in its most original form. To illustrate this in another way, the situation is just like with George Lucas and his Special Editions. They are, after all, “largely” the same movies. Maybe one day we’ll see the original, unedited version of The Heart of the Jedi published on The Star Wars Timeline.

Y’know, I’d be nice if I could center the Featured Images.

Digital death can be saved with piracy

As much as Sony, and the other video game corporations, have their right when it comes to their games and consoles, the incoming death of PlayStation 3’s, PSP’s and PS Vita’s digital store paints a very dark visage of digital death; all those games that are about will vanish and be rendered unobtainable as the servers are shut down. Each and every game that is exclusive to a digital platform and is dependent on servers’ being online to any capacity will be lost. Piracy is there to catalog them and save them when you can not obtain them anymore in any legitimate fashion. Companies will complain and file lawsuits, like how Nintendo keeps harping on ROM sites, but if these companies want to curb piracy of their older systems’ titles there is very little they can do. In fact, that very little is very influential; offer all the library on your modern systems as well. 

That is easier said than done, as multiple games are very much tied to a system and licensing, meaning that publishers would have to re-submit their titles to console companies for them to be admitted again. Of course, with the hardware being different, it’s no easy task as they’d need to port the games. The question of whether or not that’s worth it for them becomes a pressing matter. Common sense would argue that if a company isn’t selling a game and there are no legitimate ways to obtain it, you might as well get it via piracy. We are not in any grey zone when it comes to digital games as you can’t claim that it is legitimate as long as you own the actual game as there is no physical equivalent in this case.

Yet these games are not abandonware either, as some of these titles have been ported to other systems in the same digital form, or are part of a long-running franchise. You can find loads of old games that have no owner on abandonware sites, even numerous game series and IPs that have owners, yet don’t act on them. It’s part ignorance of how widely their titles are shared and partly that they’re willingly allowing them to be shared. After all, you’re hardly going to make much money on obscure PC88 and DOS titles. You could make some bucks if these companies would repackage the titles for GOG or the like, but that’d take time and money. Would that be worth the effort? To some, yes. To most, no.

Whatever the thinking is within the companies, it won’t change the fact that with this digital destruction we’re losing the original source for these titles permanently. Once the servers go down, that’s it. There’s no crying over games you didn’t buy, there’s no wallowing over missed DLC. All the patches you missed are forever lost to the ether. Publishers and developers won’t offer them via their own services, even if that would be possible. What is the consumer to do if he wants to get a game but can’t, quite literally, buy it anywhere? Companies can’t argue for a loss of sale, as there are no methods a sale could be done in the first place. If they have an alternative venue to offer that title, then great! Problem solved. If not, well, the is always behind the IP owner. For a good reason too, but we should investigate whether or not an unexploited title, whatever it might be from music to film to book, should stay in the hands of the IP owner rather than be opened for common usage. It’d promote exploiting these unused titles, and in gaming would further promote the availability of otherwise unobtainable games. 

That’s never going to happen and we all know it. Sony could do everyone a massive deed and request each and every publisher with any content on their servers to be donated for archival at a museum or something for future research and patrons to play on-site. It would, at least, save these titles for historical purposes, but that is the last thing game companies have in mind. The first month is where the majority of the sales are done with games, and whatever comes after is extra. Once it’s a done deal, they can remove that title from competing with their future titles. Torta på torta repeat; I shudder to have a game on the same platform Super Mario Bros. 3 is. 

I don’t find any joy in Sony closing their old servers. It’s a tragedy that will become more common as time passes and content becomes more digital-only. With this closedown, we’re not only losing all those PS3, PSP, and Vita digital-only exclusives, but also all the PlayStation classic titles that were made to work on these systems. Sony’s going to make a bank when people will rush to buy the games they haven’t picked up yet. I recommend getting the Mega Man Legends titles, including The Misadventures of Tron Bonne, the Sega  Ages Virtual-On , and pretty much every PC Engine title you can get your hands on. If you’re a mecha fan and/or into Super Robot Wars series, there’s also SRW OGs; Dark Prison, a side game with no physical version out there. 

You did get a download code with that Super Robot Wars action game, that turned out to be really, really lousy, but not a game-on-disc in any fashion

Any arguments that follow the lines of You had all the time to get the games or It’s time to move forwards can and should be dismissed. For the sake of the consumers, if we’re going to go digital, the customer should have the right of access to these titles for purchase as there can be no second-hand market. Screw licensing issues or companies maintaining these servers at a loss. As far as the customers’ rights are concerned, the moment there is no viable route for legitimate purchase, the titles are free game. Pun not intended. At this point, I’m beyond arguing legal or moral points. I know and understand all the sides of the coin in the matter, but that matters jack shit when we are losing a generation’s worth of digital titles. That should not be acceptable in any fashion.

Thus, piracy becomes a justifiable action when there is no other recourse. Piracy will archive, it will keep records. It’ll become the way how to access all these titles on their original platform, if not form. The Internet will keep an archive of what Sony and publishers will not. Nevertheless, before we hit that deadline, the best thing we can do, and should do, is to burn that credit card to obtain all the titles we wish to play on our systems. After that… it’s your machine. Why not to mod it to take more out of it?

Consoles need to be stupid

Few days ago, news about the PlayStation 4 being a gimped console broke through. No, not in the fashion of it having ballgag. Down the pipe, when Sony decides to kill off their online services for the PS4, your console will end up as a brick. Lance McD explained further that the Trophies require the internal clock to be correct, and seeing people can’t change their internal clocks, when the servers and battery die out, so does your ability to play games. Your only way to sync the PS4’s internal clock is through connecting to PSN.

This is stupidly lousy engineering on Sony’s department, but I’m not going to sit here and pretend I’m not putting blame on Trophies as well. Gaming consoles have become smarter and smarter without any true benefits to the customer. All they need to do is to play the game. Trophies, movie playback, sharing to Social Media and all that is gibble. It’s the same ol’ thing again; consoles are just dumbed down PCs. This one of the many negative results of it. PC like machine brings PC like problems. Concentrating on essential necessities for playing a game and excising the excess should be an industry standard. We don’t need access to Twitter or the like via linked accounts. A generic browser should be all you need for that, but everything needs to be its own program nowadays.

PS4 clock battery problem is for the long-term. At this moment in time, you are able to drop in a new battery and reconnect with the servers. In the future, this won’t be applicable. Gee, who the hell would be playing PS4 games ten years from now? Dunno, who the hell would be playing SNES games twenty five years after the console?

This’ll pose some interesting challenges down the line when it comes to archiving and keeping records on PS4’s games. Future historians that want to see the games running on their native hardware will have to find a way to get around the limitations Sony put on the system clock. Oh but of course, the Trophies must be protected that people don’t have bragging rights. What a shit decision to put any protection on the whole thing.  

The most permanent solution will end up being modding the console to access all levels of functions. This game reading error will not be a major issue for Sony, and it getting fixed will be a very low priority. Especially now that the Japanese aren’t running the show. Few individual commentators have mentioned how this will ultimately be a positive thing, as this’ll force people to move to new machines and recycle their old games and consoles, or how this is beneficial for the competition between players, or how this somehow is a great anti-piracy measure if people can’t play games on a timed-out system. Fellating corporations always goes against the needs of the consumer. None of the points have any legs to stand on; the longer a machine functions and is playable is most economic and green option; Trophies amount to jack shit in eSports or other forms of digital competition outside dick measuring contests; this will have the opposite effect.

PS5 and X… I don’t even have a real shorthand for Xbox Series S and X. I’ll have to go with XboXSX just for the gringe factor. Anyway, both PS5 and XboXSX were launched at a terrible time. We’re going into an economic slump. We’re already short of chips and whatnot to build these machines. Both of these consoles were designed for a much better economic time they ultimately ended up in, much like how X360 and PS3 were. Part of the Wii’s success was in how concentrated it was in its function; it plays games. It doesn’t need to do anything else. By cutting away all the excess fat from the system Nintendo managed to find a low price point people could justify during an economic slump. After that, we experienced a nice rise in economics. We wouldn’t have seen the rise of Kickstarter and similar services in the same manner. People could pledge hundreds of dollars for people through Patreon and such. There was money to go around. That’s not going to be as the economy keeps balling down the road. Sure, big companies will make a big buck. It’s the smaller and local businesses that’ll go under. No better time to put more control on the media and devices you should have ownership over.

Sure, nobody in the Big Three saw the slump coming, though even without the Shangai Shivers some economists had been foretelling we’d go to an economic downward slope around 2019 or so. Having a to-the-core machine, and just one version of it, would’ve served the customer better. I agree that it’s nice to have all these bells and whistles most people barely use, some none at all, yet this whole PS4 battery bullshit is a symptom of putting the emphasize in the wrong court.

No, the battery isn’t the thing people should get concerned over, or the engineering, but the priorities that go into deciding to even put these things into the console; it’s all needless extra. A console’s basic core function is to play games. Everything else should be cut off from that. If all else fails in a console, be it network connection, internal battery, user account or whatever, the user should be able to put the game in and have it played, physical or not. Reality isn’t all that nice or consumer friendly, sadly. Just imagine; Turn the console on, see boot screen, put game in, and you’re playing. Nothing else going in the background or connecting to anywhere else. Just you, the game and the ability to play without seeing a dashboard, needing to connect to the servers, seeing news or being asked to install new updates that take half an hour.

If you’re reading that as me advocating of removal of capabilities modern consoles have when it comes to services and such, you’d be correct. All a console truly needs in addition of playing games is to be able to connect to the Internet for patches and multi-player. Everything else can be trashed. All the other resources can be put on making the controller better, or perhaps not used at all, minimizing the limit when a console goes to black. That’s not going to happen with Sony as long as they want to pretend still to be a prestige brand with the best home media center to offer. Sony’s quality assurance hasn’t been up to that level for good thirty years now, and things like this PS4 internal battery situation is one of those signs. 

The best fix would be Sony to remove this whole shebang and let consumers to set the clock by themselves without a need to connect to the servers at any point. Fat chance, but I can always dream of having more freedom.

Banning sales of violent video games won’t fix Chicago’s carjackings

Marcus Evans Jr. is an idiot. As Chicago is experiencing increasing numbers of carjackings, his solution is to ban violent video games. Junior’s bill is exactly what you’d expect from a politician wanting to bandaid the result of underlying problems. This bill wants to amend 2012 law to ban sales of violent video games to all, not just minors. This bill also seeks to expand the meaning of violent video games, making specific examples. I guess Junior is sexist, as the bill makes a separate mention about violence against women despite there already being a mention of human-on-human violence. Dunno about you, but I count women to be human.

Last year, APA reaffirmed that there is no sufficient evidence that video games cause violent behaviour. Few years back, researchers at Oxford found no associated links between games and adolescent aggression. Turns out puberty and hormones still make you go bonkers in the Third Millennium.  Whatever Junior thinks video games cause is not relevant and inside of his own head. His approach to the problem of increasing criminal activity among minors is pathetic and inane. It would not fix anything, and it would most likely increase piracy if ever passed in any form. To quote Junior from Chicago Sun Times, The bill would prohibit the sale of some of these video games that promote the activities that we’re suffering from in our communities. You’re not suffering from these activities because of video games. These criminal activities are happening because of the environmental and social issues you’re having. People being in bad places, kids being neglected and parents effectively abandoning their kids.

When you compare the two, you see harsh similarities as it relates to these carjackings. This is an incredible bit of stupidity. Video games don’t teach you how to jack cars in real life. Sure, you can see an example yet everyone with half a brain cells realises there’s a difference in stopping a car, pointing a gun at someone, then taking it from them, and pressing a button on a controller. You’d actually learn more about how to do it properly from television and films, especially when they’re aiming for realism. Hell, Youtube probably has step-by-step guides nowadays. Other unmentionable services do. Just like when Doom and other first-person shooting games were blamed on teaching kids how to shoot guns, the skills do not transfer. The skills you learn in a video game are manually different. I can’t deny you can’t get the idea and some imagination practice from playing a game, but you still don’t learn how to do it. Carjacking is rather easy, after all, as long as you get the driver to stop and scare him enough to comply. Of course, Grand Theft Auto is used as the main example, as that’s the easiest title to go after. Even Hillary Clinton went after the series in the middle of the first decade. Even the name of the game is tantalising politicians, but I guess we’re living in an era where all interesting and slightly offensive has to be stamped down.

Close to four decades now we’ve been seeing and hearing about the evils of video games. Longer if we count penny arcades, which we can round up to a nice century. Claims have gone from promoting illegal activities to games causing violent behaviour. While penny arcades and such did see their fair share of organised crime and hoodlum hangers, we’ve never seen solid evidence of games causing violent behaviour. At most, games can be a triggering factor. This means that video games aren’t the reason, that something is already there that doesn’t have anywhere else to go. You might think that’s enough reason to ban violent video games, but at the same time, you should then consider banning all violent and offensive media. A bullied kid might explode at his bullies for any reason, be it after watching some wrestling or because he saw John Wick. Games are more a way to get that pent up stress out from his system, unless the person can’t distinguish between reality and fiction. To reiterate, the issue isn’t violent video games. The question I don’t see Junior asking Why are these minors carjacking? Nobody seems to care about these people, only what they’ve done.

Junior should get this bill off the table and put his efforts into finding out why these young people are carjacking. Hint; the answer isn’t They saw it on telly/ in games. If there were a simple answer to be given, there wouldn’t be any issues. However, Chicago has an inherited culture of crime. Ever since violent crime saw its major rise in the latter part of the 1960s, Chicago’s being second to Detroit in being called a hell hole. Chicago has over a hundred thousand active gang members across sixty factions. Gang warfare is a daily thing. Let’s not ignore Chicago’s long history of public corruption; there’s a reason why the University of Illinois named Chicago the Corruption Capital of America in 2015.

It’s a sheer delusion to blame video games for the rise in youngsters’ criminal activities. Bandaiding the skin while the heart is still ruptured does nothing. Junior has cited no basis for his reasoning, just that there is a harsh similarity between criminal actions in real life and games. Well, I have to say that criminal activity in real life and criminal activity in real life have much more in common, especially when it is easy to get into a gang and get taught by your seniors. Banning the sales of violent video games to all will only hurt the industry, probably will have to face questioning whether or not it will infringe the freedom of speech and expression, and will only make these titles more exotic. Banning media will never solve individual and society-level issues. To this day I am disgusted whenever I see someone coming after the media of any sort for a quick fix rather than raising issues that cause violent behaviour and criminal activity, ranging from child abuse and neglect to society failing those who are in need of help. Mental health issues are still rising, and the whole lockdown thing hasn’t helped many who suffer from loneliness.