While coughing blood and phlegm, I missed EVO completely. Nothing unusual about that, the EVO tournament doesn’t interest yours truly. However, EVO is of interest in regards of this blog and how its seen, and this year had a peculiar event with Super Smash Bros. tournament that as a case study shows two things; video games are not a sport, and not even the participants truly see it as a sport.
The event of course is the already infamous grand finals for Super Smash Bros for Console X. At 15:00 minute mark, both players simply stop playing the game for nearly two minutes. Thus far you can argue that there was competitive play for the top spot, but at that point everything becomes a joke.
This is not sportsmanship behaviour, this is what you’d see in show wrestling. That’s what eSports is, and thus it is far from being worth entering to Olympics in any fashion.
Some have argued that the two players can dictate whatever method of playing they wish, that is their choice as top finalist. This is not true, as every sports has to have strict rules the participants have to adhere to and will be promptly punished if these rules are broken; the finalist do not get to choose who they play. No other seriously competitive field, from pool to golf, from karate to card games, from F-1 to Nascar, everyone participating are required to make their best effort to win according to laid rules and there is no room to wiggle about.
Despite the two players here were warned of stalling, they did not gain any sort of penalty outside booing. Instead, both of them should have been disqualified not just on base of stalling, but also for interrupting a match for an interview, breaking sportsmanship and unfair competition.
Why unfair competition? Many athletes are friends, but yet they don’t go easy on each other out of respect towards each other and towards the sport. These two yahoos are friends who didn’t go their extra mile for maximum effort in competition and instead chose for showmanship. Whether or not you want to call this collusion is up to you.
Of course, we also have take notice that making the competitors sit next to each other rather than apart allows this sort of interactions between the competitors. EVO should have embraced the arcade approach years back and have the players fight opposing each other, or at least with good few meters apart. Does this remove a psych element from the game? Yes, and it should, as then the players’ actual skill in the game can be concentrated more than on any theatrics. Having these two jokers separated from each other would’ve alleviated some of their antics, but somehow the two buffoons would’ve made a joke out of it anyway.
The competitors’ age does not matter, be it teenagers like with these two Smash Bros. players or forty something who has played Street Fighter their whole life. People of their age can and are competing in real sports with the right mindset and compete with others like them for the top spot.
This isn’t the first time EVO has seen these “moments” where players show off some reason. Some years back, two E. Honda players in Street Fighter IV allowed the first round of their match to time out in order to have a one-round match in order to see which one of them was better. The same should have applied in this case as with this year’s Smash Bros.; no competition means getting the boot. You can argue stalling or running away is a legit tactic that can be applied, but that has to be in proper context. Just standing and waiting for whatever reason in a battling competition should get you the boot. After all, fighting game tournaments mirror the real world martial arts competitions in spirit, and simply fucking around goes directly against that spirit.
Then again, as a profession (used here extremely loosely) being a top Street Fighter player or whatnot doesn’t bring in much in terms of finances. It’s not secret that the tournament winners often share their price money with other top players in order to keep them from living on the streets. It is an extremely stressful field and losing sponsorship is extremely easy.
Does this encompass all players and games played competitively? Of course not, yet EVO as a whole is a great example of how competitive video gaming is just a play akin to show wrestling, as mentioned. EVO needs to get back to its Battle by the Bay roots and have one rule above all; find out who is the best in a given game. This alone sets certain principle rules and required mindset. We can make jokes about Smash Bros. and their rule sets all day long, but this is universal; a fighting game tournament only exists to find out who is the best. Any actions to detriment this should be treated with extreme prejudice and cut down like a tumor.
Video games are not sports. They’re anything but sports. They certainly require large amount of skill and dedication to get good at, yet there are constantly examples how juvenile the medium is across the board. Video and computer games are a young industry, and this shows itself hard with competitive situations like EVO. There is an extreme lack maturity and class. Unlike Olympics and other real sports events, EVO has quite honestly zero respect outside its own bubble. Furthermore, this year the TV licenses were far less important and we saw no outfit censorship, because last year’s viewership was less than expected.
Video games might be the most popular form of entertainment, but sure hell ain’t the most respected. The only way you can get respect for you wannabe sports and hobby is to act like your age, stop screaming bloody hell every time you see boobies and take competitive shit seriously, no matter what sort of party game gets mixed with serious fighting titles.
Hoo boys, bronchitis is such fun. Every time I get it, the worse it hits. Please take care of your health, dear reader.
To save you time;
What Exogularity is; a source booklet series.
What Exogularity is not; name for a story or a setting within Muv-Luv franchise.
This should be relatively straightforward post, but considering the Muv-Luv fandom has a history if mislabeling titles with something else, with Before the Shimmering Time Ends constantly being referred as Altered Fable because Altered Fable is the name of the compilation disc it comes on, it’s no wonder the lack of language skills and information easily translates misconceptions that spread far and wide. Misconceptions, like with AF, that just can’t be uprooted anymore for whatever reasons.
Exogularity is essentially rebranded Lunatic Dawn. Lunatic Dawn were a series of booklets or mooks self-published by âge at their Comic Market stands. LDs (not the confused with Laserdiscs in this context) have been collected into three larger books titled Allied Strike. Since 2017, Exogularity has taken LD‘s place as official source material for fans. If you consider this, both LD and Exogularity can be taken as sort of additions to Muv-Luv Alternative Intergral Works, which served as the core backbone for the Codex.
Sometimes Lunatic Dawns came with a name, like LD3 was titled Code: Rebellion. LD7 had a full title of Muv-Luv Alternative Lunatic Dawn 7 Total Eclipse, which is boring and unimaginative, but somehow fitting for Total Eclipse materials.
So, what can you exactly find in Lunatic Dawn? Each LD contains their own special illustrations, colour or not, with line arts of Declassified Tactical Surface Fighters. For example, LD3 showcased the Rafale and gave a blurp about it.
These books also consisted of staff interviews, rough sketches and designs, rough animation boards, jokes, short stories and such. At times, LDs covered future subjects or touched on titles in-development, though that was more what Agekunohate, âge’s official fan book, as for in general. Essentially, all these are major parts of the hype engine directed at the fans rather than any part of the larger public. It must be said, âge has some stupidly dedicated fans across the globe.
So, in what way is Exogularity rebranded Lunatic Dawn? Let’s take a look at contents of the first volume.
The first thirteen pages cover content regarding Strike Frontier, the mobile game DMM ran. The second part, starting from page 14 begin to cover plans for stories that would take place after Muv-Luv Alternative‘s, events. As these are merely plans and drafts, outlines at best, and should be taken as grain of salt to showcase that might come out in the future. Nothing is definitive before the actual product announcements and titles are rolling out, and knowing âge/anchor that’ll take some time.
That is not to say there is no validity here, as the first volume states, these are the Horizon of the next attempt. The depths of its creations. The latest material of âge. What we can assume with the first volume is framework, from posthuman characters to new generations of TSFs, from Operation Olympus and Moon War II to BETA striking back and TSF-like BETA being a thing, to the whole New Beginning with the idea of humanity going out there in space to meet the BETA creators with warp-capable TSF.
The tagline for the booklet is All converge points, and a new beginning. While we can overanalyse this and pull stuff from our collective asses, it would seem that âge/anchor are intending to do a sort of re-launch of the franchise. After Muv-Luv Alternative, âge/anchor (then ixtl) really haven’t managed to roll out anything that would’ve broken the bank. Total Eclipse as a side story failed rather hard, Schwarzesmarken tanked even worse. The Day After didn’t really see success in Japan and currently is left as is. Whether or not it’ll be collected in the future with some sort of definitive end is anyone’s guess, but seeing this is the timeline Takeru cancels with Alternative‘s events, the ending itself is more or less a moot point. Some would even argue that TDA in itself was a useless story.
If you look at most English-language resources for Muv-Luv, like the Wiki, they’re mostly lacking in mentioning any of the Strike Frontier stuff when it comes to Exogularity Vol.1. This is because nobody has cared a bit about the Strike Frontier stuff, it really was rather unpopular in overall terms. The second volume, published in the upcoming Comiket #94, is supposed to concentrate more on cut Strike Frontier content, and content that they never had the chance to put in the game. Whether or not it’ll have anything on the numerous post-Alternative settings Vol.1t touched upon is currently unknown.
But you know what I don’t see people talk about too often? The storyboards at the back of the first volume where we have Meiya-lookalike fighting one of those BETA-TSFs.
Also no post this weekend, and even this is two days late because I’ve been mostly sleeping or coughing my lungs out. Stay healthy and eat your veggies, kids.
Funny that, this is the best song on the album. Otherwise it’s extremely disappointing
Generally speaking, I don’t do music album reviews, but for this once I’ll do a short exception; Rockman X Anniversary Collection Soundtrack is not worth the price. Outside the two versions of Give it a Shot and RE;FUTURE, the album’s pretty bland. Spending track space and time to remix six first games’ Boss Battle themes. These were clearly chosen because they could been easily selected over stage themes. If we’re completely frank, the Boss Battle themes are not the best parts of Mega Man series’ soundtracks. Most of these songs simply end up being grey background noise. This is a far cry from previous releases’ quality, like Chiptuned Rockman.
Speaking of reviews, you got two last month. I’m not exactly happy how either of them turned out (though I never am with my posts) and I know the end result of the Muv-Luv Kickstarter goods did give rather negative view. However, that’s mostly due to how high standards I tend to use in my reviews. If there’s something I see that could or should have been included or improved, I aim to mention it. If there’s a point of comparison to be made for improvements, I always aim to make that comparison. In that, the aim often is to give constructive criticism, the kind of I’d want to have. It’s no use calling things shit or terrible, it ultimately ends up meaningless jabber. While improvement suggestions are always welcome, those should never be expected unless separately requested. This may sound harsh, but the reasons why something may be lacking don’t matter, as this can lead into further questions. Too many times I’ve seen and experienced people pointing the lack of experience for a reason why something is lacking in design, which always follows with questions like Why didn’t you hire a professional then? or Why didn’t you find professional to help? The reasons, ultimately, don’t matter. They can make interesting trivia though.
The JoyCon review was approached the same way. However, a controller review has to take into account ergonomics, and this breaks the whole Why isn’t necessary question thing into the air. There I tend to look for why certain shapes were made in the form they are, and often the answer is to conform to the general shapes of hands. It’s not exactly the same question or reason, but close enough for some people to bring the point up.
Pachislot Rockman got announced and we’ve got our first look at some the characters somewhat recently. I’ll be doing a comparative review of Mega Man’s redesign, just like how I did one on the Man of Action cartoon design. While we don’t have multiple angles to use, the one in the linked page is more or less enough to get a good feeling what elements were incorporated across the franchise. Pachislot and pachinko machines tend to redesign characters, sometimes to very large extents, but often do keep the core aspects intact. To use an example, CR Cutie Honey has designs that combine some previous series’ entries into one with healthy dose of detailing. People who handled this knew what they were doing as well, as the bunny girl form is named Cutie Bunny.
As for the rest of the month, I’m planning a short overview on what are Lunatic Dawn and Exogularity booklets âge is self-publishing at Comiket. I should not be surprised that the fandom seems to have taken Exogularity as the title for some story or setting, when in reality Exogularity is rebranded Lunatic Dawn. Well, I guess that’s it, they’re both source books with different names. The actual post will have examples, of course, but that’s the gist of it.
You’ve probably noticed how weekend posts have been appearing on Sundays recently rather than on Fridays. This is me moving towards the new schedule I mentioned a month ago or so. I’ll take this chance to also mention that there’s no post next weekend, as I’ll be away. Truth to be told, I intended to write this post for Friday, but thanks to rain I fell ill. My fever’s not going down, and I’m actually writing this on a phone. You can see the irony here, as I’m giving you a Why despite my arguments above stating the contradictory. Well, I do think there’s a wide gap between a KS and this blog.
Remember to sharpen and oil your kitchen knives and such. Cooking will be much safer and enjoyable afterwards.
Two reviews, in the same month? That’s what I call Lack of proper topics but mainly because the Joycons themselves are rather interesting piece of hardware once you get around how they’re spun around.
The JoyCons are essentially Wiimote 2.0. When attached to the main unit/screen, it becomes the second most unwieldiest portable console after the Lynx. It’s general shapes follows Sony’s handhelds and the Wii U pad quote closely, but at this points its more a necessity of ergonomics than lack of ideas. After all, pretty much all controllers follow the same core design nowadays rather than having widely different takes.
Of course, the main gimmick the JoyCons have is the ability to detached them and use them in tandem or individually. This is very neat, but at the same time these controllers are small by necessity. While slightly wider than the Hori Commander Mini I reviewed on the Famicom, everything else is in smaller scale. When used as single controller, you have access to the stick, four face buttons, two “shoulder” buttons L and LZ, and “top” buttons SL and SR. You can see these on the railing. Depending on the controller, you have Home or Capture button, and Plus and Minus (essentially glorified Start buttons.) The button that exist as shoulder buttons when JoyCons are attached to the main unit or grip rest awkwardly near your palm. The ergonomics are also lacking, but that comes with the size.
The sticks aren’t exactly the best, and it could use some some of the clickiness NeoGeo Pocket has. They lack any sort of tactile feel, despite the cutouts on the rubber. You simply don’t feel it. It has very short travel distance, which means control with tension becomes a must with certain games that require extensive stick control.
As the controllers have to work both as single entities and in tandem, the placement for the action buttons are sacrificed. They’re very much in the middle of the controller, which works when in tandem, but in single mode they’re just too far from the left edge, though larger hands could probably find this comfortable distance. This is also the reason why there’s no D-Pad on the Switch; everything has to do dual task, and these facebuttons, that use N64 controller’s C-Stick directions, work as D-Pad when used in tandem. It’s awkward and lacks the same smooth use as with normal D-Pad, and sadly its serviceable by a hair. Their dimensions and placement has been worked to its optimum. The buttons themselves are of better Nintendo standard, where the travel is pretty spot on, perfectly raised above the level and have nice tactile feedback.
It must be said that accessing the SL and SR buttons are surprisingly accessible, as index fingers seem to naturally hit their place. On themselves, they’re a bit too flat to use properly, but that’s why Nintendo gave us the wrist attachment people seem to put the wrong way constantly.
Plus and Minus are tucked away in the corner nicely so you don’t hit them, but whatever mode of control you use, they’re awkward to use. Think of Xbox’s Duke’s black and white buttons and you get somewhat similar idea.
The wrist attachment slide the opposite way you slide the controller into the main unit, corner symbol meeting corner symbol. This adds some heft to a JoyCon and makes it somewhat nicer to hold in your hands, but its main use really is to make the SR and SL buttons more accessible with the larger pass-through buttons.
While you can use JoyCons in tandem separately like with the WiiMote and its nunchuck, Nintendo shipped the console with the grip attachment. It’s not exactly the best however. It’s like they wanted everything to stay straight and have the JoyCons sit like they sit on the main unit. This means whenever you use this, accessing the left face buttons for D-Pad use and the right stick requires either over-extending your thumb downwards or move the whole whole on the handles. Supposedly, the prototype was in an angle to give it more ergonomic shape, but for whatever reason this was dropped. There are many customattachments on eBay that fix this and make this the most viable option to use the JoyCons in tandem. It would seem that the JoyCons will see rather large amount of optional accessories and attachments down the line. Here’s hoping Hori will do some good ones in the future, like the upcoming D-Padded JoyCon.
So, bottom line? The JoyCons are not the best controllers out there. The whole thing of them working as a single unit or in tandem forces just enough compromises to make all of them feel somewhat awkward. As usual, once you get used to them, muscle memory handles moving your hand up and down as needed. If there had been some concessions for functionality over visual design, these would have been winners as first hybrid console controllers. As they are now, JoyCons do their job, but the alternatives are probably better.
I must admit that the JoyCons have one thing over all other controllers; Switch has the most satisfying feel of clicks and clacks whenever you are attaching them to anything.
Rather than discussing how disappointed I’m in the Mega Man X Legacy Collection‘s input lag, removed songs and censorship, the more interesting topic is Nintendo going after ROM sites again.
The whole thing with ROMs isn’t about an issue of legality when, that’s a clear cut thing. What isn’t concerns the relation of re-releases and ROMs. Emulators and ROMs are still popular, perhaps more than previously due to more accurate emulators being more available rather than junk like ZSNES. The increasing amount of fantranslations making games like Rudra no Hihou/ Treasure of Rudra available to the English-speaking audiences is reason enough to download whatever emulator seems to do the job and launch the game without any other considerations done. Then you have games that have changed graphics, completely overhauled game mechanics and pretty much everything under the sun you can think of. All you need to do is to patch the original ROM file and launch it in an emulator. Hell, even patching is optional, as most ROM sources simply list all known variants, patched or not, for any given title. Of course, some people just want to play Super Mario Bros.
Nintendo out of all companies probably has the most reason to dislike ROMs. Well, next to Sega. This is due to the fact how many classic titles exist on NES and SNES. As I’ve said before, any company who is releasing a title on a platform that allows the consumer to buy Super Mario Bros. 3 has high standards to live up against.
One of Wii’s most important lifelines was the Virtual Console. Titles on it outsell some of Nintendo’s big name titles, which didn’t put the Big N into right mindset. If you can’t obsolete a thirty years old game, then clearly something’s not right in the design and execution department. You may not be able to fight consumers’ nostalgia, but you can make see what makes that nostalgia ticking and tackle that. New Super Mario Bros. may have been rather mediocre after the fact, but after twenty year long drought of no 2D Mario it was a breeze of fresh air. Never went anywhere, and the New SMB titles ultimately lacked in quality.
The general consumer will drop five bucks for an old game in digital form, even more if the title’s a household name or holds some special place in his heart. The Virtual Console was a great thing, offering games across the platforms like no other. In the absence of Virtual Console, where does the consumer turn to? Without the older systems plugged in, and not too many have Wii or Wii U plugged in anymore, hardware emulation seems like the next best thing.
Nintendo of course has all the rights to protect their IPs and copyrights. Them shutting down Another Metroid 2 Remake a while back was them covering their asses and to remove competition from their own Metroid 2 remake. We can debate which one was better, but we can say for certain that AM2R was more faithful to the original and didn’t screw up the mechanics. Nintendo Switch Online is supposedly successor to the Virtual Console, but the concept and execution are a far cry from the store that Virtual Console is/was. NSO is essentially a subscription service to let you play online, with the whole thing about being able to play limited number of classic titles being a secondary element to it.
NSO is not a good replacement for the VC. VC wasn’t just about Nintendo’s own titles, but that may have been something that did rub them the wrong way. Nintendo wishes they had been as creative and innovative with their games as Sega was in their golden days, who constantly pushed the envelope with their groundbreaking arcade titles. The PC-Engine titles were a massive pull with the Japanese, with titles like The Kung Fu (known as China Warrior on the TruboGrafx-16) hitting the retro consensus there. There’s a market here that goes largely unused.
Nintendo could slap their in-house emulator for the Switch and sell every single NES game they own rights to for some three bucks. They’d probably make stupidly large amount of money off of them, probably more than what NSO could. Have all other companies that saw the success of Virtual Console hop aboard and have them re-release these title as well. Even better if you had opened this system to those who already had VC titles on the 3DS and could carry their games along just fine. This would have been beneficial and logical step for Nintendo on the long run, as it would have brought incredible amount of content to Switch from the get go.
An age-old argument against emulation from the industry has been that it damages the sales of future re-releases. VC was a massive success, PSN and XBLA’s retro titles slightly less so. Consumers will pay for what they like if its available at a decent price. Considering Nintendo is essentially ceasing its sales of older titles in order to move to Netflix styled subscription for them, the argument has less base than they want to believe.
All these companies know that they can’t stop emulation and piracy. It’s a losing battle, but all the companies have to do it. If they don’t, it’s very easy to see them fall into realm of abandonment and free for all to use. This extents to emulators being taken down as well. Only when patents expire does a company lose most control, like with the NES. When NES’ patent expired, the market saw a slight flood of clone consoles. The consoles themselves were legal, but some of them had build-in ROMs. This is often circumvented by just adding SD-card slot to the machine.
The retro game market is going to more expensive direction as the time go by, and it would be natural for the industry to take an advantage of this through re-releases and competent compilations. However, often we see budget packs with attention put to the presentation or alternative modes rather than on optimisation. Guess we’ll just have to wait and keep emulating before companies make older titles viable options again.
The approach to this review will not be anything different from any other review I’ve done thus far. No special treatment, no kids gloves on; I will approach this as any product reviewed in this blog thus far. It’s only fair towards you, the readers, and the staff behind the Kickstarter. However, I won’t be reviewing all the KS goods. I’ll be concentrating on the main dish most people probably got through their backing; the Kickstarter physical package, the Codex and the Destroyer Class plush. This will strictly discuss the items themselves, not their translation or such.
Let’s start with the physical package.
This is also the image that was used on Alternative‘s original DVD release. It’s honestly the perfect choice for this
At first appearance, the package seems pretty on-par. Despite using thin cardboard, the appearance isn’t half bad. The decision to put the description and all copyright information to the bottom is an interesting take, as now its reversible to every other direction. This breaks how commercial boxes are designed, which some perfectionists might find jarring, as now the box doesn’t flow well with other software boxes.
However, visuals aren’t all. While the box still feel sturdy in hand, the contents inside are loose. The image above is just before I opened the box, and I could hear and feel the items inside rattling back and forth. This isn’t great to any extent. A box like this should have necessary support inside to keep items in their proper places during transit, as now no matter what sort of stuffing is used around it the items can be damaged. So, let’s open this one up and see what’s inside.
This is exactly what I didn’t want to see; items rattling around in an oversized box. Because the box is made thinner cardboard, the same some DVDs have around them, it loses most of its structural integrity when opened. I can feel the CDs being lose inside their jewel case, let’s open that one up to see if they’re damaged. The case’s cover is nice choice though, but the back cover should have been revised. Maybe drop the song titles here completely and have them inside in an insert.
Luckily, only one of the CDs were loose, but the discs’ printing is not up to quality. While the chosen images are good in themselves, for whatever reason the images are lower resolution than the text, which itself is sharp. The typeface and font chosen for the CDs ends making these look like something printed at home. Furthermore, these discs should have been labelled as numbers, e.g. Muv-Luv Alternative Original Soundtrack Disc 1, not Volume 1. The fact that OST is used on the discs like this, and the fact that there is no kind of information who composed the songs, makes all this feel like a homebrew compilation.
As for the games themselves, the front covers are what you’d expect and look good. Nothing to say about these, but the back covers are another thing. There’s too much text on them. Even when these VNs are long, the descriptions should have been cut in half and with heavier emphasize on images. To use Sweet Home as an example, the flavour text is two whole sentences, being straight to the point. The word homebrew creeps back to my head with this, as things like Minimum Requirements should be on the box. Actually, they’re not seen anywhere on the packaging.
The discs however are rather standard, overall speaking. There’s nothing to mention about them, though I would’ve expected more legal text on all of these. Perhaps printing a monochrome image on the disc similar to âge’s Japanese releases should have been brought on to the table, as its much easier to make them look sharp rather than what might end up looking like a sticker on a disc.
I must mention that the disc I have for Muv-Luv seems to have been damaged somewhere along the way, as it has a strange arc on the underside. Despite this, the disc seems to be readable. There’s also a weird discoloration, as if something had spilled all over it inside. This might be a quality control issue, and I’ll be sure testing this disc further down the line.
The shikishi, a drawn image signed by the author, that came with the box is pretty great. Sumika doing a Drill Milky Punch is nice, even when it’s just a print and not a real thing in itself. The artbook uses similar typeface and font as the CDs, and doesn’t exactly look the greatest. Everything’s printed on a thin, glossy paper that in itself isn’t terrible, but the cover should have been heavier duty. The feeling the book gives is flimsy, plus it creases extremely easily. Corners will get damaged fast in normal use with this paper too. Because of the thinness, the pages are slightly transparent and the images on the other side bleed through. The images and character descriptions are on-point, though the complete lack of illustrator credits anywhere in the codex is a bit disheartening. Seeing the second and last to last pages under the covers are completely blank, these would have been great places to put them on.
Here’s how I solved the rattling the contents: I added two pieces of cardboard on both sides, and a support structure to keep the CD jewel case in place. To be completely honest, the outer box does feel like something you should throw away, as the package overall lacks any sort of premium feel to it. The added cardboard makes it feel more rigid and gives some extra heft. There shouldn’t be any reason for me to do this addition, but as things stand now, I had to. For comparison, here’s how Senran Kagura Burst Re:Newal laid its contents. Notice the use of sturdier cardboard, how the items are laid and fit perfectly, and the use of supportive thinner cardboard at the bottom of the PS4 case.
Well, let’s move unto the second big thing, the long-time Holy Grail of Muv-Luv Alternative source of information translated and recompiled with Lunatic Dawn content; The Codex.
The first impression of the book is nothing short of impressive. I didn’t expect hardcover version of the book, especially considering the number of pages, but first looks can be deceiving. When you stop and look at the cover, it’s not pretty.
On the right, you see the scanned cover of the Muv-Luv Alternative CODEX. On its left you have the same illustration, scanned from Muv-Luv Alternative Integral Works. I recommend opening them in Full View to fully see how badly the covers have been fucked up. Either someone forgot to pit High Resolution mode on in In-Design, or something seriously went awry during data process. Both covers have been printed in low resolution, while the cover text nice and crisp. While a book shouldn’t be judged by its covers, this piece can never be called high quality or premier product. A way to remedy this situation would be to create a dust jacket for the book with high resolution print on the cover.
However, the meat of the piece is on the pages. With some few hours looking through, there appears to be no real concern how accurately things have transferred during translation. There are also welcome changes, like changing Melee Halberds into Close Quarters Combat Melee Blade. While a mouthful, melee blade in itself is more than enough. Back in 2016 I wrote a post concerning the topic, which was comped with a review of TSF’s close combat weapons. I strongly recommend you to read them both if you haven’t. There is one fib that has leaked through, where BWS-8 Flugelberte is described to resemble a halberd, when in reality it resembles an axe. Or a bardiche.
The information itself is great stuff, but it shows that this is a book that’s glued together from multiple sources. The Lunatic Dawn content that’s in the latter part of the book is just bolted on, rather than taken and included into the book proper. The word on the street originally was that the book would need to be completely revised, but in the end it follows Integral Works‘ looks and design with the occasional change in order accommodate English.
The paper used is similar glossy paper that’s in the artbook. It’s a level heavier, but creases still extremely easily. Despite being heavier and slightly thicker, it still isn’t near heavy matte paper in terms of preventing transparencies, as seen above. Fingerprints will be abound while reading this book. I’m rather surprised that this wasn’t a softcover book similar to Integral Works or Mega Man & Mega Man X Official Complete Works, to which I compared IW to back in the day as well. Codex‘s paper is nowhere as heavy and hefty as the two aforementioned, but the book is third thinner due to the new paper. It doesn’t allow the book to have any air to it either.
Because of the glossy surface and the sheer amount of text, people with poorer eyesight will have headaches while reading this. The typeface selected is just small enough to cause extra strain on the eye. As everything’s also packed very, very tightly in this small size, people who suffer from either vertical or horizontal dispersion in vision, meaning certain letters will lose lines, making reading a chore at best, extremely headache inducing at worst. This is easily alleviated with the use of different typeface or slightly larger font size.
The use of this sort of glossy paper can also be a double-edged sword. While Yakuza 6‘s artbook had the same paper, some copies were completely glued together, some were completely warped and some had ink smudges all over them. The feel of glossy paper works best for single leaflets and photos. When going for a book like this, its still best to consider heavy matter paper first and foremost, as it offers longer life and cuts down possible ink and paper problems down to mere percents.
All in all, the covers are just a damn travesty, sadly. Well, that and one of the pages, p. 353, get repeated on the following opening. While accidents like this sometimes happen, this does sting of lack of quality control.
While the plushie is clearly different from it CG original, this is due to difference in reality and fiction. The overall quality is damn nice, chosen materials feel sturdy enough to give this to a child to play with. Interestingly, the back end has a sack that’s filled with grains rather than fluff the plushie is filled with otherwise.
It’s just a joy to see and have, maybe even the best part of the package in terms of quality. This thing really should see mass production. Clearly, there is a market for BETA plushies.
I’m sure that at this point it’s rather clear what’s the end verdict is. The Kickstarter original products are largely a disappointment in terms of quality. I’m not going to mull over whys or hows, that doesn’t net anything. They are what they are, now’s too late to do anything about it. Other items, like the ones in Yuuko’s Gift bag, have higher quality. Stickers are hard to screw up as are postcards (though mine are rather warped, requiring me to straighten them down.) It must be also mentioned that Valkylies has been corrected into Valkyries with the patches.
Those patches were produced by Cospa, company that produces cosplay goods, including the jackets and shirts that were on the Kickstarter. The pilot jacket may be 100% polyester, but I can’t expect a cosplay clothes company to manufacture clothes like they were actual military wear. The Drill Milky Punch T-shirt is at 100% cotton and I’m wearing it while typing this review. This extends to the dakimakura, which is of standard Japanese productions for items like it, I expected no less.
The experience with the Kickstarter goods, delays and pretty much everything including the end results of the goods probably affected negatively both backers and staff. It would not be surprising if this was the first and last Kickstarter we see, and the rest are done away with less fanfare, which would also mean no physical products would be produced. However, in cases like this, I would always strongly recommend companies and people looking into Limited Run Games, a company that specialises in doing limited physical run on goods. At the time of Muv-Luv‘s Kickstarter, the company wasn’t relevant, but now it has managed to establish itself just fine. For example, they are delivering Shantae: ½ Genie Hero‘s Kickstarter goods. But all this is academic at best. I can only hope that lessons have been learned, but have not allowed to snuff the staff’s spirit.
I’ve got no good end for this review. Shit happens, we will probably never know what, but the end results are in our hands.
This week has seen slight avalanche of Mega Man related news. We’ve seen more gameplay and stages revealed from Mega Man 11, some footage of the cartoon has been made available, a Rockman pachinko was announced and Rockman X Mega Mission is getting a States-side released.
To start with Mega Man 11, the one thing I mentioned early on was that it looked like it’d hit the spots with controls and add some neat new controls. To use an official source, check this gameplay in Fuse Man’s stage. Early on there is a showcase for change in the sliding mechanics that gives more control to the player, where previously sliding was more or less dedication motion to a direction. Now, you can change direction mid-slide. This is accompanied with slight yellow sparking and a sound effect. The reason why I’m pointing this separately is because this is detail quality is build on.
Should I also mention that enemy explosions are very 1980’s?
With the introduction of Power and Speed Gear the game’s core play has changed to a significant degree. Previously this sort of elements would’ve been relegated to supportive role and mostly as gimmick function. In Mega Man 11, the Gears are part of the core design to make stages and enemies easier. It would appear that neither of them are not required to complete the stages, but are used to make them significantly easier at places. This is an extremely welcome decision, as it means the core Mega Man play design is left untouched for those who would rather have purist approach to the game.
This doesn’t seem to extend to the bosses to certain extent. The Fuse Man Boss fight we see around 13 minute mark, the normal pattern is something that’s easy to deal with. Its power attack is specifically designed to be taken advantage of with the Speed Gear, though without a doubt a player can beat the boss without the use of it. However, saying that you don’t need to use it doesn’t null the fact that the bosses patterns and attacks are designed around the Gears to a degree, effectively making them additional weakness to the normal Rock-Paper-Scissor weapon cycle. This isn’t a negative in itself, as all this means the Gears are more or less completely integrated to the overall design rather than bolted on top of standard Mega Man design. On one hand, hopefully this won’t mean that future Mega Man games all share different important gimmicks jammed on top of them, but on the other hand, can the Gears be recycled into future titles with revisions to it? Is the Classic series to become like the X-series, where each game has a new gameplay mechanic in form of Gears to X‘s armours? We’ll have to see.
Otherwise, the game seems to be coming together just fine. The run cycle’s still a bit jarring and visuals are still rather plastic, but overall Mega Man 11 looks like its been carefully crafted to be a good entry in the series. You don’t need a million dollar budget for that.
To stick with “base” Mega Man for a bit, the whole thing with Pachislot Rockman came pretty much out of nowhere outside the rumours, but for Western audience this means jack shit. You’ll be playing this only in Japan, and we don’t even have a cabinet pictures, just few low-quality magazine scans and an announcement pdf. The designs are all over the place with this, combining elements from all the mainline series into one. This is easiest to see with Blues/ Proto Man there, as he has that hair from his Battle Network version and glasses look like Star Force‘s Rogue dropped them by, with the Life Gem on his forehead and chest being something that’s prevalent in the X-series. I’m interested in seeing how they’ll include Mega Man series’ elements into pachislot, and how garish the machine will end up being.
Speaking of Mega Man X, Capcom has hinted that Mega Man X9 will be a thing. With the X Legacy Collection hitting store shelves early in Japan, the manual mentions that the story isn’t over yet. Mega Man 11 was teased in a similar manner. It’s good that Capcom decided to pack all the X games into one package, as there’s less nostalgia for the newer games in the series to pull in the audience. Mega Man Legacy Collection should’ve been one package as well, with the Game Boy titles with it, but those won’t be re-released anytime soon outside Virtual Console. Hopefully they’ll drop most, if not all pretenses that there’s some sort of deep and meaningful story in the series and concentrate on making a damn fine game with Sigma as the final boss.
Udon has also procured the license for Mega Man X: Mega Mission, a one-shot Hitoshi Ariga adaptation of the Carddass series of the same name. Sadly, it’s in full colour, so we’re going to miss the intended gray scale. I’m guessing they’re doing this because the previously coloured Ariga Mega Man comics sold more than their untouched originals. If you’re interested in checking what the original story was about, The Reploid Research Lavatory has you covered.
Then we have the cartoon, fully titled as Mega Man: Fully Charged. While it looks slicker than previously and this particular trailer drops all of Mini-Mega, who we see more in the US region only preview, the show’s pretty much Cubix remade. It says Mega Man on the tin, they’re forcing sprite graphics to tell a story, they’re even using cues from Wily Castle I theme from Mega Man 2, and yet it doesn’t look or feel what you’d expect from a Mega Man cartoon. Then again, like a broken record I am, this isn’t exactly an adaptation. This takes the idea of a good boy robot fighting evil robots with some general resemblance to its namesake. However, the more there’s footage, the less impressive the whole show looks. Neither the 3D or the designs look impressive, but seeing this isn’t supposed to be anything groundbreaking, it’ll get the pass by the viewers.
All in all, Capcom is gearing Mega Man for the next few years, and depending how all this goes, the franchise may become relevant again. It won’t happen overnight, but maybe in few years if things keep at a steady pace and all good things are taken advantage of.