This is a part of series of posts relating to Fight! Iczer-1 franchise. Please see Robot related materials above for further content on the subject
The intention of this post is to cover main appearances of Iczer Robo and its main different versions and successors from the Fight! Iczer-1 franchise. This is not an exhaustive list of all appearances and images, but an overview on some notable ones. This post is heavy with images, so the click below for more.
The reason why soda pop cans are cylinders has three main reasons; it lacks the weak corners of a cube, has the same silhouette as a cube and a sphere depending whether you’re looking from the side or above, and its manufacturing hits a sweet spot between the two aforementioned shapes. For a mecha design, while a recognisable silhouette is important, and the thematic motif whether or not you want your look robot to look industrial war machine or hand crafted master piece, you should keep your setting in mind whether or not to use cubic or cylindrical shapes.
It is much cheaper to build an object that is shaped like a cube. It is relatively fast, cheap and easy, and by standard your cube’s can deviate few degree. However, no matter what material a cube is made of, its weakest spot will always be the corners. You can have it on its flat side, but if you were to hit its corner, all the force from the impact would be on that tip. The corners, while not as weak, too are weak spots, as they are thinner in material than the rest of the cube. When metal is bent, it stretches. The stretching is dependent on the material and the angle. A very rough rule of thumb is that steel 1mm thick has to be 1mm shorther than its intended measures, as the material will stretch 1mm during bending. This stretching naturally wears and stresses the metal down, and it now being thinner, is weaker. This can be countered by having additional material welded into the corners inside the cube, but this extends production time and adds mass.
Of course you could weld the material together by its corners, but that would introduce heat and additional material. As the rule of thumb goes, when you heat metal up, it hardens, tempers. This might introduce a weak point. This is why you often see the weld seam to be in the middle of a side, because then the corners won’t become tempered by the heat. Then again, welding in itself is kind of intentional mistake whenever it is done. It would always be best to have any and all pieces as one whole, but manufacturing such objects is often extremely expensive and nigh impossible. Mechanical and chemical bonding are also good options to consider, e.g. airplanes’ surfaces are nowadays glued together with epoxy adhesive rather than riveted.
Cylindrical shapes on the other hand don’t have similar weak spots as such, as the whole thing can rolled from one sheet. A robot can weld a large cylinder together rather quickly from its ends. Nevertheless, by standard creating a cylinder shape is somewhat more expensive to manufacture than a cube due to the sheer amount of control the rollers must be under at all times. Unless the process has been automated to a high degree, and the general shape is simple to manufacture in proper fast steps, producing a cylinder can become stupidly expensive. The history of soda can design has allowed the shape and the manufacturing to be extremely efficient and automated, something that is not probably possible in a mecha setting for giant robot limbs and body shapes.
While G1 animation largely ignored the whole issue of corners, the fact is that most mecha designs realise that having hard corners is not a good idea and camfer them down. It might add complexity to the work scheduling and design, but its a small price compared to the benefits
No fiction really concentrates on these things really. Its all about the visual flavour of the design. Mazinger Z has a body based on round torso and cylinder limbs, because that’s what Go Nagai went for in a comic that was quick to work on. Gundam in general uses flat, cubic surfaces because that is industrially more sensible to work with. If you look at the difference between The Federation and Zeon Mobile Suits during One Year War or, you should see that, in rough terms, Zeon has a high number of machines with round and bulbous shapes in their MS, which all are rather expensive to manufacture, while Fed’s mass produced units like the GM are very much made cheaply with cubic shapes governing the limbs and body. Knowing OYW’s setting and its technological level, no MS production is fully automated. Building just one MS takes hundreds of people, of which part simply work to shape the sheets into their proper shapes before a welder prepares the parts for a welding robot to make the final seams, before another person comes in to check how the welding robot has fucked up this time and how he has to fix. We can safely assume that one of the many reasons why GM’s production cycle is much shorter than Zaku II’s due to the geometry of its armouring.
Another benefit in GM’s overall shape and silhouette is that it has a smaller profile than the Zaku II. Much like with real world tanks, the GM seems to have balance between mobility and armouring. It has less mass to move around compared to the Zaku II, though the Zeon MS most likely has better armouring overall. Nevertheless, its silhouette has more room of error what to hit. However, in a world where you have particle weapons able to pierce armouring like its was butter, GM’s silhouette offers less a target to hit. While MS designs would grow in size with time, and get all kinds of shapes to them, these considerations really aren’t an integral part of Gundam‘s base design idea. After all, in real world all Gundam designs have to adhere to the fact that the franchise is model kit driven first and foremost. This dictates everything from colours base faction design differences.
Tanks are the best real world example of balance between silhouette and best of both worlds with shapes.
The above PLA’s Type 99a has a showcase of three important bits; round shapes, flat shapes and angles. The design of the turret tapers at the front in order to direct bullets and other hits away from the front section. The same applies to the front of the tank, where a hit in an angle has higher chances to bounce off. If you look at the GM above, its flat surface invite bullets to penetrate it. The humanoid form is not exactly the most bullet resisting shape, hence why some mecha design elongate the chest further forwards to create a sort of cone effect. The silhouette of the hull increases in size towards back for the same reason as the turret. While its side view might be rather flat, there’s nothing much that can be done there outside additional armouring, be reactive or just additional plating. You want to face your opponent face to face to offer them the smallest possible target with the best protection you can offer. Certain tanks can also lower their aim below the horizon, meaning they can stay behind a hill and offer even smaller target.
While tank battles and their function is not directly relatable to giant robots, a Realistic setting would take into notion the cost of designing and producing shapes that make a mecha. It’s alright to want to design a super sports car for more unrealistic setting, where cost of production is no issue, but a serious take on mecha warfare is required to recognise that shape must not only be dictated by use and utility, but also by material and cost. Tanks give some idea for good utility of industrially probable shapes, while fighter jets can be used as reference point for aerodynamics.
Makes you wonder how the hell did Kouji’s grandfather manage to build Mazinger Z in his basement.
How does all this affect the design you might have in your mind? Depending on your angle you take within the fiction, the overall governing surfaces are dictated by the intention. If they’re intended to be slow walking tanks, consider what direction is intended to be against the enemy fire and add proper slants or curved surfaces. Even if the angles around GM’s cockpit are laughably small, the fact that they are there gives some idea where the design was going. Sure, in reality it probably was just to conform to the humanoid shape, but we can assume the angles were calculated somewhat to encourage ricocheting. Zaku II armour seems to have designed under notion of heavy armour to withstand firepower overall, though as mentioned, particle beam weapons don’t really care unless you have a repelling surface. Consider the production angle as well; a highly mass-produced mecha wouldn’t necessarily have many separate armour segments and these segments would be whole pieces, like a car’s hood. Cars’ hoods and frames are designed to deform on impact, and rounder shapes are safer for this rather than straight surfaces with angles. There’s something on certain lines and shapes that are naturally “safer” to our sensibilities, be it from experience or otherwise, and often using decent logic and “what looks good” attitude with an intended function can yield a design that works well.
While you can completely ignore the realities of manufacturing and process of it, it would add a touch of realism if there is some consideration whether or not certain shapes and angles are probable within the fiction.
End users very rarely think about the production of consumable and usable goods. Why should they, it doesn’t exactly touch their daily lives to any meaningful extent outside the price of the product and the environmental impact it causes, but outside that nobody really thinks things like how their forks have been produced. Even before you get to smelting and consuming the raw materials, whatever company procured the materials had to have their own equipment to obtain the metal, most likely via some sort of mining operation, which leads to the whole cycle of obtaining the materials, all the plastics and metals, to produce the necessary equipment. It is practically impossible for a general consume to ever know where and how their products have been sourced and from where. Many companies make big promises for ethical treatments of workers or environment, often both. Fairtrade is one of the prominent examples of this, with issues ranging from low pay for coffee to less money ending up to the growers themselves. The growers outside Fairtrade make three to four times more money by selling outside Fairtrade, whereas less than 12% of any of the money made from Fairtrade products ends up going back to the source despite the significantly more expensive price tag products under this brand are sold in. Fairtrade themselves claims the price is justified due to the high quality of their products, though that seems to be less the case the more you look into habits of hardcore foodies. Things like premium coffee markets were expanding in the 2010’s, and Fairtrade’s didn’t seem to meet with the quality. Olivier Riellinger of Les Maisons de Bricourt said it best, when he described the whole Fairtrade scheme neo-imperialistic that is being imposed on growers. However, Fairtrade continues to succeed to an extent with their branding of ethics and practices.
Let’s use another example, where production of something is completely ignored due to the perceived and argued value of the usable good; electric cars in Germany. The Brussels Times recently wrote that a German scientist had found out that electric vehicles in Germany cause more CO2 emissions than diesel cars. You might be wondering how this would be possible, as electric cars don’t really have CO2 emission. This study found that electric cars, despite their perceived position as an environmental saviour, ultimately cause further emissions due to the source of that power. The power needed to charge these cars comes from power plants, and in Germany they are phasing out the greenest and cleanest form of energy production; nuclear power. Each nation that is phasing out nuclear power in favour of alternative methods means either coal or far weaker form of energy production, and ultimately releases less radiation to the environment than the alternatives. Richard Rhodes has an excellent opinion piece on the subject that I would recommend reading.
While the history of nuclear power has its spots, so does every other form of energy. However, in most of these cases human neglect and lacking procedures have caused the most damage. In Chernobyl, the combination of old, inefficient Soviet nuclear tech and carelessness caused the meltdown. Fukushima Daiichi too was to be refurbished and upgraded many times before that fatal earthquake, but lobbyists and anti-nuclear power movements prevented this, ultimately leading Fukushima’s reactors and facilities to be out-of-date. If they had been upgraded when they were needed and indeed were supposed to originally years prior, Fukushima’s incident would have been avoided. The fact that it is cheapest, cleanest and most efficient power source we have makes every charge we do outside nuclear power damage the environment.
What do we charge? Mobile phones, portable torches, mp3 players, other mobile devices, e-readers, electric cars and so on. Everything runs on batteries, and mining that those metals and minerals; lithium, cobalt, manganese, iron, copper and hematite just to name few, takes energy in itself, often oil and coal powered. These materials are mined in massive amounts, and the insanely large amounts that are produced makes their end price as low as five buck a pack of ten AAA batteries. Then take the amount of chemicals these products require, from surface paintings to the adhesives and plastics parts used inside, and you have more materials required to be produced and assembled through hundreds of different hands.
To use another example, solar panels themselves are considered very environmentally friendly source of energy. Yet this discussion almost always omits the copious amounts of quarts that is required to be mined in order to turn that into silicon in furnaces that emit sulfur and carbon dioxides in large amounts as well as have large amounts of wasted heat. Let’s not forget all the particle pollution this causes. Then you have all the chemicals that are required and produced during the production of the both prepare and wafer the silicon for the panels themselves. Second issue of course is the panels themselves, or rather, the shadows they cast. If a solar panel is placed anywhere else that isn’t a building roof or a wall, like a large field or on a lake, it will cast shadow on the ground. When you have large areas cast in shadows, this impacts the growth on the plants and can screw up small animals in that region. Of course, when the panels are finally up and running, they do produce clean energy, even if it gets quarter cut in production due to all the coal that’s being burned to charge those solar cars.
To reiterate, production of any good takes resources, even especially invisible goods like electricity in your home. It comes from somewhere, and its making requires materials of its own and someone to make, even if it just one guy in a control room making sure shit doesn’t just explode. Whatever product you have in your hands now, be it a cup of coffee or a mouse, consider for a moment how many different individual elements of production it has gone through, and how many hands have been making it, before it ended up in your care. The number is, most likely, more than we can guess.
The two things in the title do not exclude each other, but for the sake of argument let’s consider them as two things that don’t exactly mesh. Why? Because when we consider video and computer game sequels, we often see both practiced quite a lot, and there’s no real cohesion which one the consumer prefers, but at the same time we can see both criticised for different reasons. That should already tell is that this is kind of tomato sauce case, where people are split in preference. As usual, there’s no real one way to go with things.
If we were to use examples of iterative games, perhaps the best example would be Super Mario Bros. and the Japanese Super Mario Bros. 2 that was got the Lost Levels name in the West. This Japanese SMB2 is an iterative sequel, intended to effectively be more of the same, a pro-player’s version with the stage design and difficulty kicked up a notch for those who found the first game to be lacking. Western Super Mario Bros. 2, which got the USA label in Japan later on, is innovative sequel in contrast, as it expanded the playable roster, the world, characters and mechanics that would be seen later on in the series. Yes, we are going to ignore Doki Doki Panic, and if we didn’t I could use the same points of arguments for Super Mario Bros. 3, which we could use as a third example of innovative evolution of the Super Mario Bros. trilogy of games on the NES. If we extent the lineage to Mario Bros. the innovations become clearer, as the sheer point of having well scrolling action game at that time was something of a marvel, something past consoles didn’t really do or do well. Even Pitfall, the game some would argue to be the best action game on an Atari platform, moved in screens rather than with scrolling. Computers at the time had a hard time to do scrolling well, which is very apparent how the games were structured as per-screen basis or had a chunky scrolling, like what Konami did with their MSX shooting games like Nemesis.
While the Japanese SMB2 is a good example of an iterative game, we’ll use something like Doom and Doom II as an example most people should know. We can extend to this to numerous WADS that simply add stages or weapons, and perhaps even to some total conversion and such, but at the core there will be the good ol’ Doom experience; Shooting demons and trying to save your bunny from being staked. Doom II is by all means a large expansion with new weapons and levels, which was the team exactly did. The levels in DoomII are far more expansive and intricate compared to the first game thanks to the advanced in basic hardware. The enemy type number was effectively doubled. For an original Doom experience, the second game and its later iterations are effectively a sort of Best Of version, though some hardcore purists would argue that the pure classic experience still lays in the first game. Pokémon falls into this category as well, effectively being unchanged since the first game. The series has no renewed itself at any point, which has been more or less why its spin-offs have played with some of the concepts a bit more.
Adding new stages, some new mechanics and weapons don’t really innovate anything; they’re adding things on top of the base that’s already there. Innovation requires that a game is thought again from the grounds up, where the basic premise of the core design is effectively blown apart and the best parts are picked up while discarding everything that didn’t all the while building something new. Innovation is to take a house and renovate it from bottom floor all the while you’re considering all the room framing and how the yard is. Iterative is effectively building a new garage. Sometimes all you need is a new garage and some good lick of paint, because not all innovation hits the spot.
There is safety in iterative games, as they don’t fix something that was already broken, though sometimes they don’t fix what was broken. To use Pokémon as an example again, its iterations are interesting in that each new entry creates a new side mechanic only to be forgotten and abandoned in the next. Seasons of the year still hasn’t made a return from Diamond and Pearl. To contrast this, Digimon games have been widely different from each other from time to time and how they play, both to its benefit and detriment, as the franchise doesn’t have a cohesive core. Super Mario Bros. is a franchise that has a cohesive evolution with its games that innovate, as they don’t simply change the games’ genre on the fly. Side games certainly do, and New SMB series has effectively been nothing but iteration after iteration instead of innovating how the series could play in 2D, despite 2D Mario still making the biggest bank out of the series.
Maybe there are franchises that don’t exactly require innovation as such without effectively breaking the game’s core design. Umihara Kawase is a platforming game that has always been about the rubber band physics action; how to get from point A to point B, or C or D. If you’re not familiar with this niche classic, check this longplay for few minutes to get the idea. The point of the game is to use physics and mechanics tied to the physics in order to clear a stage, and these elements were further polished with its PlayStation sequel, Umihara Kawase Shun. Except in its PSP release, which broke the physics completely. Sayonara Umihara Kawase added new playable characters, a time stopping stopping mechanic for one of them and few new things, but ultimately where this series’ concentration on the sequels has been in the level design. If the physics change even a bit, or of new mechanics are introduced, the stage designs can and must reflect this either with new geometry or with additional hazards and interactive stage elements. Changing the core gameplay has to be taken seriously with heavy consideration in order not to break the basic design. Umihara Kawase Fresh changes the series’ core structure significantly from stage-per-stage progression to open world exploration with story elements, quests and health management.Effectively, the development team has taken the same route as so many other 2D action game team, and made it action-adventure in fashion of Montezuma’s Revenge and Metroid. While on surface and as an idea this sounds like changing the genre altogether would be in lieu with SMB’s innovation path, we have to seriously question whether or not the series benefits from these changes and additions.
Innovation in itself does not necessarily mean change for the positive. You can innovate something, completely overhaul and change the core of things and be left with something that is broken and doesn’t work. Umihara Kawase Fresh may now be broken due to its additional mechanics and heavy emphasize on story compared to its previous iterations (in which Shun is still the best entry in the series) though at the same time we have to grant the game the benefit of the doubt that the developers are able to keep the core design and mechanics at the forefront and not overshadowed or hindered by the new additions. I’ll probably end up buying the game for a review rather than out of joy to get a new Umihara Kawase.
Innovating a game’s core gameplay to the point of changing a genre can also impact the consumer reception rather harshly, as was feared with Metroid Prime. While taken against the larger FPS crowd, Metroid Prime isn’t stellar material, but against the 2D Metroid titles it made the transfer to three dimensions all the while making stuff work as intended was nothing short of on point. We can argue whether or not Prime actually innovated anything or if it simply moved dimensions, but the rest of the series’ entries have been iterative. Nevertheless, the genre change the game had to carry with it was received relatively well. This might not go so well with niche franchises with a cult following. Shububinman as a series might’ve been changing with each entry, and despite being semi-popular in Japan, the series effectively died with the end of the 16-bit machines. Personally, I’m afraid the management mechanics and story emphasize in Umihara Kawase Fresh will effectively kill the game, though it might as well bring it to a larger audience that can’t handle a straight-up platformer nowadays. Perhaps this is one of those cases, where the developer thinks their game is “just” a platform game, that it needs to be more and slaps everything on top of it. I doubt many would choose a well made meal over haphazardly made five course dinner with raw bits everywhere.
The danger of innovating a product in a way that it backfires is rather common. Ultimately, very few corporation do straight up innovation without having multiple product iterations under their belt already, though some new companies make their breakthrough with something newfangled innovation that hits the consumers’ wants and wishes just right. Games are like any other product though when it comes to sentimental values and emotional attachment, and this extents to the gameplay, mechanics and even visuals. You can innovate something to be something completely new and you might even test well, but if you make an error in what the consumers value in your games and change those elements, you’ll end up like New Coca-Cola. Not every game franchise can innovate itself step-by-step and so many of them are expected to have only incremental changes in their iterations. If you play the first Super Robot Wars now, and then move to the latest one, you’ll see that almost thirty years of iteration upon iteration has transformed the game to something rather different, but still has that familiar game play. While companies have a large amount of research in how people attach themselves to names and faces, brands and such, I’ve yet to see any research on preference on game play mechanics and how they’re presented. Perhaps this is significant part enough for the game developers and publishers to put more attention into, and would possibly explain why Call of Duty and Battlefield titles alongside EA’s sports titles sell year after year despite their most common criticism being in not changing anything. The consumer just has that preference for it, and even positive innovation is met with a cold shoulder.
There has been some interesting development in regards of certain video game packaging as of late, if you’re someone who has a thing for package designs. Mainly that there has been a large movement to unify them under a generic design, especially if they’re from Limited Run Games or by a Japanese company. Two could be a coincidence or style chosen by a certain corporation. Three’s a company, but five starts to say there’s a standard going on. Game Paradise Cruisin’ Mix Special, Dariusburst Chronicles Saviours both JP and Limited Run Games release, Senko no Ronde 2, and now Darius Cozmic Collection all use the same kind semi-slim box design that can be used to house multiple types of objects by changing the inlays. With this basic design, the thickness of the box is easy to adjust as well to offer more room. People who like uniform shelves will like this direction quite a lot, as the boxes now are of same height and width, with some changes in thickness. Still, an evolution from the widely and stupidly different kind of collector’s editions boxes that just don’t really fit anywhere. I can’t help but feel that this homogenisation of boxes takes something special from these special editions.
As you’d expect from the front, Darius Cozmic Collection Special Edition looks rather spiffy. Sure, the logo’s taking a lot of room from the cover, but all the six main images try to come through in a good balance. The only bit that ruins the Switch logo on the top left, with it being the largest logo on the box. Taito’s and CERO logos at the bottom are perfectly sized in order not to mess with the layout, but the Switch logo just hits your face. It’s a box front, and the back’s as you’d expect it to be. The layout’s nice, uses some of the game graphics and rather than trying to sell the game with overtly just vomiting text, the graphics are there to sell the package. They do that nicely. The usual required legalese at the bottom doesn’t interfere with the rest, as it functions like a some sort pedestal for the rest of the back.
When you first open the package, you’re greeted with the miniature marquee plaques. This is an absolutely beautiful set, even if its just bunch of transparent plastic with layered printing on the back. The printing is sharp and of high quality. Nothing less would really suffice, if we’re honest here. Most often Japanese companies don’t sacrifice quality when it comes to limited editions, and know that the perceived value gained from putting the effort into stuff like this is enormous benefit. It works, and you could attach these to anything you’d wish. There’s a not much weight to them either, so just throwing some bluetac behind them would keep ’em in place, though they’d truly shine if you had something to light them from behind.
After lifting the plaques and two spacer sheets around out, the main book of the package reveals itself. Darius Odysseys have always been great source material books with some slight change in emphasize, with the previous Dariusburst collections emphasizing on listing enemies. This time we have emphasize on production, both the actual cabinets, prototype artwork to layout the screen scenes, packaging scans, preliminary sketches and all the that good stuff yours truly loves to see. Hell, even the scans for the game packaging are of great quality and highly appreciated in the wholesome box form they’re presented. It’s a nice and thick book with great production value to it. The only thing that could’ve made it better would have been hard covers. This is the kind of material we rarely see, and it’s a marvel to see production material like this.
Lifting the space the book is recessed in reveals the last bit at the bottom of the; the bog standard Switch game case and the soundtrack slot. Funnily enough, this game with two soundtracks, and only one fit inside the box. The other was just laying inside the box, but seeing that was more or less a seller’s special, it should impact on the value of the core box. It would’ve been better to use a different cover for the Limited Edition and standard edition cases, but I guess this sort of unifying look to the whole package has its benefits too.
A package like this really lives through prestige. Most of it is sturdy, can take a hit or two just fine, just like the rest of the boxes like it. Nothing’s flimsy here, not even with the spacers. It’s a bit weird that one of the two CDs, even if it was just a seller exclusive item, had not slot designed inside the box. Now it’s just floating around somewhere on my couch among all the other stuff. Still, a package design like this might be somewhat dull, but it’s extremely well thought out for multiple intended uses. If this has become the standard for limited editions in Japan, guess this is the golden standard we should compare the rest of the gaming packaging we come across in the future.
While I applauded the sheer amount of unnecessarily large file sizes with stupidly large amount information in scans in my last post about the subject, here I’ll be arguing against this to some extent. It’s all about where you want to go with the result and what you want to preserve.
Perhaps the main example is what you’re aiming at; the original artwork at the core, or the magazine itself. Old magazines tend to yellow their pages, so the question becomes extremely relevant. The lower quality the paper printed on, the worse the picture will end up being. Furthermore, I’ll be using comic scans for this post alone, and at a later date talk about magazine scans that are in colour at some later date as that’s another whole thing. To illustrate the diaspora, I’ll need to use proper examples, right after the jump. We’re bound to have large images sizes in this post, as I don’t want to showcase itty bitty pictures if I can help it.
As much as piracy get the bad rap from those who seemingly suffer from it, it has constantly functioned as a tool of archiving, even if by accident. I doubt too many groups who ripped games or people who uploaded and shared music on eMule were thinking that they were doing historical archival of the era’ popular culture. This is probably best reflected in how things were, and still are, scanned. Be it books, booklets, manuals etc. you’ll most likely end up with scans that are harshly compressed and filled with artifacting across the board, destroying the original information of the image. This is like having lower and lower bitrate in digital music files, except worse, because usually scans around are of low resolution. Sadly, there are times when original works have been all but lost, and the only things we’re left is sub-150dpi scans with heavy compression thrown in. They don’t stand to modern standards, they never really did.
Scanning guides on the Internet often seem to recommend using medium settings for the output file, arguing that it’ll save disk space. This may have been an argument in earlier days of computing, when space was at premium. With time, this has become effectively a non-issue, especially with Cloud storage being a thing. Keeping websites light was also a priority, so finding that sweet spot between good-enough quality and load times was important. 56kb dial-up modems weren’t exactly the most effective way to transfer data around, but that’s what was available at the time and can’t really complain about that. Nowadays with blazingly fast connections on our phones, that’s not exactly an issue. All sites are more or less Java hells anyway. Of course, a lot of sites that carry any sort of scans or cover photos would like to keep everything rather small in size in order to avoid copyright infringing claims. Amazon often has small scans from God know when for older products, and even some new products have extremely limited size, from which you can’t really see much. Again, the bandwidth and storage space is cited to be the issue, but nothing really would keep these guys from using a thumbnail as a link that would send the user directly into the largest possible version of the image available. We should of course consider that allowing everyone access to highest possible version to an image might lead into easier copyright infringing or knock-off productions, but tracing exists for a reason.
Because this post will be heavy on images, more after the jump.
Just as I have a say about remakes and remixes, and manage to say that Nintendo doesn’t usually do traditional remakes, they come out from the woodwork and announced the Link’s Awakening is getting a full-blown remake, for whatever reason. The thing is, this is one of those cases where we can justify a remake. The Game Boy has stupid amount of great games that could use a full-blown remake, as the GB in itself was rather sorry little device. Not to fault it, according to history the machine with less power has come at the top in success and game library. However, why this game? Why not build on the world that Breath of the Wild gave to the player with its more direct-to-the-matter approach and stripped off some of the unnecessary baggage the series has seen since, well to be frank, since Eiji Aonuma got in. After all, he is the man driving the franchise and IP, has been since Majora’s Mask essentially.
To find an answer to this question we need to go back to an Iwata asks, where Aonuma directly states that Zelda titles didn’t have a plot before Link’s Awakening. This of course is horse shit and shows how Aonuma mistakes how games tell their stories naturally through the game’s play. A story of a game is more of the player’s action, the FMV sequences and such are just a framing device for the player to make up how they advance, even if it were in a strict manner. Furthermore, The Legend of Zelda and Link’s Adventure both excel in indirect world building, which is one of the best ways games can tell a story, by including settings and character the player has to interact with to a level. LoZ didn’t only make the player collect the pieces of the Triforce, but also introduced the setting, the main players and some of the most important settings of the world. Link’s Adventure went even further and expanded the map, named numerous towns and characters that would later appear in the series in various forms as well as introduced the third piece of the Triforce. Most of this in many ways were introduced in manner that didn’t require the player to stop and look at a story sequence for five minutes, as all of it was weaved into the fabric of the game. Aonuma’s direction for Zelda has always been away from this, as he has claimed to like the adventure games on PC more than action games on a console. Knowing Japanese PCs at the time, it’s somewhat safe bet he was “playing” one of those VNs on a NEC PC-98 with no pants on. Wouldn’t blame him, the dot graphic work in those is glorious.
However, Aonuma doesn’t care about those two, he barely even recognizes A Link to the Past. In 2004, he calledLink’s Awakening a quintessential isometric Zelda game, two claims that can be argued very harshly. One would be if Zelda games are actually isometric, as oblique projection would be more accurate, and the second would of course be if Link’s Awakening is as quintessential as Aonuma claims. Of course, seeing Aonuma has a very heavy bias towards the game he himself has worked on and has been very dismissive on two first games in the series, something that has harshly rubbed off to the fandom to a point of revisionism, we can’t take his word for granted. Yes, Link’s Awakening is a popular title in the series and saw a colour remake in 1998, but as a whole it’s influence is relatively minor. Most it did was tweaked what A Link to the Past had done with some hefty points taken from The Frog Whom the Bells Toll, which shared an earlier engine with Link’s Awakening. In a game series like Zelda, with most of the entries celebrated in a way or another, almost all entries can be claimed to be important in a manner or another, be it by setting up the lore, setting up the story, setting up the structure and so on. It’s effectively empty air to throw at journalists for some positive PR points. However, we do know how Aonuma views the game, and considering he made an absolutely terrible Zelda game with trains just because his kid liked ’em, it’s not exactly a far-fetched view to see how Aonuma just wanted to bring this all-important classic back to the masses, so a new generation can appreciate what an important game it is.
So yes, Link’s Awakening is getting remade because it has a story, and apparently it’s something that drives Aonuma more than advancing Zelda as a game series.
Not really sure if he realises how shit the game looks. I know, I shouldn’t take sides and just analyse stuff as is within the persona angle, but in this case I just won’t even try. If you look at how Capcom remade both Resident Evil and Resident Evil 2, they took everything they could to make the game work and look better than the original. The little we’ve seen about Link’s Awakening, it’s mostly a face lift, and it doesn’t look exactly great. You can argue all day long that the simplistic designs work and how its faithful to the original game, but at this point I’d rather enjoy the original game rather than play a remake with its edges bloomed with soft focus to hell. I’d rather not ruin my eyes. I’ve got a proper backlit GBA after all. Arguing over plants looking plastic and being glossy to convey how unnatural things are in a dream is loads of bullshit. This design world is that of toys. Certainly when asked about it, someone at Nintendo probably has a readily made answer that expands the whole thematic content like no other, but in reality probably had nothing to do with it. This remake looks like a LEGO set. A LEGO set that seems to replicate the original game to a tee rather than trying be its own thing or improve on the original. Aonuma didn’t have to stick with a super deformed look, but that’s what the original game was and you can’t steer away from pre-established things. The RE remakes are faithful to their original counterparts, RE:make perhaps to a fault, but they didn’t limit themselves to a similar look. They improved. This Link’s Awakening remake already fails as a remake because it doesn’t improve on the original visual, but instead opts to recreate them in 3D. That’s not enough. If your remake is effectively interchangeable with the original source material, it’s failed miserably. Remakes should always aim to obsolete the original, as should sequels, and thus adhering to the visual like this will hurt the game. There’s going to be people having nostalgia rush for it and argue that Zelda always used super deformed characters, which is true, but doesn’t really take into account that this game doesn’t need to. It could make better use of the hardware, create something new and interesting and still be visually familiar.
That’s the crux, isn’t it? This isn’t anything new. Nintendo doesn’t revisit old games like this too often, but every time they do, it’s not because there’s a consumer demand. It’s because the developer wants to, in this case Aonuma. He doesn’t want to recreate A Link’s Awakening the game, but A Link’s Awakening the story. Truth to be told, so very few game developer concentrates on making a game anymore, it’s all about the story. This remake probably doesn’t have the same budget as Breath of the Wild, but it is still largely a waste of resources. The recycle machine never stops. 2D Zelda still sells, there’s no question about that, so why didn’t they put their heads together and craft a completely new 2D Zelda that didn’t adhere itself to a past game? This is a pattern though, as A Link Between Worlds was effectively A Link to the Past 2. Seeing that was relatively popular and sold some decent units, might as well strike another familiar title while you’re at it, right? Half of the work’s done already, just grab the old design documents and go town.
If another company would make an action-RPG like The Legend of Zelda and use Terada Katsuya’s Zelda illustrations as a source of inspiration, they’d make bank.
So for some time I’ve been looking into knives again. Not because I have a need for knives as such, but because it’s always nice to see what sort of bullshit the stores have in for the consumer from time to time. Sometimes you pick something that looks neat, sometimes you just have to wonder what batshit bonkers they were thinking when they began putting paint on the blades. It’s not really paint, but might as well be. It’s so fashionable to cut stuff when you’re blade is pink, right?
Enter Vitility and their wrong-way knives. Before I go further, I will say that these knives have their place. People with arthritis and extremely limited movement in the wrist might find there more useful, but that’s not exactly the whole truth. That’s because most people hold their kitchen knives the wrong way. Vitility know this and their marketing department will take advantage of this, even on the box of the product.
As you can see there, right on the box of their veggie knife, they’re showcasing the wrong way to hold a knife. It’s true that holding a knife like that and doing the work with your wrist will wear it on the long run, but that’s only you hold your knife the wrong way. There are multiple resources when it comes to holding a knife, like Serious Eats, Not a Cook, The Manual or Eat Your Beets for kids. Most sources fail to mention that the motion that should be doing the work for cutting comes from the elbow and shoulder, and the wrist should stay relatively motionless. Only in fine cutting the wrist should be used relatively extensively. The main reason for wrist action in general cutting is because the knife’s blade has not been taken care of and has dulled. You’ll end up with more resistance than necessary, and you’ll end up trying to cut with the wrist.
Ergonomics is a thing that’s relatively easy to market this way. Most consumers don’t think about it, because great ergonomics is something you don’t notice or appreciate. It becomes relevant only when something is uncomfortable to use. Thus, marketing has a really easy time to make use of this, and claim that their wrong-way around knives are more ergonomic than all the normal ones, despite this not being the case. If you look at Vitility’s knife’s grip, it’s rather oval. Very basic, probably some sort of rubber on it. However, it’s not ergonomic as ergonomic as it could be, as it lacks any and all grooves or shapes to support the hand further. It’s about as ergonomic as your dollar binge knife, because I bet the person using this knife will end up using it wrong anyway.
It comes back to the sharpness again. When Vitility knife gets dull, you’ll end up exerting more force to it. As you do it, your wrist will bend upwards, similarly when you’re using a standard knife. It’s a bit different position overall, but the end is the same. These knives will get dull about as fast as any other too, as they’re mentioned to be stainless steel, which tells us exactly jack shit. Usually cheap stainless steel knives like this are basic steel that has a stainless steel chrome coating on top, but whether or not this is the case with Vitility is an open question. This is also why more expensive knives need to be taken care of, as their build is not just generic stainless steel. These knives can stain faster, but their edge retention can be superior or can be bend into insane curves. Knife Planet has a basic but still decent overview on some of the most common steels used in knives. A personal favourite is mentioned on the list, which is 1095 High Carbon. My guess would be that Vitility uses something that’s similar to 420J, which is on the aforementioned list as one of the lower quality stainless steels out there. It also mentions ceramic knives, and unlike what the PR says, you actually do need to sharpen a ceramic knife. It just happens very so rarely and in situations where the blade has been chipped or hit a hard spot like a bone. You’ll probably snap one half before needing to sharpen it, however. Personally, I wouldn’t recommend ceramic blades.
To get back to knife ergonomics, there is no magical solution. The best knife handles are great to hold simply because the guide the hand right. You instinctively grasp it the right way. This requires shapes on the handle, and this will of course mean the knife will not fit all. Humans are different, hand sizes vary and so on. The oval-tube shaped knife handle Vitility uses is probably the most generic shape you can have that’s still nice to grasp. Round is a terrible shape for a blade’s handle, you don’t know where the edge is directed to and you wouldn’t be able to put much proper pressure on it. There are some exceptions, there always are. Still, Vitility’s claim that their knife is ergonomic stands, just as any. The showcase on the packaging just likes to puts things into rather different light from reality, but that’s the usual PR for you.
Honestly, holding a knife properly is something that needs to be learned, it doesn’t come naturally. Even then, the most ergonomic knife won’t do you any good if the blade’s not been taken care of. As such, the consumer really should remember to not only learn how to use the knife, but also how to sharpen, hone and oil it. Takes about ten to twenty minutes of your time per month, and will make cooking so much faster and safer. Ergonomic or not, a dull knife is dangerous as hell.
Is that a hyperbole enough? Should be, as by now it’s more or less clear that Sony has no idea why Nintendo’s Classic consoles have sold out like hot cakes and occasionally still vanish off the shelves. Well, mostly because they’re not Nintendo and the Sony has no classics. PlayStation as a console as definitive classics, but Sony as a company really has jack shit.
Let’s put aside the fact that the PlayStation Classic’s hardware is rather terrible and emulation is spotty at best, but people can put those things aside for a long time. Just look at the people who are still using ZSNES. Sony has no Mario or Sonic. You’d think the whole thing with mascots is so 1990’s, but outside the era slowly coming into fashion (can’t wait to see shit in colour again) the whole mascot wars did at least one or two things right. First, companies had a face other than a human. You couldn’t separate a game console from its mascot. Now, you have such cute mascots as Sakurai attached to Nintendo instead. Nobody cared who or what made our games back then to the same extent, video game developers were not rock stars, which was only a good thing. Secondly, in order to beat the other furry mascots and whatnot you had back then, you had to have quality. Tells you how much quality you ended up having when the only ones that are still relevant today are effectively Mario and Sonic. Sony never had a mascot, not an official one. No, Polygon Man doesn’t count as they dropped its ass faster than your ice cream melts in the sun and it never had any games around it. Sony had all these unofficial mascots that the company liked to tote around like and Sony wanted to keep close to their heart. That was a problem, because that changed from time to time. Both Spyro and Crash were the faces for the kiddies, while Solid Snake and stuff from Twisted Metal served for the adulties. Hell, Kojima even favoured PlayStation for Metal Gear titles and probably would’ve loved to see it stay Sony exclusive to the end of time, which we all agree would’ve been bad because Ghost Babel really is the best Metal Gear game. At times you saw Cloud’s potato LEGO face when talking about RPGs, though Phantasy Star did the whole killing-a-waifu thing first. No, Sony and PlayStation never had anything of their own, and they were largely dependent on whatever shit the platform saw.
The hell are you getting at? I hear Charlie asking in the third row. Well, if we’re completely honest, PlayStation games that were most requested and wanted on the Classic couldn’t be included. Spyro and Crash had their remakes just on the side, so including those would’ve fought against sales. Metal Gear Solid has been re-released digitally to death at this point and anyone who wanted the game already probably had it. Original GTA is pretty shit. But it’s not about the game library, not really. It’s about the sales. It’s always about the sales. And the game library.
Nintendo’s Classics didn’t only sell to people who wanted to play the games and scalpers, they sold to people who wanted their kids to play these older games that had no modern equivalents. There is a certain code standard to NES and SNES titles, a sort-of must play coda that was shared between the Western nations. Not so much in Japan, they had their own groove. Better to think the Famicom library as a whole another thing altogether. PlayStation is a modern console with most of its games having some sort of modern equivalent. It’s not that people wouldn’t love to play PlayStation games now, because they are. It’s not just via PSN, but with through remakes, sequels and remasters. Tekken 3 might be the last good Tekken or the first bad Tekken, depending who you ask, but do you really expect people to jump unto a game that is eclipsed by its own sequel everybody plays, especially when its running on a terrible hardware and Toshinden next to it? I too have a strange nostalgia boner for Toshinden thanks to the PC version I used to play like no other, but holy shit it’s not a classic title in any regard that deserves this spot. Then again, what should take its spot? Street Fighter II is a tied to the 16-bit consoles more, Sega had Virtua Fighter. Legitimately does the PlayStation have another game series outside Tekken that can be argued to be a stone engraved classic to end of times? No, it doesn’t. Guilty Gear got its status only with GGX, Street Fighter Alpha 3 had superior ports on the Saturn and Dreamcast, Dead or Alive was all over the place and didn’t get the attention until tits hit Dreamcast and PlayStation 2.
Wouldn’t that mean it was about bad game choices and thus about the library? What are the core PlayStation games people most remember, and how many of those still exist? The PlayStation nostalgia is not the like nostalgia for the NES and SNES. The PlayStation was, for all intentions, the first console that was cool to own. Mega Drive aimed for the adult audience and the NES had lots of adult players for the sports games, but the PlayStation had incredible success with the whole cool factor. Hell, WipeOut alone was like a drug gold mine with the European trance club culture of the time. Would you buy a Classic console to play WipeOut when there are so many sequels out there on other Sony consoles and a remake that make this version obsolete?
Nostalgia for the PlayStation is a large part of the console’s successors in various forms that do not exist on the Nintendo platforms from the get-go when it comes to the Classic Era of consoles. If Nintendo is to make N64 Classic, it’ll have the same problem and will face the fact that N64 classics are counted with one hand. It’ll be consisting of titles that either have been ground to halt or are just terrible choices. At least Nintendo doesn’t need to rely on third-party support and have licensing problems, which without a doubt was a major problem with some of the developers and publishers. The consumer population doesn’t have the same affection for the PlayStation as it does for the NES and the SNES. That is not to say there isn’t one or that’s some kind of negative. It’s just different by a different generation.
Sony has often followed what Nintendo does without really realising why Nintendo does things or why they’ve been successful with some of their things. The PlayStation Classic was going to war with trumpets lambasting, but with no weapons carried. Hardware and software are an issue where Sony failed like a dead fish in bed, and the game version choices were weak at best, but those honestly are rather small compared to the problem that Sony completely mistook what made the original PlayStation a hit and didn’t understand the system’s nostalgia. PlayStation nostalgia is hard to capture, because it’s like Xbox nostalgia in that it never really went away, just like 3D Mario.