Monthly Three; WAR-ER ONE

If one doesn’t find much sources about Hariken Ryu in English (his career with Godzilla gives him a lot of leverage over other of his contemporaries, Arain Rei is barely recognized in any degree. While Aran is known as one of many people who made up the best era of Comic Lemon People, and thus one of those who influenced then-current Japanese popular culture, and to that extension modern Japanese pop-culture, his name is all but lost in the Western front. He was at his most active in the 1980’s and early 1990’s, having an influence over stylistic sensibilities as well as contributing to the OVA scene.

I have discussed his original Iczer-1 to some degree previously, so in this entry I’ll be concentrating on Aran himself rather than retreading old ground.

Born in 1960, Aran’s first published work was Fairies of the Star in Comic Lemon People #6, 1982. Whether or not he had released doujinshis before this is unknown. The one work he seemed to like the most and kept working on  between 1983 and 1993 is Galaxy Police Patrizer-3. If any of his works, it is this one that shows how Aran refined his self-taught skills within one decade to a whole new level.

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Monthly Three: Arcade Game

If computer games are about the complexity of things, then the arcade was pretty much the opposite. Flashy graphics, tight action, fast gameplay, intoxicating sounds, and most importantly, the audience and the social aspect it brought to the table. Another aspect that they had is that they were made to be picked up and dropped. They would grasp into the game the very moment you drop a coin in. Computer games demand longer periods to be spent with them due to their complex nature, which is pretty much the opposite to arcade games. Arcades were designed to munch your coins down, which doesn’t mean difficult gameplay, just design that puts up a challenge. The best and most famous arcade games were not hard like how the hardcore crowd thinks.

There should be no surprises on this list, you most likely already know the games I’ve picked to represent what an arcade game is.

Pac-Man

I’m not sure if I can say anything profound about Pac-Man that isn’t repetition. Essentially, everything it in is iconic, from the waka waka sound to the idea of Power pellets. It’s fast and can get hectic, very easy to learn but mastering the point gain requires time and practice.

But most importantly, it was colourful and abstract. It was this sophisticated kind of abstract approach that allowed games in general to branch off into wide variety of different directions. After this, there is almost an explosion of games that would become more fantastical, as well as huge amounts of Pac-Man clones.

People flocked arcades to play Pac-Man, as it had universal appeal. It had a cartoon, comic series, serials and huge loads of merchandise. For a game about a yellow ball eating pellets and running from ghosts, the Pac-Man is a phenomenal game that embodies arcade games’ nature of appealing to everyone the best.

Space Invaders

Space Invaders is few years older than Pac-Man, but it’s just one of the three elements that created the Golden Age of video games alongside the aforementioned and Atari. Pac-Man was popular had a wide appeal, and so did Space Invaders. After Taito had launched Space Invaders in Japan, arcades that had nothing but it began to pop up and the game raked in profits like no other. Something about Space Invaders simply attracted customers, and that something was pure, distilled gameplay.

Seemingly a simple game, Space Invaders speeds up with each destroyed alien. This is a quirk of the hardware, as originally it couldn’t handle all the materials on-screen. Combine the relentless beating from the cabinet and the experience is perfect. Strategy is not only recommended, but required to beat the game, as the shields the player have can be show through. The shots take time to travel through the screen as well, meaning you had to time and aim your shot almost far better than expected. It birthed a genre, and clones like Galaga would pop up very soon after. Just like Pac-Man, Space Invaders is still a phenomenal game that veterans of the industry, like Miyamoto and Kojima, refer as the game that got them interested in games.

Space Invaders attracted people to play it.

Defender

Space Invaders and Pac-Man may have been hectic, but their one-screen nature didn’t really lend to feeling of speed. A scrolling screen would be required for that.

There are some conflicting reports whether or not Defender was the first horizontally scrolling game, but it’s popularity gets the spot here. Defender‘s fast, colourful and relentless. Compared to Space Invaders, it is very complex with game with positioning, destroying enemy UFOs and saving civilians. For a game of its time, it was intimidating, and at first its success wasn’t evident. However, much like how Atari’s Missile Command gathered people around it, Defender was a very much like a spectator’s game. If you got good at it, you could play the game longs times on just credit, a feat that people wanted to behold.

Defender is still one of the harder games that came from the arcades that wasn’t designed solely to eat your coins. Much like other great arcade games, players throughout the years have created strategies and methods to play the game as long as possible. Defender didn’t simply require split moment decision-making and eye-hand coordination, also forming the aforementioned strategies and applying them.

Both Space Invaders and Defender have roots in Asteroids and Computer Space, and while those are historical games, Asteroids is the only one that people remember and for a good reason. Computer Space may have been the first modern arcade game released to the public in 1971, but it was a failure. Both of them are largely first steps towards what defined the arcades.

Space Panic and Donkey Kong

I feel that it is necessary to say that Donkey Kong, while the most popular early platformer-type game, Space Panic predates it by one year.

Developed by Chris Crawford of Universal Entertainment Corporation, Space Panic has all the elements that would later appear in both Donkey Kong, Pitfall!! and Lode Runner. While Space Panic is largely forgotten in the annals of game history, it sets up the groundwork for a the whole genre.

To be fair, discussing Donkey Kong would be to echo many of the previous points already mentioned, but it’s a game where you can see how much games could evolve at the time in on year’s time. The Golden Age of video games is not defined one game, but by this evolution Donkey Kong was part of that constant evolution where arcade game developers and manufacturers would be inspired by each other and try to create a more popular product.

Street Fighter II

The 1980’s was the era for arcade games to flourish, and the beginning of the end for arcades began in the early 1990’s when computing technology had advanced to the point where everybody could begin to afford a home computer. Arcades used to be the place were you went to see the latest and most advanced graphics and gameplay compared to consoles, while computers had their own thing going on. While games like International Karate, Yie Ar Kung Fu and other fighting games predated Street Fighter, they all had their own conventions and no real standard was set. SEGA’s Heavyweight Champ from 1976 is probably the first fighting game, but even with that position it is very much a forgotten game

The reason why Street Fighter II, despite being almost two decades younger than its predecessors, gets this spot is due to it essentially taking all that and blowing the whole genre wide open, waking waves of clones in its wake and being copied to some extent by essentially every single 2D fighting game since. Just like Missile Command, Defender and the like Street Fighter II was a spectators’ game, but unlike with its predecessor, now you could challenge the master of the machine with your choice of character.

Street Fighter II embodies all that an arcade game still is; attractive to look at, easy to get into and hard to master, requires forming strategies and split second decision. It’s not slow and methodical like a computer game, and could say it lacks the sophistication of Ultima and Wizardry. However, arcades and computer games were two different kind of beasts, meant to strike completely different nerve, and their catchy style of gameplay is still used to this day despite the death of arcades themselves.

Monthly Three: Computer game

This Monthly Three (imaginative name, I know) will most likely consist less content than usual, as the theme will be System X defining games, in this case What games define computer games? In this way I hope to showcase the core differences that stand between computer/PC gaming, arcade gaming and console gaming. As all three systems have differences in their core, the selection here are largely picked to present the definitive elements that a platform excels at.

We start with computer games, because they are the first to stem from the general field of electronic games. That’s a whole another can-o-worms we might open one day after discussing how computer and video games are simply continuation if child play culture.

But onwards, games that defined computer gaming as we know it nowadays. These are not in any particular order, so there’s no reason to look into that. The amount of games will be kept under ten for the sake of removing excess fat.

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A matter of being an adult, or matter of being taken seriously?

All-Ages or Adult only? Larger customer group or aimed at a niche? Of course, you can aim at both with different products from the same provider, and thus keep a wider appeal. However, what then when you change the product to only suit the other?

Comics have a bad rap nowadays and for a damn good reason. Since the 80’s American comics have become less and less entertainment for everyone and more aimed towards the adult collectors. With the recent Marvel soft-reboot, Peter Parker becomes a businessman of sorts rather than staying a teenager. ‘Staying’ is the keyword here. Readers who have spent some thirty years with these comics already know ins and outs of these characters, and it is apparent how both Marvel and DC have people working for the who want to take these characters further. The question is; do they have the right?

These characters are not theirs, they are the audience’s, the customers. The reason why Spider-Man became so popular was because he was young and had the same problems its readers had. Despite this, the stories themselves were fit for older audience as well, where the web they spun was extremely well made and has stood the test of time. Spider-Man was a character who had magazines that everybody could enjoy because of its quality writing. When the Dark Age of Comics hit, it left an impression on Spider-Man, and both the comic and character lost their soul. Comics became brooding and less about ideal to read. Ultraviolence and depictions of highly mature material in a very immature form became more or less a standard, something that modern comics still suffer from. Cheap drama is formed through needles gore and sexual acts, as the fence is at its lowest at these points. It takes a skilled writer and editor combined with a great illustrator to breathe life into a story everybody could read without it being patronising or going over the top. A lot of those skills have been lost, and the old guard who made these comics are literally dying away. With time we’re only left with the 90’s superstar comic creators, and I’m absolutely sure nobody will remember Liefeld as a great creator who brought high quality products. He is no Jack Kirby.

Why am I talking about this again? Because a local convention about Japanese pop-culture, Desucon (yes, the name is that cringeworthy) released a statement that their conventions from now all will all be R-18. Their reasoning why this is something that had to be implemented is that they want to cater to their niche better. That’s all good and proper, but these people already had a convention for Adults only. Why two? Clearly before this they did not cater only for the adult niche, as the content in the convention never gave such indication. This is more an issue of convenience for the convention staff themselves, as the con has outsold itself in matter of minutes. Rather than limiting the amount of people who can attend the convention, clearly the convention should grow larger in order cater to its customers, but here they decided to turn it the other way around and make themselves smaller. To complain that you get too much customers shows their inability and unwillingness to grow.

One of their more childish reasoning is that they want to bring the hobby of being an otaku to more adult level, as they seem to think how cartoons and comics are seen something for kids only by the larger audience. They aren’t wrong, because most of Japanese cartoons are intended for kids and so are most of the comics. Well, not exactly; most have wider appeal and are for all to consume. Something like One-Piece and Dragon Ball are being enjoyed both children and adults alike.

If you are intending to gain a wider approval of your hobby on adult level, this is the worst thing you could do. The sad thing is, if it’s not the kids’ stuff, then it’s the terrible tentacle porn. That’s the two extremes. If you try to veto to the other adult oriented materials, you’ll most likely end up with huge bouncing tits and swaying asses from modern late night anime. Studio Ghibli could be something they could use, but in the end all of their movies are for all ages. If you check something like Top 100 Most Popular series from ANN, you see that the list is more or less governed by something that everybody can enjoy. Some titles are questionable of course, and some titles don’t have right to be in there, but this is only a sample from the fandom, and not from the larger population. As such, if fandom’s result yields something that, I just wonder what kind of results we would get if the larger customer group outside the niche could vote?

It’s juvenile to assume that closing doors from minors would promote positive adult view on the hobby, especially locally. What does this offer? To sum it from their official blog; it makes things easier. Now that all the visitors are adults, there’s less responsibility on the providers. This shows how much their service design sucks. It’s absolutely hilarious to think this gives the programme presenters any more free hands to work their shows as they like, as they’ve always had that. They just don’t need to check the IDs now. Then again, the programme has been absolutely horseshit for years, with the exact same topics repeating, sometimes twice or thrice in the same year. Then you got all the softcore and hard porn content that has always been deemed tasteless. Do we get an influx on these? Does anyone actually want to hear somebody discussing porn on stage with an analytic view? If you do, drop me an e-mail.

The decision to make the event Adults-only doesn’t ring a good bell. It’s an excuse to lessen the workload, and they admit to it. They want the convention to look like how the providers see it, but that’s impossible. It’s always the customers who colour how the product looks like. If you really want it to look like the way you want it to be, these people need to work harder. For example, the content needs to be renewed with a harsh hand and whoever is responsible for letting people to have programmes that are basically just one-night works over with copypaste from some Wiki, then they haven’t done their job. Hell, last time I went to the convention, they had goddamn airballoons everywhere, causing safety hazards. That sure is a good adult look.

This being Finland, we know there’s gonna be booze. We all know this. Being adult only convention now, I expect it be actually handle everything in a mature way. That’s another keyword, and that’s missing. The only indicative for the ages they have in the convention are inquiries they put up, and I know from experience 20-years old people are just as juvenile as 11-, 15- or 17-years old. A person doesn’t suddenly grow into a responsible adult when they hit 18. Just like the younger people, these 18+ people will be just as annoying and even more so when drunk. That’s what people outside will most likely see; booze and porn.

If the providers would really want their hobby to be seen in an adult light as a valid thing, the first thing would be to grow a pair and approach everything from a practical point of view. Allow as many costumers to come in as possible, build it larger and show what it’s all about. This is artificial and inefficient way to make a statement. The larger population won’t even notice this, even if YLE (Finnish national TV and Radio) made a small newspost. You cannot expect people to see things in your light if you are unwilling to go to them. These providers should get their message, in whatever way they see fit, to the general consumer and get them come to convention. Making it more limited is the exact opposite, and gives off a message of seclusion and elitism. I remember going to a convention and seeing few amazed parents how enthusiastic their child was all about that, and then saw deeper into the culture themselves. Sure, there was some comics about tentacles and little girls, but outside that they could find points of interest and stories that could be worth something. Of course, anime doesn’t sell in the West. Its visuals simply don’t attract the larger consumer eye, and that’s fine.

But that’s another issue; why does it matter what ignorant masses think? Sure, there is validity in taking in how people see you, but you are the one who determines how you are seen in the first place. You can always do the classical thing and don’t mind what others think. Be yourself.

If you are worried that your hobby is seen only as a kids’ stuff, it would better to start doing something about it outside your group of enthusiast. You need to go out there and manage to touch all these people who are not coming to your convention. Changing your convention to adults only won’t pull in any new visitors, it won’t affect how your hobby is seen. It only affects how these providers are seen in the hobby circles, and this move have pissed off every single potential customer they have under 18.

It won’t matter one damn bit what you’re doing, if you are not reaching to people you want to show what this all is about. It’s out there, not in here where you need to that work.

Langrisser makes a return. Again.

The strategy-RPG game series Langrisser is one of those interesting franchises that has a certain profile in the video game history, but not large enough to actually be famous. Developed by Masaya, Langrisser is without a doubt one of their most recognized brand and that’s not saying much. As a section of NCS, Masaya has produced more or less steady range of decent but rarely stellar titles throughout the years. There have been few next to Langrisser, e.g. Assault Suit Valken and Assault Suit Leynos 2 and Gleylancer. I’m not sure if Cho Aniki could be counted as a high grade game, but it certainly has its own cult following.

After Leynos 2, NCS pretty much dropped from the serious console game development and concentrated on producing various mahjong, shogi and go games with the occasional license game or two. It is rather safe to say that the 1990’s was the golden age for Masaya as a game producer and publisher. In the mid-2000’s a company called Extreme acquired Masaya’s library.

As such, it make sense to apply the Langrisser brand to a new game for the marginal recognition the series has, but that alone won’t carry the upcoming reboot.

Langrisser has been a combination of three distinct elements that has made it a fan favourite. First is the epic scale of the gameplay, and I do not use the term epic lightly here. The player will find themselves controlling numerous generals, which have power over hundreds of individual units on the field. Granted, these units are combined into squads of ten, but that doesn’t make it any less grand in scale when you have humongous amounts of units on stages that can span screens. There’s a huge amount of depth to the gameplay while still allowing leeway on how the game is being played, unlike other similar franchises, e.g. Fire Emblem. That said, it is more about the strategic thinking than just powering up than Nippon Ichi’s grindfests and while the games are slow paced overall, they don’t enforce stupid repetiton like the aforementioned.

Secondly, the games’ settings have always been simple at core, but can get highly complex. The traditional idea Light and Darkness fighting each other via their avatars is a recurring element in Langrisser, and the title itself refers to the holy sword within the game world. The Darkness has its own sword as well, the Alhazard, which could be said to be the original as Langrisser was created to oppose the Alhazard while being based on its core.

Thirdly, Satoshi Urushihara. More often than not people have found about Langrisser via Urushihara’s works, and that’s not a bad thing. As a fan of his production, Urushihara is a long time veteran in the animation and comic industry in Japan, especially in the adult markets. While his style divides people, it can’t be denied that what he does is extremely skilfully made and is unique. However, his style has been synonymous with the core Langrisser series since its beginning and lasted through the whole series. I admit that I have a bias for Urushihara’s works.

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The music has been pretty good for the whole series, too. It is distinctly Japanese in flavour, but that goes to the whole damn series.

 

This is not the first time Langrisser gets a reboot. Langrisser Millennium and Millennium WS; The Last Century tried to create a new ongoing series, but seeing how Millennium is pretty awful and The Last Century was on WonderSwan, it’s no wonder the series slowly died. Now, granted nobody knew how to treat Langrisser at this point. The original staff had moved unto Growlanser series, which is essentially a spiritual successor to Langrisser in many ways. Not only it has most of the same staff, but it continued to have Urushihara as its main illustrator.

Langrisser in itself is a sequel to Japanese only PC games Elthlead, Crest of Gaia and Gaiframe. Technically speaking, Crest of Gaia is a remake of Elthlead, but that’s beside the point. These three games introduce the world where Langrisser takes place and introduced elements that would later appear in Langrisser, like the recurring enemy Böser. It should also be noted that Elthlead was published in 1987, year before Master of Monsters as can be traced to be one of the first games of its genre in its relatively modern form. It also precedes Fire Emblem, released in 1990.

The upcoming Langrisser remake worries me because of what it could be. The initial scans have leaked somewhat ambiguous information. We know very little about the game. However, the following thins are true; a company called Extreme owns the rights to the series now after acquiring Masaya under its wing with the rest of the Masaya library. Well, to be accurate, their website states that they have an agreement with NCS to use trademarks and copyrighted materials related to Masaya’s library. It looks like that Extreme is in joint cooperation with NCS, as Masaya’s website shows copyright information of both NSC and Extreme. Looking at their offering we can see that they have an emphasize on moefied mahjong games both on PC and on mobile phones.

Whether or not Langrisser is in good hands will remain to be seen. However, the information we’ve gained thus far is not too promising; while 10 unit squads return as per standard, but both the initial beginning and sword mentioned doesn’t seem fitting. The story seems to about a boy who finds Excalibur and goes find a girl who was taken from his side. Now, granted, that shouldn’t tell much, but when they’re explicitly going Excalibur, there seems to be only little hope.

There are reasons why this sort of approach to include that damn overused Arthurian piece into Langrisser as the first prominent sword for the hero is because they want to do something new. The CEO of Extreme, Soshi Saito, mentioned that they want to make this Langrisser be something different from the past games and the reason they opted not to include Urushihara as the illustrator is because… they felt they needed something new.

Then what’s the point of using the name Langrisser if you’re not making a full blown Langrisser game after all this time? The name has little to no recognition, only the very first title was releases outside Japan and I doubt they would have been successful either way thanks to Langrisser being extremely Japanese series and the sort of strategy RPG it is and that despite its cult following Langrisser never top sales.

However, at the same time I have to understand why they’re using the name. Brand recognition, the little it has. That, and Extreme themselves have practically nil brand recognition. They have been the ones distributing Masaya’s games via Wii’s Virtual Console, so I can thank them for Gleylancer. However, their own brand names have no carrying weight as they are mostly mobages.

Langrisser Millennium was an awful Langrisser game. It had no reason to carry the name, but at the same time it was shown to branch off from the main series with the Millennium title. I’m afraid that the 3DS Reboot will fail not because they want to deviate from the formula, but that they decide to deviate from the formula like Millennium. Langrisser Millennium had all the possibilities of being decent, but it had no strategic depth to it, or massive scale battles. I can’t remember how bad it really is as I haven’t played in some seven years. I’ll give it a go at some point. Same goes for the WonderSwan game, Langrisser Millennium WS; The Last Century, which in all honesty is adhered closely to the original games. At least one thing Millennium series has in common with the previous series of games was that it had an established porn comic maker as the illustrator, thou whether or not the designs are better up to personal taste. They aren’t for me.

Langrisser was essentially rebooted the twice before the 3DS Reboot. I talked Schwarz before, and it seems the game is essentially vaporware. If Extreme has the sole rights to the franchise, the Free-to-Play MMO won’t be released as Gamania was its developer, unless written documents say otherwise. Or seeing how Extreme had been controlling Masaya’s assets for about ten years now, it’s more applicable that Gamania has the legal rights for the name and has licensed Langrisser title from Extreme or something similar. In all honesty, Schwarz was a bad idea with good intentions, but if had been named something like Langrisser; Elthlead Saga or something like that would have told that the games took place in the same world, similarly as with the games preceding Langrisser. I like how the official Schwarz site proudly tells its past and doesn’t try to keep itself down. Even the characters have the fanservice and overdesigned clothing Urushihara’s illustrations had for Langrisser.

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Yet, that something different from the 3DS Reboot looks uninspired, generic even. I just keep asking from myself; it they wanted to something different than Langrisser, then why the hell they had to call it Langrisser? We can live in good hope, we’ll have to see what will come. Tomorrow, perhaps. At least it looks promising at the moment, outside the damn bobblehead soldiers in battle sequences.

Technology, consoles and computers

One way to determine a difference between a console and computer gamer is how they approach their respective platforms. For console gamer, he approaches the games first and foremost, giving them a platform and concentrating on those themselves. A computer gamer however concentrates on the specs, citing everything from the RAM of their gaming rig to the maximum resolution their monitor can output. Essentially, the software versus the hardware.

Because of the mixing of computer and console games, the approach between the two has become just as mudded. More often than not computer games used to drive the users stupidly insane, as they had to continue updating their rigs to play the latest Ultima or Privateer. Not only it demanded money, but dedication most of all. For console gamers life was easier, as all they had to worry about were the release dates and whether or not they had money to purchase the game, or in case of games like Zelda II, if they managed to nab a copy for themselves.

Console games are tailor made to run on a console, using the best possible capabilities it offers from controllers to whatever the hardware could do. It is far more easier to produce a computer game, as it has very little limitations what you can do with it, outside the whole keyboard and mouse controls. Whether or not you prefer those over a controller is up to opinion, even thou one can make a proper argument about the tactility of controllers and their form fitting.

Recently SONY admitted that the PlayStation 4 was not up to the technological higher end it was meant to be, but this is an oxymoron. Consoles have never been at the technological high end. Because of the technological development and the solid nature of the consoles, the moment any game console is released it holds outdated technology that can’t be upgraded. However, SONY is absolutely right in that PlayStation 4 not being at the top of the line has little do with game quality. Over and over again we have seen the consoles with lesser specs beating their more powerful competitors. No, Super Nintendo is not an exception in this. Mega Drive has 32X and Sega CD in the end, putting it on the higher end than Nintendo’s reverb filled console.

Lately, we’ve been hearing a lot of roaring from the computer gamers about the 4k displays. Your normal user doesn’t care about that at this point, nor has the 4k displayed the other HD displays at this point in time. Display technology advances at such a high rate, that buying a high end television once every twenty or thirty years should suffice you just fine, unless you’re a huge tech fanatic.

For the computer side, the 4k is another hardware issue the love to discuss how they would be able to make use of them the best possible way. For a console gamer, the issue is not relevant, at least not yet. This is because the 4k sets are not common in households. The companies have released numerous versions of their sets offering 4k support, but as with others things, there’s very little reason to put money now into 4k television when there’s very little that supports it. Much like with almost every console launch, the first years of any new technology sees little adoption before the gradual shift either makes a household standard or something new comes along and beats it. The change from VHS to DVD is an example of rather rapid change in both industry and household standards. SONY wished to replicate that success with the Blu-Ray format, but the jump from DVD to Blu-Ray has been far more slower. Even with DVD, the early players were rather low in quality and some early players simply can’t play the latest discs because of the technology differences, and then you had the fact most DVDs were low quality VHS transfers. There are instances where the Laserdisc edition was superior before a proper digital remaster came along, or in few rare cases, a Blu-Ray release.

There is also an issue of worldwide markets. The cultural values regarding technology varies massively and not all areas simply accept the new technology as the best. That said, the opposite applies as well. All we can really do is to individually wager whether or not it is worth purchasing potential rather than proved practicality. Early adopters always purchase for potential, and there are times when they simply bet on the wrong horse, much like with the BetaMAX or HD-DVD.

4k displays may be latest of the tech, and we all know that in a year or two we may be hearing about something that makes the 4k a moot point. Actually, there already exists numerous higher resolution standards than the 4k, like DCI Standard and the 8k FUHD. New ones will come along. Skipping a technological step isn’t anything new, and majority of consumers simply skip the things they don’t consider as worthwhile purchases. I can assure you that while 4k displays, objectively speaking, seem to offer better visual experience, there are those who simply don’t care and are fully content on using their current sets due to variety of reasons.

All that said, when would we see actual use for 4k display sets outside video games? NHK has announced Super Hi-Vision broadcasts for Japan in 2016. Eutelsat is Ultra HD dedicated channel that is already operating. 2013 and 2014 have been the years when Ultra HD has made its impact mainly within the industries. The end-consumer hasn’t really seen anything worth purchasing outside the potential. Then again, we had people announcing that 3D would be the future, and the boom ended up being a simple whimper.

First adopters purchase for the possibilities products offers, whereas most other consumers base their purchase on what already is offered. The compute gamer most likely would put his money into a 4k display in order to keep himself atop the hardware race, whereas a console gamer wouldn’t need a 4k set before something worthwhile would come into play. Even then, when something has a 4k support, there’s always the question whether or not the content in itself is worth the investment.