Two steps forwards, one step back with video game censorship

This isn’t exactly a topic I intended to cover this soon after the whole Dead or Alive 6 PR fiasco. Tecmo sure has tried to rebuild their trust with the disassociated core audience with their latest update, but the damage from the initial barrage of news and statements is hard to recover from. Now, Sony’s stepped in for the third time to practice censorship on their platform. The brand that has been selling with the image of being the choice for an adult and mature electronics entertainment user is now a platform more prone to see your title being affected if the content has a sex-positive stance than Nintendo.

So, what’s it this time then? The Western release of Senran Kagura Burst Re:Newal will have its skinship mode removed in the PlayStation 4 version, as stated by XSDEED. This is not their decisions, but Sony has wished this to be removed, i.e. they have issued a demand that if this mode exists in the game, it won’t be allowed to be on the platform. Someone at Sony hasn’t played much attention, as this kind mode has already existed on previous Senran Kagura titles without any word from them. It would seem that someone in power has a level of dislike towards Japanese video games with certain kind of fan service elements to them. Furthermore, thanks to GTA’s Hot Coffee controversy, no game can have material that’s not approved remain in the game code. If Sony demands complete removal of Skinship mode, it means XSEED has to spend extra cash to remove all vestiges from the code, which may affect some other parts of the game if not done properly. Hopefully, all they need to do is to dummy out the directory files in order to impact the game’s code least possible amount.

Before this, Sony had banned Omega Labyrinth Z from getting a Western release. They disapproved the title, despite it had successfully gained ESBR and PEGI classifications. PQcube, the title’s publisher, had already had most, if not all, of their translation work done for the title and were ready to release it. Because of the ban, PQube lost time and money, probably necessitating them to choose titles with less risque nature to them and avoid niche titles at least for a time. In order to port the game to e.g. Steam, it would probably take an extra $10 000 to happen, something the company may not want to throw in.

Around a week after screwing PQube, Sony delayed Nekopara Vol1, a visual novel about catgirls, got delayed worldwide. The title was slated for Summer 2018, but searching for the title on PSN gives no results for it. However, going into Nintendo’s Game Store and looking up Nekopara there gives a definitive result. At face value, it seems Nekopara never came to Sony’s platform while Nintendo had seemingly no problems with it. Delayed until further notice, but fans of the series probably have picked this one up elsewhere already, like Steam where they can patch it.

We understand the logic just fine; these titles’ fan service is in nature that does not conform to overall Western values. These three titles are inherently Japanese and do seem over-the-top in their nature of handling the characters every which way. Nevertheless, this exact aspect is part of their charm and have their audience. Omega Labyrinth Z does not have the luxury of having a Steam port like Senran Kagura Burst Re:Newal. If fans want the game as intended and on console, they are required to import the Japanese version.

The issue of these characters being too young or the like has been discussed to death, even on this blog. I’ll always point out that this is digital and no human being is present, there is no exploitation or damage to done to anyone or anything. Dead or Alive Xtrme 3 is probably the best point to start with, and all these really raises the question if Sony themselves something to do with it not being published in the West and not just Tecmo wanting to showcase their sensibility towards loud fringe factions. If someone takes offense in how things looks, they can vote with their wallets and not buy the title.

Of course, the discussion that’s always sidestepped in the official circles is that this is taking away the intended artistry from these games, especially in case of Senran Kagura‘s, when an intended function and mode is removed. Sony and other corporations easily fling claims about games being art and such to gain image victories and promote the idea of games being larger than life entertainment like movies and music, which in reality all are rather mundane and at equal footing. When it comes to business and trying to stick to certain kind of ideologies, these words are flung out of the windows. They are pretty words, but that’s what they all are in the end. The industry, and the Red Ocean consumers, have been trying to sell the idea of games as art for so long that some of them take it as face value, but whenever a game is cancelled due to its content, censored because it might offense somebody or because the platform owner simply doesn’t want it for some reason, we are reminded that we are discussing an industry that is business and first and foremost.

Then again, perhaps we should consider games as art in its very classical form, where art is is just extension of craftsmanship and artisanal skills. Someonebody orders something to be made, a painting for example, giving the person money to pain what’s demanded of them and the artist fulfills the request. Art historically hasn’t been trying to express some deep emotions or find oneself, but to fulfill the customers demands and requests the best they can. No, it’s not commercial art, its art as it has been historically. Here we can argue whether or not the consumer should have the veto whether or not the artists, i.e. the developers and publishers, can put in their games as consumers are the one purchasing the end-product, but that would never succeed. The platform owners are just middle-hands, but they clearly have some sort of word what’s in and what’s no already, so the onus originally seems to be on whoever pays the biggest bill, often the publisher.

Sony, Microsoft and Nintendo directly in their wake, should take after Valve and allow free market to reign on their system with consumers being the end decider what’s successful and what isn’t. I’m as surprised as you are, didn’t see that coming. It’s almost crazy to think that Nintendo has been trying to make their platforms appear more mature with titles like Bayonetta, while Sony’s taking steps backwards.

Thoughts on designing a Switch dock

There really wasn’t any good title for this post, and I’m most likely going to make this an incoherent ramble. In my previous post, the review about three Switch stances, I mentioned that that making designs for a game console is damn difficult. Regarding a console itself, the reign’s free as long as the hardware sits in, everything else has to be build for purpose like the controllers, but at the same time they need to be unique pieces that stand out from the competition, adhere to the overall branding and still offer what now are considered as universal necessities from e.g. a controller.  The stuff like four face buttons, two sticks, a D-Pad, and four shoulder buttons are industry standards generally regarded started by the SNES controller and set in stone by PlayStation’s controllers. Pretty much every controller afterwards have included some variation of these, with the Wii probably being the best example of breaking the mould with its standard Wiimote. Of course, there was the Pro Controller that still keeps itself around as a brand, meaning Nintendo continues to use some variation of it still. This is gonna end up as a companion to the review, isn’t it?

With the Switch docks reviewed, each and every one of them had lacked something while beating another in something. The stock official was an absolute waste of space but had HDMI. The DIY one, one of the many that share the exact same design, doesn’t offer the best support for the console on favour of smallness. Pretty much the exact opposite for the stock one, but at least it doesn’t scratch the screen. The HORI one excelled and beats the two other in every respect, except it lacks the HDMI connection. The faults of the designs are intentional, as the designs are driven by their primary idea, the rest be damned. If a design does one thing right and keeps doing it as intended without breaking down in use, its done its job. If it can’t do what it is not designed to do, that’s not exactly a problem.

If this is the case, wouldn’t it be wrong of me to detract points from each of the docks for what is essentially core of their design? The stock dock is intended to be that big in order to accompany the system overall and provide the best stability possible while keeping the glare from the Switch’s screen behind a layer. The DIY stand is meant to be as small as possible, so few sacrifices had to be made to minimise the form and usage. The HORI stand lacked HDMI because it is intended solely for table mode gaming, and had to find a sweet spot between the two sizes to do so in a sensible manner. Who am I to say that thing X in these designs are not wanted or is a terrible direction? As a customer I do have certain expectation and wants from the products. It is unreasonable to expect a car to fly in the sky, but it would not be unreasonable to expect one of these three docks to support the Switch standing in a vertical position. HORI’s table mode stand should have taken this into account, especially considering it is a dedicated for doing just that. It is understandable that the USB-C connector can make this a challenge, as it might have force directed at it from 90-degree angle that could lead to some damage, but that’s where the dock’s design must accommodate this. Such stand could utilise parts that extend or has to be unfolded, like HORI’s stand. This of course would raise the price of the product, as the design time would extend, more tooling would be required to produce the moulds and assembly time would increase. Additions that probably would add to a significant increase in price, at least towards the end-consumer. Hiking the price from thirty bucks to forty or more usually does make or break a purchase decision.

I omitted a fourth stand from the review altogether, mostly because it’s a generic two dollar Chinese stand for everything under the sun, from phones to handheld consoles. It’s flip-flop design is pretty excellent, able to collapse to a flat state and supports Switch every which way you throw it at it. It may not be powered, but its rubber pads keeps it extremely stable and keeps the Switch in place just fine. No wobbling here. It has no power or USB port support, but allows the USB-C power to be attached if wanted. As stupid as it sounds, this cheap hunk of plastic is indeed one of the better overall stands for the Switch and beats even Hori’s stand in overall usability. I’m sure you could just chuck some sort of USB-C hub at it for additional controllers. With some slight modding, you’d probably be able the Nintendo stock dock’s PCB with it after some generous additions to the bottom case, something I should probably look into.

What’s the deal with the vertical mode?, I was asked in the wake of the review. The Switch isn’t he first portable games console to naturally lend itself to a vertical mode. The first handheld specifically designed for it was the Wonder Swan. Namco Wonder Classic is an excellent example of this, as the game benefits everything by being vertical. Vertical shooting games benefit of this as well, like the ported Psikyo games Gunbird and Sengoku Ace. Screen space is better used and there is no need for separate bars at the sides to fill in the space with artwork or other useless junk. However, due to whatever reason, Nintendo opted not to consider system’s vertical nature at all, as the standard leg does not support Switch sideways, and none of their games thus far have even hinted any sort of vertical usage. This is strange, considering Nintendo usually wants to utilise their system’s peculiarities to some stupid extent. Yet, this self-evident mode has been just dismissed thus far. For all the talk of innovation and moving forwards, they’re missing a dimension of their console that would have opened new possibilities for game design. Holding the Switch vertical in your hands may be a bit awkward, but you can find at least three positions for you hands on the system; hold it from left side only, accessing the stick and C-buttons; hold it high with left and low with right, accessing the left Joy-Con’s action and shoulder buttons, and C-buttons; and holding having your left hand on the left Joy-Con while accessing right’s stick. Of course, the system has not been designed for these, but they’re less awkward that you’d imagine and more comfortable than e.g. clawing the PSP. Of course, the table top mode comes in play in this. Sadly, the Switch has no legs or rubber pads to keep it from sliding to its back, so a stand is more or less required, and only a two-dollar stand seems to be offering a solution for this. This is  simply waste of potential.

Ultimately, the question I want to ask about Switch docks and stands in general is “What are they for?”. Naturally the answer is to provide a standing support for the Nintendo Switch itself in a stationary form and possibly offer support for docked mode. Just like when designing a chair, the end results from this starting point vary just as much as there are people tackling it, but as a simple eBay search shows, it’s just easy to take an existing design and toy with it a bit. Just like a chair example I wrote years back on just how stupidly varied and difficult a single simple design can be in the end, designing a stand for a console has its own harsh limitations. At least with a chair you can trust it being usable for the most part in the far future, excluding the obesity problem this modern world has been facing, but with something like this you’re going to get few years worth of existence before being phased out by the next product down the line. Who wants to put the effort to make the definitive product for anything that’s essentially a flashby, when you could try to immortalise yourself elsewhere?

Guess that’s the same effort that goes into this blog.

Review: Nintendo Switch Docks, Official, DIY and HORI

Designing a game console in itself is sort of stupid hard on itself. There are no real rules to govern them. Sure, it needs to sit nicely and be as stable as possible while in use, offer good airflow and all that, but there are no ergonomic rules to follow. Not even the buttons are required to follow any set standard. The Famicom was designed to look like a toy, with short cords to the controllers and such, whereas the NES could be mistaken for a grey VCR at a quick glance. The Mega Drive was supposed to be cool with its sleek lines and shapes, contrasting shiny bits with stark black plastic. The PlayStation was supposed to sit among other grey AV station equipment, something all the subsequent PlayStations followed. Things like that, but never anything truly set in stone. What if you have some clear-cut necessities and rules determined by use? The Switch has its official docking station that is designed around the necessities to house the console and offer HDMI stance. It’s also far from being the only dock, or stand, the system has, as third parties and DIY groups have put out numerous iterations. I’ll be covering three in this review, covering the best and worst parts of each of them.

Let’s start with the Nintendo official dock.

Your normal waste of space and plastic

I have to say that from the start this has been a disappointing hunk of plastic. It has weight behind it, but that’s because it is just a huge hunk of plastic. The way the Switch sits inside of it, and how the front covers it, means that whenever you move the console up or down the front will have hard plastic pushing against the screen, scratching it at worst. Only at the very base there are itty bitty rubber pads to keep the console in place, which is laughable. You’d imagine there had been some more effort to prevent scratching. At least it guides the console in just the right way, as the USB-C port at the bottom is rigid and does not move.

That’s all the soft bits you have to hold the console itself down. Not the best solution

At the back we have this this cover flap for whatever reason, perhaps to make it look more uniform. It’s really another useless piece of plastic that should be thrown away. You can see the air vent slots there, which don’t really do much. The other vent actually goes through the PCB housing on the right, meaning the heat that it puts out goes directly inside the dock’s most important bits. A single USB and HDMI ports, with USB-C for power. Nothing much to see here. You don’t see any of them here, because I’ve already taken the stuff out and put them into another dock.

You can throw the lid away and replace it with a fan from a third-party

The stock Nintendo dock is pretty terrible. It doesn’t look attractive and is mostly just waste of resources. You could cut its size down by half and not lose in stability or usability. It’s like a last minute idea that just had to be pushed through, a necessary evil. That doesn’t excuse it from being excessive.

The PCB from this went into a DIY kit that’s sold all around the net, from Amazon to eBay and some random Chinese auction sites. I picked this one from eBay for about seven euros.

This being DIY, I’ve added those soft pads to keep the console from shifting around to any extent

In terms of size, it is one of the smallest docks for the Switch, and it of course brings some stability issues. The dock itself sits down just fine, but due to the design necessitating taking the main connecting parts from the stock dock itself means that the Switch will rock back and fort just slightly enough to make you worried. While the idea to make this DIY dock portable, it should have a base that extents whole of the main body of the console. This would have made it a very clear choice for all situations. The extensions could have been optional or foldable for added portability, but either option would have raised the price. Then again, perhaps not a bad idea.

It is very bland overall, but you can always paint it or add stickers. The HDMI and other USB ports are on the other of the dock

You really get what you pay for. You are required to do some work because it is DIY, but taking the Switch dock apart and installing the PCB into this one takes about five to ten minutes. The airflow is better in every respect and the ports are easily accessible. It’s a very straightforward dock, which can be made even better with some additional work. It is DIY after all, no reason to just leave as-is if there are additional ideas how to make it better. The only major problem is that the Switch, as mentioned, does wobble a bit while sitting on it, and this can cause some stress to the USB-C connector, as it is rigid as ever. Well, those added softpads help a lot.

Everything’s black. It’s then again, everything is black

Sure, it has more mass and size than the DIY dock before it, but considering it has a folding design means it is carries easy. It’s air vents on the back do not obstruct airflow at all either. The Switch sits on the console without any real wobble despite having no locking mechanism present. This is because of the two rubber pads put on the dock that keep the console in place just fine. There is no moving accepting level like with the stock dock. The USB-C connectors moves back and forth instead, meaning it takes more stress to break it accidentally. This is a grand design choice and shows how HORI understands some of the more important details that the Big Three often miss.

When folded, it also covers the USB-C connector, adding protection

The dock sports four standard USB ports, meaning each of the four players can plug in their own USB controller, though none of them are USB 3. Sadly, HORI’ s PS3 controller’s don’t work with it. USB-C port means you can charge the console on this dock as well, or just use it to play any game in portable mode. The dock has multiple angles that will do the job more than fine. This would be an excellent dock to the point of replacing the Nintendo’s official one, except it has not HDMI port. While this is a dedicated portable mode stand, the addition of HDMI capability would have made this probably the best dock the Switch has. Now, that goes to many of the other variants that recycle Nintendo’s official PCB in their housings. Well, it does advertise itself as Portable Table Mode on the cover, so perhaps it is a bit unfair to harp on the lack of HDMI. Despite having a folding design, it just bulky enough not to fit with any of them smaller Switch carry cases. Still, far more portable than the base dock.

Another losing point is that it has no support for vertical mode whatsoever. You can put it sideways and have the whole contraption sitting rather awkwardly and somewhat unstable on the table, but it’s far car what it should be. HORI missed this altogether, which drops the dock’s overall score a bit. Sure, none of the other docks to either, but this is supposed to be dedicated tabletop mode dock.

This isn’t recommended. I’m pretty sure adding some sort of additional leg to the bottom that can be folded out or something would be easy to implement, but haven’t got around seeing how to mod it in yet

Out of all these three, there really is no one better over the other. They all lack something, while beating others in some aspect. It all depends which mode you enjoy your Switch the most. If you’re all about portable mode, Hori’s tabletop dock is your best choice. For TV play, you could do worse than the small DIY dock. Ranking it higher than Nintendo’s own product may seem cheap, but the sheer bulk is its downfall. I have to say that it is disappointing that none of the docks I’ve seen thus far have not taken vertical mode into account to any significant extent, meaning playing games in that mode is still difficult.

I’m really starting to get tired of all of my electronics being black, grey or white. Where’s the use of colours? All we get nowadays are LED highlights and such. I miss the 90’s colourful devices

Let the consumer make the decision

I’ve often criticised modern video game developers, saying that they lack the tact of their predecessors both in and out of industry. One thing that has been an age old golden rule; don’t attack your customers. However, this latter part of the 2010’s has seen the media itself come after its consumers, like Gamasutra with their Gamers don’t need to be you audience article, which was echoed in numerous other outlets at the same time. For example, now beaten to death event where one of the staff members of Battlefield V outright told the consumers and outlets that if they didn’t like the direction where they were taking the series and the title, they always had the option not to buy it. A corporation shouldn’t really remind its consumers that wallet voting is the best way to make their voice the most heard, especially when some sort of controversy or contest is going on, as this effectively ended up in the game being delayed and the game overall taken to a slightly different direction.

To give a short run about what the whole thing was about, Battlefield has always sold on its more realistic take of warfare (within video games). The trailer shows a female character with a rather high-tech artificial limb going on a battlefield of World War II, and while such thing may have occurred, the statistical reality of that is absolutely minuscule. Well, completely impossible if it was a bionic enhancement, but I’ve read some disagreeing info. Outside this being an highly implausible scenario, the game’s demo more or less confirmed something that other series have done time and time again and rarely succeeded; we want the other game’s audience. Fortnite has been mentioned many times to be the target this new Battlefield target, changing elements of the series to fit this new mould to some extent. For any business, it is at least twice has hard to gain new customers than to keep the old ones, and trying to go half-cocked way in trying to do both is not the answer. Or you could be Patrick Söderlund and make this completely unrelated but politically much more rosy issue and tell your consumers not to buy the game. Unsurprisingly, after this debacle Battlefield V‘s release date was pushed back and the game is seeing further additional work to get it back into the Battlefield formula to a larger degree, but seeing how the game play itself suffers, not to mention the whole approach how the game has been designed, I’m not trusting that the game will come out at the top and satisfy any real consumer base as such. For context, give this video a look for the review for the demo.

Damage control is important, but it should really come from somewhere else than telling your consumers off. Well, I’m guessing we all know the reason why Söderlund is no longer with EA, nothing hurts a corporation more than losing massive sales due to single person fucking PR up.

Söderlund has not been the only person to tell his customers off. Total War: Rome II has been patched for some year now with increasingly more and more questionable changes in regards of historical authenticity. Scratch that, supposedly Creative Assembly’s stance is that Rome II is authentic, but not accurate. This is standard bullshit weasel worlds and the situation should have never achieved this point. What the patches have done is that the number of female generals with darker skin tone have seen a raised percentage, which would seem to contradict historical records. However, the thing is that the patch that changes the percentages are over half a year old. The current controversy is about Creative Assembly telling their consumers to stop playing the game, or mod the patches out. Again, it’s easier to give this a spin the narrative to something that’s politically more palatable than having a PR catastrophe at their hands. One Angry Gamer has a rather decent article on the debacle, but do keep in mind that it is somewhat one-sided.

I want to reiterate that no corporation should tell their consumers to piss off. The end result is that they will and they will go to the competitor, or simply go without your product. Especially with video games, which are a non-essential luxury product nobody truly needs, and there are always alternatives. Even in an industry that is at the top of the entertainment ladder, losing one big sale can damage a property to a point where it is simply cut off. Look at what happened to the sales of the most recent Mass Effect and where the series is now. A franchise once dead in the water is rather hard to resurrect, as it requires winning back the old audience first and foremost, and to make a splash in general. Despite the slow change of mass demographic throughout the years, the fact is that any product that is aiming to sell widely should stay universal. When brands get into politics, it automatically cuts a section of your consumers off intentionally. Your competition will only gain consumers through these actions. Your conscience might have it good, but not if your company starts going under. Imagine if something like Cif, the window cleaner, was announced as the choice of -insert politician and party you dislike here- and the company producing Cif now openly supports whatever political agenda or message they have. I’m making a wild guess a lot of people would trade brands if they would, for example, become pro-Trump in their next ad campaign. While this sounds like the issue is only on the business side, both Battlefield V and Total War: Rome II were affected by decisions unfavoured by large portion of their consumers who enjoy historical authenticity and accuracy. The results of going against the consumer has visibly affected the games’ contents negatively and their reception has seen a downfall. This can be seen especially in the reviews of Rome II on Steam, where it has seen a drop from Positive to Mixed. This is about a game that came out five years ago no less, so before the consumes were really enjoying the game as it was. Creative Assembly’s stance and message has also caused a consumer backlash, resulting their other games being rated downward on Steam, though there is no real reason for this outside consumers just getting back at the company. This is, however, nothing out usual, sadly. Rather than trying to force a round peg through a square hole, perhaps it’d be best to cater to different audiences with different products.

Perhaps it is the current economic situation, devs and companies can make choices like this. There are less threats overall, and pretty much everything is selling. Perhaps certain levels of recession where products are required to be worth the money invested is needed, and consumers have to select their purchase choices with higher rigor than normally.

 

Three SNES Style controllers reviewed

Third party retro controllers are a dime in a dozen, and the current market is full of retro-styled USB controllers. Some range from decent to excellent, while others are just absolutely abysmal from the get go, not worth the plastic they’re built from. While this started a straight up review of a really, really terrible SNES-styled USB controller, I decided to make it a comparative review instead.

I’m going for a limb and assume most of my readers have used both SNES and GameCube controllers. The SNES controller is often claimed to be one of Nintendo’s best, if not the best. It certainly does great many things right, but it’s not the Saturn controller. It does so many things just right, like the placement of the shoulder buttons and the height the buttons sit in. D-Pad, while a bit loose, is nevertheless an excellent all around D-Pad, if not slightly inaccurate when it comes to the diagonals. It should also be said that the shoulder buttons are rather mushy and have no tactile feel to them. It’s not terrible by any means, but that’s perhaps something that can be extended to the whole controller; it feels slightly mushy. It’s not age either, this controller is pretty great condition, and my old-stock one bought few years back feels the exact same.

It must be mentioned that the mushy nature is by design. It allows some leeway movements and inaccuracies here and there, but also make the controller sturdier and able to take more physical trauma. It’s the same idea as with why you want laptops and some screens to flex rather than be rigid; it absorbs impact better. A rigid controller has higher chances to break down faster as well as last shorter amount of time. That’s why you can still rock original NES controllers, like the HORI Mini Commander, without much troubles.

The slight concave nature of the back also makes your fingers sit nicely and add slight grip to it. I feel a need to mention that the four-colour buttons are also a very nice sight, something the US version and the pictures USB controller didn’t do and it still looks terrible.

It’s no real wonder that SNES controller gets remade by other companies now and then, and one of the most sought after GameCube controllers is HORI’s SNES-styled controller for good reasons.

Perhaps the biggest pro and con at the same for HORI’s controller is that it opted to use the GC controller layout, but that’s hardly something that should be held against it. After all, it is a controller meant for GameCube. That said, if it had opted for the standard layout used in the original SNES controller (and thereafter in almost every other controller) it would have made a great all-around controller, starting from emulation to using adapters to different consoles like the Switch.

There really isn’t much to be said about it, outside that it’s probably one of the most faithful replication HORI does done of an official controller. Outside the layout, most of the mushy feeling you have in the official original is there. Even the slight mushiness of the GC original is in the buttons, but they’re no less responsive. Of course, the D-Pad crowns the controller, as standard GC controller had tiny ass D-Pad that was almost useless. This was the time when Nintendo’s D-Pads begun going downhill anyway and everybody moved their emphasize towards the controller sticks.

Despite all that speal about faithfulness, HORI did change the back of the controller. It still has that slight concave nature to it, but it also has raised sides for better grip. Coming straight from the original SNES controller this might feel weird, but once you begin playing with it, your hands find their natural spots and holding the controller becomes natural. However, it is an unorthodox solution to a degree, and you’ll be aware of them every time you pick it up. It’s a solid controller that I would recommend any GC owner to have for their D-Pad gaming, despite going for stupidly high prices.

So, if the HORI controller is a good example how to take and adapt SNES controller, how does Tomee’s USB SNES controller compare against it?

First impressions; it’s shit. While it weighs about the same as the real deal, there’s something you can deduce by just looking at it. Mostly that it is extremely cheap.

The cheapness really shows itself everywhere, but the sides are the worst. You can see that the mould has been re-used so many times that it has become faulty. It’s just not this one bit, but all around the controller. None of the plastic is really all that good, and corners have been cut wherever possible. Start and Select are now hard plastic instead of soft rubber too. Even the cord is the cheapest USB lead you can find, the kinds that just snap in two if you look at them long enough.

While the overall form fits the hand just like the SNES original, nothing else really matches the level of quality. All buttons have twice as much travel and require extra effort to press the contacts down. It’s like first pressing the buttons down, and doing a second level press to make them activate. It’s extremely easy just to press a button and have nothing happening.

There’s nothing good to say about this controller, but what do you expect from a cheap Chinese piece of shit? This controller cost around five to ten bucks, depending on where you buy it, but it’s not worth even for a project controller because none of the parts of any worth and the PCB is terrible. I didn’t take any pictures in my hurry, but there was corrosion there. This is a terrible waste of natural resources, but seeing there are tons of Tomee products out there, these things still sell. Thank God this one was donated for review.

This entry doesn’t really have a rhyme or reason to it, does it? Mainly to showcase two extremes of third party controllers, where build quality is directly tied to the price range. However, if you consider my other controller reviews, especially the HORIPAD3 Mini for PS3, there is a sweet spot in the mid-budget range where you get high quality enough controllers. it would seem that any controller under twenty dollars in the current market will always be trash, waste f everybody’s time.

Dead or Alive 6 might end up a rush job

I didn’t really mean to write about DoA‘s T&A again so soon, I’ve intentionally been skipping the subject with each new news item. Same with China slowly having an economy bubble bursting there, which I’ll hope to touch on Sunday. As it always turns out, DoA6‘s director Yohei Shimbori can’t seen to handle his spaghetti. The title’s already a PR nightmare when it comes to the fans, as they’re effectively being treated like dogs in the heat who need their nads cut off. On the other hand, it’s DoA, you can”t escape two decades worth of high fidelity graphics and extraordinary physics simulations for human body. Hell, the series was build on honking tits and beauty, don’t make me laugh.

This is where Shimbori’s sensibilities seem to be in, as he takes the credit/blame for the game’s visual design; it had too much fanservice. His aim is to show that DoA6 is a real fighting game, which is like saying you’re trying to showcase that a plate is a plate by changing the picture printed on it. Renewing the engine to another that lacks most physics elements DoA‘s previous titles had and made the games have a unique look. Now, with that latest Dynasty Warrior engine, everything’s so damn rigid. Argument that realism would drive home that DoA6‘s a real fighting game is also extremely stupid, as pretty much every fighting game out there looks unrealistic. Street Fighter has exaggerated hands and feet so the player can recognize them better, KoF has that picture-perfect Chinese beauty look to it (Christ how I need to write about this design aesthetic of theirs), Tekken has explody bits in the air and demon fighting all around with dude with pizzas on top of their heads and Guilty Gear has always has fantasy rock aesthetic to it. Realism? Fighting games don’t do realism. Well, maybe Virtua Fighter. Nobody ever questioned whether or not DoA was a fighting game series, but if Shimbori really was intending to raise the series to new heights, he would have stopped doing these platitudes and concentrated squarely on the gameplay. Screw damage modelling or using a new engine, fix the game gameplay to be less a copy of Virtua Fighter and something of its own instead.

Let’s not forget what Simbori originally said why they changed the looks of the game; he wanted it to look cool, after EVO players told they felt embarrassed playing the game. Looking behind the PR speech, it’s clear that the goal is to lessen the sex appeal of the franchise due to the flack it’s been getting, especially with Dead or Alive Xtreme 3. It’s either Shimbori wanting to cater both the EVO players and busybody jackasses who don’t have anything better than complain about digital tits, or his boss does. The way Shimbori’s replies and statements comes through with these interviews is like he can’t keep his story straight. He certainly wants to believe it all, but it’s far more likely there’s some corporate bullshit going on behind the scenes. Tecmo doesn’t want DoA to be a PR shitstorm again, despite it never really was. Again; only certain people bitch about it, and only certain grain-sized part of the audience feel embarrassed about the game. The rest don’t give a damn and just want to see the game to be true to the franchise and enjoy the visual flavour. Soul Calibur VI isn’t being petty with their body models, they’re going straight in where the sun don’t shine and make it look damn good.

Shimbori and the dev team have been in damage control mode since the initial launch trailer, there’s little doubt about that. The constant mantra Don’t worry, we haven’t show you all yet works exactly once, and then you need to showcase what you mean. Thus far, DoA6 hasn’t shown anything outside the norm. Hell, showcasing the norm has been an improvement in itself. While there was no doubts that most characters would return in their most iconic outfits, it says how weak their approach and attitude when instead of just saying the costumes are in and then showcasing them, Shimbori goes on about how the new designs will be more worldly because they’re inspired by American comics. Because y’know, Europe and the rest of the world don’t have their own comics going, especially China. There would be something in there if Shimboru would have used the comic book movies as an example, but he specifically meant the comics themselves from.

Do the game’s supposed to be launched in February 15th 2019. That’s not a whole lot time to develop it, considering the game was around 20% finished in August. Something will be missing from the title, and if modern fighting games are anything to go by, it wouldn’t be surprising if DoA6 ends up being just another platform to drive season on. The last few months will be all about trying to get the game produced to the point that it can be pressed, shipped and stocked. It’s more likely that the end of the year is their real deadline, the rest is trying to fix anything that doesn’t work.

I’ve been grinding the same gears with DoA6 for how many times now? This’ll be the last entry on the subject for now. Reality is that the campaigning against DoAX3 worked and Tecmo has changed their view on the franchise. The voice made heard was loud enough to cause backpedaling. Whatever the fans say or do at this point won’t change how DoA6 will be finished. All the stuff thus far added and changed have been nothing short of expected damage control. The only way for the consumer to say that this shit doesn’t fly is to make a clear-cut statement and voting with their wallets. None of the fans and core audience will do it though. Some will think that this is just one-time fling or that the series will return to its roots once the whole boobie-panic blows itself off. The history of the franchise or the long-time core audience doesn’t matter with this game. Only its PR fame and hoped higher revenues do.

VR has yet to break through

CEO of Unity Technologies John Riccitiello has a grasp on reality concerning both Virtual Reality and Augmented Reality kits. He was speaking at TechCrunch Disrupt held in San Fransisco this month and argued that there has yet to be a true launch of consumer grade VR and AR devices out there.

Price of course is his first point of contention, which is true. Looking at standard local prices, HTC Vive VR system costs 700€, with Oculus Rift being around 550€. That is extremely larger sum of money, especially when you remember that you need to have a computer to run it, adding to the cost if there’s a necessity to upgrade. You’re easily looking at a package worth a grand, which is far too much for just to set up a platform for extremely limited offering of software. VR will stay as an expensive piece of technology until computing technology, and technology in general, undergoes a massive advancement beyond headsets and screens. Computer Gaming Monthly’s prediction from 1991 that VR would be affordable in 1994 has been overshot by two and a half decades now and counting.

Second point is control and function. Riccitiello argues that the user does not have enough control over the systems. The way the input has been designed limits the content it can have. Most VR titles follow the same by-the-rules input and control method with the wands or controller. The best way to enjoy VR at this point is to get a full racing setup with wheel, pedals and a good seat to get the best experience out of it. As it stands now, both Oculus and Vive are using what essentially amounts to newer versions of Wiimotes.

Riccitiello is right that the current level of VR and AR technology is launched for developers. Game developers love to play with the latest technology and dabble with it to see what’s possible and what’s not. Nintendo is a good example of this in general, considering they’ve tried new things with their controllers throughout the years and included a 3D screen for the 3DS. All the tech stuff like this in Nintendo’s products are mainly intended for them to to explore, and the whole VR and AR boom follows the steps. Consumer end is not considered, only what they are interested in.

In Riccitiello’s mind, there has yet to be a commercial launch. The software that’s out there does not meet the expectations or the standards for consumer use. Better technology is worth jack shit if the games for the end-consumer are the exact same we had twenty years ago.

 


Ride the Comix was a VR game in Disney Quest attractions

The VR industry has grown for sure, but it has not expanded. It would appear that VR has a better market in commercial applications in general than consumer end. The Virtual Reality dream, a headset that could launch you into other worlds, does seem to be more a pipe dream than anything else. As I’ve mentioned previously, it is the 2010’s 3D television boom. However, unlike 3D TVs, this one will survive in some form due to the overall saturation of the market and the sheer force of the pipe dream. Ever since the Sensorama was out in the 1950’s, companies and developers have been aiming to realise something that would be “true” Virtual Reality.

If you take anything from this, VR and AR are nothing new and have half a century’s worth of development and commercial ventures behind it. This is the crux of it; all of it is technological research and development, and even then it’s all extremely limited in the end. Oculus’ latest tech shows what each new VR device has done; expanded on the technology rather than trying to find better ways to do VR.

What does this technological progress give to VR sets it already doesn’t have? To beat the dead horse; there needs to be progress in the software side more than in the hardware.

Is Riccitiello right in that consumer launch for VR has not been made yet? Perhaps not in the current generation, but VR history is full of consumer grade releases. VFX1 Headgear, Victormaxx Stuntmaster VR headset, Virtual Boy and Glasstron all were released for the consumer end, though they were not fully dedicated VR products on themselves. However, that’s where the whole evolution of software would come in, as showcased by Ride the Comix above.

Perhaps the largest crux on VR and AR is that there is no public discourse of them. When Oculus and Vive were new, they were the hottest shit around to talk about, and PSVR soon followed. Hell, some PSVR titles have been patched to work outside the VR goggles to increase sales.

Riccitiello’s positive view on that VR will keep rising is probably right, but the rise will be slow if things won’t change for the cheaper and more efficient. The expectations of the general consumer from what Virtual Reality should do not meet with what the developers’. That is not a blueprint for success, but for stagnation and at worst, failure.