Digimon Design Evolution

What’s this? No Aaltomies? No! A guest post by some random internet dweeb. The name is A9 and I sometimes work behind the shadows to read some posts over from Aaltomies before they are published. A while ago he asked me to write my own thing, and after postponing it for a long time (sorry Aalt!) I finally wrote this down. I have probably forgotten a few elements, so please bear with me.

So, how did the design of Digimon evolve over the years? For that, let’s look at the very first one created, the famous Agumon (and also a little at the often overshadowed Tryannomon).

As is often the case with any project: it changes over time. Kenji Watanabe, the longtime designer of the Digimon franchise revealed a lot about the series roots in a recent interview. Just like how Pokémon was more a dinosaur catching game called Capsule Monsters, the Digimon franchise started as a dinosaur themed tamagotchi aimed at younger boys (first named Otokotchi and then Capsule Zaurus). However, since these names would infringe on other companies’ products the name was changed to Digital Monster, which was then shortened to Digimon. This also marked the shift from just dinosaurs to the literal digital monsters, a real genre shift. There was a bit of a hurdle to overcome though: Pokémon had really kicked off and they would really have to differentiate themselves. A lot of designs, mainly of cute creatures with elemental colourings had to go due to this and this caused to have Watanabe free reign over the new designs. His inspiration: American comics such as Spawn.

Since these were the first designs, they were fully drawn, converted to pixel art, and then the drawings were tweaked again. In the future releases, the pixel art would come first.

As an example, let’s start with Agumon, since he’s undoubtedly one of the most famous of our Digital Pets. In essence, it’s a tiny dinosaur with oversized claws.

Quite the different look than we’re used to and very close to the pixel art look. This makes sense as the sprites were used on a very small screen, so making it too detailed would give you a pix elated mess. Something that was important though, was that even if some Digimon were cute, they had to have an element of fearsomeness to it. Otherwise it would just be cute critters beating each other up, which felt a bit sad to the development team.

The Virtual Pet proved to be quite successful, as they made five series of these between 1997 and 1998. Because of this, it sprouted two mangas and eventually an anime.

The series first had a one-shot in the 1997 summer issue of Akamaru Jump as C’mon Digimon: The capering monster BUN, featuring the still-popular Greymon, but also two Digimon who made their debuts. Now, even though these two haven’t been seen again since, they were both important building blocks for other Digimon.

Comparison Digimon
Design elements from Deathmon can be found in Evilmon and Gran Kuwagamon.

Let’s start with Deathmon, looking kind of different than the Agumon we’ve seen before. Deathmon, well, his design just screams ‘super evil’. In all honesty, it reminds me of a Super Sentai villain.  Deathmon can be seen back in Evilmon when you compare their mouths and general head structure, plus some nice spiky hair. The body, but mostly the arms and claws can be found back in Gran Kuwagamon. Obviously, it’s possible that this is a coincidence (since there are many, many different Digimon) but even if that is the case, it shows that some designs stick with the series.

Bun
Bun the special baby.

The other new Digimon is Bun, a small character with baby features (huge eyes and head), weird antennae and a weird dinosaur shaped torso with tail. According to its designer it was supposed to look a little bit like a very weird dog. But where does his design return? The serialisation of a manga.

That manga being Digimon Adventure V-Tamer 01, a creation by the aforementioned Watanabe and the artist Tenya Yabuno. Although a lot of Digimon were already made for the Virtual Pet series, this manga introduced new Digimon as well through the joint effort of Watanabe and Yabuno. For example, the V-dramon line which stemmed from Bun.

Zeromaru
Zeromaru the V-dramon. The cutest fat fuck in the whole universe.

Now, I can’t lie, this manga made me appreciate V-dramon to such an extent it’s my personal favourite at this point. As its designer, Yabuno explains:

I did design [V-dramon] using C’mon Digimon as a base, so the keyword ‘pet dog’ still stuck with me. […] The Digimon Kenji-san (Watanabe) designs usually sport solid-looking legs, but I designed V-dramon with the image of a small, carnivorous dinosaur in mind. I had initially wanted to design it like a fluffy dog as well.

At the time, most Digimon could digivolve to quite different forms regardless of initial form (Agumon to Devimon for example). During the run of the manga, many more Digimon were created such as Angemon and HolyAngemon. This kind of changed how some forms would really resemble the Digimon from it’s previous level.

While the manga was being serialized, the anime got the OK sign (Digimon Adventure) and was starting preproduction, just like its first video game for the PlayStation 1 (Digimon World). These media really needed references, final designs to base itself on.

Three pretty different forms. Two new versions with their own sets of restrictions. Digimon World was a PlayStation 1 game, so the amount of polygons was severely limited. It’s still quite close to the official art, except for the colour which I’ve always found very strange. Now, for the anime there is obviously a lot less detail as is usually the case. This did cause this version to have less muscle and veins, so it appears a lot cuter than the original design: much smoother and more flat.

So when the game released on January 28 1999 and the anime started airing on March 7 of the same year, merch started to be pumped out. Figures, plushes, a trading card game, you name it.

The TCG and most of the toys are based on the official Bandai art. As a kid this always surprised me, as I got interested into the franchise thanks to the anime. Nevertheless, I have always thought that the cards especially were very striking.

At this point, there are already a ton of Digimon – but Bandai won’t stop, oh no. Even with its quite low budget, the anime was a good hit, and a sequel was made. I’m thankful I don’t have to discuss Digimon Adventure 02.

Let’s start with Veemon, the first critter above. He is in many ways a redesign of Bun from the one-shot manga and designed by working back from V-dramon and creating a more cute version. Heresy I say, V-dramon is cute enough.

One of the main themes of Digimon Adventure 02 was that Rookie Digimon could not digivolve thanks to the evil Digimon Emperor. Enter armor-digivolving, which give the Digimon.. armor. Usually very literally. Let’s not call it mecha, lets call it ‘tacking on random pieces on lengthened Digimon’. Wait, that’s the usual digivolve process now, isn’t it? Take a few pieces of the Rookie, put them on the adult, put it into the blender and presto.

All joking aside (mostly) the armor-digivolve process gave a different feel to the show, even if the show itself wasn’t all that great. Later in the show, everyone can normal digivovle again and Veemon can turn into.. oh, it’s XV-mon. No, no, that’s fine. Sure. Take away the stumpy legs and the big belly. Another redesign of sorts, more cool, more muscle. More importantly, more slim, no fatso’s allowed.

Moving over to the movies with unique visuals, the originally named Digimon Adventure (1999) and Digimon Adventure: Our War Game! (2000).

Both deviate from the main anime in their own way. As can be seen in these screenshots, the first Agumon is a bit bigger than in the anime (and for reference, that’s a baby so he’s not huge) and generally has a more scary, feral look by using more linework for detail in his arms, chest and neck. This is the case for all Rookie level or above Digimon in this movie. Our War Game takes a different approach, as they go for a lighter colour palette with an orange outline.

Now, a rather famous (or infamous) aspect of Digimon is born, the waifumon. Some would argue it would start with Renamon, but they’re a bunch of furries and I don’t want to talk about no damn furries.

Shutumon

Remember how Angemon and Angewoman were humanoids in Digimon Adventure? Yeah, now almost everyone is a pseudo-human. Thanks Digimon Frontier (2002)! Humans changing into Digimon! Bi-pedal, two arms, two legs, some very mild animal features and some element worked through in their design. Oh, and if its a woman, they have big tits. This trend will sadly continue for a while. I’m sure someone made a neat list of them, sorted by breast size.

Omegamon 3D

Another unique look, here is Digital Monster X-evolution released in 2005. Fully 3D, keeping true to designs but very, very far away from the American influence from where they were born. Not that I can blame them, it is more difficult to keep that style in a 3D environment. Also, I doubt that most people at Toei even like that style.

Talking about X-evolution also means talking about redesigns. In the extensive lore of the Digimon world, at one point there were too many Digimon so God decided to kill 99% of them with a virus. Certain Digimon managed to resist though, through the X-antibody, causing them to change appearance and power up significantly.

Take a look at these Metal Garurumon. The original design stems from 1999 and the redesign was made in 2003. And what a difference! It was important to really set the X-antibody line apart from the originals and give them a more unique look. In my opinion, they really succeeded with this one causing it to feel a bit more gritty. Overall, dinosaurs look more like dinosaurs, robots look more like robots, beasts look more like beasts. I don’t want to call it more realistic, but they are definitely set apart from the rest.

Shoutmon X3

Honest acknowledgement: I never watched this series, I just really didn’t feel like it looked like Digimon. Did someone mentioned Gundam yet? No? Good, cause Xros Wars (2010) looks like Gundam. Whole lotta robots, man-shaped machines, bug-shaped machines, but Digimon. Look, I like me some Gundam as much as the next guy, but I’ve lost the Digimon aspect here.

Agumon had many forms, in many games. Usually they look like.. well, a normal Agumon. Either more styled towards the anime, or the Bandai design. But sometimes.. sometimes it just goes wrong. Enter the PSP title Digimon Re:Digitised (2012).

Agumon (Re:Digitize)
“Please kill me.”

I like the shading and it looks like the original design. But why, do tell me, WHY is he slouching like this? Bad posture! Bad! Dragging his claws across the floor. He poses no danger at all, he’s a slouch. A sloth. Sloth Agumon to the rescue. Good thing the game is pretty decent.

Agumon Tri

Did someone say another redesign? Because Digimon Tri (2015) brought us another redesign and a very welcome one I have to say. More faded colours than the original Adventure, more scrawny arms but bigger claws. Not quite as bulky as the original Bandai design, but closer than before. A faithful remake, but I wouldn’t mind him looking a bit less friendly. Still, I cannot deny that I just love that cute little dinosaur.

Updated on 20-01-2018 to add the Gran Kuwagamon similarity to Deathmon (thanks Casp) and a small bit about the X-antibody Digimon that I forgot.

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20 out of 40

Sometimes I just have to sit down and look at my game library and think how many of these games I can play as they are without bothering with online connectivity, updating or needing to consider whether or not I want a character to have a five dollar add-on to power up. Most of my games are complete packages, sold as they were finished. No product is ever truly finished, there are always things that should be tweaked, fixed, added or so on. Perhaps it betrays my stance on how games should be sold as (or rather, anything) where options can be bolted on, but are not necessary as such.

A discussion with a younger friend noted that this line of thought is exactly what I should consider DLC as. The core software is purchased, and it can be enjoyed as is. If I want to get the nice bells and whistles, then I can throw some money at it to add those optional components on. Otherwise, I can always just ignore the content and concentrate on enjoying what is on the table in front of me.

I had to argue against this, of course. While my comparison did turn against me, I had to note to him that modern DLC is not just about trinkets that would serve as optional, like costumes in Dead or Alive  games or Oblivion‘s horse armour. No, modern DLC has changed from being additional content to the game and have become more like expansion packs that exist from the get-go. Even that comparison is rather weak, as expansion packs were new content that added to the game rather than being designed to be part of the main package. It’s like if you would need to buy Red Alert: Aftermath to gain access to the units and maps in the game proper. Or as it was in case of Mass Effect 3, the game’s real ending was part of DLC.

While it is true that the production costs have risen in the game industry, they have not risen the way the big names overall want to paint it as. It has been largely chosen by these developers to push technological and graphical elements to the limits while employing celebrities and writers to work on their games. This is weird, considering games with less emphasize on these things tend to succeed just as well, if not better in some cases. Look at the latest Super Mario game and consider its resource expends compared to whatever was EA’s latest big Tripple A title. While graphics do make an impact on the sales, the industry forgets that this is an element of computer game culture, much less part of console gaming, where visual design over graphical fidelity matters more.

Perhaps thanks to Capcom, fighting  games and their DLC are not in favourable light, overall. With Street Fighter X Tekken, all the DLC characters were found on-disc, and the purchase was just to unlock them from disc. Calling this DLC was a stretch at best. Similarly, Marvel VS Capcom Infinity had all of its most interesting cast members in the DLC section as well most work put into them. It didn’t help that these characters were present in the game otherwise, telling that pretty much the same deal had happened. Street Fighter V was made to be a platform that Capcom tweaked and expanded upon with Seasons, and they dropped new characters unto it as time went by. Maybe this was a way to keep the players interested on the long term without releasing a completely new title, but it hurt the sales quite a lot. It didn’t help that SFV wasn’t received all that well on the game play department either, which really just made people to wait Capcom to release further versions of the game, like they all always do. Well, Arcade Edition is coming out, but still has the seasonal bullshit welded to it,

Arc Systems Works have been more transparent with their practices to a point, where they’ve recently announced intentions to make additional characters for Dragon Ball Fighters Z DLC, as well as adding DLC characters into BlazBlue‘s and Guilty Gear Xrd‘s later iterations, making it largely unnecessary to purchase them, if you’re willing to wait.

However, ArcSys has dropped the ball with BlazBlue Cross Tag Battle, as they announced that half of the cast will be DLC. 20 characters out of 40 will be treated as additional content for you to download. Sure, buy the collector’s box the get download code for All-in-One pack, but if you’re a lowly peasant, be prepared to dish out the dough for twenty characters if you want a complete package. I am using the term “complete” here as it is clear that everything’s planned beforehand and intended as the core package. Certainly it is cheaper and easier to develop DLC as the game’s proper development goes toward the end, which betrays the mentality in which game development nowadays aims to maximise profits at the expense of the consumer. It’s like buying a chicken sandwich, and then hearing that the second half of the chicken needs to be purchased separately, though it is cut from the same piece of meat.

Despite the transparency, this sort of approach really drains the juices. There are consumers who have already stated that they will skip the Dragon Ball Fighters Z just to wait its second version, which will fix bugs, make balance better, add new characters and moves, because that’s how things seem to work. I am glad to see that no other fighting game has gone Street Fighter V‘s platform approach, where you purchase a very weak base, unto which everything else needs to buy bought for. Though free versions of full price games with limited characters and content have been a thing with DoA and Tekken.

The big question is, especially with fighting games, at which point we will cease from seeing complete, fully realised releases in favour of each element being sold as a separate, “optional” addition. At that point, we’re probably pretty screwed, and so would be the industry.

“Should any actions be disallowed within the seemingly consequence-free context of a video game? “

The question in the title of this post was pitched by Simon Parkin in his Gamasutra post Where next for the video game power fantasy? The answer to this, from the point of view of this blog, is Yes.

Video games are not reality. While it does affect us, like any other form of entertainment (or anything, if we get down to it), games are not art. Well, as much as mountain climbing racing, playing blackjack or children’s play is. Parkin starts with an assertion that games are art first and foremost, which is where his questions tumble around. Yes, no subject should be off-limits to art, if we are to keep art as a form of free expression. If we are to consider video games as art, the same rules apply. Then if we don’t, then there are subject off-limits from games? No, free market is to decide on that. Just like with the role-playing games you have in the bed, certain games are meant for adults only, and should have the freedom to touch on any subject the creator/s wish. They just need to present in a marketable form and offer good gameplay.

Without a doubt the paper Parkin refers to in the article, where Madary and Metsinger suggest a code for ethical conduct, has some relevance to how VR is handled. The human mind, and brain overall, are rather plastic and can be moulded in surprising ways. The nurture of environment is significant, though nature affects as well. Both sides play a significant part in who we become and how we change throughout our lifetime. Playing a game sure does affect us, be it enhancing out eye-hand coordination or something else. VR, as both Madary and Metzinger suggest with an assertion from Parkin, is not physical. While VR users “experience” the Virtual World, the fact it’s just a headset on your head doesn’t go away. Whatever level of graphics and whatnot you have, only certain kind of people who lose themselves into these software and mix them with reality.

Virtual Reality, as it is now, does not introduce any sort of emotions that could not be introduced outside other means of entertainment. Certainly, putting the user in the first-person experience of a horrible murder or becoming the murderer in a game has its effect, yet it still be audiovisual stimulation. VR is not at the level where it would be able to give full-body feedback or be used without the goggles.

The whole discussion about VR possibly having content that is not suited for everyone. Your standard information what a sofware or game includes and what is its target audience is enough. A consumer must be informed of the content type, and of his own condition. In case of parents, they should be able to follow their child’s growth and estimate what sort of material they should be able to consume at what age. Certain children may be to handle harder and more serious materials earlier on, while with others it may take a while longer.

This form of discussion whether or not VR software particular should have limitations for their content is the same discussion we’ve had about tabletop games causing kids to become devil worshipers or certain kind of music being bad for the youth, be it Rock or Heavy Metal. The terms and words have been changed around to sound more convincing and suitable, but in the end the discussion still ends up being This thing may be harmful for some, it must be banned for all.

Parkin quotes Scott Stephen about how VR users are careful not to collide with other scale models of humans, and this somehow shows the gaps being closer with brain, body and motor-skill. While I don’t want to stick with this point, it really sounds more like the players are have the same level of immersion than with First-person games overall. Any FPS has some sort of model of self, which has a hurtbox that interacts with the environment. Of course people who play VR game would be aware of their virtual avatar and try to avoid collision with others, just like they would do otherwise in a game. Collision with other characters usually slows you down, or in case of some games, hurt the character (or you, the player.)

I’m just going to slide Parkin’s comment on virtual crimes, because there is no such thing, because any crime committed would be a real crime.

I contest his assertion, and by that extend, Robo Recall‘s designer Shawn Patton’s definition, of power fantasy of something people wouldn’t have no means or ability to do in real life. If that would be the case, each and every daydream we have or similar would be counted as a power fantasy, making it far too broad and lacking in definition. In reality, what he describes is escapism, or people being able to do whatever they want without putting the everyday’s hard work into it. By Patton’s definition, Harvest Moon would be power fantasy, because so many people do not have the power or means to farm in real life. Hell, even Tetris can be fitted to this mould by saying it gives the players god-like control over falling blocks and sweep them into non-existence.

Parkin suggesting that developers should begin to implement punishment to people who would act in an unapproved ways is inane. If games, and VR software in particular, affect us in such major ways as Parkin suggested earlier, and now is suggesting developers would use that power to essentially influence the consumers’ behaviour to some, socially more acceptable direction shows that there is an agenda underneath here. To boil it down, games should steer away from the icky and serious stuff and slap your hand if you oogle a character’s ass too long. Give me a goddamn break.

And the coup de grâce of for Parkin’s post him comparing reading a book to a video game. He finds it weird that people talk about beating games, but not about beating Moby Dick. This comparison is like saying it’s weird how people always speak about watching a movie rather than reading it, or watching music rather then beating it. Games are meant to be defeated, ie. completed (or in case of earlier arcade games, to gain as high Score as possible) and it does not limit the medium. Parkin’s approach in this is that games are akin to literary works, not literal games. A video game, any  video game, has closer ties to soccer than Moby Dick. Here is why his take games as art fails, because he does not understand that games are not related to literary works or art as a whole. His inability to see that a fail state in a game is loss on the player’s part, and if you really want to get down to the whole story thing in games, there are buttloads of games that touch on failure, death, loss and pain. Hell, just look at how Metal Gear Solid 3 through V and Nier Automata handle serious topics. If we want to get on the meta-commentary train, failing in a game and gaining a Game Over screen or the like is real-time commentary on the failure of the player’s skills and inabilities to overcome a challenge.

The whole disempowerment fantasy is laugahble at best. Games where the system is gimped against you are not uncommon, and if realised unsuccessfully, just drag the experience and often seem to put the message and literary narrative over the gameplay and the narrative the player creates through action. Hell, the way Ian Bogost describes them sounds like they’re taking the game out of video games. They’re nothing new, but the way Parkin emphasizes their special place looks almost masochistic. I’ll leave it up to you if it tells about certain people’s want to lift helplessness and inability to take control of things to a high status.

The rest of the post really is going the points again with some paint slabbed on to it. I can’t help but admire how actions taken in a video game are compared to trafficking women or child slaves (apparently, trafficking men and adult salves is A-OK.) VR alone doesn’t have the question of psychological impact. Any form of media has to ask this, but in the end, it is the user who determines what he is willing to consume. Making a general sweep like this, assuming that an intended emotional reaction will affect people as expected, is outright stupidity. I’m sure Parkin intended something else than comedy with his Moby Dick comparison earlier on. Claiming that VR somehow is the first thing to put people in the middle of something as themselves echoes empty. VR tricks us to believe something is real as much as any movie or non-real entertainment. It’s called immersion. To reiterate what I said earlier; only people with mental problems would not be able to differentiate reality from fiction. VR boom has already passed, and we’re setting at its low-tide. Just like how 3D screens went.

The whole blockbuster comparison though is pretty spot on. The market decides what’s successful and what is not, and though in the more recent history of video games we’ve seen far less copying game elements from other successful titles and more sequels based on long-running franchises. And no, it’s not problematic to “flatter players through power fantasies.” If anything is the problem here, it’s the fact that people are trying to limit designers and developers from doing what they want all the while wanting to push their own influence through the same channels they criticise.

Virtual-On Historical: Operation Moongate

Virtual-On is one of Sega’s hallmark game franchises, developed by Sega’s AM3 department. It had everything the arcades required in 1996; 3D graphics that you wouldn’t see at home, unique controls, flashy graphics and fast paced gameplay. When most of the 3D mecha combat games on the market aimed for slow and emphasized on realistic simulation, like Shattered Metal or Mech Warrior 2, Virtual-On hit the arcades with sharp, colourful 3D models in fast paced third-person action with (relatively) easy controls. This is perhaps the best example of East VS. West mentality when it comes to giant robots. Even in arcades, among other blooming 3D games, Virtual-On stood apart with its excellent presentation and unrelenting game play.

 

Continue reading “Virtual-On Historical: Operation Moongate”

Top 5 Games of 2017

It’s time for the last post of the year. As per tradition, time to go over the Top 5 games of the past year I’ve played, with additional five games that for multiple reasons didn’t get the spot, but I still played them more than I should’ve had.

Classic rules still apply; game can be from any year and I must have played the game for the first time this year in physical form, even if I had played the game previously otherwise. Digital-only games don’t need to apply, and I’m being strict on this rule this time around. Sadly, this also means Sonic Mania isn’t on this list, but it really should be. This year the amount of contenders were less than previously, so for once we have more mainstream titles from current year on the list. This also counts as the month’s review. The games aren’t in any specific order, but as usual, I’ve reserved the 4th and 5th spots for more special titles.

Continue reading “Top 5 Games of 2017”

Changing winds

While this blog has concentrated mostly on the earlier decades of video games and pre-Pong game culture now and then, I’ve intentionally neglected more recent electronic game culture. This hasn’t been by design, but more because there has been a need to showcase that video games overall have always been part of mainstream entertainment in a way or another. The world has changed significantly during the last forty years since games became a cultural phenomena, and like everything else, as you grow older the new stuff seems worse than it used to be.

The main demographic of electronic games we’re talking about follows the same lead the one’s pinball and penny arcades attracted the most; teens and college students. Before the advent and birth of mainstream video games, the 50’s and 60’s rough teenager culture flourished within these arcades, making their games more a showcase of rebellious attitudes. This market wasn’t just the only target group, as these arcades were enjoyed by everyone, it just depended on the arcade what sort of patrons it had. The first step towards the modern gamer and the computer game nerd happened with Pong and when home computers became a thing. The combination of people who played Dungeons & Dragons, science fiction fans like Trekkies and radio hobbyists sort of pack into video and computer games because the medium allows imagination to flourish, both as a developer and as a consumer. The problem largely was that it required mathematics and electronic knowhow, and thus the design and input devices were more or less completely bound to a one-button controller, a very specific controller, or a keyboard. While Pong and other consoles had intuitive controllers, a keyboard used to be rather scary device. To some, it still is.

This meant that people who put their time to either develop or play these games didn’t exactly fit the social norms of the time. Bullying people who play games at home, rather than on the field, in the arcades or in a dank gambling saloon was rather everyday event. However, if an industry doesn’t expand its market and renews itself, it has high chances of dying down. With Atari and arcades becoming an incredible force to be reckoned with, penetrating American culture like no other, driven by Japanese arcade games no less, followed by European micro-computers’ boom in the Old World. Despite the Video game crash of 1983, gaming had made its mark on the mainstream audience and culture, and when the NES hit around, video games became more mainstream than ever. At this time, computer games still managed to roll onward, and while their success is nothing to scoff at (just look at Ultima series!), computer games were for a more limited audience due to the price of the machines themselves and understanding of the technology itself. As said, European markets were rather different, with NES essentially screwed over due to mishandling, Sega Master System offering more and cheaper games, and micro-computers being the thing to have.

A third wave of market expansion (or fourth wave, depending how you’d like to count it) happened in segments during the 1990’s. While the SNES didn’t perhaps have the market expansion as Nintendo would’ve hoped, it did manage continue in the steps of its predecessors. While arcades saw their second golden age with Street Fighter II, PlayStation without a doubt had a significant market penetration and expansion, only comparative to Pong, arcades, Atari and the NES. While Super Mario had cereals and cartoons for younger audience to consumer, the PlayStation struck chord with the older audience, much like how the Mega Drive had previously. Wipeout is a prime example of this, as it became synonymous with the trance and dance club culture.


Have a few quick ones in the club, and then few lines at home while enjoying the the game and its music

Nothing else shows how much penetration PlayStation had as its successor being the most sold home console. However, after this point there games had less penetration with the overall culture. Video and computer games, despite being popular and selling massive amounts to the point of eclipsing Hollywood’s sales, had became mundane. An industry like video and computer games doesn’t change by itself forcefully, but has to grow according to consumer wants and needs. If it turns to be selfish and producing more trophy games, sales will lessen. However, most of these games throughout the ages have been deemed terrible and have seen low sales, despite the gaming media praising them at times.

To a person who grew up with video games in the 1980’s or 1990’s, the changes that took place in the 00’s and 10’s , may seem rather disappointing. For those who have read this blog for a long time already should know what this refers to. Games are not only story driven, but at times completely dependent on them. The cross-pollution of between consoles and computer games markets to the point of PC gaming being dead and replaced with a digital game console Steam. Games had become mainstream to the point of everyone being able to access them pretty much everywhere, and the previously set boundaries to develop or play them had been long since been taken down.

The Financial crisis of 2008 made a mark on the game industry. Both the Xbox 360 and PS3 were rather expensive consoles to own, but the Wii had a balance of being cheaper and more arcade like games. Despite the market expanding and new people being introduced to games, certain style of games still were the most successful. Wii Sports is an example of this sort of game, which of we never really saw any other like on the Wii. Wii also became a Virtual Console machine for those who remembered NES from their childhood, and now had access to more games than ever on systems available on the VC. Much all other industries at the time, making your consumers spend money on products that they didn’t need was a challenge the least. It was at least at this point when the industry overall didn’t aim to expand and further concentrated on the core consumer group that had been there for a long time, with few exceptions about.

While the financial crisis still having slight effect a decade later, the monetary situation with many is very much different. Companies have introduced microtransactions as an industry standard to the point of multiple companies practicing predatory behaviour for higher profits. However, this would not be possible if the market’s actions would not allow that. While the game industry and market itself has been consumerist, it could be argued that microtransactions and lootboxes have taken things to an overdrive. Corporation’s are very effective on capitalising consumer weaknesses, especially now that almost everyone has access to these games. All this, combined how the video gaming media is essentially just a huge engine for hype and advertisement, further solidifies how much the game industry has become an equally massive machine as its market is. With expansion and new generations entering the hobby, and overall tastes changing globally, some older consumers feel a distaste for what modern games are.

Political climate affects games as any, and games have become increasingly agenda driven at places, especially within certain indie scenes. I won’t go any deeper into this here, as I’ve discussed games as form of escapism first and foremost many times previously. However, ultimately it is the sales numbers that decide how the industry will act, as game industry has become completely reactionary just like Hollywood, and on the long term games that de-emphasize gaming will ultimately see less sales. Much like Hollwyood is all about the big cinematic universes and each movie has to be a billion dollar event, so has the game industry moved towards building massive spectacles in eSport (with Street Fighter V suffering this the most) with both having equally bankrupt creativity. Hell, the current state of both industries is the best argument why neither should be considered as art, but entertainment to the masses. That’s not a slight against either industry in a negative way, much like how visual novels aren’t games. A thing being its proper self is nothing to be worried about-

Games haven’t exactly changed in terms of quality of the titles. There has always been a large number lesser games on the market compared to the gems, that hasn’t changed. However, the sheer number of games has changed to the point of keeping up on all released games across all platforms is almost an impossible task without external help. Information technology, technology overall, ease of development and change in developer/publisher scene have changed the industry and the market. Whatever era of gaming you prefer the best, we’ll never be able to return to that form.  The only way to steer the game industry to a desired direction is doing two things I’ve talked often; wallet voting, and being an informed consumer.

The state of gaming as it is now will be a passing trend. In five years down the line, we’ll be able to look at the 10’s and hopefully laugh at all the things we consider important now.

Street Fighter 30th Anniversary collection and then some

Ever since Street Fighter turned 20, I’ve been making some insignificant noise to see proper recognition for the original Street Fighter, as janky as the game is. It is one of those games that would deserve a complete remake. Capcom has been dropping bits and bobs about the first game here and in form of optional outfits and such, but a straight remake is still a pipe dream.

The 30th Anniversary Collection is a step towards right direction in many ways. Not only it makes titles like Street Fighter III New Generation and 2nd Impact accessible to those who don’t have a CPS3 or Dreamcast, but collects all the main titles under one umbrella title. It would be great if all the games had online to them, but companies can put only so much money and effort into celebratory collections like these. I don’t mind using my Dreamcast, but many don’t have access to a DC. Similarly, it would be perfect if there was online for all the titles, but that’s not really happening, is it? Online is important for modern games, without a doubt, despite yours truly still regarding couch coop the best form of multiplayer.

I’m not surprised that the EX games are missing from this collection. They never were mainline SF titles, but the first two did enjoy success on the PlayStation. Capcom would have to pay royalties for the original characters, as ARIKA owns their rights. Not that would be a bad idea overall, with ARIKA’s upcoming unnamed fighting game project  (which carries the title of Fighting EX Layer for now) coming along and making some buzz in the fighting game scene. It would have been good cross promotion for ARIKA as well, but I never held my breath for their re-release. Might as well pick up the original PlayStation discs if you’re interested, they don’t go for too much. If I’m honest, I’ve been following this one closely. Graphically and mechanically the game is sound, even at this early state, but ARIKA does need to rework the sound department at some point.

Of course, the collection is not limited to one system. Not many things are nowadays, but perhaps that’s OK for this sort of celebratory game. I wouldn’t be surprised if the sales numbers for the Switch version go high, as Ultra Street Fighter II sold rather well. This collection makes a good addition. Shinkiro was employed to illustrate the key art for the game, and all in all it’s an improvement over the aforementioned USFII.

The additional goodies are a sprite viewer and a music player mode. Street Fighter sprites have always been popular on the ‘net, for better or worse, but having this sort of access does allow closer inspection without any hurries for those, who don’t want to resort to emulation or looking up sprite sheets. It may be a bit insignificant addition, but this sort of little things go add a lot. The music player is a neat addition, though the one that would’ve broken the bank would’ve been a colour edit mode.

Capcom’s going to the right direction with this. Street Fighter V has been a sales and success disappointment all around. With its Arcade Edition coming out, alongside its Season 3, Sakura and bunch of other characters are confirmed to join the final roster. However, these two titles are at odds with each other. SFV was developed with the eSports scene in mind, and that’s where it has seen its limited success. The assumption that Capcom will release further versions of the game is more or less based on the fact that ever since SFII  this has been the case. However, as we’ve seen examples with Star Wars Battlefront II (2017) publishers and developers are trying to make each title pay off more on the long run. DLC is a practice on itself, with Season passes essentially being planned additional content on the base title. Arcade Edition got some negative feedback from the users that got unto the ship from the start and have supported the base game, but from general audience, it’s been all but positive.

Street Fighter V is an example, where Capcom took its gold egg laying goose to a wrong direction. While some games can be fitted into a modern mould, Street Fighter V showcased that you can’t beat an arcade roots from an arcade game. The necessities must be met; a complete game from the start, Arcade mode, a full roster and (surprisingly to some) less emphasize on the tournament scene. SFV should have been a safe game for Capcom to publish, but just like Marvel VS Capcom Infinite, it’s full of decisive flaws in the core design and structure department. Capcom’s competitors are in a far better position nowadays, with all the big houses having at least two decades of experience under their belt and have been pushing out better fighting games than what Capcom has. ArcSys even has a popular license under their belt now with Dragon Ball Fighter Z, which probably sells more than SFV during its lifetime by name recognition alone.

Capcom is one of those companies with rather clear periods. 1980’s Capcom saw its first change with Resident Evil, and the company changed its direction around the mid-90’s. 2000’s Capcom saw a paradigm change around 2006, something that Capcom has been moving away now slowly, but surely. These changes are not immediate, but take slowly place until something significant is showcased. Capcom’s arcade essentially being ran down in favour of console development, classic titles all but missing and ignored, emphasize on Western games, the DLC tactics that consumers didn’t like, and now, nostalgia. While Mega Man Collection games should’ve been just one disc, collecting all the Classic-series games, including Rock Board, those and SF 30th Anniversary Collection are an indication that Capcom wants to serve their long time fans, albeit with pre-existing products most of them already own. With Mega Man X games coming to modern platforms, it would seem that Capcom is testing waters for resurrections, even with some of the newer franchises like Devil May Cry getting its HD collection ported to current systems. Of course, we can’t ignore the rumours for DMC 5 being in development, which became more plausible with the reveal of Mega Man 11.

All that said, Inafune separating himself from Capcom did leave the franchise in a hard place. Just like how he was the face of the franchise to the consumers, he was also responsible inside the company. Kazuhiro Tsuchiya does not necessarily need to become a new face to carry the franchise onward, but that might be inevitable.

It’ll be interesting to see what’s going on at Capcom currently. Keep an eye what’s reading between the lines, as all the interesting bits are there.