Capcom Japan used to run their website like they were fans of their own games. Contrast this to whatever modern corporate website you have now that is largely impersonal and doesn’t give you anything but the minimum. Certainly, you can still find businesses running websites that want to approach you as a person and as a fan, like Falcom’s in most cases, but more often than not they’ve become cold. Capcom’s http://www.capcom.co.jp/newproducts/consumer/dash, or Mega Man Legends Series’ Homepage, used to be a website that I visited numerous times during the first tens after stumbling upon it, but nowadays that link goes directly to a 404 error site. Luckily, someone managed to use the Waybackmachine to archive the site multiple times, but as with usual, a number of the images have their hyperlinks dead.
Seeing as I started my hobby of saving a lot of images from the Internet in case sites or users would vanish, this Mega Man Legends page was probably my first attempt at archiving images. Needless to say, a lot of images without their proper content are jarring, but gladly text is easier to archive than images. This post contains all the most relevant images regarding illustrations and similar stuff, with marketing material and such still being mostly available at Waybackmachine.
As much as Sony, and the other video game corporations, have their right when it comes to their games and consoles, the incoming death of PlayStation 3’s, PSP’s and PS Vita’s digital store paints a very dark visage of digital death; all those games that are about will vanish and be rendered unobtainable as the servers are shut down. Each and every game that is exclusive to a digital platform and is dependent on servers’ being online to any capacity will be lost. Piracy is there to catalog them and save them when you can not obtain them anymore in any legitimate fashion. Companies will complain and file lawsuits, like how Nintendo keeps harping on ROM sites, but if these companies want to curb piracy of their older systems’ titles there is very little they can do. In fact, that very little is very influential; offer all the library on your modern systems as well.
That is easier said than done, as multiple games are very much tied to a system and licensing, meaning that publishers would have to re-submit their titles to console companies for them to be admitted again. Of course, with the hardware being different, it’s no easy task as they’d need to port the games. The question of whether or not that’s worth it for them becomes a pressing matter. Common sense would argue that if a company isn’t selling a game and there are no legitimate ways to obtain it, you might as well get it via piracy. We are not in any grey zone when it comes to digital games as you can’t claim that it is legitimate as long as you own the actual game as there is no physical equivalent in this case.
Yet these games are not abandonware either, as some of these titles have been ported to other systems in the same digital form, or are part of a long-running franchise. You can find loads of old games that have no owner on abandonware sites, even numerous game series and IPs that have owners, yet don’t act on them. It’s part ignorance of how widely their titles are shared and partly that they’re willingly allowing them to be shared. After all, you’re hardly going to make much money on obscure PC88 and DOS titles. You could make some bucks if these companies would repackage the titles for GOG or the like, but that’d take time and money. Would that be worth the effort? To some, yes. To most, no.
Whatever the thinking is within the companies, it won’t change the fact that with this digital destruction we’re losing the original source for these titles permanently. Once the servers go down, that’s it. There’s no crying over games you didn’t buy, there’s no wallowing over missed DLC. All the patches you missed are forever lost to the ether. Publishers and developers won’t offer them via their own services, even if that would be possible. What is the consumer to do if he wants to get a game but can’t, quite literally, buy it anywhere? Companies can’t argue for a loss of sale, as there are no methods a sale could be done in the first place. If they have an alternative venue to offer that title, then great! Problem solved. If not, well, the is always behind the IP owner. For a good reason too, but we should investigate whether or not an unexploited title, whatever it might be from music to film to book, should stay in the hands of the IP owner rather than be opened for common usage. It’d promote exploiting these unused titles, and in gaming would further promote the availability of otherwise unobtainable games.
That’s never going to happen and we all know it. Sony could do everyone a massive deed and request each and every publisher with any content on their servers to be donated for archival at a museum or something for future research and patrons to play on-site. It would, at least, save these titles for historical purposes, but that is the last thing game companies have in mind. The first month is where the majority of the sales are done with games, and whatever comes after is extra. Once it’s a done deal, they can remove that title from competing with their future titles. Torta på torta repeat; I shudder to have a game on the same platform Super Mario Bros. 3 is.
I don’t find any joy in Sony closing their old servers. It’s a tragedy that will become more common as time passes and content becomes more digital-only. With this closedown, we’re not only losing all those PS3, PSP, and Vita digital-only exclusives, but also all the PlayStation classic titles that were made to work on these systems. Sony’s going to make a bank when people will rush to buy the games they haven’t picked up yet. I recommend getting the Mega Man Legends titles, including The Misadventures of Tron Bonne, the Sega Ages Virtual-On , and pretty much every PC Engine title you can get your hands on. If you’re a mecha fan and/or into Super Robot Wars series, there’s also SRW OGs; Dark Prison, a side game with no physical version out there.
Any arguments that follow the lines of You had all the time to get the games or It’s time to move forwards can and should be dismissed. For the sake of the consumers, if we’re going to go digital, the customer should have the right of access to these titles for purchase as there can be no second-hand market. Screw licensing issues or companies maintaining these servers at a loss. As far as the customers’ rights are concerned, the moment there is no viable route for legitimate purchase, the titles are free game. Pun not intended. At this point, I’m beyond arguing legal or moral points. I know and understand all the sides of the coin in the matter, but that matters jack shit when we are losing a generation’s worth of digital titles. That should not be acceptable in any fashion.
Thus, piracy becomes a justifiable action when there is no other recourse. Piracy will archive, it will keep records. It’ll become the way how to access all these titles on their original platform, if not form. The Internet will keep an archive of what Sony and publishers will not. Nevertheless, before we hit that deadline, the best thing we can do, and should do, is to burn that credit card to obtain all the titles we wish to play on our systems. After that… it’s your machine. Why not to mod it to take more out of it?
Few days ago, news about the PlayStation 4 being a gimped console broke through. No, not in the fashion of it having ballgag. Down the pipe, when Sony decides to kill off their online services for the PS4, your console will end up as a brick. Lance McD explained further that the Trophies require the internal clock to be correct, and seeing people can’t change their internal clocks, when the servers and battery die out, so does your ability to play games. Your only way to sync the PS4’s internal clock is through connecting to PSN.
This is stupidly lousy engineering on Sony’s department, but I’m not going to sit here and pretend I’m not putting blame on Trophies as well. Gaming consoles have become smarter and smarter without any true benefits to the customer. All they need to do is to play the game. Trophies, movie playback, sharing to Social Media and all that is gibble. It’s the same ol’ thing again; consoles are just dumbed down PCs. This one of the many negative results of it. PC like machine brings PC like problems. Concentrating on essential necessities for playing a game and excising the excess should be an industry standard. We don’t need access to Twitter or the like via linked accounts. A generic browser should be all you need for that, but everything needs to be its own program nowadays.
PS4 clock battery problem is for the long-term. At this moment in time, you are able to drop in a new battery and reconnect with the servers. In the future, this won’t be applicable. Gee, who the hell would be playing PS4 games ten years from now? Dunno, who the hell would be playing SNES games twenty five years after the console?
This’ll pose some interesting challenges down the line when it comes to archiving and keeping records on PS4’s games. Future historians that want to see the games running on their native hardware will have to find a way to get around the limitations Sony put on the system clock. Oh but of course, the Trophies must be protected that people don’t have bragging rights. What a shit decision to put any protection on the whole thing.
The most permanent solution will end up being modding the console to access all levels of functions. This game reading error will not be a major issue for Sony, and it getting fixed will be a very low priority. Especially now that the Japanese aren’t running the show. Few individual commentators have mentioned how this will ultimately be a positive thing, as this’ll force people to move to new machines and recycle their old games and consoles, or how this is beneficial for the competition between players, or how this somehow is a great anti-piracy measure if people can’t play games on a timed-out system. Fellating corporations always goes against the needs of the consumer. None of the points have any legs to stand on; the longer a machine functions and is playable is most economic and green option; Trophies amount to jack shit in eSports or other forms of digital competition outside dick measuring contests; this will have the opposite effect.
PS5 and X… I don’t even have a real shorthand for Xbox Series S and X. I’ll have to go with XboXSX just for the gringe factor. Anyway, both PS5 and XboXSX were launched at a terrible time. We’re going into an economic slump. We’re already short of chips and whatnot to build these machines. Both of these consoles were designed for a much better economic time they ultimately ended up in, much like how X360 and PS3 were. Part of the Wii’s success was in how concentrated it was in its function; it plays games. It doesn’t need to do anything else. By cutting away all the excess fat from the system Nintendo managed to find a low price point people could justify during an economic slump. After that, we experienced a nice rise in economics. We wouldn’t have seen the rise of Kickstarter and similar services in the same manner. People could pledge hundreds of dollars for people through Patreon and such. There was money to go around. That’s not going to be as the economy keeps balling down the road. Sure, big companies will make a big buck. It’s the smaller and local businesses that’ll go under. No better time to put more control on the media and devices you should have ownership over.
Sure, nobody in the Big Three saw the slump coming, though even without the Shangai Shivers some economists had been foretelling we’d go to an economic downward slope around 2019 or so. Having a to-the-core machine, and just one version of it, would’ve served the customer better. I agree that it’s nice to have all these bells and whistles most people barely use, some none at all, yet this whole PS4 battery bullshit is a symptom of putting the emphasize in the wrong court.
No, the battery isn’t the thing people should get concerned over, or the engineering, but the priorities that go into deciding to even put these things into the console; it’s all needless extra. A console’s basic core function is to play games. Everything else should be cut off from that. If all else fails in a console, be it network connection, internal battery, user account or whatever, the user should be able to put the game in and have it played, physical or not. Reality isn’t all that nice or consumer friendly, sadly. Just imagine; Turn the console on, see boot screen, put game in, and you’re playing. Nothing else going in the background or connecting to anywhere else. Just you, the game and the ability to play without seeing a dashboard, needing to connect to the servers, seeing news or being asked to install new updates that take half an hour.
If you’re reading that as me advocating of removal of capabilities modern consoles have when it comes to services and such, you’d be correct. All a console truly needs in addition of playing games is to be able to connect to the Internet for patches and multi-player. Everything else can be trashed. All the other resources can be put on making the controller better, or perhaps not used at all, minimizing the limit when a console goes to black. That’s not going to happen with Sony as long as they want to pretend still to be a prestige brand with the best home media center to offer. Sony’s quality assurance hasn’t been up to that level for good thirty years now, and things like this PS4 internal battery situation is one of those signs.
The best fix would be Sony to remove this whole shebang and let consumers to set the clock by themselves without a need to connect to the servers at any point. Fat chance, but I can always dream of having more freedom.
Marcus Evans Jr. is an idiot. As Chicago is experiencing increasing numbers of carjackings, his solution is to ban violent video games. Junior’s bill is exactly what you’d expect from a politician wanting to bandaid the result of underlying problems. This bill wants to amend 2012 law to ban sales of violent video games to all, not just minors. This bill also seeks to expand the meaning of violent video games, making specific examples. I guess Junior is sexist, as the bill makes a separate mention about violence against women despite there already being a mention of human-on-human violence. Dunno about you, but I count women to be human.
When you compare the two, you see harsh similarities as it relates to these carjackings. This is an incredible bit of stupidity. Video games don’t teach you how to jack cars in real life. Sure, you can see an example yet everyone with half a brain cells realises there’s a difference in stopping a car, pointing a gun at someone, then taking it from them, and pressing a button on a controller. You’d actually learn more about how to do it properly from television and films, especially when they’re aiming for realism. Hell, Youtube probably has step-by-step guides nowadays. Other unmentionable services do. Just like when Doom and other first-person shooting games were blamed on teaching kids how to shoot guns, the skills do not transfer. The skills you learn in a video game are manually different. I can’t deny you can’t get the idea and some imagination practice from playing a game, but you still don’t learn how to do it. Carjacking is rather easy, after all, as long as you get the driver to stop and scare him enough to comply. Of course, Grand Theft Auto is used as the main example, as that’s the easiest title to go after. Even Hillary Clinton went after the series in the middle of the first decade. Even the name of the game is tantalising politicians, but I guess we’re living in an era where all interesting and slightly offensive has to be stamped down.
Close to four decades now we’ve been seeing and hearing about the evils of video games. Longer if we count penny arcades, which we can round up to a nice century. Claims have gone from promoting illegal activities to games causing violent behaviour. While penny arcades and such did see their fair share of organised crime and hoodlum hangers, we’ve never seen solid evidence of games causing violent behaviour. At most, games can be a triggering factor. This means that video games aren’t the reason, that something is already there that doesn’t have anywhere else to go. You might think that’s enough reason to ban violent video games, but at the same time, you should then consider banning all violent and offensive media. A bullied kid might explode at his bullies for any reason, be it after watching some wrestling or because he saw John Wick. Games are more a way to get that pent up stress out from his system, unless the person can’t distinguish between reality and fiction. To reiterate, the issue isn’t violent video games. The question I don’t see Junior asking Why are these minors carjacking? Nobody seems to care about these people, only what they’ve done.
Junior should get this bill off the table and put his efforts into finding out why these young people are carjacking. Hint; the answer isn’t They saw it on telly/ in games. If there were a simple answer to be given, there wouldn’t be any issues. However, Chicago has an inherited culture of crime. Ever since violent crime saw its major rise in the latter part of the 1960s, Chicago’s being second to Detroit in being called a hell hole. Chicago has over a hundred thousand active gang members across sixty factions. Gang warfare is a daily thing. Let’s not ignore Chicago’s long history of public corruption; there’s a reason why the University of Illinois named Chicago the Corruption Capital of America in 2015.
It’s a sheer delusion to blame video games for the rise in youngsters’ criminal activities. Bandaiding the skin while the heart is still ruptured does nothing. Junior has cited no basis for his reasoning, just that there is a harsh similarity between criminal actions in real life and games. Well, I have to say that criminal activity in real life and criminal activity in real life have much more in common, especially when it is easy to get into a gang and get taught by your seniors. Banning the sales of violent video games to all will only hurt the industry, probably will have to face questioning whether or not it will infringe the freedom of speech and expression, and will only make these titles more exotic. Banning media will never solve individual and society-level issues. To this day I am disgusted whenever I see someone coming after the media of any sort for a quick fix rather than raising issues that cause violent behaviour and criminal activity, ranging from child abuse and neglect to society failing those who are in need of help. Mental health issues are still rising, and the whole lockdown thing hasn’t helped many who suffer from loneliness.
There is a misunderstanding with screen aspect ratios that states that using an image of different aspect ratio from your screen will leave black bars. This is of course completely incorrect but is so widely used that nobody questions it. Everybody just assumed people know what’s been said, which turns into the whole It’s common knowledge thing. This’ll be the last aspect ratio rant for the blog.
The above image shows a white 4:3 image in a wide-screen area format. Those aren’t black bars; that is the area where there is no image information. Open some random image in your computer that isn’t taken in your screen’s aspect ratio. You wouldn’t expect it to fill the screen, as it’s clearly not meant for that size. Yet some of you willingly crop or stretch video footage to fill that area. I’m sure your image viewer has some options to stretch stuff. If not, put it as your desktop wallpaper and choose that stretching option. Suddenly, it looks much less appealing.
This applies to any picture that is out there, video or not. For whatever reason, people fear the void of having nothing on their screen as if its wasted, as if they weren’t getting their money’s worth. This is absurd, though possibly understandable. Nevertheless, the image size and dimensions you view are chosen specifically for the reasons that portray the image the best or were industry standards. If you put something like Jurassic Park on, you should notice that it has more vertical height than your standard modern TV-show, or most movies in widescreen format, because Spielberg chose that aspect ratio because it allowed to show more of the dinosaurs’ height. Compared to Jurassic World movies, which lack this extra height, you get much wider shot and lose that effect of massive size. You have too much room on the sides.
Whatever made filling this empty space with bloomed version of the video at this empty space is a neat response to fill that void, but that’s again needless and useless. I’d like to say Surely people understand that there are videos of different aspect ratios that don’t fill your screen? but that would be stepping in the whole trap of assuming it was common knowledge. It probably is, people just don’t think it though. Another thing people are doing is adding black areas to the top and bottom of the screen to simulate the film experience. This is just from ignorance as people who keep doing this don’t understand that films filmed in 21:9 aspect ratio has more width than height, which is why you have no information to fill all of your modern 16:9 aspect ratio screen.
Seems like Counter Strike players are somewhat split between widescreen and fullscreen formats. Some people talk about how glorious it is to have the game in full, widescreen format while some argue that having 4:3 “black bars” is better because of the focus it offers. Other games seem to have their own aspect ratio they run in, as Youtube’s also full of guides on how to stretch Valorant‘s footage, which again destroys the footage itself. Maybe it’s the new generation problem that older technology has with video footage. As I mentioned in my previous aspect ratio rant, companies used to cut and pan footage to fit 4:3 aspect ratio televisions, yet we have the same problem nowadays in slight reverse. People are stretching the image for 16:9 format and it looks even worse. I’d rather live with Pan and Scan over stretched image just because everything would still maintain their proper proportions.
With Counter Strike people are mislabelling the whole stretching thing. While looking for reasons why people stretch their picture, many consider changing the aspect ratio itself as stretching. The thing with some games is that they can function just fine under different aspect ratios without the need for mangling the image. Look a the following.
This image hasn’t been stretched or shrunk. This is two different aspect ratio images superimposed on top of each other, with the red coloured image being in 4:3. No assets are being stretched, the only thing that changes slightly is the field of view. However, the terminology often used between these two, removing black bars, stretching etc are just outright bonkers. The discussion should be about aspect ratio in cases like this and nothing else. It feels, and is stupid to point out that it’s no stretching if there is no stretching. If you’re interested why some Counter Strike players discuss the benefits of having 4:3 aspect ratio in the game, here’s a link to the Medium article where the pic was nabbed from.
Let’s take a step back a bit from that and take a very simple and rather small, random image from my folders and see how it scales.
It’s a very normal picture with a random aspect ratio and size. When you put in full screen, as in it would full whatever it can on the screen without stretching, it’d look like this.
As a lot of old digital footage is in crappy resolution with terrible compression, expanding the image well beyond its intended size will result in edges showcasing their low resolution and artifacting. It’ll be even worse if you want it to fill the screen so that it’s filled with the image’s information, even if doesn’t have anything to offer in that regard.
The stretching is visible, with the face becoming even pudgier and the hat suddenly gaining few kilos more. Now, what if someone were to do this in ultra-widescreen? You may think this sounds stupid, but it happens all the time. People love to stretch things for whatever reason.
If you’re ok with the third image, then you should have no problems with the fourth one either. The extreme might be wider, but the effect is still the same. You have now filled your screen with information and thus ended up distorting the image. To hammer this useless point in even further, I’ve superimposed the second and third images together, putting the proper aspect ratio’d picture to the left so the lines have the same starting point.
Stretching is something that should not be tolerated and the above shows why. When put on top of each other like this, you can clearly see how much stretching displaces and distorts the depicted information.
I did mention I was looking around why people stretch their footage even when knowing it’ll make the picture look bad. The main reason seems to be the good ol’ feeling cheated if they don’t get everything filled from edge to edge in their screens. Televisions and monitors cost a pretty penny and not having that whole area used all the time seem to make people feel like they were cheated, that they could’ve gone with a smaller screen if they have to leave some areas unused due to the footage being in a different resolution or aspect ratio. It’s not rare for people to say It looks fine when justifying why they stretch or crop their picture, which can’t be helped. Just as often you hear the same people saying something about the image not exactly looking like it should. Sports especially tend to look weird in a wrong aspect ratio, because all the players and equipment are stretched sideways.
The second reason is buying into something they don’t have knowledge of. Often a screen is bought, set up, never calibrated or properly tested. If a station is sending the image in a different aspect ratio and the screen is set to automatically stretch, the end result will be a mangled image. Effectively, ignorance.
The third reason is by choice, whatever it might be. While there are intended ways to view something in its proper aspect ratio, we have to accept that people have the freedom to watch whatever they want in whatever size and shape they wish. I assume we’ll have to revisit everything how we approach image sizes and aspect ratios in the future as the image viewing technology takes its next major paradigm shift, or if another aspect ratio other than this widescreen format is implemented as a standard. Whoever writes about these things then will have one helluva time trying to explain to people how few hundred years ago the image was in two dimensions and didn’t contain holographic third dimension to fit their tru-3DVR glasses.
Why are there no black bars though? Because that’s just areas that are off, just like how your screen isn’t “black” when you switch it off. Thes sayings just kept going and had to be dumbed down, which lead misconceptions and further problems down the line. I guess this would count as an example of how we should punch up and educate people rather than punch everything else down. Lift people, so to say, rather than take things down across to the board.
Don’t take this as me introducing Wizardry into the blog. The theme should be taken as something nostalgic, but as something that wasn’t originally there.
It has become increasingly more difficult to spent any significant portion of my day working on a post of quality. This has been a trend for some time now, and it’s something everyone has noticed. Planning posts in advance have become a chore of sorts, because most of the time an idea just doesn’t have enough lift under its wings, or it would overlap with something I’ve already discussed prior. Sometimes to extensive lengths, and I’d rather tone down on beating the dead horse. I’ve still got three projects under my belt unfinished, so after a certain date, I’ll have to make some modifications on how and why I still keep this blog up. You’ll have to wait a bit for that though. I do have an intention do writ up few device reviews once I’ve gotten my hands on Meanwhile, I’ll use this entry to cover some small topics that are about around now.
Google announced recently that they’re killing off their first-party developer for Stadia. It lasted only one and a half years, and I’m having a hard time remembering the studio’s name. This follows Google’s standard practices of the killing of products and projects in about two years of their existence. Not much love is lost between Stadia and its users, as it never delivered on its promises. Stadia, by all means, has largely been a failure. I’ve followed few of the early adopters on the sideline, and most of these people have ended up disappointed in the product.
Problem with Stadia, of course, is streaming games, its supposed bread and butter. While Virtual Reality is becoming a mature technology now that we have small enough components and robust enough hardware to make it happen, streaming games is woefully in baby shoes simply because of the existing infrastructure doesn’t support it, not to mention the bottlenecks Google’s servers themselves had. Unlike VR, Stadia could take advantage of existing games, though Stadia had little to no titles that excited the customers or made it a must-have device. Stadia didn’t have a leg against consoles hardware or software-wise, and as a computer peripheral or a smartphone addition, it was pathetically awkward and underpowered. Think it this way; would you lug around a PlayStation with a screen attached to it when you could have a GameBoy? Some would, while others might choose to play a laptop and whatever it offered.
Playing games anywhere, anytime, isn’t a new paradigm. People have been carrying decks of cards with them for hundreds of years and still do. Portable electronic games have been a thing since the late 1970s, at least. Stadia was never creating a new paradigm or a way to play games, nor did it expand the market. Google tried to portray Stadia as something for people who didn’t play video games, yet they failed to offer any games that would expand the market. Look at the NES, GameBoy, NDS and the Wii for example of a library that had something for everyone. Even when taking streaming games out of the equation, this was Stadia’s most important failure and it keeps repeating with every failed gaming device thus far; you can’t succeed without an appealing library, the hardware doesn’t matter. What’d I say about beating a dead horse?
Though Stadia’s hardware was effectively just the controller and whatever junk it has inside. Supposedly, there’s a wild variation whether or not the controllers break down easily or if they’re robust. Seems like this is dependent on whether or not the parts were good or if the assembler had a bad day. Nevertheless, what Google failed to realise is that expanded markets don’t really like game controllers, especially the much older generation. There are too many buttons, they have no intuitive way of learning them. The Wiimote, while often laughed at, was a brilliant design that opened an intuitive way to learn the controller not just because of its familiar shape but also limited buttons and placements. The reason a more traditional controllers Nintendo puts out are called Pro controllers is because they’re meant for people who don’t need to learn how to use a controller. It might be hard to imagine for people who have been playing electronic games most, if not all of their lives, but gaming controllers are still rather complex devices despite standardization and are far from intuitive to use. If Google truly wanted to have an open doors experience for everyone who wasn’t a self-appointed gamer, they would’ve made sure Stadia’s library would’ve appealed to these people and designed the controller to lower the entry challenge. Failing at both of these, Stadia ended up as a third wheel, a system that had no appeal whatsoever.
There’s a Mass Effect: Legendary Edition in the horizon, and unlike the guy who I get occasionally writing stuff when I need a break, wrote his view on the whole shebang. Give it a read. However, it must be questioned whether or not this remake should be. All these games run just fine on modern OS and console versions run just as dandy as they ever did. The time, money and all the other resources spent on this compilation of games could have been used to make a new game, or remaster something that would have been in a dire need to be properly updated for modern systems, or remade into a much better game. Pick your choice game of mediocre or outright terrible game that you think could be worked into a gem and you’re already there. Games that already are great, supposedly, don’t need to be remade into a new form. Mass Effect‘s problems as a game can’t be corrected with a remastering and technical update, it’d need to be taken back to the design board and make a whole new draft to make it a game with interesting and engaging play rather than a generic shootyshit with forced talkie bits. It’ll sell nevertheless. The gaming media has been hyping this one for some time now, and loud fans will invade anyone’s feed in any social media at some point.
In other news, all three companies involved in Call of Duty: Modern Warfare, that is Activision, Infinity Ward and Major League Gaming Corp have been sued for copyright infringement. Clayton Haugen, a photographer with two books under his belt, accuses these companies of directly copying his character from a work he was promoting. The way these companies did it that they hired the same model/actor and supposedly asked her to obtain similar, if not the same gear as in Haugen’s photos. While a tacticool waifu isn’t anything special in itself, using the same model with almost the same outfit, posing, hairstyle and aiming to get the same kind of photo smells something rotten. Whether or not the accusations Haugen has levelled against the three are true per se, the similarities across the board are much closer to plagiarism and infringement than coincidental. It’s far too easy to fall in love with a design or character, and then just replicate and copy it with slight modifications, resulting in some cheap Chinese knock-off. It’s like those Transformers KO toys you see every so often. You know what they are and where they are from. These Call of Duty promotional shots are close enough to warrant slap strong enough to discourage corporations from doing something like this. They sure as hell will bring the banhammer if joe generic does something remotely IP infringing, yet corporations often get out of jail card for free, especially when it comes to using photos and such.
I assume you know something about Super Robot Wars game series. If you don’t, it’s a series of turn-based strategy games that mixes multiple giant robot IPs together with a game original character and its plot as overall tying glue. The series is incredibly plastic, allowing multiple takes on the concept, sometimes dropping the whole strategy bit from in exchange for action or something else. The series started on the humble Game Boy in 1991, it itself was a spin-off from Bandai’s Compati Hero series.
Despite its age, the SRW series has never significantly changed its play mechanics. You can look at the footage from the first game in the series and recognise that modern games use almost the exact same kind of base system; player and AI have their own turns they move on a grid, and if an enemy is in the vicinity, an attack can be made, which leads into an animated encounter with the attacker’s theme playing in the background. This system has been iterated slowly but surely to take out jank from it. It is an archaic system by all means, but that doesn’t mean it doesn’t work. The way the series tries to innovate itself is with flavour differences and additional systems, like Squad based play, where multiple units exist in a squad to move in a field. This became pretty much a necessary addition with 2nd SRW Alpha game due to the size of the roster. The roster, in fact, is the main pulling power of the series, as it brings back classic shows to be combined with new ones, making it an effective way for Bandai and Sunrise to market their favourite shows and for the staff to expose younger generations with older titles. For example, Steel Jeeg‘s entry in the aforementioned Alpha 2 game lead into Dynamic Pro producing a rewarmed remake for the original shows, Steel God Jeeg in 2007, while Bandai’s executives forced Alpha 3 to have Gundam SEED as one of the entries in the series to drive plastic model sales. This didn’t really work all that well for the game, as it made the deep-space scenario of the game bound to Earth.
With thirty years under its belt Super Robot Wars itself has spin-offs up the wazoo, with one of the most notable one being Original Generation sub-series, which crosses over the main game series’ original characters and robots with each other. A personal favourite with these spin-offs would be Another Century’s Episode, mostly because the first three games are some of the best games Fromsoftware has ever made. Most SRW spin-offs are not exactly high-quality titles. For example, SRW: Scramble Commander tried to take its usual strategy based-play and push it into 3D with some semi-realtime mechanics, but it is incredibly janky, sluggish, boring and looks like a bargain bin PlayStation 2 game. Most footage you’ll find for the game on Youtube also has been stretched sideways, because for whatever reason a lot of people think PS2 games were in widescreen.
Nevertheless, SRW as a series is extremely valuable as a marketing tool. The series’ popularity in Japan means you can’t really drop any series in and have it work. Crossing with other IPs is its bread and butter, and it makes money. The mobile game spin-off SRW X-Ω, or Cross-Omega, was devised as a way to bring SRW spin-off experience to the mobile phones while having a new series cross over almost every month. The number of new franchises Cross-Omega introduced to the SRW label include Muv-Luv Alternative, for example, while the mainline series has always steered away from adapting Visual Novel franchises. I can hear somebody mention SRW UX and Demonbane, and I’ll have to remind this person that they adapted Demonbane‘s animation, not the original work. Similarly, you can expect Muv-Luv Alternative to enter SRW through its animation adaptation, not through its original VN work.
Cross-Omega‘s cross-overs, however, were completely out there. Because it was a mobile game that lived in cross-over content in order to make sales, pretty much everything crossed over with everything else. For example, you had a crossover with a crossover when ACertain Magical Virtual-On made its entry Cross-Omega. If that sounds familiar, I have a review on the game. This lead into situations, like with this player, where you had an SRW original Granzon on the field with the Mega Zord from Power Rangers, Godzilla stomping around, supported by Bass from Mega Man and Accelerator piloting Specineff from the aforementioned A Certain Magical Virtual-On. However, from the linked footage you should already tell something about the game; it’s not very good. While it’s something special to see Muv-Luv Alternative‘s cast discuss and interact with the cast from King of Braves GaoGaiGar and Shin Getter Robo, it never saved the game from being an utter bore. You can claim that you’re there for the plot, but most western fans won’t understand a word because it’s all in Japanese.
I haven’t talked what sort of play Cross-Omega had, because it’s a simple tower-defence game. You have few lanes the enemies keep coming in, and your robots defend a base ship. Most of the play comes from managing the team and making nice combinations of your favourite shows, but not only the battles themselves are short, but they are also boring to watch. I should keep saying things in the past tense, as Cross-Omegais being shut down on March 30th. I won’t even try to put up the writer persona for this one, I’m glad this series-leeching piece of shit will be removed. It wasn’t fun to play and it was a pain to see so many series making their first official entry to Super Robot Wars in such a pathetic and neutered manner. The game was full of predatory gacha practices, like the vast majority of mobile phone games out there, and even then what you got was mostly utter shit due to the game’s design being pulled from the laziest of meetings. All these shows, and Super Robot Wars overall, deserved the far better game. Instead, we got generic garbage that could’ve been any other IP out there.
Not that adapting Super Robot Wars play for mobile phones was difficult. SRW DD is still in action and a normal SRW play with a mobile twist to it. This is similar to how Langrisser and Fire Emblem took their basic play, modified the surrounding systems a little bit, and dropped them unto phones for gacha whales to make some profit for them. In practice, there was no reason why SRW‘s classic play could not have been adapted for Cross-Omega, but we can only surmise they wanted to push the entry down and try to appeal to the most common, to the lowest denominator for whatever audience out there. It was only after Fire Emblem Heroes and other outright tactical games made their mark and showcased that people aren’t dumb fucks that can’t understand how a thirty years olds mechanics work until DD became a synaptic spark in someone’s sorry ass. Not that SRW DD is any better, as its still a dumbed-down random chance gacha bullshit like any other mobile game, but at least you have something proper to play. While it most likely keeps some people employed, its existence is still that of a tumour, sapping away resources and ideas that could be put into the production of proper SRW games. Now all of this is going to be wasted, with only Youtube videos and some asset rips reminding that there were people putting their best effort into it.
Mega Man Battle Network is known for its unique battle system that hasn’t been replicated outside its sequel series, the Lego Ninjago: Spinjitzu Smash Flash games, with one of them outright ripping sprites for testing purposes, and to a lesser extent in One Step From Eden. All these mentioned titles don’t really replicate the polish Battle Network had, mostly because the team went through numerous iterations during the first game’s development and managed to polish it up in the second and third game. The three last games in the main series sadly don’t do justice to the combat system, and it’s all because Battle Network‘s combat system maintains a very delicate balance that’s very easy to break in terms how well it works. Think of the many versions of Tetris that change the shapes and number of tiles per shape, and you get the gist of it.
At the base of the Battle Network combat experience lays two elements; movement and resources. As every game’s battlefield is a grid of 3×6 panels, most often initially split as 3×3 for player and opponents, movement becomes impossibly crucial. The 3×3 area is a combination of multiple factors, one being that it is both claustrophobic and roomy enough to allow swift motion from one panel to another. Motion between panels is animated through a zip, where the characters sort of teleport between the panels. While you could have a character jumping or running, or just doing away with the animation, the zipping has a small frame of animation that deactivates and actives the hitboxes on each panel.
Timing becomes incredibly important, as in some games successfully avoiding enemy attacks might require high-level of movement management, though rarely frame accurate. Because of this the play often gets hectic as the player is required to navigate panels, or whole lines and rows of panels, to which opponents’ attacks land all the while trying to land your own hits. The 3×3 panel layout is perfect for this, as it keeps the area wide enough that going from one corner to another requires moving four panel’s distance, as there is no moving in angles. It allows wide enough variety in enemy attack patterns as well as options to escape to enforce quick movements without necessitating for the player to move too far. Perhaps it’d be better to showcase a video, and then go deeper why the system works the best in its most famous form.
A very simple, very easy battle, where the player still has to mind the Mettaur and Ghost’s movements. Instead of using Battle Chips, he chooses to delete the Mettaur by Buster. While doing this, he blocks the Ghost’s attack, in which it moves in front of the player and licks him, By positioning in front of the Mettaur, the Ghost has to retreat. Longplays are a nice way to grab a small segment and just embed from a certain timecode onwards.
4×4, the layout One Step From Eden uses is one panel line and row too big, as traversing the area becomes too large for fast-paced action. Even if movement speed was raised, it’d still be an extra panel to traverse Not only that but the balance breaks as there is no longer a central panel. All attack patterns can become far too widespread. 2×2 would be too small on the other hand and too limiting in every sense, which is the case with Mega Man Star Force, as it effectively butchered the play by limiting the player to one row of movement while enemies have 5×3 area to cover. Moving only left and right is not nearly as engaging as full-range of movement. One of the main issues that end up popping up also from a larger grid stems from the player’s need to scan a much wider area for enemy action. With 3×6 you have large enough space to keep an eye on everything that’s happening, yet with larger fields require splitting attention due to wider spread space, enemy patterns and landing attacks. The issue is inverse in smaller grids, where you end up having less space to keep an eye, which also has to simplify the patterns.
The full range of movement there is with the caveat that the player can only move in X or Y axis in Battle Network. Allowing the player to move diagonally would break the balance, though in larger fields it might become a necessary addition. The 3×3 layout and up-down, left-right movement offers a balance between the player being able to effectively navigate all those safe zones while leaving the chances of player cornering himself by mistake or making bad judgement calls. 4×4 or larger does contain the same thing, but again that extra low and line build that safety margin too much, making balancing the attack patterns and movements that much more difficult.
The 3×3 panel is perfectly balanced to offer tile-based movement that isn’t too widespread or too tight. It’s an optimal solution.
All this of course can only be supported by the resources, which are aplenty. First is, of course, the selection of weaponry in form of Battle Chips, which go from single-row attacks to multi-panel X-shape shots. A standard Virus opponent often has only one form of attack and defence, though sometimes this defence is just moving. The Viruses are thus paired with other types that either compensate each other weaknesses or pose a challenge for the player in terms of panel navigation. Some Viruses have passive defences that must be circumvented in an indirect manner, some have none. For example, there is a Virus that has a shield in front of it that prevents direct damage from ahead and moves towards the player area. Once it reaches its area limit, it puts the shield on the player side and causes gradual damage via Poison. Early on the best method for the player to deal with this Virus is to use a Wide Sword, a close-range attack that does 1×3 area of damage in front of the player, the player being in the centre. Other times the player finds himself against a tree Virus that recovers HP faster than the player might be able to dish out due to the panels having a beneficial element. Thus, either cracking or literally burning the grass off from the panel the tree is standing of negates this effect.
Resources like these change how the player must meet the battles, at least until the player unlocks game-breaking combos and other fun post-game content. Combining action games’ fast movement, albeit in a more limited sense, to an RPG standard rock-paper-scissors Elemental system makes the resources an essential part of the play, and managing to design and develop these resources makes or breaks the whole system. Not only does the player have to have access to a wide variety of solutions to a single combat problem through the selection of Battle Chips, but also have them balanced so that these strategies must be changed from time to time.
The Battle Chips selection changes as the series grows, and many of the staples get dropped in favour of new Chips. This has caused numerous balance issues, as many high utility Chips are dropped in subsequent games and their replacements are not nearly as useful. While this forces the player to adopt new tactics for each game, the truth is that the selection of weaponry does determine how well the battles are fought, and how enjoyable the play ends up being. While there are a couple of hundred of listed Chips and their combined Program Advances, the majority of these Chips end up being copies of each other in different strength. This is of course to give the player chance to use the same family of Chips in stronger form as enemies become tougher and acquire more HP fat. This is another standard RPG mechanic though, much like how Final Fantasy has Fire, Fire 2 and Fire 3, so does Battle Network have Cannon, HiCannon and M(ega)Cannon.
The selection of these battle resources allows the players to express themselves and their favourite ways of battle. While others prefer the straightforward Cannons, others might aim for more damage with combinations of Chips. One method would be to use Area Steal, which takes one 1×3 area from the enemy side and turns it into area player can enter. This temporary steal deprives the opponent panels to move in and greatly expands the player’s movement options. This disrupts the opponent’s movement options while greatly increasing the player’s. Either side can, in effect, steal all of the opponent’s side bar the one they are standing on, causing what’s called an Area Lock. This is extremely useful in games where Battle Chips randomly hit enemy panels for damage multiple times. Area Locking an enemy to a single panel forces all the hits to concentrate on one panel, causing e.g. a hit worth of 80 repeating on one panel five times, causing total damage of 400. Add Chips that increase damage per hit, and the damage increases significantly.
Battle Network needs to limit access to these resources so that the player can’t have the perfect build all the time. This is realised first in making a Folder with a set limit of 30 Battle Chips. You can’t have less or more. By doing this, the player is forced to insert multiple different strategies into the Folder, often in a way where combinations of Chips can also work on their own, if necessary.
Secondly, all Chips have a letter code that limits what the player can choose in one go. Unless multiples of the same Chip is selected, no Code can be mixed and matched, outside the *-Code. For example, the player could have Cannon A and Cannon B or Cannon B and Bomb B, but not Cannon A and Bomb B. This locks the player from having all the strategies at his and at the same time but also introduces the chance of having only one Chip they could choose of they build their Folder without much thought. The amount of same Chips per Folder varies between games, with the first game allowing ten of the same, second game dropping this to four, third game rising it to five, and the sixth game introducing the idea of each Chip having a megabyte size, with larger Chips only be allowed a lower amount. Higher ranking Chips are more limited, with Giga Chips only allowed one entry per Folder.
Thirdly, the player can only access five Chips from his library via Custom screen at the start of a battle by the standard. The importance of having a Folder with large amounts of the same Chips, or same Code letter, becomes pressing depending on the player strategies. The player has to live with the selection the random number generator has given him until about ten seconds pass as dictated by Custom Gauge. At this point, the player can access the selection screen again, where he can choose another set of Chips, with the used one replaced with Chips from his Folder. The cycle between Custom screens is called a turn, though by standard a turn can last as long as the player wants. Under certain conditions, the Gauge can be fastened up or slowed down. In certain games, it becomes a puzzle element, where specific battles must be done under a turn limit and the Custom screen is opened automatically when the Gauge has filled up.
The player can affect the number of Chips in their selection during the Custom screen by using the Add command rather than selecting any Chips. In the first game, it adds five more Chips to the Custom screen, with another use adding another five. This wasn’t the best system, as you’d lose all the additional Chips the turn you chose to use something. It wasn’t much fun. The second game introduced a change to the Add system, where the player had to sacrifice up to five Chips in the Custom screen to gain access to additional Chips. This Add system totalled to a maximum of ten, but the addition was permanent for the rest of the battle. This made the risk and reward already presented by the random choices as you might find it necessary to sacrifice stronger weaponry for a wider selection. It also expanded turn-by-turn options dramatically. The number of Chips available could be affected with outside effects, like Styles that changed the player’s element and weapons, but also via Customisation blocks that would become available in the third game. These ended up as the only options for the player to expand the selection, as the Add function was removed. However, this also removed the added risk and reward option, and further limited the maximum amount of chips from 10 to 8, drastically changing the nature and the balance of the battles themselves.
The balance in a combat system that heavily relies both on certain kind of spatial movement and a large variety of resources and conditions. The first game doesn’t exactly use the system the best, with everything being more or less unpolished. By the third game, the balance between damage output, method variety, hit patterns, additional conditions, panel elements and more extensive character customisation that affects all these directly made the balance stand on its tiptoes, but perhaps ultimately also showcased how well the developers understood it all.
All these things have to tick in proper sync to work, something that the staff of the later games didn’t understand as well as the previous team. For example, removing the Add option might not seem an important decision, but it nevertheless favoured few types of approach more in character customisation and Folder building over others. Chip selection, or rather designing how the Chips would work is nothing short of do-or-die, and sadly from the fourth game onwards, the Battle Chips were never quite balanced, often teetering on practically useless to game-breaking on their own. Of course, the enemy selection had to be on par with this, which again became an object of inquiry as the games went on, with some enemy patterns being simply not fun. The system lends itself for challenge battles well enough, though it became questionable when Battle Network 5 introduced Liberation Mission, a combination of turn-based strategy with turn-limited battles. While others enjoyed the challenge they posed, its attempts to shake the combat experience by putting the player in the middle of the field, sandwiched by two enemy sides, didn’t work out all that well. These combat scenarios became janky and even more dependent on proper Chip selection that forced players to farm certain kinds of resources, putting far too high emphasize on the Chips themselves rather than having a combination of player’s action parts and collecting.
Some of the higher level player-VS-player battles showcase strategies that aren’t used all that much in single-player campaign, and they can end up being relatively boring to watch and slower-paced than in-game matches. Balancing the Chips selection between single and multiplayer play is rather hard, as some Chips ended up useful only in one area or the other
The system itself is nearly perfect. At its core, it’s something that only a video game can do, similar to Tetris. However, because it is reliant on how the resources are designed and managed, it is very easy to screw up. Despite the first and the last three games managing to screw up this balance nicely, the wide variety of Battle Chips and their combinations despite other system changes also means the players can and will find ways to cheese the system. As such, the best way to expand the system is not to change the absolute core of the system, that is the movement and the 3×6 grid, but to expand on resources and the ways all the combatants can make use of them.
This is probably one those things where Battle Network truly failed in its play. While most of the enemies were Viruses, majority of the standard Bosses didn’t utilise Battle Chips until later on. Instead, they all have their own gimmick and are designed around them. However, if the Bosses would’ve had similar access to at least a proper Folder of their own in addition to their specialised field, the games could’ve been a step more challenging as well as throwing a wrench to the player’s gears at times. This might’ve taken away from the uniqueness of each of the bosses, though evidently, developers agreed the Bosses should use Battle Chips at least to a limited amount.
Secondly is that most storyline End Bosses simply don’t conform to the established rules. They are largely inanimate and despite their hype, end up being lacklustre due them becoming an issue of hitting their weak point, which is often covered until certain phases. Incidentally, post-game Bosses end up being far more entertaining in their difficulty and methods, as they break the rules just enough to be unique all the while having all the same benefits most other characters, including the player’s, have on the field. Bass is probably the best example of this, as his level of strength is relative to the game he is in. Initially being covered by Dream Aura that requires 100HP worth of damage, Bass gains new patterns and strikes in each subsequent title relative to the overall balance and content of the game.
While BN3’s Bass BS isn’t the most difficult version of him, in many ways it is one of the more iconic ones. This Japanese voice-over here describes its attacks and a method to beat him. The battle here showcases some creative use of Battle Chips, as well as FolderBack, a Giga Chip that restores all used Battle Chips back to usable state. It happens to be the most broken Chip across the series
The system doesn’t lend itself to be modified and replicated in large fashion without a complete overhaul. Any change to the core requires a total change to effectively every part of the system to achieve a similar balance. This is one of the reasons why Battle Network didn’t spawn copycat series despite its popularity, as any game that might use a system derived from it would instantly be called out. Star Force tried to adapt some of the core mechanics, but it didn’t pan out all that well. Player movement is one of the most fun aspect of the system, and reducing it to one dimension made everything else having to compensate for this, which they can’t. The system was already robust in the first game, though unpolished. Be it by design or happy accident, this prevents similar iterations and alterations that something like Dragon Quest would lead to.
For better or worse, Mega Man Battle Network combat is still unique since nothing quite like it has turned up. Perhaps it’s better that way, as the system was already explored and almost broken under Capcom, and variations of it have not succeeded to the same level. This, combined with the whole thing not being to everyone’s taste, probably means we’ll never see it outside few oddities once in a decade until Capcom decides to re-release or remaster the Battle Network games. Here’s hoping for that Phantom of Network remake.
One of Japan’s most important export product is its culture. For numerous years, their ministry has taken serious notice of their cultural goods making large-scale sales abroad. Cartoons, comics, novels, electronic games and even pornography has seen a constant rise in popularity since the Second World War. Even before that, there were people who were fascinated by this culture that is that much different than the Western hemisphere can offer.
However, this is a rather new event. Japanese culture was not exported by the government itself, but rather by foreigners who entered the country and brought it with them as they returned to their home counties. Whether or not it was because of the infamy of the Japanese actions during the war, or because the culture in itself was not seen as a profitable good to be imported. To this day, import of Japanese culture is seen as a taboo in some parts of the Asian world. For example, South Korea discourages and often outright censors depiction of Japanese culture in their media, which has lead companies to provide modified versions of their games for Korean markets. For example, the samurai Mitsurugi was replaced with Arthur, a European character that just happens to don Japanese armour and sword. Other fields of censorship South Korea frequently employs is regarding Shinto symbols, which get scrubbed from both television programmes and comics. Thailand has a long history with self-censorship, which has extended in policies against media displaying .e.g. Buddhist imagery. Sri Lanka also issues with certain religious concepts being showcased on air.
South Korea nevertheless has imported numerous Japanese products via copyright infringement and piracy among the official releases and has presented numerous Japanese-original products as their own. One of the more famous examples of this might be the design of Robot Taekwon V, which is a modified Mazinger-type design. The later designs in the series incorporate elements from Mobile Suit Gundam and especially from Combat Mecha Xabungle. Numerous bargain bin cartoons, like Space Thunderkids, exhibit numerous types of plagiarism Koreans practised at the time, ranging from music to character designs.
Koreans taking after a Japanese product should not be a surprise though. Japan improved its relation with their fellow Asian countries during the 1970s and 1980s, which in turn allowed their industry to grow even more by exporting their products. It was during this period when Japanese technology gained its fame, with cars making their way across the world and names like Sony were associated with high-quality products par none. A little company called Nintendo also effectively saved the American video game industry while struggling to compete against Sega in European markets.
Even earlier than that, the world had already begun to see the sort of creativity Japanese media was enjoying. It is thanks to Gigantor and Jonny Sokko and His Flying Robot (Tetsujin #28 and Giant Robot, respectively) that America associated Japan with giant robots, which was only enforced by the upcoming slow but sure burn of animation. Speedracer and other Japanimation paved the way of current trends for Western acceptance of anime. While current mainstream might discourage anyone from visiting these localized products, where characters, stories and sometimes even music were replaced via Americanization, they nevertheless helped these shows to gain a larger audience. They may not have been accurate, or even faithful to the original Japanese product, but that was not how you made business at the time. There was no market for original-language products in the same manner, in many ways, there still are not as many countries across the world still heavily localize and dub for the local market’s consumption.
Whether or not something is localized, unless completely redone from the ground up, you cannot divorce localized material from its original counterpart. The language may change, the story might change or maybe even the whole point of the product might change, yet the core idea will still stay and shine through. All the discussed examples, whether localized or plagiarized, are inherently Japanese on idea level and in concept.
All these shows were imported by individual entities and corporations, so they were mostly to make money. Some products, like the original Godzilla, did see a subtitles release before its localized version, which is an example of a foreign product made to fit the home market in a proper way. Without that, we would not have Godzilla in the global pop-culture landscape. It wasn’t until the late 1980s when Japan’s Takeshita government took the first true initiative to market Japanese culture abroad via exporting Japanese television programmes to other Asian countries. The Japan Media Communication Center, JAMCO for short, was established in 1991 by joint efforts of Ministry of Foreign Affairs and Ministry of Post and Telecommunication. This led to the translation of Japanese television programmes into English as well as developing shows specifically for export markets. Most of these shows were aired in other Asian countries, but many of them also found their way into the Western world. It’s easy to see a show like Iron Chef being promoted for foreign markets thanks to its local popularity, and it could be easily trimmed down from its hour-long episodes into shorter episodes.
All these efforts were furthered in 2001, when Ministry of Economy, Trade and Industry’s (METI) Media and Contents Industry Division established a think-tank examine what challenges and prospects there were in promoting Japanese culture, especially its media contents, to overseas market. In fact, even before that METI had recognized the growing trend of Japanese culture-products to have a rising trend in export, and estimated that multimedia industries, that of electronic entertainment, music, films, software, broadcasting and such would generate over 55 trillion yen, a boost that post-Bubblegum Bubble Japan could’ve used. It would be an understatement that the Japanese government was becoming well aware of the potential of their cultural export.
The combination of Japanese products’ quality and the further steps of having Japanese media presented as Japanese has created its own brand image. Made in Japan is still seen as a certain brand of quality, but nowadays just Japan delivers a certain kind of image of the cultural landscape and the type of products it offers. The constant export of Japanese media goods has furthered the expansion of their culture, with electronic entertainment and multimedia products being in the lead. This might be due to Japan having a much longer history in multimedia productions, something that did not hit the Western world until the 1980s.
Outside electronic games, Japanese comics and cartoons have experienced almost a thirty years rise in popularity in the Western markets, with the late 1990s early 2000s experiencing a breakthrough boom when a new generation found anime. The blooming Internet culture at the exchange of the millennium continued the older VHS fan subtitle culture in digital form, and freely shared shows with added subtitles spread Japanese popular culture even wider. In many ways, the current state of affairs, where almost every new animated programme gains official subtitled release of some sort, is a direct result of this fansub culture and the piracy it promoted. It was, in effect, years of the best kind of promotion and advertisement, which lead these people taking steps to be involved in the industry and make sure that the market would get what it yearned.
Without a doubt, METI’s think-tank is partially responsible for the rise of Japanese media in the Western hemisphere during the previous two decades. When you combine both the existing yet largely untapped market’s yearn with government-driven agenda to promote these products, it is easier to understand how Japanese media products became for more common that what they already were. Japanese cartoons and comics went from an underground culture to mainstream, with anime and manga became terms much more recognized. They became a brand of their own, which effectively state A product of Japan.
While this post is focusing on media, it should be noted that Japanese cultural exports also include martial arts. The martial arts and ninja boom of the 1970s and 80s were largely thanks to Japanese influences and Hong Kong cinema. Teenage Mutant Ninja Turtles is one of the properties that is, in effect, a result of Japanese cultural exports and their prevalence in the United States (even though that’s still media). It should be emphasized, that almost every city has at least one form of martial arts school that ties itself to Japan. Be it karate, judo or other forms of budo, the Japanese martial arts have a high status and is one of the more important cultural exports Japan has ever had, but they themselves don’t make much revenue. Nevertheless, Judo was considered significant martial art to the point of being accepted as an Olympic sport at the 1964 games.
Furthermore, Japanese innovation such as Just-in-Time manufacturing Toyota pioneered alongside lean manufacturing have left a worldwide impact. Companies like Motorola and John Deere have employed these in their manufacturing decisions. I would amiss if I would not mention the 5S method, which lays out how to organize workspace for efficiency, which also affects standardization.
If I am to believe the Japanese people that I have conversed with throughout the years, as well as the occasional cultural report I have read, the Japanese enjoy how foreigners take interest in their culture and its products. It is something they take pride in. Works like Super Dimensional Fortress Macross effectively celebrate the culture by weaponising it against the alien species Zentraedi, as they lack their own. To be specific, Macross weaponises the early 1980’s idol culture and makes songs an effective counterattack to disharmonize enemy actions and show that war is not the only option in life. Macross has continued to use songs, idols and robots as a means to celebrate each decade in its own ways, which shows how long-lasting the property is and how much faith Japan has in its culture.
Incidentally, Macross II would aim to undermine the superiority of the idol culture, as its staff considered the idol culture outdated and that it’d become obsolete by the end of the decade. They bet on the wrong racehorse
If you look further into their media products, you will see a pattern forming, where their own country and its people are in focus almost exclusively. Even in works that take place outside Japanese borders (or in fictional worlds) they have heavily implemented their own cultural landscape. Final Fantasy VII may be one of the most globally celebrated roleplaying games, but everything from its design language, storytelling, character designs, music and play is stereotypically Japanese. You have thin heroes with comically large weapons, a mix of science fiction and fantasy in a manner where there is no distinction between the two, cheap drama that is executed in a most exquisite manner and numerous other elements that can be described as Japanisms.
Japanisms are what could be described as storytelling stereotypes or tropes that exist and are specifically used in Japanese media. It also includes cultural concepts and behaviour that is very much their own thing. To use an example from modern stories, in romance stories the childhood friend of the main character often is in a losing position, thus creating a unique character trope. Japanisms can be silly in their own right, and can often detract the story they are in, they are largely embraced as expected, almost essential, parts of certain genres. These Japanisms also constantly evolve when it comes to the media, with the whole other-world genre taking more and more cues after Japanese roleplaying games instead of general fantasy to the point of actual play mechanics and RPG status screens becoming one of the tropes. The whole genre has become so common, that even foreign publishers have adopted the Japanese name for its, isekai, to further illustrate the contents to customers in-the-know.
These Japanisms are one of the reasons why their cultural exports are of interest and make sales. Be it transforming robot toys or whatnot, certain concepts simply take form in a different culture in a completely different manner. Just as you find stereotypically American ideas in their caped hero comics or novels, French stereotypes in their cartoons and British mangy grossness in their media, Japan has the things you can only find in their products and that interests people. The Britons were the only people who could have come up with 2000 AD’s Judge Dredd due to their culture much like how Superman was the ultimate realization of an immigrant to the Americas in the early 20th century.
With the global information exchange constantly growing and ideas exchanging hands, consumers have become more and more aware of exclusive goods. Importing cultural goods, like pots, books and such, has always been a thing, yet towards the new millennium, this has become more and more a mundane thing. While we might have bought a car that was made locally on in the neighbouring country, we have found ourselves in a word where we can get anything from anywhere, if we just want to go through the trouble. Appreciating cultural differences has become more common at the same time, though the United States has stereotypically been the top dog of having others appreciate their cultural differences rather than the other way around. The current global trend of having one, overwhelming global culture to overrun all others is a direct legacy of American export of culture.
As the Japanese government has a history of investing themselves in the exportation of their cultural goods, they have also been concerned about its nature. In June of 2020, Ken Akamatsu of Love Hina fame explained in his Twitter account that he was invited to the House of Councilors questioning sessions, where the government asked What measures are needed for Japanese manga to survive in the world? Akamatsu’s reply was that freedom of expression must come first, as he sees this as Japan’s strength over overseas competition. His fear is to see foreign platforms, which already have larger global influence and market shares, dictating rules and regulations on Japanese originated comics. According to him, the members of the parliament agreed with his sentimentality.
His view is opposed by D.J. Kirkland from Viz Media, who has been vocal for changing and producing manga for Western markets. According to Kirkland, there is going to be a conversation between stakeholders in Japan and Western publishers when it comes to creating content that appeals more to the Western audience. His view that anime is a business is a correct one, yet his intentions largely leave the original creators and their intents out of the equation. Kirkland also ignores that anime and manga have been specifically made for the Japanese market alone and its success as an export product leans heavily on this. Kirkland’s word at its face value, he also considers that US and Western market to be one and the same when this isn’t the case. France, for example, doesn’t exactly rely on English language releases of Japanese works nearly to the same extent as some other countries. English language releases from the US certainly make themselves around the world and do skew the numbers, but the point still stands.
Akamatsu’s worry regarding governmental or industrial over-regulation is relevant. He was the key person in stopping Japanese corporations taking actions against the Japanese homemade comic scene, the doujinshi scene, which sees people making their own created comics they do not own and publishing them at events. This is infringing copyright, something all the companies would have all the power to stop, but due to the nature of doujinshi being a major part of the Japanese popular culture, they are allowed to continue with this half-decade long tradition without much trouble. In fact, majority of the Japanese comic creators have some roots in the doujinshi scene, such as ever-popular CLAMP, and it is not uncommon to find a popular creator having drawn adult material before moving to mainstream comics.
Sony has also showcased how its internal censorship has affected the PlayStation as a platform, as a brand and its library. With numerous games being rejected from the platform, forcing the removal of content and content having to change to meet their Californian HQ’s standards, we have already seen a shift in how Japanese creators’ content has been dictated by an outside force. As Sony has concentrated to cater to Western, or rather, American taste, they’ve lost sales and position in Japan to Nintendo. Furthermore, Switch sales have increased as their more lax policies still allow creators and developers to continue in their usual fashion. This has increased overseas importation of Switch games, as numerous titles get Asian-English releases nowadays. I’ve covered Sony’s censorship before in this blog. You can find the posts on the topic here, here and here. I probably missed one or two.
Some Japanese corporations like Square-Enix have taken precautions to quell possible conflicts by changing pre-existing designs. Final Fantasy VII Remake Tifa’s design got criticized for unnecessary changes, while others still criticized the design for unrealistic body proportions. Character Maam from a 1991 Dragon Quest comic, Dai’s Great Adventure, also saw a redesign from her original Martial Artist class design when revealing mobile iteration of Dai’s Great Adventure.
Censorship on Japanese products isn’t anything new in itself. Ever since Japanese comics and cartoons have arrived to the Western front, be it the US, South America, or parts of Europe, they have seen some degree of censorship. Sometimes its removal of religious imagery as in older Nintendo games, sometimes its removal of blood from comics and cartoons, covering up bare skin or making sure characters say they saw a parachute after blowing up an enemy robot. Viz themselves have a long history in censoring comics they localise, removing whatever they find objectionable at a given time, sometimes making panels look weird even out of their proper context.
The main difference is that all these have been external changes. Whatever Viz Media has done to censor the versions they publish is their and their customers’ business. The original creator was not limited by anything else but what he had discussed with his editor and staff. What Kirkland, and some of the Japanese government may be proposing, is to control the output of the creators at the source, practising self-censorship and limiting what they can and cannot to create. It would be imposing outsiders’ values and views in order to make Japanese cultural products more palatable for them.
What Sony is imposing on their worldwide developers, and what Ken Akamatsu is fearing, is cultural colonialism.
Homogenizing Japanese products according to outside rules would mean losing all the edge they have held over the competition. Cultural colonialism ultimately destroys the uniqueness of culture and replaces it whatever it currently acceptable by the people who enforced it in the first place. The American censorship is flippant at best, and as they show themselves as the face of the Western world, they would be in the lead of spreading their view of correct and proper culture. The US might not act as the world police as much as it used to in terms of military power, but that’s because war has changed. Now, the war is about information, controlling it and impacting how people behave. By trying to make everyone think and act the same, it becomes easier to exert power over people, even if they’re in a whole different country. Controlling what can be produced, or in what tone, is one step in controlling the way the culture begins to think despite what reality is.
The Japanese culture is a result of their long isolation until they were forced to open trade connections. While many Western nations have their identity moulded through constant interaction with neighbouring countries, Japan has always had the luxury in many ways unique from most of the world. This does bring its own baggage, which has resulted in less than favourable view of Japan around Asia. Outside a few tribe cultures that have had no contact with the rest of the world, the Japanese culture is in many ways closest to an alien culture a Westerner can easily access. Throughout the years this has caused certain fetishization of the culture, which has created the occasional Exotic Orient boom, in which various items and people have been exhibited to the public at large like some circus freaks. Racism has played some part in this, as numerous times these booms haven’t really cared whether or not depictions have been correct, and Asians were seen largely interchangeable with each other. This lead to things like kung fu being a Japanese martial art or Korean language cited as Chinese. These have become less common place nowadays, but the idea of Exotic Orient still raises its head sometimes, but in a more positive light nowadays thanks to the efforts of Asian nations themselves making themselves known brands.
The Japanese government’s worry over Japanese comics losing place in the overseas market is baseless. Currently, Shonen Jump comics are outselling Marvel and DC in the US. Various European countries have a steady flow of Japanese titles on their publishing lists. France especially has an impressive library of Japanese comics, perhaps the most in the European sphere that does not speak English as their first language.
The government would have to worry if the industry itself or the government would begin to regulate the creative industries for Western markets. For the last thirty years, the Japanese government has done a lot to promote Japanese culture and its products, thus have seen a steady rise in overseas exports in every media field. While some programming has been specifically made to fit overseas market tastes, only a few individuals have taken straight actions to produce overseas market-specific products, like Mazinger. However, more and more mixed media projects concern themselves with the overseas market, resulting in shows that end up on Netflix and built to fit the global streaming service. In itself, there is nothing negative in trying to make products appeal to more than one market. That is just business. However, that approach does not take anime and manga’s primary target consumers to be the Japanese. The true uniqueness of what manga and anime as brands would offer would be removed, and the brand of Japan would be exchangeable with whatever other countries. In other words, under cultural colonialism, that uniqueness would vanish.
Nevertheless, if the Japanese media would be regulated to suit foreign markets, they would undermine all the efforts the government has seen thus far as it would lead to current market objecting. It would be the opposite what the market has loudly wanted for decades now; uncensored, uninhibited works that are presented in the same forms as they originally were in Japan. Of course, by installing regulations at the source, the customers wants and wishes could be underhandedly circumvented. Outsider regulation at the source could, of course, cut costs when the localizing company publishes it, as there might not find any need to edit the content as it was already made for their liking. While the occasional overseas market-specific piece isn’t all that rare, they are also transparently pandering and lower in quality. Numerous properties have been turned into international brands later in their life, which has given away their visible deterioration of quality and loss of that original spark.
If it was just a few companies pushing for this level of censorship, they could be stepped around by using other companies or forming new ones. However, if these regulations would come from the government, it would damage the Japanese media industries deeply and heavily. A market suicide of this scale would be unpresented. Not only the government think-tanks would have to device new ways to market now-censored products that supposedly should sell better to the Westerners, but the companies that enjoyed large customer bases would have to spend insurmountable amount of money for marketing in order to keep now-damaged market while trying to expand it with these new pieces.
Furthermore, the generation that initiated the new millennium anime boom in the West will be replaced with a new one in the upcoming decade or two, and chances are Japanese media will see less consumption naturally at a global scale. This is due to the new generation always wanting to replace what their parents thing. This is the natural relation between parents and children. The best way Japanese government and the industries can combat this is to have their new generation of creators to take reins after the old masters, something that seems to be natural for the Japanese culture.
The question that lies under all this is What has made Japanese cultural products so appealing? The answer can be shortly be given as They’re Japanese. A product of another culture always offers a whole new alternative that can’t be found anywhere else. Perhaps it is the aesthetics that hit the right spot with some, perhaps it is the story beats. Maybe it’s all those Japanisms that inhabit each and every work to the brim. It still has to be admitted that Japan might need to cater to the overseas market in any case in the future. This is due to their constantly ageing population, which drops the buying power the nation overall has. The inverted age-pyramid keeps growing as the childbirth rates keep falling. This will ultimately require a shift in the Japanese culture when it comes to foreign markets and to foreigners themselves, but what kind of shift it’ll be we’ll have to wait and see. In a connected world as ours, it might be hard to imagine Japan closing itself once again, but that isn’t completely out of the question if physical connections are lost and we become connected only digitally. Nevertheless, at some point, there will be a need for people who would rather make comics and cartoons to work in other fields due to social changes, but that too will result in cultural works that reflect their times.
Japanese media, and their culture, is unique. The Japanese people know this and they celebrate it, more so than some other countries out there. They don’t hate themselves. They’re not afraid of showing it either, and they wish to share it with the world, if possible, with certain limitations. Their nation and the identity it has is strong and cohesive with a large number of regional differences to give vivid accents to any work. To break Japan’s export of culture with cultural colonialism would be heavily damaging, if not outright erasing the identity cultural products voice. Cultural exchange should not be this sort of one-sided corporate exchange, but where both sides agree and celebrate each other’s differences while agreeing to disagree with the incompatible ones. These are individuals and private companies who have a set target audience, and they should not be forced to cater other audiences or their whims if they choose not to.
Flash is dead, long live Flash. You might not remember the time when websites were blinky hells filled with animated .gifs and midis put on automatic blast. That’s not Flash, Flash hells were similar, but worse, with multiple elements of a site built from different pieces of flash and stuck together. Stopping all those scripts and different Flash elements became one of the many reasons why you wanted to block scripts on a site. Not only did it make the site loading faster, but also safer. Plus, much fewer ads to go around. Flash became less and less relevant in the teens, and now with the change of the decade, it’s support has been ended. HTML5 and whatnot have taken its place as the annoying fuck on the Internet that makes the otherwise pleasurable browsing such a bitch and a chore. Nevertheless, in the late 1990s and early in the New Millennium we had a golden era of Flash Animation, something that brought marvellous spectacles from every corner of the modern world to the trash tier TV-shows. Experimentation lead into some shows down the line being fully animated in Flash, and its janky and terrible looking animations became somewhat a standard. Even before Flash, we had Shockwave, but I guess only some people remember the Shockwave game sites, which were pretty much the same thing in Flash game sites. Just different platforms. Flash archives will keep all these products of the early century’s Internet culture at anyone’s hand, and people interested to see how… interesting it all was at the time. Play it once more, Jack.
By this point I assume most of Muv-Luv fans out there have already geeked out when it comes to Project MIKHAIL’s Pre-Alpha footage. While it only shows very early footage, it’s showcasing symptoms of doujinshi jank, a topic few posts back. There are some visual cues that have been taken from games like Guilty Gear Xrd with how hits pause the action for an effect. There are loads of effects on the screen as well, obfuscating the action to a large degree. Perhaps the screen is zoomed in for whatever reason, but that’s whole other issue. There’s also lots of glow and bloom in the glowy bits, which plays into the whole overt amounts of effects in play. Sure, TSFs have sources of light on them, but this is more an issue of modern design of having armour bits and shapes include nonsensical glowing parts, lines and bits that make no sense. Even if they make sense, they’re far too bright or constantly on. Granted, this is pre-alpha, so maybe all that stopping-effects is just the engine struggling, though I have some doubts on that. Then again, if this is going to be a mobile game, I’ll clock out early on.
The ultimate TSF action-game is still far away, as it would be a modified version of Virtual-On for massive arenas, freedom of combos and weaponry combined with thousands upon thousands of enemies coming at you at once. After all, TSF and Valgern-On controls are an expy of VO. I must admit that if I were to have a word in this development, I’d make a clear difference between standard TSF OS and XM3 upgraded ones. The main difference between the two were that XM3 allowed motions to be buffered and ignored certain safety regulations with the TSF, whereas the standard OS only accepted inputs after it had finished the previous action and had returned to a safe position. Meaning that an old TSF ace knew how to string and time his actions never to have the TSF stop moving, whereas XM3’s input buffering allows the pilot to bypass the restriction. The learning computer TSF OS has as a part of it comes into play here, as its AI was taught how the pilot would act and would anticipate the motions done in what circumstance, further taking down the movement lag between inputs. While this would be somewhat difficult to implement in-game, perhaps introducing some sort of smoothness of function to the action would be representable. After all, TSFs require their pilots to train in the sims in order to function as smoothly as possible, while a raw TSF would control like a frozen truck under a load of cement. Probably never going to happen, but it’d introduce an RPG-like mechanics to the player avatar growth as well as require periodical visits to the simulators, especially when gaining a new unit.
I won’t be discussing this year’s plans, as we’re hitting a 10-year anniversary relatively soon. We’ll discuss what comes after we’ve crossed the rubicon. For now, remember to sharpen your knives. After Christmas, they’re probably in even worse condition. A sharp knife is much more safer tool in the kitchen than a dull one.