Capcom’ next year’s plans is to continue on the same path

Capcom’s yearly integrated report was out at the end of the quarterly year, so nab yourself a .pdf copy if you’d rather read it yourself. Otherwise, let’s see what this year’s report says and how the year has come to pass. Grab some snacks and a drink, this’ll be a doozy.

Right off the bat, the report states two thing; Monster Hunter World has been Capcom’s most successful game to date, though the state the number of shipped units rather than sold units. Shipped units just sounds better, as it always is a larger number. The claim for the game’s success is twofold; Globalisation and Digitalisation. The aim for Iceborne, the Ultimate or G expansion to the game, to push further sales. It should be noted that the two games are treated as two separate entities, as this sort of updated version of the base game has been the standard for Monster Hunter since the first game.

MHW made the series a global success. Despite 4U selling well on the 3DS, the truly wall-breaking moment was MHW. The game’s overseas sales ratio increased to 60% of total sales compared to previous 25%. Bulk of Iceborne’s sales are expected to be digital, and whatever data they gather from that will determine Capcom’s future plans. Considering how well the game has been doing on Steam alone, it’s probable that Capcom will push more of their games on digital frontier and cut down production of physical goods. This has been a trend for a while now, but this most likely will only matter for the Overseas markets, as Japanese markets still prefer physical goods over digital. If MHW was offered as a physical product for PCs without any ties to Steam, it’d sell just as well there.

The report starts properly after this, listing Capcom’s Capcom’s method of business and ideology. Capcom shows itself as Creator of entertainment culture that stimulate your senses. Bits like this should remind you that company indeed is Japanese. Their net sales for the end of the year, that is March 31st, was 82.9 billion yen. This is their main bread and butter, counting home video games, PC online, mobile titles and DLC. Their multimedia net sales, that is all the merch in books, toys etc, movies, their arcade games and Capcom’s own arcade centres, events and eSports, netted then 17.0 billion.

Here’s the kicker though; Capcom lists four of their major franchises next, the ones you should consider to be the essence of Capcom at this moment; Street Fighter, Resident Evil, Monster Hunter and Mega Man’s sales are listed, tho after the report Mega Man reached another million units sold. The sales numbers in respective order is, 42 million, 91 million, 54 million and 35 million, now 36. Fiscal year 2019’s biggest hits were, unsurprisingly, Devil May Cry 5 at 2.1 million units sold, REmake2 at 4.2 million and MHW at 4.5 .MHW is noted to be a catalog title, meaning it is a game that was published earlier and not during the fiscal year, showcasing that a game can continue to sell for a long damn time as long as it is available.

The core idea of Capcom’s Single Content, Multiple Usage is effectively effective franchising. It all starts with digital content and with a popular video game. The core of this digital content can be expanded to PC online gaming, via multiplayer modes or similar as well as create spinoff titles or additional tools, wallpapers or whatever other applications for mobile devices. The base concept of something like Resident Evil can be put into use in arcades by using the same world and characters in different pachislot games or similar arcade games. Other business section is major, as that mostly includes third and second parties using that core game to expand the amount of uses. Books, comics, character toys, events, tournaments, eSports, television shows and movies are all part of this extremely expansive Other Business section Capcom is not directly involved with in most cases. All this leads into creation of a new game, that will be used multiple times over. The importance is in having strong IPs that can be used multiple times, that the titles have global popularity to ensure that these franchised elements will sell (though if we’re completely honest, most of the franchised stuff Capcom puts out stays in Japan) and then you have the movies. It is probable that Capcom has the most games made movies out of. We can question their quality in many ways, but they still make money. Every time Street Fighter the Movie is shown on telly, Capcom gets about a million yen.

This method of using single content is nothing special in of itself, yet the whole movie business makes it a bit special. Konami, for example, has a very similar multimedia approach to their business, though they are rather separate in most cases. Konami can have a successful toy franchise going on, but no real game or other media of it. Capcom recognises their main point is the games, and they aim to make a mass-appealing game they can franchise further. This ideology probably permeates the game design at its core level, where designers at Capcom have to ask themselves How can this be used multiple times down the line? This also explains why certain IPs, despite being strong previously, have not appeared in any modern form outside ports, as they can’t be used multiple times nearly as easily.

This method of franchising is dependent on the core quality of the game, however. Capcom’s quality in games was all over the map during 00’s and early 10’s, but after some financial problems they’ve managed to level out with increasing sales. Their Operating Incopme is up 13.1% from last year, Margin is 1.1 point up, a slow but steady rise from 2016. Their net sales are 5.8% up, continuing the trend from 2015, where their sales dipped. It should be possible for Capcom to reach their 2014 level of sales during this next fiscal year. After the slump of net income from 2013, Capcom has been doing much better with 14.8% rise from last year, about triple the amount since 2014. Research and Development costs have gone down a bit, mostly thanks to establishing their new engines and streamlining development, but it is expected to rise next year. The balance of work in progress for games went down major 34%. This was gained by closing down overseas studios and release of games that requires lots of works, i.e. REmake2 and DMC5. This is interesting though; Capcom split its stocks 1:2 last fiscal year, meaning the payout was decreased, but dividends increased. They’ve been managing to pay out dividends 29 times in a row. More people may have access to stocks, but payout per stock is smaller. Might’ve been a good chance to jump into the bandwagon at that point. Return of Equity, a.k.a. the  measure of how effectively management is using a company’s assets to create profits, is up one point. Should be noted that it barely beat 2009, meaning ever since 2010 Capcom was in a rut and had to fight hard to get back up.

With WHO recognising gaming disorder, something I’ve covered few times already (it has no basis), Capcom has Sustainable Development Goals, effectively meaning Capcom wants to showcase themselves as a company that balances their own economic growth with the sustainability of the society. In short, Capcom is supposedly trying to showcase themselves as a company that would not take advantage of people with gaming disorder. EGS, Environmental, Social and Governance form EGS material issues that come in four sections; Securing and Training human resources, Promoting diversity, Development of Solid Relationship with Society, and Enhancement of Corporate Governance. This needs a bit breaking down, as EGD and the four spots mingle slightly. All this is according to UN’s goals, which Capcom wants to go by. Furthermore, Capcom is to continue their 2011 program of supporting educational themes whenever a classroom requests such, meaning that Capcom has a program that would educate students about video games and career opportunities. However, this is largely Japan-only, though with Capcom wanting to globalise themselves further, they might want to tackle most major schools around the world in some manner, and maybe even send e-mails to smaller schools around the globe, offering some assistance in game studies.

Capcom is tackling Environmental issues with the usual fashion, like changing old light bulbs to LEDs to reduce carbon dioxide emissions and reducing paper resources by digitalisation. This has reduced costs, but also means that Capcom can showcase their push for further digital sales as part of ESG. Energy conservation will be their future goal.

For Social, Capcom is aiming to hire more non-Japanese employees and increase the number of women in management position, but an approach like this won’t serve well in of itself. All these people need to be competent in their work, as companies that will hire or kick up people into the higher up’s board for the sake of diversity does no good for the company itself. Whether or not this goal will be healthy on the long run will be seen. Forced diversity is not a solution, but that is the wind of the era. Capcom has been increasing the amount of women workers in their ranks, though in reality it shouldn’t matter what junk the employee has between their legs, just the quality of their work. It should be noted though that Capcom’s Relationship with Customers has a spot mentioning how they’ve monetised DLC without high-pressure microtransactions, something that a company like EA can’t say with all the lootboxes and whatnot. According to Capcom, games should be enjoyed for the entertainment value they provide with gameplay, not fir the thrills associated winning a lottery. Capcom intends to deliver core content for free for their games, with DLC being its own thing at a low cost. With their mobile games, they supposedly intent to continue have small as possible gacha elements. Localisation and culturalisation gets mentioned as well, and rather than talk about translation or localisation, Capcom wants to culturalise games so they’d be enjoyed in whatever locale. This sounds highly suspicious, but it also explain why mention of dragons got removed from Monster Hunter World in China.

Capcom is surprisingly effective when it comes to Relationship with the Regional Community, as they Capcom is involved with number of events in Japan, offering possibilities for cities and municipalities to make profit off of their own from these events and whatnot. This also doubles as an effect of Capcom getting their name out there to people who wouldn’t recognise it otherwise.

For Governance, Capcom has been increasing ratio of external directors and increased dialogue with the shareholders. Basically, Capcom wants to have more openness with their shareholders as well as be more transparent all around. Capcom even lists reasons why external directors have been selected, e.g. Masao Sato is expected to be able to contribute to the auditing and supervision of the Board of Directors via his experience and knowledge from serving the police administration. This is part of the whole “visible” governance, and we’re even given a third-party assessment of Capcom’s corporate governance. Capcom’s strength lies in capital efficiency and information disclosure, with Effectiveness being the lowest. This is pretty much as expected, as per the business culture Capcom resides in.

Rather surprisingly, Capcom has an increasing number of annual discussions regarding the market opinion. Whether or not these discussions with take true market opinion into count, or just what the gaming press wants the opinion to be, is wholly another question.

Regarding Capcom’s achievements for the year, there’s nothing much to cover. Their catalog titles i.e. older titles continued to sell decently, with MHW being still a top seller. Their two new releases, DMC5 and REmake2 sold extremely well, and apparently Capcom is satisfied with the sales of ports and such. As for arcades, Capcom apparently started an online crane game, and have been aiming to expand their target market towards middle-aged and the elderly. Plaza Capcom was opened in Hiroshima, which probably explain why they closed down one arcade and opened two new ones at different locations. Despite their five different Pachinko and Pachislot models sold reasonably, the changes they made in testing their equipment meant lower overall sales; 3,422 billion compared to last year’s 7,803 billion. Numerous events were held to maximise sales of games, as well as further use of eSports like Capcom Street FIghter League powered by Rage. Net sales increased and operating margin was 31.5%.

Capcom’s intention to build a strong business portfolio hasn’t changed any. Their aim, after all, is to make games they can make multiple uses out of. For the next year, Capcom seems to intent promoting their mobile games more and explore possibilities more, which is why we’re getting Rockman X DiVE rather than a home game release. Standard consumer releases are abound from major IPs. We already know REmake3 has been in the works for some time and will be out somewhat soon. Whether or not something else like DMC5 will be out is another question, tho Capcom would count MHW Iceborne on Steam a new title, and the base game a catalog title. Capcom also has to restructure their development to handle the new regulations Japan has made regarding gambling, as it impacts their pachinko and pachislot business. Business as usual, and in hindsight, REmake2 and DMC5 last year was Capcom reviving old IPs for new generation. Much less than what was expected, but the reception and sales of both titles speak for themselves.

Kenzo Tsujimoto’s section is up next, which is more or less a view on Capcom’s CEO’s commitment and look at the company’s history. Without much going in too deep, Capcom has six points in their philosophy, something we’ve already seen; Aim to become the best in the world, Compete with strong IPs, Stable long-term growth, Managing their IPs and companies properly to ensure the two aforementioned, enforce and encourage relationship with societies locally and globally as well as with stakeholders; and avoiding management risks with transparency. We’ve effectively covered most of these spots, but I’d like to give some spotlight on the third bit about stable long-term growth.

Capcom struggled most of the new Millennium to find their spot in the gaming market after the crash of the arcades, but their long-term growth has been better than most of their competitors. Their Operating Margins have been overall better than their main competitors’ with +66% operating income and margin being +7.9 points. While Konami may have +90% income, their margin is just below Capcom’s at +7.5 points. Contrast this to Square-Enix, who has -8% income and -3.3 points in margin. This of course could change during next fiscal year, when Final Fantasy VII Remake hits the store shelves. Neither Sega Sammy or Bandai-Namco can really compete with Capcom or Namco, as their respective numbers are -53% and +41% in Operating Income, with +1.8 and +1.1 points in margins. Effectively, Capcom has been making most of their last financial year’s success with just three titles, one of which was a catalog title. If they manage to keep both REmake2 and DMC5 selling well as catalog titles all the while rolling new titles as part of their main growth driver as per their management strategy, they should see further increases in profits and margins during 2020. Nevertheless, it seems that their most stable source of profit is still in arcade and amusement equipment with no real changes how well they’re selling.

Capcom will aim to increase profits with three-angled long-term plan. This plan consists of increasing digital sales on the global marketplace, preparing for the next generation of standards that will be rolling around during the next few years as well as focusing on eSports and aiming to popularise a new culture for content. First part is easy, overall speaking. All Capcom needs to do is release their new games via Steam alongside the usual home console market. That’s effectively what it amounts to. Capcom’s overseas games sales have increased drastically since 2015, while homeland sales have not really changed any. You could say that Capcom’s secret of being successful is to have IPs that are globally attractive. After all, Japan in itself is a very small market compared to the Americas, Europe and Australia, and the rest. China is of course a place they’d like to gain a strong foothold, but that’s going to be difficult still. Make digital the first option, and you’ll save in manufacturing costs. Capcom is also taking note of both Cloud gaming and Subscription services and are exploring ways to enter both of these. Cloud gaming, however, is still a pipe dream, while subscription services should be nothing new to them, technically speaking.

With new standards like 5G wireless, Capcom can’t help but make use of third-party outsider know-how. This is mostly for mobile market and most likely relevant only in Japan, but the underlying message does touch upon upcoming Microsoft and Sony consoles as well.

eSports was a major thing for Capcom last year, and apparently it netted some 1,096 million USD for them during 2019. That’s nothing to be scoffed at, and it is estimated 2020 eSport scene would net some 1,790 million USD. This is through the usual establishing of new leagues, analysis of trends and then promoting regional developments. As long as Capcom manages to establish a profitable and sustainable ecosystem, they should be able to maintain their practices. I’m sure this is part of the reason why Street Fighter V is the way it is, where the game is stable and easily accessible in various regions. The Marvel VS series, while superbly popular in the US, didn’t exactly have the same position in Europe, for example. Street Fighter V aimed to be very safe game and something they can build further revisions on easily, and it has been that. Certainly a success in financial terms, but not really a loved game in the series. However, in the next five years Capcom will assess if there is any more growth in eSports and whether or not it is profitable to continue promoting sales through it.

All this really amounts to Capcom’s plans to effectively follow 2019’s lead in terms of business. MHW has made them recognise that games can, and in future will have, longer sales periods than before. This is partially because digital marketplaces don’t run out of copies and are constantly available. On the long-term, if Capcom is to keep their current standards in visuals and sounds, the Hollywood look in their games, it will cost them more to research and develop. Something they are well aware. This probably means Capcom will put out only few new games per year, which most likely will be sequels or remakes, that they will bet on as their heavy hitters all the while ports and catalog sales are supporting them and making the risk of these big titles slightly smaller. Digital, however, is the thing that is being pushed further.

Interestingly enough, Capcom seems to aim to have their younger employees work on their popular IPs, meaning legacy IP in Capcom is a living thing. If there are more people like Yoshinori Ono, who want to revive a sleeping but still popular IP, in principle we could see some level of resurgence of some IPs down the line. This might be wishful thinking, but history has shown how legacy IP under younger employees can bloom like no other. Take Mega Man and Street Fighter as examples.

Rather than establishing new IPs, Capcom intents to expand new markets and find new customers. You can expect to see more remakes in the future, as games are considered to be obsolete after some time have passed. This seems to be their long-term plan; remakes and ports. At the same time, they aim to curb sales of used-games somehow as well as address piracy, especially in the Asian markets. Capcom loves to talk about their IPs, but at the same time the they’re not having new blood in their library. In the end, their aim is to expand into new territories they’ve yet to make an impact and raise global earnings. This applies to their arcade business as well, where they aim to attract new customers and enhance their lineup of titles.

Their analysis of game industry and market hasn’t changed, with general consumer and PC market overlapping somewhat and offering the most balanced place to be successful in. Mobile market may have large sums of money moving about, but the competition is extremely intense. Consumer market is 77% of all of Capcom’s net sales, followed up by mobile with 2%. PC online, like the crane catcher, makes double that at 4%. While they are in a good position to expand, Capcom currently has mostly high-risk options in their Value, Rarity, Inimitability and Organisational evaluation. Capcom doesn’t have as high competitive edge as they want to believe, as other companies possess all the same external edges as they do. Capcom being slow at making quick decisions probably have already bitten them in the ass couple of times, but the lack of direct competitors to their main selling IPs should be a concern. In Mobile market, however, Capcom is still at a complete loss. Then you have their directors competitors still rolling their IPs in the media and can easily overcome Capcom.

What is Capcom’s plan for the future then? To use their existing Intellectual Properties to make games and leverage them into further franchising. They are no intending to make new IPs at the moment, but deliver further remakes. REmake3 is the direct result of this. Long-term and steady growth seems to be their aim. Expanding their target market and find some new regions in Asia to make some more money. While all this probably will continue to continue kicking just fine, Capcom is not offering anything that could add to their existing strategies or IPs. Perhaps it could be said that Capcom intents to keep their current core customers happy while offering new generation of players the possibility to play classics in a remade fashion and in modern terms. Their plant to “make use of sleeping IPs” ultimately ended up being a remake and DMC5 with some ports. Maybe they could follow suit with some other of their sleeping IPs, like Commando and turn it into a generic Call of Duty clone or something similar. I don’t expect Capcom to expand IP library anytime soon. Now if they’d begin to remake games that would need them, like the original Street Fighter, rather than games that were already well made.

I mentioned Capcom Hollywood games, because it sounds what Hollywood blockbusters are doing; one or two big budget titles per year by using well established IPs carrying the whole studio. Smaller games are not even a thing really with Capcom anymore. Mega Man 11 seems to have been a sort of fluke, as the franchise was moved to mobile once again. All the small titles Capcom has been pushing out as of late have been ports and re-releases. Currently, it seems Capcom is not intending to launch a new IP anytime soon, but in long-term, that should be one of their priorities as well. After all, all of the IPs they like to talk about has to be established at some point, and it is necessary to have something that’s designed from the ground up to the current generation. However, the global popular culture has been marred with rehashes, remakes, adaptations and reboots for good two decades more than previously. Sadly, it must be admitted that relying on existing franchises and IPs with a built-in fanbase to revitalise business has been successful. However, as of late we’ve seen big franchises like Star Wars and Star Trek faulting during the run with lessening revenues and falling consumer interest. Capcom’s management has to work hard to avoid the same pits Hollywood studios have stumbled upon. Capcom has a history of falling on their face and success with this kind of approach, but there’s only so much they can use as existing material for remakes, unless there’s going to be complete and utter reboots.

Old, reheating Capcom

Despite Capcom having big hit titles in the few recent years, mainly Devil May Cry 5, Monster Hunter World and Resident Evil 2 Remake, that’s pretty much it. Street Fighter V has been extremely safe game for them, the SF fandom can be very, very tribal about their loved title, and Capcom fighting games overall are still considered the golden standard. For a good reason too, but that’s not the main topic here, maybe we’ll revisit that a bit later.

For 2019, Capcom has released no truly new game. Everything Capcom has released this year has been either a remake, sequel or a port. 2018 was the same deal. Back in the day in the late 1980’s and 1990’s Capcom was blamed to rehash the same game over and over again with new sequels. This isn’t true, despite it feeling like that with a new Mega Man game almost every year or yet another variation of Street Fighter II. The Golden Age of Mega Man was a wild time in many ways, but at the same time Capcom kept pushing out new franchises to expand their library and offering. If there wasn’t something new on a console, the arcades probably had something interesting to check out, like Darkstalkers.

Modern Capcom is satisfied with the status quo they have going on now, at least on the front. Capcom is relying on their big-name, big-business titles. While SNK wants to become Marvel of video games, Capcom used to have this spot. I say used to, because as we are now, Capcom has become the company that does nothing but sequels or rehashes. Even Mega Man, franchise that used to renew itself every few years to some extent, is effectively buried again. Capcom lost all the momentum they gained with Mega Man 11 by not publishing any solid information of a new Mega Man game being developed. Well, there is Rockman X DiVE, but as with every other Capcom franchise, they go to die on mobile. DiVE is far from being a new Mega Man 11 in terms of impact and presence, mostly because the title is competing in a different market from the main bulk of Mega Man games. In the end, it is still a sequel, or rather a spinoff, to a well known franchise.

Has Capcom abandoned making new and strong IPs? In business, especially in Japanese business, sticking to what you know best and what has already established market slot and pull is the way to go. The reason you don’t get new sequels to long-dead franchises all the time or new IPs to bolster the library is because the current corporate culture in Capcom is not there. The young Capcom needed to expand and make new titles all the time. Not because they threw everything a the wall to see what stuck, but because there was that drive. The people who work in Capcom now are not the same people who launched these game IPs originally, and it’ll take someone exceptional, like Yoshinori Ono, to suggest and bear the weight of reviving an IP.

You would think that reviving an old IP with strong history would fit the category just fine. Reviving, however, means that the IP is dormant or dead, often because it has either seen a slouch in sales or the driving force behind the franchise is missing. Resident Evil has consistently seen good amount of sales and is considered Capcom’s modern mainstay franchise next to Monster Hunter. Both of these series are old, but have been reinvented as they’ve come along. They’re also consistent with Capcom’s changing image, with new blood coming in and tasked to make a new game for the series. Capcom shows that you can live off a limited amount of IPs under your belt just fine, as long as you keep quality high and the number of releases constant. A stagnant series that doesn’t have the drive behind or, or the corporate support compared to the other projects that are going on at the same time, doesn’t have much chances. As much as Final Fight plays an important role in Capcom’s history, it is a legacy series they can use to promote themselves and other titles for the old guard that’s out there, but Final Fight has been superseded by Devil May Cry as the action game.

At some point, old IPs become new again after they’ve been dormant long enough. Street Fighter IV is a great example of this, and we can see Toho doing the same thing Godzilla periodically. Capcom still intents to revive some of their old, sleeping IPs (just like they said last year) but what are the chances of that happening? Perhaps what they mean by reviving they mean remaking old games that were big hits for the modern generations that hear the legends of these old games but won’t play because they’re too old. Maybe it means more ports upon ports. Probably both, as rumours say Capcom is already working on Resident Evil 3 remake. Understandable, considering how well REmake2 was did in sales and reception. While Capcom has loads of legacy franchises under its belt, they’re intentionally not making any use of them outside collections and re-releases. All the R&D goes to big name titles, which is closer to putting your eggs into one basket rather than betting on multiples. It seems to be working for Capcom just fine, but as argued last year, Capcom has both the manpower and economic capacity to develop smaller titles with smaller teams. They sort of are doing this with their mobile department, but that’s a different market from home consoles, and arguably different from PC market as well.

There’s no reason for Capcom to change their pattern right now, their big budget titles sell well and they are successful. Their caution is to back these up with re-releases. It’s safe and sure way to make business, and business is their main thing. Capcom wants big titles, big revenues. Small titles with meager sales won’t make that cut, but putting some money on re-releases, that’s a different thing. I wouldn’t expect Capcom to actually revive an old IP that doesn’t have some presence already. Sad to say, but at the moment, Capcom truly is the company they were joked to be, rehashing everything and unwilling to bring anything new to the table.

Grave of the Darkstalkers

With it being Halloween season and all that, I’ve been on a small Darkstalkers bend. Going back to my source books, playing the games, remembering there was a terrible television animation and somewhat decent OVA that looked pretty damn nice with plot being somewhat nonsensical. Darkstalkers is a fighting game series I used to play more than any other, despite starting with Street Fighter II. With the third game being the last in the series, and Guilty Gear X hitting the scene, Darkstalkers went into a limbo only pop up whenever I wanted to something gofast from a fighting game, or roll out Q-bee once more.

Perhaps the most atmospheric intro a fighting game to date, outside the first game’s

It’s no secret that Darkstalkers as a fighting game franchise never really hit through the masses. Morrigan may have eclipsed the franchise as a whole in popularity, and nowadays the franchise itself is probably known for her rather than for any other reason. It’s rather funny, perhaps even rather pathetic, to consider how the series’ main character, Demitri, was dropped to a second place by the time Darkstalkers 3 rolled around and was seemingly killed off in an audio drama. I remember some fanfare for the games when fighting game’s golden age was still going, but after that the only people who kept the franchise alive to any extent were the fans. Despite it being recognised as a watershed moment for fighting games in terms of visual design, animation, speed and gameplay, all those reasons probably were also the reason why the series is now in the grave.

The above tournament video shows off Darkstalkers 3 at a decently high level of play. The series was never a Street Fighter clone in itself, unlike some SNK creations. No, Darkstalkers was as high production fighting game you could have at the time. While the first game was more experimental than the its successor, being slower in pace speed and trying out to find its footsteps, the second game, Vampire Hunter, brought in the blazing speed. Third game would take this and make a game that ultimately hard to get a proper controlling feeling of. It’s one of those games when you learn to play it even to a small extent feels like a massive reward, as it feels like you’re in control of something wild and dangerous, something that any moment now could go out of control. Out of all fighting games, Darkstalkers has tight timings, unconventional projectile mechanics (you don’t even use the fireballs the same way to control space as you would in almost any other fighting game) and attacks that simply defy normal comprehension. All this is of course by design, which makes the series something an anomaly, especially the third game; you’ll find a lot players with low-skill or high-skill. There really aren’t all that much people in the mid-skill tier, because you either know how to play the game or not. Part of this is that it takes dedication of get good at Darkstalkers, and the second part is that the core fans have been playing these games since the late 90’s and never really stopped.

Darkstalkers had some of the best promotional and production artwork made for a fighting game to date

Then you have that the fact that Darkstalkers suffers the same fate as Street Fighter III; Third Strike – Fight for the Future; only the third game seems to matter. This is apparent how most fans treat the series, and how Capcom themselves pretty much ignored all other titles in their latest attempt to resurrect interest in the series with Darkstalkers Resurrection. It didn’t go so well, with low sales ultimately being the deciding factor. When it was heard that a new Darkstalkers game would be in the hands of sales numbers, I didn’t even bother. Seeing how the franchise’s history was of neglect to that point, there was not reason it to sell or Capcom to put the effort in. Both were the case. Resurrection is effectively a port of the third game for the PS3, which also means some of the cast members are missing. Darkstalkers 3 is a rather peculiar case, where characters from previous games had to be cut out because of memory limitations in Capcom arcade system of the time, CPS-2, and thus Capcom opted to make two further versions, Vampire Saviour 2 (Vampire Saviour being the Japanese title for Darkstalkers 3) and Vampire Hunter 2, both of which were remixes of their numberless predecessors with characters and mechanics switched about. You wouldn’t even know these existed outside Japan, and the game’s name change, as well as some of the characters, ultimately confused some for a long time. Sometimes you can see articles and videos discussing Darkstalkers 2 when it should be Vampire Saviour 2. There is no Darkstalkers 2 per se, that’s Vampire Hunter. Nevertheless, despite Capcom releasing a versions for the PlayStation, Dreamcast and PSP where you could play all the characters, and even systems and movesets in later games, Resurrection was aimed at the tournament scene players only and lacked all the cut characters. This was Capcom’s best chance and spot to rebalance the game, include all the characters into the game and effectively rework the title with old assets without losing anything. Of course they didn’t, that’d take time and money, and it wouldn’t be ‘arcade perfect.’

Despite Darkstalkers being largely designed around Western character archetype and animation was based on old Warner-Brothers and other cartoons, it mostly found its place with the Japanese audience, who embraced it fully. It doesn’t help that the game’s humour and core is still very much Japanese, and very 1990’s in a good way. I keep misspelling good ans goof, but maybe that works when talking how humorous Darkstalkers really is at face value. The sheer visual prowess may fit the 1990’s Capcom, with all jokes hidden in there, but if they were to make a new entry nowadays, Capcom would be royally screwed. None of the 3D models of the characters in Marvel Vs Capcom or Tatsunoko Vs Capcom had the same charm, the same level of care and animation, as the 2D sprites. 3D models simply can’t represent the 2D in the same manner, and Capcom argued so during Street Fighter IV’s releases, that the technology to warp 3D models on the fly the way Darkstalkers requires didn’t exist or was far too taxing and hard to do. The sheer amount of unique sprites and animations in Darkstalkers is insane and is probably the reason why the third game hit memory limitations so damn hard. Just take a look at the EX Special Moves collection and consider how so many sprites are just thrown around that don’t get used anywhere else. Lilith’s standing sprite is also a sight to behold.

This might be cartoony violence, but it wasn’t exactly accepted back in the 1990’s either. The blood effects were changed to white, which made it kind of worse. Lord Raptor, the rock zombie that quotes Michael Jackson, has a throwing move where he jabs his spiky ribs into the opponent before tossing away. The blood’s colour was changed to white, and now it looked like he’s cumming buckets while penetrating the opponent. Not only the animation is cartoony, exaggerated and over the top to the point of being incomprehensible to some, but it is also gruesome and violent. If we’re completely honest, the visuals of Darkstalkers does not fit with current Capcom. Capcom used to be 2D sprite king back int he day, but nowadays they are all about pushing the limits of realistic 3D. Resident Evil 2 Remake, Devio May Cry 5 and Monster Hunter World are the trifecta of modern Capcom style, and Street Fighter V fits that look perfectly. The company culture of mid-90’s Capcom doesn’t exist, and Darkstalkers probably embodies that era of Capcom the best. We can entertain the idea that Capcom would put the money and effort into making a whole new 2D fighting game, seeing Skullgirls was heavily inspired by Darkstalkers in style; characters have unconventional ways of attacking, body morphing all around the place and excessive animation wherever wanted. Capcom could showcase that they could put the effort and money into making 2D game to beat all 2D games in terms of animation and visuals. They wouldn’t want to do that, mostly because it wouldn’t sell the amounts modern Capcom expects their highest-end titles to sell, and they wouldn’t want to dethrone Street Fighter III from the animation throne… despite Skullgirls already done did it. There are even Motion Collections on Youtube just to see what sort of bullshit is hidden in Skullgirls animations. The same can’t be said of most other fighting games.

Then you have the point of Darkstalkers isn’t really fit for what the eSports scene likes at the moment. Some character designs are intentionally risque and sexual undertones are as intended. Be it the flat-chested Lilith trying to be playful, Morrigan rather direct with her nightly pleasures of Felicia having her tits bounce, some of the characters probably would need to be redesigned in order to appease a minority. If Rainbow Mika’s standard costume is too sexy for ESPN, so would be Morrigan’s and Felicia’s. Not only that, but in terms how Darkstalkers is all about that uninterrupted play, it makes a poor spectator’s sport in the modern era. Most modern fighting games have that element of visual splash, the Cinematic Moment where audiences and players are intended to be hyped. When you pull off a super move in any of the current fighting games, the screen freezes, you get a huge ass close-up and camera going every which way. You get those slo-mo effects in Tekken and Soul Calibur too. Darkstalkers is very much the opposite, where the only times there is any pause is during throws is very rare special move, like with one of Jedah’s.

For an outsider there’s not much on the offer here. It’s extremely heart-pounding for the player, asks a lot of concentration, but the general audience who isn’t into this particular game, it doesn’t offer the same Cinematic hype Moments. The speed also probably also means people will miss numerous points of attacks and reversals, meaning some can’t keep up with what’s happening on the screen. At least on the surface and at face value. If we’d take the series and fit it to the current mould, it would need to be slowed down a bit with more planned Moments. Not to say Darkstalkers couldn’t be that, though that frantic pace has always been part of its soul. When you see a Darkstalkers represented in a VS game, it always plays a bit flaccid. There’s none of that heart in there, as the characters have fit some other, foreign mould. It’s like shaving a square peg down to fit a round hole. Sure it goes in there after that, but the nice parts are gone. A new Darkstalkers would be like modern F-1, where all the things that would make the cars go faster are banned. Capcom’s current concentration on eSports would make Darkstalkers dull and generic.

Perhaps it is Darkstalkers’ uniqueness that doomed in the first place. It’s not historically a lucrative IP, and despite Capcom saying they want to revive old IPs, they’re looking into something that doesn’t take whole sections of their budget, like Mega Man 11Capcom released their business-year end of reports, and I’m intending to cover this year’s Integrated Report like I did last year. Part of the report is about Capcom having a hold on eSports via Street Fighter V, and another title from them might sway that boat. Spectators are made a big point, and as we’ve discussed, Darkstalkers isn’t the best spectators’ game.

I would still recommend you to fire up a Darkstalkers game, be it via emulation or that Resurrection pack. It might feel weird at first, but after you’ve gotten used to the game system and get things roll, you’re ending up with an enjoyable game that won’t take too much of your time, but to which you want to return again and again from time to time.

Collections, collections, collections

So there’s a new Mega Man collection coming out, this time adding the Mega Man ZX games into the Mega Man Zero collection. I’m not sure how many remember, but the Zero games got a collection on the Nintendo DS, for better or worse, and they contained a mode that made the game easier across the board in order for the player to have an easier time so he’d see the story from start to finish. The original games were more or less intact, except with the connectivity thing with later Mega Man Battle Network games. Throw ZX games and you have a set of games people have been asking for some time.

What’s to write about this? Capcom has been collecting Mega Man games into bundles for a solid decade now, excluding the few earlier Anniversary collections that we got for PS2, GameCube and Xbawks. No, scrap that, let’s count them in. Ever since those collections, Capcom has been releasing old Mega Man games collected in each generation, except the Battle Network and Legends series. Legends is stuck with copyright hell thanks to Capcom using licensed drinks and labels in it, and due to Sony’s asinine Classics line rule, they can’t just remove these from the games and release as-in; they need to be as they were when they were first released on the PlayStation. Sure, we got the DASH games for the PSP, but only in Japan, hence the use of DASH instead of Legends. Without the two extra shoulder buttons, there’s some wonky controls about. We’ve never seen DASH since in a compilation, just as digital downloads, and Battle Network hasn’t been around at all. Maybe that series is stuck with license hell as well, considering the TV show and shitloads of other stuff regarding it were tightly wound together those (glorious) years. A compilation of sorts with online play would surely make many fans happy enough to blow their loads.

I bet your ass there are people who want that Zero bust just to hotglue it

Capcom Test is a term used when people assume Capcom is throwing something cheap out to test waters. While this has some credibility, the fact is that Mega Man doesn’t need its waters tested. They already know that there is demand, at least towards collections. Mega Man 11 showed that a game with relatively low budget compared to their hard, big hitters can and will make its money back as longs as it is competently made. Capcom hasn’t come out with any news whether or not they’re even considering developing Mega Man X9 despite teasing it in that one remix soundtrack CD (that was a letdown.) While some would argue that Evil May Cry 4‘s re-release was to test waters, we know from the director that he had made an ultimatum; he was given DMC5 or he’d walk out. At that point there were no waters to test, but perhaps what Capcom was testing was if there was enough demand for a higher budget. Game itself would’ve been made anyway. RE:make2  on the other hand needed to testing, after all Resident Evil is pretty much second only to Monster Hunter and even that is debatable after World, which in itself was carefully testing waters by dropping numeric from the title and opted for a subtitle instead, just in case if the game would crash and burn, meaning they could do a “real” Monster Hunter 5.

Let’s pose the question; if Capcom Test is a real thing, what are they testing with Mega Man Zero/ ZX Collection? The first answer might be that they testing whether or not there is enough demand for a new ZX game, as some would argue that the story needs to be concluded somehow in order to tie it properly to Legends. That really doesn’t hold much water, as Legends itself was left unfinished, and Capcom never greenlit Legends 3 despite all the public shit that was going on about it a decade ago. Theoretical ZX3 or whatever bullshit they add to the end (ZXA is ZX2 by all means) and would let the developers almost complete free reign to take the whole non-linear format to new directions. After all, these Montezuma’s Revenge-clones are still very popular. This collection won’t test how much demand there is for the Zero series, I doubt any of the fans would like to see Zero revived again for a fifth entry.

No, if they’re testing anything it is how much fans are willing to dish out, testing out how much pain carrying that loaded wallet causes. For this particular release Capcom Japan online store is going all out and releasing the previous Collections again in a box that has a separate space for Z/ZX collection. Y’know, get all the games (except Legends, spin-offs and Battle Network) in one major box.

Classics Collection, those X Collections, MM11 and free slot for Z/ZX. PS4 has its own as well, but Japan only, as usual with these

Capcom hasn’t really overstayed its welcome with these constant Collections yet, but they’re at the utmost limit now. If they were to publish a Legends Collections, they really should make it a complete package with all the missing titles, like Mega Man’s Soccer, Mega Man and Bass and its WonderSwan sequel, translated Rockboard and why the hell not throw that Chinese-only Rockman Strategy. I’m sure you can already tell that I’m not exactly looking for this particular release, but it does support the notion that Capcom is still riding on nostalgia wave instead of putting their goal to produce a new, high caliber Mega Man for whatever real reason. Inafune’s shadow can’t be that long, that there is nobody willing take the position and say We have a classic, long franchise with a ready install base we can easily expand by hitting some of the current trends all the while pushing the envelope on the franchise.

Mega Man innovated themselves from time to time. X, Legends, Battle Network, Z and ZX are all significantly different from the Classic series, and even then each sub-series changes the formats game-by-game basis. While I fully expect some kind of Mega Man game to be made based on the current cartoon, it seems Capcom is treating it like they treated Street Fighter The Movie in that it works as a promotional vessel rather than an adaptation. I would like to say that Capcom can’t coast on collections much longer, but the reality is that fans and consumers interested in the franchise will buy these collections every time a console generation shift hits around the corner, and if a special version like the above or the one with all the trinkets, there will be customers buying it. Fans find themselves in a vicious cycle of thinking that if they don’t show support, no more future entries in Mega Man will be made, but at the same time, you’ve already bought and played these games two or three times over and Capcom still isn’t putting out anything new. Damned if you do, damned if you don’t. The customer loyalty is still there and that probably is ultimately what will keep all these afloat for now. Special edition packages with craploads of stuff in them have always been a thing, slowly I have to question if that is becoming the only reason Mega Man collections are selling? Despite the franchise now lacking a face, the emotional contact is still there. Zero series has especially fanatic cult following, claiming it being the height of the franchise’s 2D game play design. They’ve been asking for ports of the series ever since the last collection on the DS came out, but apparently the originals and that port aren’t enough. Then again, maybe that goes to the other collections as well. Perhaps people really are just abandoning their old machines every single generation. Maybe Capcom should just start releasing collections every generation and never make a new game, as they seem to make a decent buck with each of them.

Capcom is coming out with Rockman X DiVE that’s making its rounds, but goddamn if people aren’t sick of beloved franchises getting a mobile game rather than a full-blown, big budget title. A proper entry, if you will. Just look at how happy Breath of Fire fans were about BoF6. While mobile titles can be massive successes, thus far none of them have been considered as “true” installments into a franchise. Then again, we did get that social mobile game Rockman Xover, which was less than ideal entry in the series, and was largely lambasted people who didn’t end up sucking on Capcom’s dick. Only so many companies have managed to strike true with their mobile games, and the Big C is not one of them. X DiVE has budget behind it, it has good assets and lots of work put to make it the best kind of mobile Mega Man X game it could be, which kinda says to us that the hinted new entry in the series rather than X9.

Capcom really lost the ball by not announcing a new Classic or X series game. They didn’t even need to have it released yet, just have the info out, some concept art and nothing else. Keep the heat going on, but often fans will just take anything they can grab and roll with those, but only for so long.

Two-One Punch of Mega Man Million

Capcom recently updated their sales data in their Game Series Sales section, and with that we saw Mega Man gaining one more million units sold from 34 million to 35 million units since February 2019. That’s three million more units since June 2018. Their Annual report from the end of last, year, which I have a post about, stated that Mega Man 11 performed well. We could read between the lines that they were expecting it to perform worse, but the Blue Bomber still has some pulling power. With the cartoon series running, though not exactly making the biggest splash out there, the franchise has resurfaced again, much like how Devil May Cry made the news once more. Devil May Cry 5 performed a lot better, and if we’re completely honest, is the better game of the two. It was ambitious project that was true to the core gameplay but also pushed the 3D Action games just a little bit further once more. Mega Man 11, as much as the game is loved, did end up somewhat a shelf warmer. Compared to DMC5, MM11 is a lacklustre title. It was too safe a title.

It is because of Mega Man X Legacy Collection that the series gained one more million sales. Mega Man  11 sold some 870 000 units, so previous digital titles and X Legacy Collection must cover the rest. This is how Mega Man ultimately worked ever since the X-series was released. The Classic-series may have solidified the series’ status as an icon. Good games, to which Capcom would churn up sequel after sequel year by year, until they put the franchise in ice.

Neither Mega Man 11 or Mega Man X Legacy Collection sold one million units, as they don’t appear on Capcom’s Platinum million titles sold list. I don’t know Mega Man Battle Network 4 has sold so many units, it’s the very bottom feeder of the franchise itself. However, outside the NES era of games, most of Mega Man had one more or more sub-series running side by side. At best, Capcom offered 2D Action, 3D Action and RPG under Mega Man brand name during the busiest days of the franchise, and even more if you were in Japan.

If you were wondering, Mega Man 2 is the best selling title in the franchise

I would argue that outside the NES days of Classic series, when it showcased quality game design and tight controls in comparison to some of the schlock the NES and (especially) Famicom had, Mega Man‘s strength later on relied on its multiple approaches and titles on the market at the same time. Capcom did manage to avoid brand confusion by clearly having different kind of visual flavour across the board. The core mistake between Mega Man and Mega Man X is, really, that the two look too similar. X simply looks an older, edgier take on Mega Man. Which he arguably is, but that was the 1990’s. That was par for the course and I love it. Each subsequent Mega Man was different enough to tell the difference, even at their games, but recognisable enough to say that they were, indeed, a kind of super fighting robot.

Mega Man is a multimedia franchise, make no mistake about it. Despite the games are its main product and lot of the side pieces like comics and toys were there to support the sales of the games themselves, Mega Man saw its most success when you had a little bit of everything out there. Mostly in Japan, sure, but that really reflects the nature of the franchise world wide; the little bits of that everything that West ever got was cherished by the fans like nuggets of gold. When Hitoshi Ariga’s Mega Man Megamix got its English release, the fandom celebrated like no other. This wasn’t the first bit of comics Western world got from Mega Man, but it sure was one of the most wanted.

How did Mega Man gain all those millions of sales since the last update without neither of the two big releases hitting platinum sales point? I told you that already; combined sales of multiple products. Whether it is because 2D action games just don’t have the same market pull they used to, or because Mega Man had become such a standard for the genre that despite their high quality they’re seen as run-of-the-mill titles or just because the franchise’s envelope can’t be pushed all that easily like DMC’s, one Mega Man title hitting that platinum point in the current era of video game market must have something significant behind it.

On the other hand, Capcom could go the true and tested route, put together a standard Mega Man title like MM11 and comp it with something that’s a bit different. If they were brave, which they might actually become with these increased sales, they might even try to make a new sub-series that would break the mould. Love it or hate it, Battle Network was a smash hit. Legends, not so much. Still has a stupidly dedicated cult following, who still keep hope for Capcom reviving Mega Man Legends 3. 

Maybe that would be a decent pull, start the project from scratch and make it play better than what Gaist Crusher did. If you didn’t know, Legends 3‘s engine and very basic gameplay was more or less directly lifted and heavily adapted for two-part game series, which never really went anywhere despite having a cartoon and toys that interacted with the games. I’ve got few posts from 2013 (Christ that’s old and they’re terrible) about Gaist Crusher but never got around getting the second game and reviewing it. I guess I lost my interest in seeing how the series did, just like the Japanese kids it was aimed at.

Capcom could just go full stupid and release Mega Man titles like usual, throwing compilations left and right all the while not really considering how to grow and further the franchise. You know what? Give Mega Man Legends the REmake2 treatment. Take the base elements of the game, expand on the whole connected underground tunnels concept, polish and fully upgrade the gameplay, add more optional parts and possible modifications, explore further the concept of Rock being able to turn black rather than just have it a an interesting joke element (I’m pretty sure this ultimately evolved into the whole Black Mega Man and Synchro concept in Battle Network) and make the game look like a real Saturday morning cartoon it was clearly mimicking.

I can always dream.

Still, with these sales, Capcom probably will be making few Mega Man titles in the future, that much we wager to be certain. If they want to revive Mega Man properly rather than just with one game and collections, Mega Man X9 is probably high on their to-do list.

Remakes and remixes

The one question that was thrown at me few weeks back was whether or not Resident Evil 2 warranted a remake. Ultimately, it did not. The original Resident Evil 2 is one of those timeless classics that still play well to this day, even though the PlayStation era 3D graphics are rather outdated. The game itself is still solid, but that goes for all games that are solid for their era; they’re solid for the future as well. However, not all games can stand the test of time, or even their timely competitors, but some games just tend to have a possibility of being great and for whatever reasons just didn’t measure up. Be it budgetary, lack of experience, skill or whatever, there are numerous fan favourite games that are more or less terrible, yet we love ’em. Chances are that those games would never get a remake.

The argument goes as follows; games that have good design and yet were terribly made should get remade because they would benefit from it. Effectively, realising the original concept properly. While that’s a nice sentiment, the business side of things doesn’t really support the notion. Why remake a game that didn’t make sales, has a very little or not following or has some sort of infamy around it when you could tap something better? Resident Evil 2 remake cost a lot of money to make and advertise. It’s part of Capcom’s current big three titles, Monster Hunter World and Devil May Cry 5 that are effectively the titles the Big C is banking on as seen in their last year’s annual report I have a post about. It’s no coincidence that all these three titles are part of their respective franchises. After all, creating a new IP has its own risks that your company probably doesn’t want to undertake when you’ve just put millions into some restructuring and R&D in order to make a new engine all the while demanding high-end graphics that pushes the visuals as much as possible. Square-Enix follows the same line of thinking with Final Fantasy VII‘s remake, even though they’re taking their sweet time to actually finishing it. However, there’s also one snag that applies to both RE2 remake and FFVII remake; they’re effectively completely new games.

Let’s question if remaking a game by completely changing it from ground up like these two did is actually remaking anything. The remake of original Resident Evil will be used as the point of comparison, a golden example of a remake. What makes it different from the two aforementioned remakes is that it still uses the same systems and designs from the original game, just improved in every way. You can still see where the roots are and side-by-side comparison is completely possible. For RE2 and FFVII, that’s largely impossible due to their nature of completely remodeling and changing the groundwork of the games’ designs. RE2 remake is effectively nothing like the original game and are separate products altogether, whereas with RE‘s remake uses the same base work. FFVII doesn’t even belong to the same genre as the original, opting to go for full-out action. It’s almost like Square Enix is wanting to move away from the time tested Wizardry+Ultima model they’ve made their bed with all the variations we’ve seen in most of the mainline Final Fantasy titles.

Remake is a nice word, because its semantics it usually is associated with in the game industry offers a lot of leeway. Sometimes upgraded ports are marketed as remakes, because it’s easy and has a nice ring to it. The positive association a remake tends to have nowadays would imply that it’s a whole new upgrade to push things further. An example of this would be the HD remakes of few last generations we’ve had, which offer nothing more than higher resolution graphics, sometimes wide screen support and nothing else. Questioning whether or not this is a proper remake or just an upgraded port shouldn’t be an issue. Reading the marketing slang shouldn’t be hard.

Then again, this line of thinking may be completely wrong. Should we consider remakes as something that takes the core essence of a product, like RE2‘s concept of surviving inside a zombie infested city and completely remodeling its game play and concepts, as proper remake instead? After all RE‘s remake can be called exactly that as well, but seeing that is effectively the original game with prettier graphics and updated stuff, shouldn’t that be more or less a remix instead? Sure, all the assets have been recreated from the ground up for the game and so on, but ultimately it is more or less a remix recreation of the original Resident Evil. Compared to remixes like this, a remake should push the game’s concepts to further extents and stand as its own standalone title. This would fit the idea of remaking FFVII as an action game as well, despite the whole genre change it has going on for it. Our golden example of a remake doesn’t really stand against how RE2 was remade. It would be possible to remake the first Resident Evil and change everything about it without losing the core concept of a resident filled with evil. Then again, Resident Evil itself is a sort of remake of Famicom’s Sweet Home, genre changes and all to go with it.

As said, marketing’s have their hand in this quite a lot. Using a dictionary or the like to determine the true meaning of a remake is largely useless, when it’s a nice term you can drop around to whatever re-release it fits even remotely. After all, marketing department have their hands full already trying to push whatever latest editions they have at their hands now. It’s like how Super Robot Wars titles tend to be affected largely by what Bandai-Namco wants to promote currently or if some series has an anniversary, in which case they can push few more units by having it include in a game. Let’s not forget that sometimes games that are completely new are sometimes dropped into the remake category just because it uses its franchise in some ways. The recent contest oriented Pac-man games at one point were marketed as remake of the original Pac-Man game, despite this being not the case to any real extent. That’s like saying Mega Man 2 is a remake of Mega Man just with new stages, music, bosses and weapons. That would apply to any kind of sequel, though there’s an argument there how Hideo Kojima remade the original Metal Gear three times around.

The original question remains; Did RE2 warrant a remake? Apparently the sales data showcased that it did. In a perfect world, there would be no need for remakes. In a less perfect world, the money to make remakes like this would go for games that mechanically would require one. The one we got is still driven by sales and demand, and by the fact that Capcom recognizes the position Resident Evil 2 has in the franchise, among the fans and as an overall game. No other title in the series warrants anything similar. RE4 is still modern enough to run as it is, and perhaps that’s the best justification for remakes nowadays; to modernise games that have a ready audience. You don’t see remakes that don’t already have an audience, or games that the devs themselves don’t dare to touch. There’s a goddamn good reason Nintendo doesn’t do remakes like most other companies.

Perhaps its generational. Most of the faces we know from the industry tend to tell that they don’t really want to work on sequels or keep a series going once they’ve finished it in their own minds. Sakurai was pretty much done with Smash Bros with Melee, yet here we are. Kojima meant Metal Gear to end with pretty much every major entry in the series. Shigsy didn’t touch 2D Mario in almost twenty years due to how much work they are compared to the 3D games. However, with new blood coming into these companies, it might become more viable to remake old titles that still have a place and possibility to strike true. The same applies to the consumer side, perhaps even mores so than towards the devs. The generation that grew up with the 360 and PS3 would have a hard time going back to earlier consoles, some have even remarked how not even the Third Generation of consoles look like, and I quote a younger friend, real games. Updating PlayStation era games to modern visual (and game play) standards would open new avenues without really losing anything due to the build-in fandom. On one hand, you serve the fans with an arguably better version of the game and attract customer who missed the original, or didn’t or couldn’t touch it because it was on PlayStation, PSN not withstanding. As much as even the industry likes to think otherwise, very few games are timeless in the proper meaning of the term. They may take the test of time within the context of the era, but putting them face to face with their modern counterparts, they lose in almost every area of design. Direct comparison without taking context and capabilities of each of the era would be rather unfair, but for a timeless classic that should not be a problem. After all, if Super Mario Bros. 3 can stand toe to toe with modern 2D action games in terms of designs and gameplay, the rest of timeless classics should be capable of this. For the early 3D games, that’s not exactly the case, just like how first games can’t really stack up against most other modern 2D games of similar nature.

REmake2‘s success probably makes Capcom wonder what other titles they have they could give a similar treatment. With their interest to resurrect some of their sleeping IPs thanks to Mega Man 11, IP which saw a raise in sold units from 32 million units to 34 million since June 2018, it’s not entirely impossible that Capcom would wake one or two of their classic series with a remake. Chances are that they’ll be testing the waters with some releases and bundles before green lighting anything, but you never know. Then again, they should finally remake the original Street Fighter.

Music of the Month: Rock the World

After spending good three days of building my new PC and troubleshooting things that have been popping up now and then, I completely forgot that I was supposed to write something for Sunday. That’s not the only thing I’ve forgotten lately, due to being so damn tired. Enough excuses, let’s get this on the roll.

So, whatever plans I might’ve had are more or less out of the window thanks to people ordering more and more stuff from the place I work, meaning the speed and production amounts have been upped ever so slightly but enough to push the proverbial breaking point of the manufacturing process. Rather, I’ll have to approach things by case-by-case basis and hope that I don’t put things out too late. Well, I’ll be doing Mega Man 11 at some point.

As such, I’ll use this opportunity to comment on the previous post about Capcom’s IR materials. It’s a long post in comparison to most and has quite a lot of hot air, but something that needed to be covered. Rather than spouting what Capcom says, here’s my personal take what Capcom wants to do in the future; high-end games.

Monster Hunter World and Resident Evil 7 have been big hits, and Capcom seems to think it is thanks to the games having high production values across the board, especially in the graphics department. While the term artisanal design was thrown in there, it ultimately means very little if not expanded. Effectively it means master craftsmanship and how something is worked by hand to perfection, but how well that applies to Capcom’s titles is up to interpretation. They are infamous for dishing out game sequels after sequels, though this has been on the slower end as of late. Game development has gotten more expensive with each generation and they feel it. Each title has to be bigger and more successful than the previous. The two aforementioned titles fit the bill perfectly, something Resident Evil 2‘s remake and Devil May Cry 5 do too. While the games will have something the consumers will have to scratch their heads over with, Capcom is putting a lot of money and time into them, hoping to get return in their investment. MHW is regarded a cornerstone within the company in terms of success, and they want to replicate that.

Furthermore, Capcom is surprised by the success of Mega Man 11. Without a doubt it has come as a surprise, and the Man of Action Mega Man cartoon basically exists to drive brand recognition, especially among younger consumers who have no previous experience with the franchise. The initial sales have been very positive and the reception of the game has more or less followed the same pattern. Above all, Mega Man 11 is a PR victory for Capcom and does go against their set idea of high-end games, something consumers should be somewhat happy about. MM11 was relatively cheap to develop, which probably served more to its favour than most think. It also shows that games don’t need to be at their highest ends in order to make a mark. Capcom probably took notice of this, as they’re also noticed the good sales the Mega Man X collection was having.

This has lead them to consider reviving some of their old IPs and the upcoming Capcom Belt-Action Collection is probably is part of the whole deal to see what sticks to the wall. Sadly, Capcom doesn’t have the licensing rights to some of their best beat-em-ups, but at least the collection has the first ever home port of Battle Circuit, something long-time Capcom and CPSII fans have been waiting for. When’s Wazrard getting a proper home release? Does this mean fan favourite IPs will be revived? Naturally, no. First three people who I saw commenting on the post said Breath of Fire, but I don’t see that being very likely. Firs being that BoF was never a great seller and that they have better options to fill the RPG quota if they want to. However, the one thing that is in BoF‘s favour is that Capcom recognizes themselves relying on limited genres, with fighting games, action and horror taking the top spot. Capcom has to diversify its selection at some point, but that may go toward mobile gaming.

According to the materials, Capcom has been making loads of money in the smartphone market, but still don’t have much success in there. What does this mean, exactly? They’re not the top dog and despite the few titles they manage to get money out, the competition is making bigger bank. This is largely an Asian thing, as the mobile game market is absolutely bonkers huge there, eclipsing both console and PC market without any margins of error. It’s no wonder companies like Blizzard want to release a game into the market like they were horny teenagers with free access to the corest of hardest porn. We’ll get to Blizzard’s PR disaster with Diablo Immortal on Wednesday, it’s a damn good example how not to do consumer service. But this is Capcom, they don’t give a damn about the mobile market in the West, as Asia’s the gold mine and they don’t have the tools or skill to mine money. Maybe Capcom wants to see if they can do something else in the market, or maybe they’ll put more effort into expanding genre selection on consoles and PC. That’s why testing waters with cheap releases and collections is important to them. I’m not saying you should go buy MM11 or any of the collections in hopes to gain BoF Collection, you should always buy only what you think is the best value for your money. More RPG related stuff Capcom has been putting out might sway them more, or showcase how something similar makes good sells. Like most Japanese companies, Capcom seems to be data driven. Showcase them data and examples to support your claim or suggestion, and it has geometrically highest chances of getting through.

Whatever Capcom puts into production and announces within the next year will be based on the success and methods MHW and Mega Man 11 have laid out when it comes to consoles and PC. Mobile, well, we’ll have to sit tight and see.

Capcom’s future; more DLC and possible resurrection of sleeping IPs

I was supposed to do this one few weeks back, but work’s being hell as we come closer to the annual end of the business year for the company. Working like a dog has its downsides.

Anyway, Capcom Investors Relations, Annual report. Maybe we should note that in their statement of corporate philosophy, the core statement is to create entertainment culture. Video games may be Capcom’s main business for sure, but movies and arcades are part of that too. If you don’t want to read the whole thing, I’m dropping a tl;dr read version at the end.

Kenzo Tsujimoto, CEO of Capcom, makes a statement that what made Street Fighter a globally recognized brand was the movie they invested in, not the games themselves. This is an interesting point to take, and if taken as face value, further enforces Nintendo’s old tactics of cross-media advertising. All the Super Mario cereals, cartoons and the like were there to make the brand recognizable in order to have the main dish, the games, in the consumer head space. Hollywood may think they have the jackpot when it comes to entertainment, but when it comes to games, no other media can replicate the feeling of doing it yourself. This applies to sports as well.

The 4 billion yen Capcom invested into Street Fighter the Movie netted them 15 billion yen. That’s no slouch. Tsujimoto continues that despite movies only getting few weeks of attention in the theatres, each new home release and licensed showing, like on television, always extends the time public is being exposed to the brand. It’s easy to see why Capcom would continue to invest into the Resident Evil movies. While they may not be all that great, they’re further putting exposure to the brand.

The games are still the main point, and Tsujimoto’s take that having something else to exist along the games’ three years of development is important to keep consumer interest relevant. The reason why so many game franchises fail to garner expanded audience attention is because there is no expanded media around them. You can argue that games can makes great sales on themselves and having targeted audience is great, but that really doesn’t expand the market all that much.

Japan manages to keep its brands relevant through numerous comics that adapt the games. These comics can run anywhere between few specialised chapters to years. Considering how much Japan reads, this is relatively traditional way to keep things in the consumers’ minds. In the West this doesn’t work as well, despite the latest Mega Man comic being excellent. The problem of course was that there was no Mega Man game to make use of it.

While this multimedia approach seems like done deal and what most companies do to some extent, this isn’t so. Vast majority of companies are more or less ignoring the world wide stage when it comes to their IPs. The few game based movies we’ve getting here and there have been less about expanded media and trying to capitalise on the Comic book movie boom that’s been so successful. These have been more or less failures, but as said, the brand just has to be kept relevant in the consumers’ minds. Twitch and word of mouth are good ways to get into the core consumer market’s mind, but this does not expand the market itself. This is Red Ocean, where companies cannibalise each other. Electronic games industry has to expand their market in order to survive and advance, and Capcom’s approach to expand the awareness of its brands into movies series like Resident Evil is doing just that. This is why we are getting the Monster Hunter movie. The game has a strong brand recognition, part of Capcom’s Big Four million-sellers, share the title with Street Fighter, Resident Evil and Mega Man.

Capcom notes that during the last gives years since 2014, the operating costs have risen. Monster Hunter World‘s success has increased revenues, but overall the trend isn’t exactly healthy. Capcom had almost a ten-year slouch between 2005 and 2015, and it is noted that sales declined in 2010. With constant major releases since 2014 has seen raise in net sales and thus in income. All this really means that Capcom has to keep releasing new and well developed titles at a constant pace, something that applies to every game company out there. More importantly, this does no mean the games have to be high budget, but we’re going to get to that a bit later. With Capcom internally reforming itself since 2015, things have become more rosy. This would sign that Capcom has somewhat new internal direction, which has resulted in successful titles like Resident Evil 7. Of course, the cost and workload of new titles on new hardware has been on a rising trend, but that’s to be expected if the company intends to push graphical and interface boundaries in their usual pace.

Hauhiro Tsujimoto, the COO, mentions that he intends to continue on Single Content Multiple Usage strategy. For example, Street Fighter V is a title like this, where the the base game is expanded upon rather than creating creating an additional, new title. He also mentions changes in the mobile market and specifically uses the term over-reliant when mentioning gatcha. Using lottery in the same context however would signify that in countries where any form of lottery is considered gambling and require governmental approval, these titles may be breaking the law. Tsujimoto also mentions that he experts esports to still have a rising market, something I do not share with him, considering the aforementioned SFV and Marvel VS Capcom Infinity have not exactly being mass successes compared to their rivals like Dragon Ball FighterZ.

Capcom’s further strategy to grow franchises as global brands is very similar to Sega’s on outer appearance. The major part of this is simultaneous launch of games across the world. Capcom has also taken steps to listen more to the consumer feedback, and uses how they approached Monster Hunter World‘s PC port’s problems solely based on user feedback. Beta testing was also important in making the title. All these have been more common among PC gaming, but considering how much modern consoles are dumbed down PCs, this only to be expected.

Another example with more robust examples is SFV. Server problems, continuing improvement of the game, expansion in esports scene and pricing strategies have all served the game more or less in a positive light, though the overall perception of the game is still questionable.

All this really amounts to Capcom aiming to iron out issues before launch and concentrate on consumer feedback whenever possible. The idea of One content Multiple Uses however does signify that Capcom will rely on digital distribution further, meaning future Capcom games of this caliber will be used as a base platform and you won’t be buying a full, one-package deal game, at least not on launch. SFV had an updated retail version with most additions included, but whether or not we can count that as a true new version of the game is somewhat an open question.

This also shows in Capcom’s financial strategy. Kenkichi Nomura, the CFO, mentions that Capcom intends to enhance their development environment and Digital Contents business. While this does not mean Capcom will cut production of physical goods, it does signify that the aforementioned plan most likely will be carried out with further titles in the future. However, digital titles do have longer lasting power thanks to them never really vanishing from digital stores, unless license runs out or the company goes down.

The most interesting bit of Nomura’s notions is in What is the status of Internal reserves and fund procurement?, where he states that game development has been on the rise since current-generation and multifunctional game consoles arrived. While it is natural for higher spec machines requiring higher development costs, singling this out is strange. Does this mean multifunctional consoles have some inherent in their nature that raises development costs?

Overall, it would seem Capcom wishes to further streamline their development process and eliminate  stuff that would only cause costs. Usual business, nothing special to see here. However, Digital Content will have further emphasize still.

Of course, Capcom can’t compete in the field without original content, and that’s something they wish to emphasize.

The three titles showcased are Devil May Cry 5, the remake of Resident Evil 2, and Mega Man 11. DMC5 is the weirdest example, mostly boasting about the RE Engine and how engaging the IP has been across mediums. It would seem that this is more a showcase piece towards the fans at its core over everything else. In contrast, Resident Evil 2 is used to showcase of constant releases of their flagship franchise. Both emphasize the level of realism in their own ways, making both of them graphical cornerstones in the presentation, and how proper utilisation of both recognized brands will make a mark on the industry.

Mega Man 11 however is the most interesting of the three. The foundation for Mega Man 11 was diversity; all the members had different histories, different views what Mega Man was and had a wide variety of experiences from young newcomers to industry veterans working on it. It is specifically mentioned that the game may not look technologically advanced, but is designed to play extremely well. Or as they out it, it is loaded with techniques that could be described as “master handicraft”.

Capcom has a thing for technologically advanced games and they’re not afraid to use it in their PR. Pushing boundaries has been their thing for a long time now as a company, but at some point this meant that games that could not really push boundaries were put on the back burner. Mega Man games do not require to push the hardware to the maximum anymore, and titles like Mega Man X8 arguably suffered from trying to make a big-budget Mega Man game. It would seem that the success of Mega Man 11 has made Capcom take notice of this, it being lower on the budget and relying on visual design and style over raw graphics power. Reawakening dormant IP is Capcom’s keyword for MM11, and if they were to follow in suite, Capcom could have a one-two punch strategy with high-end games accompanied by less costing games with higher emphasize on core design. Without a doubt the upcoming Capcom Beat-Em Up collection is testing waters whether or not they should dabble in that genre again.

This coincides with Yoichi Egawa’s foundation to produce World-Class quality and profitability. He puts Capcom’s thinking to simple words; first, if the game isn’t good, it won’t sell; second, if you don’t pursue global brands, you won’t survive in the game industry. Considering Capcom had a slouch where their game simply weren’t all that great, this would ring true. Capcom is also one of the few Japanese companies that truly try to keep itself on the global market, and ultimately modern Capcom has surprisingly low amount of Japanese exclusive titles. They were also publisher for titles like GTA in Japan, meaning they’ve been dabbling on trying to introduce Western games to the Japanese market as well.

In addition to this, Egawa wishes to create hot mobile titles (in which manner is open to question) and address development of esports and long-term sales model. This would combine with his wanting to further enforce online-multiplayer. Long-term sales can be tied to the Digital Content method discussed previously, whole esports and multi-player is directly tied to competitive scene. He specifically mentions having artisan pride in developing games, something which further has emphasize on how Capcom wants to approach their titles at this moment in time. Capcom, however, is still a corporation intending to make profit, but it would seem that they are a corporation wanting to make profit with master craftsmanship level products, but they can’t do that without proper personal and budget. Thus, hiring and training has to be considered.

As for Social sections, Capcom has initiatives to hire more non-Japanese and women. They have installed a system that enables workers to have childcare leave and shortened work hours in order to allow them to spend more time with their child after birth. This also extends to men, and there a number of male employees who have taken up on this chance. Capcom states that 21% of their workforce and 10.3% of their manager staff are women. None of this should matter in terms of business, only that they drive business up. This is PR however, and part of this PR is that Capcom has follow the General Employer Action, which sees women consisting 20% of the newly graduated staff and have at least 15% manager women. While this would fight against the idea of best first, it is probable that Capcom’s training program will level the new workforce across the board. Successful business tends to run on pure meritocracy, but it nice to see Capcom extending its child leave program across the board. How Japanese corporate culture sees this is another issue altogether.

Part of the social strategies Capcom is enacting attempts at revitalization of areas across Japan. This includes helping with events and business by paying money to advertise on buses and such, using Capcom’s characters to promote regions and include arcades in given areas. Similarly, Capcom has managed to cut out environmental loads via Digital Content and further promoting power saving methods across the company, but the most important bit can be found in their aim to reduce environmental impact of their Pachislot machines. If you follow any pachislot manufacturer long enough, you will see parts and gimmicks being redressed and recycled. There has also been a slight trend to tone down the flashiness of pachislot machines, which would save power further.

With that all the way, Capcom’s risk management pretty much covers everything discussed thus far. Expanding market, making their IPs more global, developing regions, stabilise revenues and so on. The weirdest bit is to expand on VR, but this most likely coincides with Capcom’s wishes to cultivate a VR game market in amusement equipment business, meaning arcade-specific VR titles. This probably is better option than to dedicate workforce on home-use VR.

There are few statistics that are interesting relating to risk management; used game sales in Japan are on a downward trend, mostly likely due to longer development cycles and increase of digital content, and arcades have seen ever so slight increase in users. Is there a generation that wishes to be play more outside of their home in Japan? This would require further studies and statistics to say for sure.

Further risks and responses are Capcom usual; create sequels or remakes on obsolete games, expand market and boost brand recognition if core consumer disinterest becomes relevant, expand game sales periods with sluggish sales, and establish recurring cumulative revenue models and expand to different media if decrease in users is met for more boost brand recognition. Risk assessment section is probably one of the more important parts, as it has to be straightforward, cutting away most of PR bells and whistles.

Capcom’s analysis on the game market shows that they see console and PC market overlapping. This is due to the overlap of titles released across the two, whole mobile market is its separate thing. The continuing rapid growth of mobile market is still present, but Capcom hasn’t had the best success with their mobile games due to their over-reliance on gatcha and the way how smartphone gamers tends to jump between games. Furthermore, Capcom’s lack of know-how in the market is marked as one of the reason why they’ve been failing on mobile while PC and consoles have seen increased revenues.

Capcom’s constant move towards more DLC in their One Content Multiple Uses philosophy comes from sheer sales data; DLC has taken over package game sales as of 2017 and is estimated to increase with time. Mobile market is estimated to rise on a similar manner, though it should be noted how fierce the competition ultimately is; vast majority of smartphone users that make revenue for the company reside in Asia. However, in terms of best growth was seen in PC market, mainly in China and other Asian regions, but unlike with smartphones, the rate of growth is estimated to slow down. The Western view of markets are a bit skewed, and what we see in Capcom’s analysis’ that Asian PC and smartphone markets are on the rise and making more profits than their bread and butter console games consumer market. Furthermore, Capcom intends to capitalise on esports’ rising popularity and they are intending to see it to rise as a valid new form of sports in order to further their sales in competitive titles like Street Fighter V. In addition, Monster Hunter World is effectively cornerstone in current mindset Capcom has, despite their initial hesitation whether or not it would be a success. The same level of emphasize on graphics and polish should be seen in future titles, like the remake of Resident Evil 2, though clearly Mega Man 11 is buckling this trend a bit.

The SWOT analysis is pretty much everything we’ve covered thus far; Capcom’s main strength is in strong quality development of titles and their own IPs, but at the same their weakness is reliance on specific genres. Overall, Capcom mainline library of current games has a limited scope in these terms, and they are more known for their action titles than anything else. Another weakness is of course the lack of any major success in the mobile market. However, the opportunities Capcom sees is in the decrease of competition, meaning that the titles they put out like Monster Hunter World have no direct competition. There are no games like MH that would be on the surface. Expansion of esports and VR are soon a market possibilities, though with the lacklustre expansion of VR market overall puts this into question. Main threat is noted as the diminishing consumer presence due to the increased presence of entertainment in general. The ways we entertain ourselves nowadays has changed since two or three decades ago, something the electronic games industry should consider a threat in terms of general market. Of course, in mobile gaming the sheer amount of firms and titles released is Capcom’s main concern, especially with them lacking in software and skills in the market.

tl;dr version

Capcom intends to increase brand recognition via movies and other forms of entertainment. There’s going to be more DLC in the future, as Capcom has taken the philosophy of One Content Multiple Uses. The success of Mega Man 11 has made Capcom aware of the their sleeping IPs’ values. Monster Hunter World will be used as an example how to go onward with business in the near future. They also intend to expand in esports scene to promote their games and wish to see esports recognized as legit sport. They suck at mobile market and still want a nice slice of that pie. They have an upwards trend in profits since 2015, and they intend to keep it going with titles they consider to be high-end and have a high-cost.

 

 

Sega’s Mania effect

So after couple of decades of failed starts, concepts thrown around and DMCA’d fan titles, Streets of Rage 4 is a thing that’s coming out. Finally, might I add. Sega and Streets of Rage fans, rejoice.

 

I have to say, these redesigns are pretty damn nice

There are three companies involved with the game, outside Sega as the licensee; Lizardcube, who were in charge of the recent Wonder Boy: The Dragon’s Trap; Guard Crush Games who have a history with beat-em-ups (or belt-scrolling action games if you’re Japanese) like Streets of Fury; Dotemu, who function as a publisher. Lizardcube is in charge of graphics, while Guard Crush Games handles the programming, though Dotemu has the handle on game design. This is pretty nice package, as Lizardcube has a pretty nice, French comics style that fits so many of these older titles’ revival, and Guard Crush Games seems to have a handle on programming just fine. Y’know, the hardest part of making a game.

I’m probably going to make a comparative post regarding the character designs, because both Axel and Blaze got a real nice new lick of paint.

There is exactly two things this game needs to do in order to be accepted by long time fans and be at least a relative hit with the general audience; faithfully replicate the Streets of Rage formula, and expand on it. This is effectively what Sonic Mania did, and it has been hailed as the best Sonic the Hedhehog game to date, which isn’t too hard to accept.

Which raises the question; did Sonic Mania‘s success kick this title off the ground? Both it and the new Wonder Boy were well received and raised new interest in certain section of older titles. Both of them function as data to further the idea putting the money and effort to realise a Streets of Rage title in its proper 2D mould rather than take the Final Fight route with Streetwise. After all, game genres don’t just die because new technology makes new genres possible with extra dimensions or additional gimmicks like VR. Despite how 90’s marketing wants you to believe, 2D hasn’t gone anywhere at any point. Sure, you the newfangled thing always gets pushed, but you can’t deny the customers the things they want. Just look at how well 2D Mario sells over 3D titles. That’s another dead horse I need to stop kicking.

All this data of revival games doing at least decently well is most probable reason Streets of Rage 4 got greenlit. Add Mega Man 11‘s upcoming release to the mix and we’re entering an interesting era, where old franchises are getting new releases in more budget range, but with none of the lacking elements. Hopefully more companies realise this; you don’t need AAA budget to make great damn games. Pretty much all of these classic franchises could be revived and developed at a fraction of the cost with modern tools. Easier to make profits. The only real problem is to deliver a wanted product, which didn’t really happen with the New SMB series after the first few entries. Once a franchise is revived, it needs to move forwards. Mega Man 10 failed in this term by simply being same thing again. We now have three Mega Man 2 games and that’s two too much.

Sega of course wouldn’t develop this themselves. They don’t care about the IP. Sega hasn’t given two shits about Streets of Rage since the mid-90’s, when they essentially gave the middle finger to the Western consumers. Eternal Champions used to be a big thing, but then Sega just neutered it. You can’t treat Japanese, American and European markets the same. Hell, you have to treat Europe as multiple market zones if you want to do it right. This was clear how Sega’s tactics with the Genesis in the US region only kicked off after the US branch pushed through their tactics of including a game with the console and marketing Sonic the Hedgehog their own way. If most of the data is to be believed, Sonic‘s been the most popular in the US. Sadly, Sega of Japan’s management killed all the motion their American and European sections had going on, effectively beginning their own downfall from grace. Westerners do classic Sega better than Sega themselves.

Streets of Rage 4 probably won’t be as large a success as Sonic Mania. If the game gets a physical release afterwards its initial digital showcase, we can deem it successful enough. If it gets a physical release from the very beginning, even if it was a Limited Run title, then the developers and publisher have boatloads of trust towards their targeted consumers. There are enough Sega fans that would purchase this title in an instant.

While Sonic Mania was clearly an international title, a game that didn’t have any specific region in mind, the same can’t be said about Streets of Rage 4. Both Guard Crush Games and Lizardcube are European companies, and that flavours oozes through in a very positive manner. Hell, even Dotemu is based on France. I hope they shower more than the average French. However, that probably will rub some people off, as Streets of Rage originally had a very American atmosphere to it, especially considering it was inspired partially by Streets of Fire. Hell, Blaze’s design is essentially Ellen Aim with more streetwise to her. The bits about Sega not giving a damn about the IP still stands, and their actions towards Western markets have been changing only during the last years. The Yakuza franchise is a good line to follow modern Sega in this. English dubbing usually drives sales, but there are titles where this isn’t case. Yakuza dropped this in favour of cheaper releases and simply because the fans didn’t like it. Despite Sega censoring and removing elements from some of the games, the audience kept growing. Despite this, none of the spin-offs outside the zombie romp got localised. Now that the Western audience has grown far greater, Sega’s taken the series’ position in the market into notion with better releases, and now is even considering publishing further remasters and spin-offs in the Overseas regions. Sega of Japan is slowly but surely taking a notion of Western markets.

If we’re going to go down this path, it’s relatively easy to see Sega considering the wants and needs of the Western markets to some extent. The IPs they’ve been giving up and ignoring still have a strong consumer base with nothing to fill that niche. A high quality title here and there goes long way in making profits and keeping your fans happy. I would say Altered Beast and Golden Axe could be next on the list of revivals, but seeing how terrible their last titles were, there’d be a lot of work to fix those damages in the eyes of Sega themselves.

Music of the Month; Give it a Shot


Funny that, this is the best song on the album. Otherwise it’s extremely disappointing

Generally speaking, I don’t do music album reviews, but for this once I’ll do a short exception; Rockman X Anniversary Collection Soundtrack is not worth the price. Outside the two versions of Give it a Shot and RE;FUTURE, the album’s pretty bland. Spending track space and time to remix six first games’ Boss Battle themes. These were clearly chosen because they could been easily selected over stage themes. If we’re completely frank, the Boss Battle themes are not the best parts of Mega Man series’ soundtracks. Most of these songs simply end up being grey background noise. This is a far cry from previous releases’ quality, like Chiptuned Rockman.

Speaking of reviews, you got two last month. I’m not exactly happy how either of them turned out (though I never am with my posts) and I know the end result of the Muv-Luv Kickstarter goods did give rather negative view. However, that’s mostly due to how high standards I tend to use in my reviews. If there’s something I see that could or should have been included or improved, I aim to mention it. If there’s a point of comparison to be made for improvements, I always aim to make that comparison. In that, the aim often is to give constructive criticism, the kind of I’d want to have. It’s no use calling things shit or terrible, it ultimately ends up meaningless jabber. While improvement suggestions are always welcome, those should never be expected unless separately requested. This may sound harsh, but the reasons why something may be lacking don’t matter, as this can lead into further questions. Too many times I’ve seen and experienced people pointing the lack of experience for a reason why something is lacking in design, which always follows with questions like Why didn’t you hire a professional then? or Why didn’t you find professional to help? The reasons, ultimately, don’t matter. They can make interesting trivia though.

The JoyCon review was approached the same way. However, a controller review has to take into account ergonomics, and this breaks the whole Why isn’t necessary question thing into the air. There I tend to look for why certain shapes were made in the form they are, and often the answer is to conform to the general shapes of hands. It’s not exactly the same question or reason, but close enough for some people to bring the point up.

Pachislot Rockman got announced and we’ve got our first look at some the characters somewhat recently. I’ll be doing a comparative review of Mega Man’s redesign, just like how I did one on the Man of Action cartoon design. While we don’t have multiple angles to use, the one in the linked page is more or less enough to get a good feeling what elements were incorporated across the franchise. Pachislot and pachinko machines tend to redesign characters, sometimes to very large extents, but often do keep the core aspects intact. To use an example, CR Cutie Honey has designs that combine some previous series’ entries into one with healthy dose of detailing. People who handled this knew what they were doing as well, as the bunny girl form is named Cutie Bunny.

As for the rest of the month, I’m planning a short overview on what are Lunatic Dawn and Exogularity booklets âge is self-publishing at Comiket. I should not be surprised that the fandom seems to have taken Exogularity as the title for some story or setting, when in reality Exogularity is rebranded Lunatic Dawn. Well, I guess that’s it, they’re both source books with different names. The actual post will have examples, of course, but that’s the gist of it.

You’ve probably noticed how weekend posts have been appearing on Sundays recently rather than on Fridays. This is me moving towards the new schedule I mentioned a month ago or so. I’ll take this chance to also mention that there’s no post next weekend, as I’ll be away. Truth to be told, I intended to write this post for Friday, but thanks to rain I fell ill. My fever’s not going down, and I’m actually writing this on a phone. You can see the irony here, as I’m giving you a Why despite my arguments above stating the contradictory. Well, I do think there’s a wide gap between a KS and this blog.

Remember to sharpen and oil your kitchen knives and such. Cooking will be much safer and enjoyable afterwards.