Nintendo itself is not the brand

Neither are their developers or any of the individuals we see on streams and in interviews. Nintendo’s value as a brand goes up and down according to what they do. While branding is often given to the visual design and flavour of a company or a product, everyone knows branding is a lot more. If not consciously, then through unconscious osmosis of simple consumption of products. Brand goes hand-in-hand with reputation and the perceived value of the product produced by the company. Naturally, the product’s perceived value colours the value of the company.

It is extremely easy to make your product to look bland, and once you’ve made that misstep, it’s hard to recovered. Mass Effect Andromeda is extremely bland bland game and thus its perceived value is low. Patches only help so much, and PR is what the publisher must do in order to recover from the failure. It’s even worse if the fans lose their perceived value on the game, and that takes some effort to do. Like making your characters hold guns in reverse and essentially making it inferior to the first title in the series. Much like other AAA video game titles, it’s a very bland, very grey product.

What brings colour into a product is disruption. Nintendo has a history of heating up the Blue Ocean and disrupt the market with coloured products, though they have a history doing very grey products that wallow in the Red Ocean as well. The Switch, as it is currently, is about disruption in the video game industry. Unlike Sony and Microsoft, Nintendo went with what probably is the future of console gaming and created a hybrid system.

To use car industry as an example, Volvo’s brand is security and safety. Their cars are not the most exciting things in the world, but they are very trustworthy overall and suit the best for everyone. Until somewhat recently you couldn’t find a car that would move away from this branding from their main lineup. This is because Volvo has begun to change this somewhat bland yet trustworthy brand image of theirs with premium cars that offer more exciting cars. Their image is not safety, but the content with the car and the options you can have.

Nintendo’s brand has been perceived similarly as kid’s and family’s console to play. A Nintendo console usually has a good variety of games for everyone to play, whereas Xbox is a first-person shooting game wet dream in console form (though that has been severely diminished with the lacklustre recent Halo titles) while Sony is that black console cool kids who like hardcore games go for. The original PlayStation followed Nintendo’s branding as a whole family’s future generation console, but at the same time used Sega’s not-just-for-children approach. While the PlayStation had games that kids enjoyed, it also had titles like WipeOut that hit the cultural club scene if the latter 1990’s. The N64 on the other hand wasn’t everybody’s console due to the sheer shit tier library it had. Saturn was ever successful in Japan and was mostly staying within then-passed arcade port title. As much as it hurts Saturn and Dreamcast fans, arcade ports didn’t cut it any more at that point, and arcades themselves were starting to die out.

People don’t just buy what companies are selling. They buy the perceived product the company is selling. Shit in a can isn’t perceived valuable, but when an artist does it and sells it as art, the perceived value among certain crowd skyrockets.

Nintendo Switch currently has a highly regarded perceived value because of The Legend of Zelda: Breath of the Wild. No other title is driving its sales as much. 1-2 Switch is a joke, though the new Bomberman seems to have gone through a rise in perceived value after the latest patch. The Switch is currently the prime example how game industry and the Red Ocean consumers don’t get the market worth jack shit. As I’ve mentioned before, the Switch was proclaim dead on arrival and that its weak hardware wouldn’t be able to do anything. Yet, BotW alone is driving Switch’s sales. This is what a Zelda game is capable of when it is allowed to be true to the series rather than just a puzzle-dungeon game. Less Aonuma there is with Zelda, the better it gets.

It doesn’t matter if you personally think that these people who bought Switch and are enjoying its games are normies or have shit taste. They are not the deviation of the form, but the rule. The AAA game industry might shove millions into a game production and barely make even with the Red Ocean consumer, who seems to be easier consumer to please and pull money from as the Red Ocean is filled with competition. Developing and releasing games and consoles is hard work, and while it can be understood why Red Ocean developers want to stick where they’re most comfortable at (of course, with no expanded life experiences outside games, how could you even imagine developing game for the Blue Ocean consumer? Shoving an agenda to the player’s view is the last thing they want) and this is why even 10% drop in sequel game’s sales will put alarms on. Despite millions being in play, even the slightest change will throw the finely tuned balance off.

While video game industry is creative, it is service industry. If you want to use this sort of comparison, video game developer is on the same level as a burger flipper. Developers’ job is to serve the consumer and their needs, it is the consumer who ultimately decides whether or not your product is good enough to be purchased. You can work your burger however well, but if the consumer doesn’t want it, the onus is on you. Not on the consumer.

Nintendo’s last three home consoles show how their disruption coloured their brand. The Wii , as much as the Red Ocean hates it, was a massive success because Nintendo didn’t stay with the comfortable Red Ocean market. The Wii U was made for the Red Ocean, and it succeeded worth jack shit. Hell, it was pulled from the stores to make room for the Switch, which again has disrupted the industry and hopefully will continue to do so with both low- and high-end software aimed for everybody.

Switch inherits Wii’s philosophy

Nintendo Everything has an interview up on regarding the inception and design of the Switch. We’ll take it at face value for now, all this sort of interviews are mix of hard facts and PR after all. It’s a bit on the long side, four pages in total, but a good read nevertheless.

The first thing they quote with big blue font is how the Switch was designed to bring everyone together and play. Remember Wii’s We’d like to play ads? The Switch encompasses the same idea, which incidentally is shared with the NES (which they specifically mention and want to go way back to the hanafuda cards) and to some extent with the SNES. Can’t forget the Game Boy and the DS. It’s sad to see Koizumi saying that playing together is core essence of Nintendo, when they’ve done so much do disregard this. It is also not the full extent of Nintendo’s core, but this is neither here or there. What Koizumi is saying with his little speech about getting strangers into gaming is expansion of the market, something that Nintendo’s successful consoles have done.

The idea of Nintendo’s home console being a device that could be turned into a sort of game-presentation/sharing device on its own probably shaped the console all the way through the development. The Switch is chock-full of technological things that aren’t really needed, like the HD Rumble that the upcoming Senran Kagura is probably going to use somehow to imitate the physics of female body. The split wireless controller would’ve been enough to allocate this, but Nintendo does have a history of obsessing with useless WOW!-factors, like the 3D screen on the 3DS or the tablet controller on the Wii U.

While the Wii wouldn’t fit into this console-presenter idea, it had much easier time penetrating the wall that modern controllers put up. The Wiimote is an easy contraption to handle and use, which made the Wii an excellent console to boot up and have people playing games without worrying much how to control a given game. The rest was up to how well the game itself was designed. There certainly was a WOW! factor in Wiimotes without a doubt, but at least they saw use.

I should note at this point that the Switch is mentioned began development about three years ago. This is about the same time Nintendo’s main support on the 3DS and Wii U started lacking in major releases (or on VC for the matter) and fits their modus operandi. Just like with the Wii and previous consoles, about half of the predecessor’s life cycle is dedicated for the development of the successor.

Both Takahashi and Koizumi mention how Iwata helped them with engineering challenges, as both of them have design backgrounds. While they paint designers’ life as a daydreamer, it’s much more closer to constantly trying to solve a puzzle but having jack shit idea how to proceed. You just gotta make things work, and it helps if there are people in your team who can tell you what’s possible and why. Giving a designer total freedom only asks trouble.

I’m also calling bullshit on the fact that single-player games saw a rise on the N64 because only one controller was included. Knowing how Nintendo has gone on the record how they don’t follow their competitors’ actions (which is probably bollocks as well), how can they determine whether or not N64 was the reason for this supposed rise in single-player games? If Nintendo is worried about lack of multiplayer games and support this view, they should’ve dropped the price of their controllers and adding multiplayer elements to games like Super Mario Sunshine rather than bitching how third party is doing the same. It could be also argued that a game that can be played both single- and multiplayer and can stand on its own in single-player mode is superior to a game that requires two or more players at any given time.

Naming your product something that could attract the consumer is no easy deal. Sometimes you find a perfect name that has nothing to do with the actual product, like how Uncle Ben’s has nothing to do with rice, yet it’s a good name due to branding and all that. A PlayStation does give some hint what done with it, as does GameCube. Switch on the other hand doesn’t, but with the marketing and branding Nintendo’s doing, the idea of switching things up on the fly seems be associated with the system. Whatever else they had as candidates would be interesting to see, but at least it’s something simple and memorable. Like GameBoy.

One thing that will make the Switch stand apart from its competitors… actually, I’m not sure if the Switch has any competition per se. Because it’s a hybrid console, it doesn’t compete in traditional game console field. It competes against whatever Sony and Microsoft will dish out next, but they’re on weaker legs due to decentralisation of home entertainment. On handheld markets it has absolutely no competition with Vita being dead in the water elsewhere but in Japan. I hope you like importing for that little bugger. What a load of wasted potential Vita was. Whatever it is the competition will offer probably won’t be a pure bred game console. Consoles as home media centres is a ruling paradigm Nintendo has mostly gone against, and the Switch continues to do so. It’s main thing is to play games and dammit it needs to do it fast.

Takahashi’s argument that they didn’t want to fight smartphones and wanted to make friends with them makes no sense. Nintendo’s games and smartphones are two different markets, but I guess this is where the whole DeNA thing steps in. The whole social media aspect is what they gunned for, and seems to be the reason online chat and numerous other aspects of their online seems to be less than screwed up. Now that their online will actually cost money, I really do hope they’ll up their game in every aspect. I know it’s a futile wish, but it’s good to live with hope.

Nintendo also knows VR is terrible but still claims to be researching in it.

What strikes hopeful in Switch’s development is that it took in young people, to an extent. While it is good to take in new blood in order to rejuvenate your company and get in some new ideas, this is a generation that has lived with game consoles their whole lives. Unlike with the first three or four console generations, there is a preconception with high-end consumers what a game console needs to be like nowadays. It’s like how Zelda fans who jumped unto the ship with Ocarina of Time tend to rewrite Link’s Adventure as some sort of terrible aberration from the form. That’s Majora’s Mask.

Perhaps the last bit that garners a mention in this post is how Takahashi agrees that Switch should have more software than what was on the Wii or Wii U. Wii might be a bit hard to overcome, but Wii U’s statistics aren’t anything to write home about. Bloomberg seems to think that the Switch will sell more than the Wii, which is a tall order. While the initial reaction to Switch was essentially the same as with any other successful Nintendo console, i.e. dead on arrival, its sales show otherwise. Because the Switch sits in the handheld console market, it has the possibility of selling higher numbers than the Wii without a doubt. If it hits both home console and handheld markets with equal force, it’ll outsell the Wii. If the devs have games half-assed, it’ll sell less.

The Switch had a similar launch to the DS. It was big, with big sales left and right. Then came about a year long slumber, after which it was revised as a portable SNES of sorts. The Switch could have a similar cycle, where after this big start it trails off, and when enough and certain kind of software is release, blows up in sales again. Most likely during a holiday.

Thousands of failures

Great design is like great translation; you don’t notice it unless you make the effort. The problem with this assumptions is that there is no design that would have universal acceptance. Let’s use something general as an example, something most of you use in your daily life, like a cupboard handle in your kitchen. Now that I’ve mentioned it, you’re probably conscious on of its shape but may not really know how it feels in your hand. After all, it’s just a handle you pull and push every day, probably multiple of times. This handle may be very ornate or just a simple shaped metal arch, but this handle is something you never really should be conscious about. At least not after you’ve finished your kitchen renovation that took ages, made your wife mad and probably ended up costing you an arm and a leg after you managed to screw up the installation process early on. There are more fitting handle shapes than there are hands, because the hands we have all can accept more than just one shape. We just tend to notice when the handle doesn’t really want to work with our own.

The numerous handles does not mean that there is an equal amount of successes. While there may be thousands of handles that fit just perfectly, the reality is that there probably has been five times or more discarded pieces that never moved beyond prototype phase. And sad reality is that some of these protos probably were better than the final product. For each successful product there are tens if not hundred unsuccessful attempts.

Even the most seasoned designer will make missteps and sometimes fails to realize what is self-evident to the consumer. This is why prototyping and giving enough time to finalise the product is incredibly important. Not just in design, but in every field. Sad thing is that no product is truly ready and will have to be released to the wild in good-enough state. Sadly, with games this good-enough has been lowered to many times that games are essentially being released half-finished in order to hit the publishing date, and the missing content or known bugs are fixed through Day-One patch. God I hate Day-One patches, it never bodes well.

How does a designer know he screwed up? In game industry it’s pretty clear, when the consumer feedback can be directed to the designer through forums and social media. Sales is second, but that only tells you that the product wasn’t met with the best acceptance out there. It’s not exactly easy to pinpoint why a kitchen handle didn’t make a breakthrough in the market, but we have to allow some leeway here; kitchen handles don’t tend to sell tons after initial launch. They’re not something people need to renew too often. If ever.

The easiest way of knowing what went wrong with a design would to have the user tell you outright. For a handle, where it chafes, what wrist position it does wrong, is the surface too sleek to cause slipping and so forth. Not exactly rocket science, but general consumer doesn’t really care to give such a feedback. Then again, door handles really aren’t a million dollar business, so losses from more experimental and niche products isn’t a big deal. The good old and time-tested basic shapes still rule the market.

Feedback is something all designers should want. I say should, as this splits opinions. To some a finalised product is as intended and it fills the role it has been given to. There is no reason to go change the product afterwards, no matter what the feedback is. Sadly, this doesn’t really bode well, and I’ve seen few companies go bankrupt due to the people in charge unwilling to change aspects of their products. After all, design isn’t art and doesn’t require the same respect of author’s intent. This goes to visual design as well, e.g. web design is very dependant on how the consumer can navigate the site. I’m sure all of us could give loads of feedback to websites about their current designs.

However, as said, the consumer isn’t really willing to give feedback, not when it’s really needed. The skill to read this feedback is important as well, as feedback on a product is not a personal assault. One needs to be professional and distance themselves properly in order to read through some of the harsher bits. The difficult part begins when you start applying that feedback and may start noticing that the very core idea of your handle had is slowly being discarded in the re-evaluation and redesign process. This can lead to more prototyping and more discarded pieces, but this sort of thing happens only to something that’s absolutely required for a task, like how the Xbox’s controller got completely redesigned for the Japanese market after the hulking beast of a controller got some feedback.

Of course, when you have no feedback to go outside sales, you’re forces to analyse what went wrong. Unless you have some people around you to get things re-tested or even have money to hire a test-group. Sometimes self-evaluation is cheaper and more effective than general feedback when the faults are apparent (though you never thought them up before even when the faults were staring in your face) and relatively easy to fix.

If a designer (or a company) manages to roll out a second, updated version of the product and makes their initial one obsolete, the initial release has been essentially trash. There’s no way getting around it. Even with best intentions, with loads of time put into and a lot of polishing on a product, a failure is a failure and one just has stand up and own their mistake to learn from it. Everybody is allowed to make mistakes, we just need to learn from them. A designer can’t continue to create products that repeat the same mistakes, like a cupboard handle that has sharp enough corners to cut your hand open when grasped.

A delicate piece of hardware

Much like with other modern technology, we’ve managed to squeeze more into smaller space. The laptops or pads we have nowadays are engineered to a point that barely anyone can open up their cases and fix them without further studying on the subject. Game consoles aren’t any different, though the PlayStation 4 is almost as big as the original Xbox. It wasn’t until we began to have consoles that began to show easily damaged sections in the mainline consoles. While the PlayStation could take some hefty damage (personal experience tells me it can survive a trip in a lake), the PlayStation 2 could be damaged by having enough weight at the wrong spot. This was the time when PCBs started to become thinner and more packed up with components downsizing with almost each year. You could lob a NES or SNES outside a window have it working with a cracked case, and the same really for the PlayStation as well. Personal experience, don’t ask. PlayStation 2 however was the first truly delicate piece of hardware that in the end begun to have issues with reading the discs. Sometimes from the very beginning.


Goddamn, this video came out sometime early 2000’s. Takes me back

Nintendo’s consoles usually have been durable, especially their handheld consoles. There has even been discussion how Iwata drove the DS’ tech team mad by demanding the console to be able to withstand multiple drops from a standard height.

However, the more we pack delicate technology in a smaller place, the more easy it is to break it. While most people fellate companies over the hardware, it’s uncommon to see anyone appreciate the design and intentions of the design. The PSP was applauded for its higher raw power over the DS, and while it was snazzy to have in your hands, it was a delicate piece of hardware that could break down very easily. The console wasn’t meant for everybody, and much like how SEGA used to sell Mega Drive for more mature gamers, SONY’s western branches clearly had the more adult audience in mind. The PSP really couldn’t take much damage, I’ve had to fix a few. The same applies to the Vita to some extent, thought the Vita seems to be able to take a beating or two more than its elder sibling.

The Switch has been out only for a while, but it’s already showcasing very erratic behaviour. Some have it going completely mad in sound department, some consoles refuse to launch games, connection issues with the controllers, and the screen’s been scratched by the dock itself. I saw the dock scratching issue the very moment the whole thing was revealed (it had no guiding rails to keep the screen clear), but having a plastic screen is a necessity. Why wouldn’t you want to have a glass screen? They’re so much better! The reason for this is safety and durability design. See, when you have a plastic screen, the console can dissipate a fall impact by wobbling around rather move the energy directly into rigid parts, destroying them. The very reason your phone’s screen shatters so easily is because it can’t bent, and the energy from the is released by shattering. It’s a design decision between durability and looks.

To sidetrack a bit, this really applies to Muv-Luv‘s BETA as well. The Destoyer-Class has a shield hardness of Mohs-15, but because that’s hardness topping that of a diamond, their shields should shatter when shot at. They don’t flex when hit due to their hardness. Mohs scale is for mineral hardness after all and should never be applied outside jewellery.

Newly borked devices is nothing new, either. The 360 had firmware issues since day one, and the infamous Red Ring of Death haunted machines every which way. Hell, the 360 may be a good example overall how to fuck your console from time to time, as some of my friends have told me their 360 crapped out because of an update. For better or worse, my 360 hasn’t crapped out yet.

No modern console is truly finished at launch. Firmware and software issues are relevant and will be patched out at a later date. This is largely due to modern technology. A Mega Drive never needed firmware patches, because it was less a computer than the modern machines. Whatever problems with the firmware Switch has now will be patched at a later date. However, the hardware and design problems are harder to fix, and if Nintendo is anything to go by, they may revise some of the designs in later production versions.

Though there really isn’t any good excuses to use paint coating that peels off with stickers. That’s just terrible. Who puts stickers on their consoles any more? You’d be surprised.

The first wave of adopters will always have to go through the same pains with modern technology. New smart phones and tablets suffer from firmware issues to the point of most common consumers willingly buying last year’s model in order to get a properly functioning device. The price has already dropped at that point too. Apple has been infamous with some of their smart devices’ firmware problems, and sometimes they were removing basic utilities from the hardware alone. Nobody really expected iPhone 7 not to have a headphone jack.

The question some have asked whether or not it’s worth buying a game console, or any modern smart device or computer component for the matter, if they require multiple updates months later down the line? We can’t see into the future, and it’s hard to say what device will go through a harsh update cycle. Essentially, you’ll need to look into history of a company and make a decision based on that. Just trusting that a company will update broken parts is strongly not recommended.

I guess releasing things partially unfinished and patching them up is an industry standard practice. Games get patched to hell and back, and while this isn’t much new for PC side of business, it’s one of those things that show how little of classic console business is in modern consoles. Not all games get patched though, even when they have console destroying bugs in them. NIS America’s track record with localised games that supposedly lock permanently and prevent you from finishing the game, break your console or generally have terrible translation would a perfect chance to use these patches to fix these issues. However, unlike with consoles and other devices, game developers can ignore these problems as the purchase has already been made and they probably are banking on hardcore fans.

Not that any product is final when it’s released. All products are good enough when released, but that good enough has seen a serious inflation with time.

Hard mode is now DLC

So I was intending to leave this Friday’s post on a somewhat positive note on Switch’s possible future after reading Shigsy’s interview with Time. The largest positive thing here is that Miyamoto slightly hints that the Switch in few ways seems to be Iwata’s final piece, giving feedback on portability and ideas in networking and communicating. How much of the current networking elements are from Iwata and how much is made disregarding his feedback is an open question. Iwata spearheaded the Wii and the DS, and if the Switch is anywhere near them in terms of idea and approach, then the Switch will definitely do better than the Wii U. Not that doing that should be all that challenging.

However, Miyamoto also speaks of virtual reality again. In essence, Nintendo is looking into VR at the moment, which ties itself to the obsession of 3D Nintendo still has. If you look how long Nintendo has been pushing the idea 3D with games, you can trace it back at least to Rad Racer if not further. You could almost make an argument that the more Nintendo tries to push 3D and VR as the main element of their machine, the worse it does.

VR currently has gone nowhere. After the initial boom of Virtual Reality, nothing has come out of it. No software has changed the industry or has set new standards. We’ve been told that VR will be at its peak in few years for few years now, and this repeats every time a VR product comes out. It’s not about lack of marketing or failing to market the product right. It’s about the common consumer not really giving a damn about t he VR in actuality, and most VR headsets we currently have are far too expensive for their own good. None of them work independently, which only adds to the costs. They’re a high-end luxury product at best with no content to back them up.

That said, Miyamoto cites Iwata talking about blue ocean and red ocean marketing, two points that his own actions seem to dismiss most of the time, but does commend Iwata for bringing this ideology to the front within the company. To quote what Shigsy said;

This is something that Mr. Iwata did, to really link the philosophy of Nintendo to some of the business and corporate jargon, while also being able to convey that to all of the employees at Nintendo.

Iwata had a presence both with the company and consumers. While Nintendo had few faces after Yamauchi, Iwata stood out. He was the company’s corporate face that managed to juggle between worlds. If you’re a fan of his, you’ll probably find elements in the Switch that underline Iwata’s approach as the head of the company.

Nintendo has many faces now that Iwata has passed. It’s not just not Miyamoto and Iwata any longer, but numerous of their developers have come to front even further. It’s like almost each game or franchise is now attached to a face. Like you have The Legend of Zelda tied to Aonuma.

The recent BotW announcement video killed pretty much all my personal hopes for the game being something special, mainly because it confirms that even when Aonuma is wearing something that resembles a suit, he still comes off sloppy. Still, the video does right by having subtitles instead of him trying to speak English.

The fact that Hard Mode is now DLC signifies that Breath of the Wild won’t be Zelda returning to its glory days as an action title that requires skill, but it’ll continue being a dungeon puzzler. Whether or not these DLC packs are an afterthought or not, it strikes very worrying. The Legend of Zelda had a completely new quest after the first round. Aonuma saying that they’d like to give seasoned veterans something new and fun is outright bullshit. New Items and skins don’t add to the game but in miniscule ways. A Challenge Mode was in previous Zeldas from the get-go. Additional map features do jack shit, unless the base map is terrible in the game. New original story and a dungeon with further challenges are nothing new or exciting. These are basic run-of-the-mill post-game stuff Zelda used to have. Modern Zelda tends to have a terrible replay value, but this DLC announcement hints BotW has worse replay value than normal.

I guess this shows how Nintendo is going to deal with the Switch overall, at least after the launch. The Switch requires extra purchases to be complete, like to purchase the Charging Power Grip because the bundled ones don’t charge. The game industry has been blamed for cutting their games into pieces to sell as DLC, and it really does feel like that at times. DLC is often developed with the main game and nowadays DLC is planned from the very beginning. Taken this into account, with the announcement video with Aonuma Nintendo effectively showed that they took parts that used to be standard parts of modern Zelda to some extent and made them DLC. The veterans they refer to are core Zelda modern fans.

Nintendo can’t have two dud of a console in their hands now. Twenty years ago they could have N64 under-perform when it came out much later than it was supposed to, and GameCube couldn’t stand against the rampaging truck that the PlayStation 2 was. The economy was completely different now than what it was in the late 1990’s and early 2000’s. The Wii U was pretty much a disaster, but perhaps even more so that the Virtual Boy as it was Nintendo’s main home console with full backing of the company in the vain of two of the most successful consoles in game history. Granted, not all machines can see the success of Game Boy. They could, if developed properly and the software library would see proper maintenance from the first and second party developers.

I’m still going to stick with Switch being more a success than the Wii U. However, if Zelda BotW is any indication for the future, there is a fly in the ointment.

Reprints and the aftermarket

In the wake of good news from the good ol’s Sega, they seems to be intending to further promote Yakuza in the US by doing a reprint run of the first four games. Reruns are good and bad news to collectors. Those who misses the original run can pick up these sort of games and enjoy them good as new. Then there are those who would hoard them for future sales who buy them amass. Scalpers, if you were to use the bad tongue.

The game aftermarket is bloody battle, and certain fields are largely controlled by a group of individuals. There are those who collect games in mint condition to use in the future as the basis for higher priced sales. It’s not an unknown tactic to buy the market empty of loose cartridges to eliminate competition, thus causing a shortage of supply to already supply diminished market.

Not that there isn’t anything wrong in that in itself. It’s the buyer who is stupid enough to pay extraordinary prices.

You're asking what now?
You’re asking how much now?

I picked up Battle Mania Daiginjou for some 200€ some years ago, and that was a stupidly high price. A reprint of the game would in place, but a reprint to a dead console like this is less than likely. But Aalt, why would you repress PS2 games then? Because pressing DVD is so much cheaper than mass producing plastic shells and PCBs to run a cartridge based games. As a side note, we’ll get back to this series on a later date in form of a review, and I’ll be revising Daiginjou‘s old review.

Some people were guessing that digital redistribution of games would bring down old games’ prices. Either it had no effect on the aftermarket or  raised prices further. In principle, there are more games available now than ever before in digital format for consumers. However, the core collectors who want the real deal, so to speak, are more or less willing to dish out the dosh for whatever. That’s pretty unhealthy, but such is the nature of a collector.

This is one of the reasons I don’t personally believe that physical distribution will die out any time soon, if you allow me to step outside my own rules here. As long as their collectors and people who wish to gain control over what they put money into, or value an item enough to wish to have total control over it. Not all people are comfortable with the idea of allowing another to have total control over their purchased goods. However, it is undeniable that digital distribution does cut down multiple factors in inconvenience, through the pricing overall is still overt, often meeting with physical releases’ prices. I’ve been told I’m wrong when it comes digital distribution for good decade now, and I’ve yet to see digital distribution killing the physical goods market. Diminishing it perhaps and taking its slot in there, but not killing the market overall. Of course, not all games have seen official digital redistribution, something that is extremely unfortunate. However, it is something we have to live with, especially with so many titles having their source code missing.

To get back on the subject, reprinting Yakuza is a rather clear sign from Sega what consumer market group they are targeting. It’s not the general public, but the collectors, red ocean gamers and Japanophiles. Let’s not forget the people who got into the series during PS3 games, who never managed to get their hands and play the first titles. The Yakuza games weren’t exactly hot sellers and ended up warming the shelves long enough to cut the price at least 80% in rather short time. The supply was rather large in comparison to the demand, but it seems that part of them were moved away from the circulation. In Japan the series is far more popular than in the West, and banking current fans and niche audiences is Sega’s best bet to have the series be successful.

Furthermore, the Yakuza series has not been through the best of localisations. Whatever you think of the first game’s dub, it was a fair attempt at making the game more open for the general public. The second game wasn’t tampered with, but pretty much all the rest of the games saw removal of minigames and missions to some degree, up until the latest titles. Whether or not we believe Sega’s statements why content was cut from the games, they didn’t really give them any positive press and seemed to affect the sales to some extent, considering these same niche audience that are their main target audience currently tends to prefer their games in more untouched form, head petting games intact and all. I can’t fault  them, I share their sentiments for my own reasons.

The question that rises from here whether or not it would be worth to run reprints on more games, even when the price might be higher. It’s not exactly an easy question from the consumer point of view. On one hand we do have collectors and retro collectors that would gladly purchase a new print of some high-calibre NES game like Super Mario Bros. 3 or Castlevania III, both games that tend to run at a higher price. The price would need to be gauged beforehand and probably be handled through a sort of pre-order similar to Kickstarter to meet up the costs of running a new production run. That is if we assume that we would replicate the original NES carts. As we’ve seen with 8bi Music Power and Kira Kira Star Night DX, there are more cost-effective alternatives. However, if we assume SMB3 would get this sort of reprint through modern technology, there would be split between the consumers; those who would like to have the “original” release and those would be “satisfied” with the reprint. In reality, both would be Nintendo produced official version of the game on NES. The semantic of what’s original and what’s not is strong with collectors, and these tend to drive up sales. NES is a prime example of a system to which people want to collect, and its partially because of its large library of games.

The retro game market may be skewered to hell and back, but that seems to be natural progression of valued old products market. It’ll take few decades before video games would be appreciated as proper antiques.

Ageless games across generations

Video games have more in common with hide-and-seek than with movies, literature or music. This is due to video games, and electronic gaming in general, being the latest iteration of play culture. As such games of the past, be it the NES or Atari era, still find home within the new generation of consumers just as easily as any well planned out children’s play, game or even sports would. Only in video game industry we hear something become obsolete because of its archaic technology or because we have that aforementioned new generation. Soccer, basketball and numerous other sports still are around because they are ageless because each of them has been passed down to a new generation, just as children’s plays are.

Children will invent stories as they play along, be a costume play, playing with figures or something else. While there is a rudimentary narrative running in these plays, playing is the main thing. Electronic games, both PC and console games especially, are largely a legacy of these plays. The problem with electronic games is that they are static and can’t dynamically change as the player wants. This is why more varied games are always needed and the more unique titles we have, the better. The Legend of Zelda and Skyrim may be based on a similar notion of a hero in a fantasy land, but their realisation is different and serve different purposes. On the surface the ideas and even core structure seems similar. The reader already knows, the two games are vastly different in how they are played. Just like how the narrative in children’s plays are to enforce the action of playing rather than being the main thing, so do games use narrative as a support for playing the game. Changing it otherwise undermines both playing and gaming.

An ageless game will sell to future generations despite its technological backwardness. This is why emulation will never cease to exist, as anyone who knows the basic use of a computer and reading comprehension probably has already fired up at least one sort of emulator. As an anecdote, I’ve seen people as young as seven doing this without any outside help, and they enjoyed playing Super Mario Bros. on JNes. Why Super Mario Bros.? Because Mario is still a cultural icon, and using a Nintendo system most likely the one thing that people go for first. Not because of the modern entries in the series, but due to how large of an impact the franchise left on the face of culture in the 1980’s and early 1990’s.

Much like the game industry at large, those companies with a long history with electronic gaming often simply ignore the possibilities of their library. Instead, we may see plug-n-play conversions of some titles like with Atari 2600, but sometimes we get a piece of products that hits the cultural nerve just the right way and outsells itself to the point of amazing even the producers themselves. The NES Mini surprised Nintendo and its execs without any shadow of a doubt, as mentioned by Reggie in a CNET interview regarding the Switch. To quote him;

The challenge for us is that with this particular system, we thought honestly that the key consumer would be between 30 and 40 years old, with kids, who had stepped away from gaming for some period of time. And certainly we sold a lot of systems to that consumer.

Reggie claims that Nintendo is aware of the popularity of their classic games, which he contradicts with this statement. Furthermore, if they were aware how popular their classic games were, Nintendo would aim to make them obsolete rather than push games that enjoy less popularity. The NES Mini, as Reggie mentions above, wasn’t just popular with the people who grew up with the console, but with basically every age tier. Furthermore it should be noted that even in Europe the legacy of the NES has become that they were the victorious console, but do go back few entries to read how well Nintendo royally fucked NES in PAL territories.

It’s not just the nostalgia that sold NES Mini. As Reggie said, NES Mini is popular among kids, and kids have no nostalgia for a thirty years old game console. The games cherry picked for the system simply are mostly well designed and can stand the test of time. Super Mario Bros. does not appeal just because it is a Mario game, but because it’s a fun adventure in a fantasy land. Zelda‘s open world Action-RPG is popular outside the fans of the franchise (and I hope to God BotW will have an open world in the spirit if the original.) Metroid‘s action-adventure appeals similarly to a larger crowd than just to the fans, thou game devs have been furiously masturbating to this genre for the last years harshly.

There is nothing that would keep Nintendo from realizing the spirit of their older games in their future titles. Nothing keeps an old game from appealing to modern consumers, just like there’s nothing from modern children playing games invented couple of hundreds of years ago. We still play cards like Go Fish! or Shitpants with our kids. Hell, one could even say that when we grow into adults (or rather, we realize we are adults) we still keep playing the same games, but stakes are just higher. Poker may replace Go Fish!  but a new generation will still play that. A new card game for kids will appear in the future to supplement already large library of card games, but it’ll never be able replace anything if it doesn’t refine the formula somehow. Even then, it’s hard to beat a solid classic.

To use another Nintendo example is the Wii. Wii’s Virtual Console sold more titles than Nintendo’s big releases in the latter part of the console’s lifecycle, and saw a slow death on the 3DS. This seems to say that Nintendo doesn’t really take into heart the notion that classic games and their core are still viable. Instead, they concentrate on something surprising and that old games are only played due to nostalgia. A sentiment the game industry at large sadly seems to agree upon. With the success of NES Mini, will Nintendo begin to value their classic games more rather than just as the beginnings of an IP? Probably not, but Switch should tell us in due time.