Baiken is a hodgepodge of samurai tropes. While her initial design does come from Kenshin of Rurouni Kenshin (whom Ishiwatari thought to be a woman at first,) Baiken is quite a lot more than just that. She gets her scar and lost arm from the literary character of Tange Sazen, though which eye has been scarred has been switched around. While Sazen is a man, the very second movie the character starred turned things around and starred Michiyo Okusu as Lady Sazen in Lady Sazen and the Drenched Swallow Sword.
Certainly we can trace some elements of Baiken’s designs to characters like Tezuka’s Hyakkimaru as well, but all this really is to show that Baiken encompasses characteristics from an archetypical ronin samurai stories, including her traumatic past and thirst for revenge. Hell, she even kicks tatami up with a special move, and let’s not forget she gets her name from Baiken Shishido, who probably influenced her use of Demon Tools through his proficiency with the kusarigama, the sickle-chain. However, I do argue that Lady Sazen and Kenshin were the main influences here, and everything else was more or less a supplement to fit popular samirai tropes. Hell, she even has a pose where she holds her chin like Sanjuro from Yojinbo. Let’s get it on after the jump.
The reason I tend to compare developing electronic games to cooking is that even with the right ingredients you may fail miserably for countless of reasons. This could of course be extended to pretty much any field that requires design, but for the sake of this blog we’ll stick with games.
However, the main obstacle with this comparison is that everybody capable has to learn how to cook something in order to produce food for consumption. We’re side-lining all the modern brouhaha of microwave dinners, because even then some preparations is required. In general, very few people are not inept within the kitchen and are able to use the oven and other appliances for some cooking.
This is not exactly comparable with game development, as one can argue that it takes longer to learn a coding language and create assets for a game. This is of course under the assumption that we have single chef compared to a sole developer. While food is a necessity, games are not. They are a common luxury item to many of us to the point that we barely even realise their worth and are willing to push their value down by any means necessary while expecting high enough production values. To be fair, this blog tends to argue that developing and publishing games as become too costly and grandiose, and should be scaled back and return to form. Video game industry does have its own Hollywood, and the same cores have taken effect; the committee.
Hollywood blockbusters tend to be described committee movies to an extent, with loads of people from marketing and higher ranks having a check-list of things that need to be included in a movie due to statistics and research showing that this and this age group and this and this audience likes certain factors in a given movie and genre. They’re not wrong either. The very reason you have dozens of different flavoured products is that people like certain things in a certain way. The movie being here the whole of pasta sauces and each variant an ingredient of a given movie.
I admit that this blog does emphasize the whole statistics perspective quite a lot, perhaps to a degree that it has given a hidden bias. However, trends are made to be broken, and it’s not beneficial to look just what the paper says works. Ultimately, this approach will only yield one design, one style product that will be repeated to ad nauseam. Film trailers tend to be a prime example of this, where they follow what was proven to be popular to the point of each trailer essentially having the exact same blueprint independent of the movie, genre or studio. An example that pissed yours truly off few times around was the BAWWMMM sound effect from Inception. Let’s not forget the distorted booms and stuttered downers either. Guardians of the Galaxy did set up a new trend for comic book movies with its use of music, for better or worse.
Nevertheless, there’s very little reason to fix what’s not broken. That’s not to say we can’t make previous items obsolete. In fact, we can make any design obsolete as there is no one perfect product out there. Well, the only good contender for that title is the Kikkoman soy sauce bottle, but we’ve talked about that already. Here’s where the whole thing about your own brew steps in.
At home you can produce your own mead or vine and have it taste pretty much perfect to your taste. Same with cooking and games. However, once you step into the market place, your tastes apply very little.
That is to say, whatever a designer thinks may be a great product for the user does not tell whether or not the product in reality is a great product for the user.
We can’t completely separate personal preferences from the cold statistics when producing a product, be it a game, book or food. They need to be married together in harmony that will push through the personal investment as well as present it in a fashion that is relatively easy to digest. This is not an argument for dumbing down, this is an argument for creating a product that comes half-way through to the consumer so that the more intricate aspects of it can be absorbed.
To use an example, we had plays before movies. The jump from one to another, while somewhat drastic in technology, ultimately relies in same core elements while having its own identity as a form of media. Further there we have movie genres, techniques and so forth that have taken the field onwards, both in terms of visuals and storytelling. Consumers have easier time adopting new movie formats and ways things are set up due them being accepted by the consumers, and most of the industry people, to contain valid values across the board.
The same goes for video games, albeit due to harsh crevice existing between the Blue and Red Ocean markets it should be noted that the trends valued in one does not necessarily meet with the other. These values are not just technological or design aspects, but also philosophical and political. As video games are escapism (undervaluing escapism as some sort of lesser act or even detrimental is a topic on its own) there are subjects and things that can be handled well, and that can be forced from a certain perspective towards the player.
The problem here is that the biggest sin a game can do is to take control from the player without their own action, e.g. for a cut scene. This lack of control is best shown in RPGs, where some games tend to showcase a topic through one facet only and ignore all others, deciding for the player in black and white terms what should be done and how. This sort of railroading is done for the benefit of the story and detriments the game’s play.
I would argue that in both game industry and in Hollywood the execs and marketing departments should lift some of the pressure off from the developers, but at the same time these creators should not ignore the audience’s wishes and wants (while aiming for needs.) The mead you brewed might be the best shit you’ve ever tasted, but your neighbour probably thinks it tastes like piss.
Combining and transforming has been with the mecha genre at least since Kouji Kabuto’s Hover Pilder turned its hover wings up and docked unto the head of Mazinger Z. This is the first major example in the mainline media that shows two separate individual mechanical objects combining and forming one cohesive being, as small act as it is. Nevertheless, a Pilder is an inseparable element of a Mazinger in a form of another. However, Mazinger Z is not the first combining mecha, unless you belong to the school of thought that mecha is an umbrella term for all mechanical like it’s original intended use is.
Many would coin Getter Robo as the first combining mecha, but that’s not exactly correct either. It certainly can be said to be the first mecha that is formed by using three individual components that share equal amount if importance and space in the formation. Getter’s selling point was that all three fighters used to form a Getter had their own form in the lead. One Getter Robo thus has four configurations; three separate fighters, one for airborne fighting, one for land based and one to fight in water. This essentially translates into balanced, fast and strong forms. However, this power balance is not emphasized, as the balanced form gets the best attacks and most face time. The third form is most often wasted and almost practically useless.
Often a forgotten, and probably the first example of combining robots in how most think it as, is Gadem from Tetsuwan Atom. Gadem was a giant mechanical centipede formed from 47 individual androids. The reason Gadem doesn’t trump Mazinger Z is that Gadem’s a Monster of the Week, something that’s interesting for that one episode and then passed on. You don’t seem Gadem combining in the opening every single time.
The original Tetsuwan Atom is so much fun
The reason I wanted to go through this very short history of combining mecha first is to portray that much like with other things when it comes to designing mecha, there is no set rule as such. There are trends and styles that one prefers over another, and if you were to design your own combiner, the best way is to look what has been done, and then research real world mechanics how things are fit together. However, the real world doesn’t exactly have the highest amounts of combining war machines, e.g. there are no tanks that can form a big supertank, and thus we’re “limited” to our imagination and what we know of real world mechanics.
As with transforming mechas overall (most often a mecha needs to transform in order to accept other components of the combination), the design can be done so that it looks somewhat realistic in the sense that it could be realized e.g. in toys. The above example of Mazinger Z and Pilder combining is incidentally relatively realistic, despite being coined as the first Super Robot. There is no warping or the like. It’s a craft docking, landing, combining, whatever word you want to use, with a surface designed to hold the Pilder in place. We can question the design and all that, but it might as well be a spacecraft docking with a station or helicopter landing and locking itself down unto a carrier.
Getter Robo’s combination and subsequent transformation (the fighter are required to transform in order to take the shape of the robot) are no-sense kind. There are some indications what part ultimately becomes what, and we’ve gone this over before.
From here we can roughly split combining mecha into three styles. First would be vehicle combiners, where a giant robot is formed through combination of vehicles (or animals). Super Sentai tends to favour this the most above all. Second would be humanoid combiners, where humanoid shapes are first transformed into appendices or similar in order to complete their gestalt form. Despite Transformers having two forms most of the time, I would drop them into this category due to the fact that their main form, in the end, is their humanoid one. Their Alternative mode is the one they disguise themselves into, after all. Lastly, there is non-humanoid gestalt, where either vehicles or humanoids form up a combination result that isn’t a giant robot but something else.
Of course, there is also equip-combination, which is more or less one whole mecha gaining an extra pound of equipment of on top of itself. This is separated from the the aforementioned because it doesn’t create a new whole in itself; it’s just a mecha putting a jacket on, if you will. An example of this would be Sonic Convoy from Transformer: Galaxy Force.
Is this some new level of geekiness from this blog now that I’m referencing Japanese original version of TransformersCybetron?
Each of these approach really would garner its own post with examples, as one combination style has quote a lot of stuff to go into. As such, maybe this post is best to take as a prepper for possible future expansions.
One thing that the designer of combining robot has to keep in mind is that it needs to be cool, no matter the approach.
A combination that has no tension behind it, no emphasize or meaning, lacks impact. Within fiction combination shouldn’t be treated as something trivial. Even in Getter Robo the combination plays important role with switching between forms and dramatic evasion manoeuvre. Even when combination becomes a common occurrence within fiction it has to leave some impact. Transformers has made offence of this few times over, but as long as the gimmick of combination is treated with respect, it works well as a dramatic device.
To use an example from the aforementioned Transformers, Combiners are almost always stronger than any other single character within fiction. A Combiner is the sum of its parts in pretty much every regard, and thus can change the tide of a battle on its own. To see a Combiner parts on the field should fill a soldier with fear or anticipation. Perhaps the most proverbial Combiner (not to mention a sort of classic example of modern humanoid mecha combiners overall) Devastator is the poster child for what it is to be a Combiner in Transformers fiction. You let Devastator loose on a field and follow it from afar how things just get devastated. Afterwards Megatron can always command its components, the Constructicons, to build something new. Treating Devastator otherwise would cheapen the fiction, character and the concept. Incidentally, Devastator’s intelligence is not the sum of his components, but who needs smarts when you have strength?
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.
Whenever you visit a craftsman’s workshop, be it an artisan, wood craftsman or whatever else, their shops usually have a decent range of items from something that may cost five to fifteen euros to the proper items costing from fifty euros up. It should not be any surprise that the most selling items are the little trinkets and jewellery, as their price most often are from the bottom up. The price is nevertheless higher compared to the production costs than on anything else in the workshop, and that is due to necessity.
Wait, isn’t this blog supposed to be pro-consumer? Is this a hundredth post? No, and this is pro-consumer. The more information the consumer has the better. Nevertheless, we must consider reality as well. The big item orders and their several hundred or thousand production costs and installation may not bring in large income in the end. Maximising profit is any business’ main goal, and an absolutely necessity for smaller companies or individual entrepreneurs. By minimising some production costs and maximising the price the consumers are willing to pay, a person can maybe gain a living.
For example, small full metal jewellery, like crosses and such, are of one or two millimetre thick steel. Their shape usually is either something slightly original or from the general consensus of what looks. When mass-produced, their production costs tend to me low, as you can get them laser or water cut at a very low price. Adding some of your own flavour, like hammering the surface and painting it black, often produces a look that looks like the jewellery was hand-made in a forge from a piece of steel. Production costs for an individual piece might be something like to two euros (perhaps five with modern cost of material, though I know cases laser cut jewellery has cost as low as 20 cents) and the final price tag on the item might be either fifteen or twenty euros.
The reason why small items of relatively high price in comparison to their production costs exists is because they sell the most. These trinkets are often gifts that fit in the pocket and might look a bit special, especially if they have some local flavour to them. They’re also great for impulse purchases, as the low-cost seems almost insignificant compared to a hundred euro candelabra next to it. If all the work is done locally, the price won’t even have big chunk of logistics in it.
Of course, the price wouldn’t be that high if people weren’t willing to pay. The consumer rarely considers the end-price their willing to pay in terms of logistics, raw materials and work put into the product. The perceived value of a product weighs more in the end over more practical and solid information. The fact is that we as consumers pay what we consider to be valuable to use (or to others depending how much you want to impression people with your new shit) and modify our purchasing behaviour accordingly. Trading card games are great example of this. While the cards themselves are practically worthless pieces of cardboard and ink, the perceived value of their rarity within their specific games or their usability in a given deck gives them a high market price. Rarely you see a card being high in price because it has exceptional artwork or the like. The value of these cards also tend to shift rather quick as formats change, something that yours truly is not keen on.
Another though a bit different example of maximising profits while cutting away production costs is the lack of headphone jack in smartphones. Even when some phones nowadays lack the jack for traditional headphone gear in favour of wireless pieces (that frankly tend to outright suck in utility), the end price of the phone is still the same. The Wirelesness doesn’t excuse the same price, as Bluetooth is a standard in modern phones across the board. In cases like this we can question whether or not it’s just or acceptable for big companies to keep the same sales price for their phones when their production costs have seen a cut. After all, we’re not talking about a trinket here, but a several hundreds of euros worth of money.
The question whether or not upping the price like this is ethical towards the consumer is somewhat a moot question. On one hand it is true that in an ideal world products wouldn’t cost much more than what their production costs, personnel salary included. In reality this doesn’t really work due to how life tends to kick us in the balls. Profit is also necessary in order to gather money for industry related projects, additional raw materials, new equipment and so on. Profit doesn’t magically end up in a bank account as a plus mark. I’m sure all of know the feeling of wanting, needing to expand on something that you directly need, but simply lack the budget for it.
This can turn into purchasing politics very easily. While voting with your wallet is essentially the best way to hurt a provider (even a 10-15% drop in sales with video game sequels sounds alarms in companies) but is also used as a way to show support for whatever reason. DLC, especially visual flavour DLC and the like, is like these trinkets. Producing them doesn’t cost much at all while their pricetag can be surprisingly high. Again, this is just minimising costs while maximising profits. A consumer may buy these trinkets just for such perceived values as they’re just cool to have within a game as options, or that the user has a “complete” game in their collection with all the extra stuff and thus feel satisfaction through this, or just because they happen to like the developers and wish to show some support by providing them with further sales. Not really sure how much I can personally encourage buying any DLC to a game, but that’s something any and all individuals have to decide for themselves. It is a question of opinion in the end, and all of us have the right for our own.
To say that the original design for Mega Man is iconic wouldn’t be wrong. The design of the character is synonymous of the game renaissance of the later 1980’s with Nintendo’s powerhouse of a 8-bit system and the many games it housed. The very sprite is revered in an iconic status similar to Mario’s or Simon Belmont’s and sees constant re-use. Hell, even the trailer for the 2017 cartoon has it, despite their design being vastly different.
Well, not exactly. The logo aside (it’s your run-of-the-mill logo, though I’m not a fan how they’ve cut the letters in an angle and don’t make the space between Mega and Man evident enough) the sprite jumping on it is a modified NES sprite. The earpieces have a glowing rim and a similarly glowing forehead gem has been added. The buster also has an energy line to it. The solar collector that runs from the forehead gem to the back of the helmet has been coloured black here as well. Dunno what’s the point of using this modified sprite, but the intend is to appeal to the nostalgia. As I’ve said it previously, the 8-bit worship needs to end and this is the worst kind of retro masturbation.
But let’s get to the business. I’m not going to compare original Mega Man to Man of Action Mega Man. Instead, I’ll be using another American redesign; the Ruby-Spears Mega Man. We’ll leave the Captain N version to its own devices. And oh, this counts as the Monthly Mecha design post, because row-butts.
The two American Mega Man redesigns are of two different school of thought. The Ruby-Spears redesign gives the main audience someone to look up to, someone they could become while growing up. Ageing the character from a ten-years old to a teenager was a necessity. Outside that, the core design doesn’t exactly veer too far from the original Capcom design.
The Man of Action Mega Man on the other hand aims to create a character the kids in the audience could identify with. A character that goes through similar issues and handles similar subjects, though maybe through a veil that is a Saturday morning cartoon, can offer kids new tools to handle difficult subjects. Somehow I doubt that’ll happen with the 2017 Mega Man series. Or as heavy handedly as in Captain Planet. I’ll refer this redesign as MoA from now on.
Kinda funny to see how the basic posing is still the same. I guess this is cultural influence to you.
The two designs are clearly from the same source of origin and thus share the same elements, and interesting, similar additions. To note some few of them; kneepads, changed forehead element and emphasized upper torso. Original Mega Man doesn’t have any sort of kneepads, the lower legs sometimes extend over the knee, sometimes it doesn’t. Depends on the revision. The earpieces on Ruby-Spears have red vents on the outside, giving them emphasize, just like how energy lines on the MoA redesign. The forehead element is probably the most baffling on Ruby-Spears, as it’s a diamond over a square. It doesn’t really mesh with the rest of the design, but then again the life gem stolen from Mega Man X on MoA’s redesign looks pretty much as terrible. Well, all the energy light lines do. Maybe those will change colours when another weapon than Mega Buster is equipped.
Let’s start from the top of the head and work our way down. The overall helmet is the same shape, but due to different styles, MoA’s big head is emphasised. MoA’s Mega Man also inverts the shades on the helmet. Classic Mega Man’s forehead element and solar collector are lighter shade than the main body. This is due to the colour pallet available on the NES. MoA chose to make the helmet’s main body about the same shade as usual, but the collector is almost black. The shade of blue, cyan even, used on the lighter shades on Mega Man is used on the edges of the cutaway for the face, directly lifted from Mega Man X. Ruby-Spear’s redesign sticks to notes from Capcom’s original, outside the whole diamond bit.
Furthermore, the cutaway on Ruby-Spears’ Mega Man is classical heart, whereas MoA’s opted to use a similar angular design to X’s, just with slightly less sharpness to it. MoA also added useless panel lining to the helmet. While face design may be different across the board, it should be mentioned that Ruby-Spears followed original’s round face closer that MoA. Both have blue eyes, just like original. It wasn’t until Mega Man X onwards that Mega Man main characters started having emerald green eyes.
The upper torso is where things get wild. Ruby-Spears’ Mega Man may be more muscular, but the lines added to emphasize this don’t break the core design. His neck may be exposed in this one, but that’s kinda business as usual as well. MoA’s Mega Man on the other hand opts for a leaner design, where the chosen elements break the traditional design. MoA’s Mega Man essentially wears a T-Shirt that has a stupidly high upwards arching cut in the middle, exposing his middle torso for no real good reason. Black lines coming underneath his armpits extent to his neck and extend the same way on the back. Underneath his arms he has two rectangle sections that have no reason to be there.
The arms are similar, only having real difference between gloved VS. gloveless hands. Due to how MoA exaggerates body dimensions, the arms are larger. However, because the upper arms (and the thighs) are so thin, MoA’s Mega Man looks more like a mix-match of a Sonic character. Ruby-Spear’s has a more traditional superhero muscle build to it, which looks a bit odd, but works considering the whole redesign is more in-line with American comic heroes.
Both buster has a similar overall design, but MoA decided not to include anything interesting and just added three glowing bars. Ruby-Spears opted two for button like squares. Ruby-Spears hits closer to the original yellow strip design. Both weapons seem to be tied to the left arm.
Considering that, the pants on Ruby-Spears’ are your plain ol’ whities coloured blue and with a belt. MoA opted to add an extra colour and separated power light lines in order to cut the shape downwards. Not really sure if they want to have their hero wearing pants like that, but these cuts are somewhat reminiscent of those that Mega Man X has, but again, just with curves.
The legs are the second busiest places after the Mega Buster. Well, that’s relative for MoA’s design, it’s so full of lines and lights everywhere. Ruby-Spear’s Mega Man have classic style legs, just with more muscle, clear kneepads, separated feet from the legs and lighter share at the tip of the “shoes” with black soles. MoA kinda went town with theirs. Darker kneepads, very clear ankle joints, separated feet and legs and darker soles. Everything covered in those damn light lines.
Let’s be frank, Man of Action Mega Man is overdesigned. The chosen colour scheme looks too dark to give the lights more emphasize and the sheer amount of them does make it look more like a Christmas decoration from China. A Mega Man knock-off. Yes, the original’s character sheet has tones about as dark as MoA, yet in-game and in other illustration work, even in Wish upon a Star, the colours are lighter and vivid. The darker tone balance is destroyed in MoA’s design due to added even darker spots and high contrast lights.
I had wishes that the design would grow unto me, but the inclusion of Mega Mini, worse song than Ruby-Spears’ opening and the constant use of Mega+suffix doesn’t install much hope. MEGANIZE ME! or IT’S MEGA TIME don’t have the same sound as ROCK ON! They’re actually more reminiscent of Captain N‘s Mega Man, who would shove mega into everything he was talking about. Hell, even in the intro he says MEGA HI! to the audience.
The design is also just too damn blue and uses too dark a scheme. Outside the insides of the buster, there is not splash of any other colour to give the blue a lift. Hell, the clothes he wears when he is just Aki Light are more interesting to look at. The design sure has become less rigid since we first saw it, but all the same eyesore points still persist.
Ruby-Spears’ Mega Man is sort of the opposite, with less bells and whistles everywhere, and despite the changed age, he is visibly Mega Man American edition. He does have a dunce, round nosed face with weird eyebrows (not to mention eyes that are somewhere between Fred Flinstone’s and generic anime) and strangely bulbous legs overall, but these don’t really destroy the balance it maintains. The slightly overdone muscles does upset the balance to a point where the whole thing looks a bit off in an uncanny way. Whether or not one is better over the other is subjective, but the 2017 cartoon needs to be damn good to win me over.
Then again, it doesn’t need to. It’s a show for a new generation of kids, and if they like, maybe that’s for the better.
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.