Microsoft is not gaining a monopoly in gaming

That’s an answer I’ve given few times when people have asked me about the whole shebang about MS buying Activision Blizzard. Sure, they gained applauded and popular IPs with and now can become the ultimate Western military shooting console with Bethesda’s RPGs and whatnot giving a countering balance. On the surface, it looks good for the Xbox in the future and most likely it’ll be a better platform for numerous games over both of Sony’s PlayStations in this regard. The Switch and whatever Nintendo’s cooking up next will be in its own ballpark again.

However, The Windows Company doesn’t have a great track record when it comes to company acquisitions. On the contrary, much like EA, Microsoft has more or less run their companies to the ground in one way or another. Rare is a perfect example. Banjo Nuts and Bolts is a mess and whatever the company did before is mostly remembered as a game Rare made rather than for their own merits. Battletoads looked exemplary in Killer Instinct and they allowed that modern, franchise-undermining soft-reboot to happen. Lionhead Studios had a strong start with Black and White and Fable, but thanks to The Movies failing Microsoft nabbed ‘em up just to produce more Fable with falling quality. We can discuss the merits FASA Studio had with their MechWarrior games, but MS ultimately decided to kill off the studio and license the studio’s games back to one of its original founders. Mojang is just a Minecraft studio, but the franchise’s growth has stalled significantly.

Bungie and Halo was a godsend gift to Microsoft and Xbox and is the sole reason why Microsoft is still kicking the brand around. However, Halo and perhaps a few other titles, everything Microsoft has done is just copying and following trends. Microsoft has not one creative decision under its belt that could be described as original. Nintendo at least has always been a follower as much as they have been a trendsetter. Sony is sort of falling between following and setting trends, but the trends they set have been more on accident rather than intentional. It’s more that Sony has tried to repeat business and technological successes rather gaming innovations. PlayStation 3 tried to create a new marketplace in a flash, similarly, how PlayStation 2 accidentally created a marketplace for DVDs in Japan the night it was released on. Both Microsoft and Sony catered their consoles as the media centers of your living room. In reality, they both kind suck at it.

If I have criticized that Sony lacks their own strong IPs that they could run with pride and prestige, Microsoft is, in all honesty, best known for Flight Simulator and Halo, and even here Bungie had been developing their game for a long time. Microsoft might have a want, or more likely a pressing need, to have their own IPs to contest Sony and Nintendo, but they have effectively failed in this core process. This shows a major weakness in Microsoft’s gaming business model and the lack of understanding of markets outside the US. It is out of weakness Microsoft has purchased Bethesda and Activision Blizzard, and we have yet to see anything solid from the Bethesda deal.

Gaming has not changed, though that is what numerous talking heads have voiced. This is normal business. Microsoft has obtained companies for their IPs so that their platforms would have a competitive edge against their two main rivals. All these IPs will most likely be fed to Microsoft’s game streaming service, of which I have yet to hear or read one positive thing about. I do not think a gaming streaming service will ever become truly mainstream unless games become shorter and more to the point. People do not have enough time to slog through tens or hundreds of hours of games. It works for music and movies just fine; they are something you do not actively engage in. Playing a game requires time and effort with concentration. Perhaps that is why game journalists are trying to push for the Skip-Game button. It is not that they could not learn the game well enough to beat, but they just do not have the time for them. People should not expect gaming to deliver similar passive media experiments. That would be just silly.  

Still, Microsoft is intending to make their Cloud services to be worthwhile, and it is highly possible that they intend to include numerous Activision Blizzard titles into their services. As much as Google was touted to become the Netflix of gaming, chances are that Microsoft is aiming for that role. Even then, people really would like to have community ran servers, as it seems most of Microsoft’s online games still suffer from servers being down and preventing online multiplayer. I really wish companies would include local multiplayer functions more these days.

Microsoft’s GamePass will, of course, be the main thing to benefit in terms of IPs, but on a grander scale, this is Microsoft wanting to include more content in their whole digital ecosystem. Honestly, MS picking up Activision Blizzard seems to be a pre-emptying move to keep some other tech giant, be it Amazon or Meta, from acquiring them first and including these IPs in their particular ecosystems. If Microsoft had their own strong IPs to back to, they never would have found the need to make this purchase. The whole metaverse can be ignored, for now, it has no real relevancy outside being the moment’s hot discussion topic.

Of course, the question of whether or not these IPs were worth it. Blizzard has managed to effectively screw up their ‘craft games and their remasters to the point of fans taking things into their own hands. Word of Warcraft is losing people to that latest Final Fantasy MMORPG. Diablo III is still a disappointment. The whole company and every aspect of their IPs have been falling in the eyes of the consumer for the potshots they have taken at ‘em too. Blizzcon fiascos, capitulating to the Chinese Communist Party by banning players voicing for independent Hong Kong outside their games all the while displaying an innocent plastic face while having harassment issues at their company. Looking at all the big hitters there, Blizzard has mismanaged all of them to the point of stopping at a wall.

As for Activision, they never really had a good reputation. They’ve effectively been a smaller EA in that they buy smaller studios and effectively fuck them over. Raven Software developed some great games by using Id’s engines, some better than Id’s own games. Neversoft will always be connected to Tony Hawk’s Pro Skater and Spider-Man alongside Treyarch. Infinity Ward birthed the Call of Duty franchise, which Activision has been riding on ever since their acquisition while cutting down companies like Raven Software from their high position and relegated them as nothing more than CoD support team. Gray matter Interactive developed one of the best sequels in Return to Castle Wolfenstein but got thrown into Treyarch to work in the CoD support teams. RedOctane did Guitar Hero and Activision effectively killed the franchise.

Activision has a lot of good studios under them, but nobody really likes what Activision has done with them. There are so many former studios that it isn’t even funny. So many unused IPs that are completely dead in the water. Even CoD, while printing money, is far less popular now than it used to be. Much like so many of these IPs, it’s run to the ground. As a whole Activision Blizzard has made some seriously stupid and regressive decisions and has backpedaled many opportunities to push their IPs forward. Crash Bandicoot and Spyro the Dragon revivals were well received and sold well, all things considered. Despite this, the dev teams were thrown back to the Call of Duty mines to work in a supporting developer role.

Funny that Microsoft now owns numerous family-friendly franchises that originated from Nintendo and Sony platforms.

Now, Microsoft’s Phil Spencer, the big dick running the Xbox brand, has stated that reviving old franchises, like Hexen and Guitar Hero, is on the table. While the consumers might see this as a great thing, a return to (their personal) glory days of gaming, stockholders don’t see it that way. These old IPs don’t really make the same amount of money. Thus, it could be possible that Microsoft might want to franchise or lease these newly gained IPs for other developers or whatnot to make a good buck on the side.

Another reason why Microsoft would have wanted Blizzard is to have a foothold in the Asian market. Xbox is still the rag dog that gets kicked around in the Orient, but with Blizzard, the Chinese market opens up that much more, especially with all the mobile phone games the Chinese and Koreans consume. The Japanese on the other hand most likely will still stay as an unsalvageable mess, unless Spencer really wants to change their methods. Spencer should follow what the Japanese have been doing but in reverse. Effectively, copy what Sucker Punch did with Ghost of Tsushima; take something Japanese, and make a somewhat Westernizer version of it to sell to the Japanese. The Japanese have been doing this as their main method of exportation, from cars to video games. Ghost of Tsushima showed that it works the other way too, as the Japanese audience loves the game. Credit where credit is due, Sony publishing the game was a good stroke and netted them some seriously needed credit amidst all the issues with their internal censorship that extends to the developers’ as well.

Microsoft has to respect existing contracts between Activision Blizzard and Sony. There will not be much exclusivity to be seen in the foreseeable future. On the other hand, I do wish Microsoft would simply cease putting any of their owned IPs on Sony’s consoles whenever they can just so Sony would be forced to think about their revenue streams first and foremost. However, Microsoft has to think through their growth and revenues now too, and expanding to Sony’s platform and making money on a PlayStation is win in their books. In the short term, we will not be seeing any sort of massive shift in gaming or change in content. If anything, it will take at least a few years until we see anything definitive coming from this deal, and even then, it might be extremely clashing due to the currently incompatible corporate structures and cultures between Microsoft and Activision Blizzard. Sorting that shit, and the whole lawsuit Activision Blizzard has to deal with, takes time.

Sony might be seen as Microsoft’s main rival (Microsoft has really just followed Sony’s path of grabbing up studios and probably will be making extensive limited-time exclusives in the future) but really, we could also see this as a move to counter how much power Tencent has. Tencent has its fingers in so many Western and Asian studios that it is not funny, and most likely few of your games carry their name somewhere on the label too. Honor of Kings or Arena of Valor as known under its international title is the most profitable electronic game in history. It alone has contributed over 13 billion dollars to Tencent’s revenues since 2015 and continues to contribute with its 80 million daily active users. With Activision Blizzard under their belt and the revenue stream possibilities they now have open, Microsoft is in a much better place to contest with Tencent. On the side, all the money Tencent is making is also money the Chinese government is making.

Gaming hasn’t changed suddenly with this purchase nor has Microsoft gained a monopoly. Like most things, the game market is constantly moving and shifting. Making sense out of it is just as hard as any business is. Consolidation of developers under a bigger banner has been happening constantly, but that doesn’t exclude people from putting up their own development studios and publishers. Even if Microsoft and Sony would prevent developers from having games on their platforms, there are tons of alternatives, including Nintendo’s. It might not have the exact same popularity or consumer base, but you have to start from somewhere. The best first step in becoming popular and mainstream is to first become a cult classic. Not every game can be Super Mario Bros. or Street Fighter II.

The whole issue on the mainstream Internet media is far too US-centric. The IPs that are cited are most popular in the US, while European and Asian markets fluctuate how popular Microsoft’s games can be. Xbox itself may be more popular in the US, but it still has to fight tooth and nail in the European markets. We’ve covered Asian markets, so there’s that too. Looking at the global situation, this purchase seems to only benefit in the American and select European markets, with only droplets of Asian markets making a dent. Though even then I remember the news about Blizzard making quite the revenues in Asian mobile phone game markets, so that’s a bonus. There are no other home game console companies in the US, and the market is global. It’s not about an issue of Microsoft hogging all these companies and IPs to themselves when it comes to competition. The issue is what the competition is going to do in order to present their device as the superior option. The answer is as it has always been; have content that is able to compete with the opposition.

Personal opinion? I don’t really care for any of the IPs Microsoft acquired, but I do hope the purchase will go through fully and Microsoft will begin to consolidate all the IPs solely into their ecosystem to the point that its competitors have to find their own titles to counter. I wish to see the day when console libraries are vastly different and would be truly unique.

A dreadful return

Parts of the Internet loves Metroid, but to an ill degree. Outside a few hot takes about sidescrolling games shouldn’t cost as much as games with three dimensions of movement, Metroid Dread has seemingly gained quite the amount of positive attention. Not that I’m here to piss into your cereal, but the developers of Dread have misunderstood Metroid to a degree. At its core, Metroid has been about powering up as you adventure through the game world in a balanced manner. There are obstacles that are required to beat, though not necessarily only in one manner. At its core, Metroid games are sidescrolling open-world games, or as we used to call them, adventure games. What does this have to do with Dread, and by that extension, that Metroid 2 remake on the 3DS? That modern Metroid is broken, and it was Fusion that shattered it.

For better or worse, Metroid missed the cereal train back in the day. Super Mario Bros. and Zelda were always the bigger franchises anyway

If you play any Metroid game prior to the modern era, there are few things you should notice. One of them is that Samus is strong by default. She may not have a long-range shot, but she has great mobility nevertheless and her rate of fire is not diminished like it is in Samus Returns remake and Dread. All the areas in the Classic era are filled with all sorts of little crawly animals you’re supposed to take down, which require Samus to be strong. It makes it much easier to kill enemies that fly in front of you as you power up, yet not all that necessary if you don’t want to item hunt. While Fusion manages to replicate this to a point, Samus Returns is a hollow game with large areas of one or two crawlies around, and this design change was made to compensate for the new melee and aiming mechanics. Much like how Other M had awkward as hell controls between third and first-person modes, Samus Returns suffers from awkward shooting and melee mechanics that necessitated changing the core play, and through that, how Metroid plays out. Perhaps you can argue that it offers a more relaxed pace for the game and the player is now required to time his actions better. However, the player already could dictate the pace they wanted, and weapons always took a degree of skill.

There is a concept of adding unnecessary mechanics for the sake of differentiating from the flock. Samus Returns reeks of this with everything it changed during the remake period to accommodate the melee mechanic. As weird it is to say aloud, Metroid is a shooting game much like Mega Man or Contra. Leave the melee for the Belmonts. Some fighting games, like Guilty Gear Accent Core, are faulty of this same thing, where there are additions of new mechanics for the sake of new mechanics that do not add any real value. In Metroid‘s case, this has caused a core change in how the game now must be played and approached while still being represented as being the same game. Metroid has become its own imitator. The surefire way to make a better Metroid title than Metroid 2 or Super Metroid (do you remember when people were arguing which one is better? I sure do) is to take the core element and expand upon them and see how far you can take them. The only reason people seem to prefer the melee mechanic is that Samus’ firepower was otherwise gimped and kicked down. If Samus Returns would have kept her firepower the same, there would be no reason for melee counters.

I don’t mind Samus’ new look though. It’s fine, but they should’ve stayed away from using white in the standard armour

An element that Dread is lifting from Fusion is the unkillable enemy chasing you. While SA-X is often cited as one of the more memorable things from the game, in Dread this seems to be a game-wide threat. This is turning Metroid into a stealth game, as now there seems to be a mechanic where you can turn Samus into a statue so one of these coloured robots (which look like iPhone store guards) can’t scan her. I’m sure we’re going to get story reasons why they can’t be destroyed and the game’s story will allow them to be destroyed by the end. That’s so goddamn tiresome. Metroid being an adventure game, an open-world title, fights this kind of written-in-stone story-driven progression fights against its nature. The same criticism was laid down on Fusion as well, though there it even broke the game’s core mechanic of non-linearity as you could only get items in a certain order as programmed into the game’s code. There was no sequence-breaking or creative choices done from the player’s part. Just like Samus Returns and Dread have minimised the player’s part in the exact same manner.

The thing is, Castlevania can do close-combat in non-linear games with some projectiles is because the overall design lends to it. It feels and looks like Castlevania, and more importantly, plays like Castlevania. It has balanced the game systems with the AI and game world to a fine point. Neither of these modern 2D Metroid Nintendo is making, and yes I am putting this on Nintendo as Sakamoto is still spearheading this franchise to hell, play like Metroid should. We have tons and tons of Metroid clones on the market with superior design in every aspect, and yet whatever the hell Samus Returns tried to be is shoddy lower-midtier garbage. Metroid doesn’t need to have melee attacks or counters. All of the play mechanics got gimped because of the want of this one extra mechanic that the game’s design can’t handle without breaking down. You can shave Samus Returns play to counter everything. All other mechanics are secondary and borderline useless. Unlike Castlevania, Samus Returns and Dread have screwed up whatever design the best of Metroid had to offer. Samus isn’t a goddamn ninja; she’s a fucking space Terminator. She’s not supposed to be a bac knock-off copy of her Smash Bros. version in her own games.

I won’t find any spot to talk about this otherwise, but holy shit doesn’t Samus Return have a terrible soundtrack. Most of the time you’re listening to this trash ambient soundtrack, and only in areas where you’re supposed to have a nostalgic rush you hear what is essentially re-used tracks from Prime. If you back and listen to Classic Metroid game soundtracks, the scary ambient things were saved for very specific areas and moments, but otherwise, you always had a rocking tune in the main areas. Maybe that’s for the better. Every time modern Metroid tries to do something new it flounders and fails like a fish on the Sun’s surface.

Speaking of white, these iPod dogs look less threatening and more… boring. Why would Samus shoot its face though? It looks like its most armored spot, while its lanky joints look like they would snap off from the ball sockets

Metroid is never going to escape Other M and Sakamoto. Hell, you might as well drop all hopes for Metroid Prime 4 at this point, as Metroid has long gone to be a story-driven adventure rather than the player’s adventure. Metroid was about the player facing a world and the sort of adventure that would be. Now, unlike its current contemporaries, it is about the player having to play out the outlined story. Best examples of this in the series? Metroid Fusion as a whole, and gimped world and adventuring in Metroid‘s GBA remake. Metroid has become about Samus despite Samus herself was never important. How the player had his adventure was, and we’ve lost it.

We can pinpoint the day when Metroid was lost. It’s the day when Gunpei Yokoi was killed in that car crash. I’m sure some people remember that there was an era where Yokoi’s name was attached to Metroid like Sakamoto’s is nowadays. I don’t like blaming one person for a failure of the whole team, but when you have a person who is put into a leadership position and publically proclaims his role in making and spearheading Samus’s story and knows her secrets, we can put his head unto the guillotine bed just fine. Just like with Link and other silent player characters, they’re supposed to be there for the player to play as. Take that away, and you’re forced to create a proper characterisation and framing for them, and seeing how video game writing is dumpster fire tier, and people like Sakamoto have zero talent or experience with actual story writing, you’re going to get stuff like repeating THE BABY the nth time.

Metroid Dread looks, sounds and probably will play cheap. This is sock-filling, a stopgap game. I’m sure it has a competent budget and all that, yet its lacklustre nature compared to independently made adventure games are laughing it out from the park despite their shoestring budget. Hell, just ignore what Nintendo is making and go play AM2R again.

Skies and lands promised

Cyberpunk 2077 is on the news and its reception has been mixed, to put it diplomatically. It’s been compared to No Man’s Sky in various aspects, like how many promised elements seemed to be missing and was ridden with bugs. As NY Times puts it, when a game is supposed to be The Biggest Video Game of the Year, expectations are high, especially when there’s almost a decade’s worth of marketing and hype behind the title. An expansive world that would be endlessly explorable just doesn’t happen without sacrifices or will be sacrificed in favour of other elements that make up a video game. I’d say that’s largely a no-brainer, as some of the more expansive worlds that have intense detail and hidden content often end up having less structure and directed play, which is contrasted to games with a tighter field of play. Take The Legend of Zelda or The Hunter: Call of the Wild as examples; both have massive worlds that can take years to properly venture through, but their main “quest” if effectively letting the player do whatever they want with few main objectives. I admit that this comparison is a bit off to Cyberpunk, but the reality is that open-world games have been an industry standard for about two decades, or more depending on how you want to define “open-world.” It’s something that’s hard to realise properly, often ending up empty or played being walled from exploring every nook and cranny, but that’s the spot where both technology and game design puts up a challenge. The whole open-world genre, if it can be called that, has a history of being built on promises and failed expectations and yet the core video and computer game customers seem to expect even more. Clearly, the gaming industry hasn’t broken through how to do fully living 3D world yet, which isn’t just a technological challenge, but also a matter of paradigm. Perhaps putting fewer resources into licenses and hiring real-world actors would lease resources to where they truly matter.

The marketing for Cyberpunk 2077 was a massive success. It sold the game to the consumers and investors like no other. While Cyberpunk 2077 will stay as a cornerstone game in terms of technical achievement and such, all the refunds the customers have been demanding because of the game’s bug-ridden nature has caused a cascade effect, where damage control has brought even more worries. CD Project Red promised refunds for all, and all Sony and Microsoft could do is follow suit. Sony kind of screwed in this, as CD Project Red promised things before proper channels were established, causing Sony to also pull the game from PlayStation Network. Microsoft hasn’t done yet on whatever their consoles. With reviews going left and right, sometimes only to the negative to attack the whole deal and other times going to the complete opposite to defend the title, CD Project Red’s stock value plummeting over 40% since early December and the possibility of physical games getting refunds too, investors do have a reason to worry. They are, after all, considering a class-action lawsuit as they see CD Project Red having mispresented the game in a criminal manner in order to receive financial benefits.

I doubt there is any malice in any of the game’s failures. It’s just how these usually go with games that come with a stupid amount of hype. Game development is stupidly hard, and while some people do it for passion, and others just because it is their job. At the end of the day, any corporation has to cut their losses at the expense of something and push a product out. They have to make a profit No product is truly finished when it leaves the providers’ hands, no game is truly finished. Some are less than others, but at least we’re well past the days when you bought a highly visible licensed game only to find out you couldn’t finish the game because one of the levels was intentionally made unclearable because they never finished the last few levels of the game. There were quite a few of these during the 8-bit computer days. Cyberpunk 2077 just happens to be a victim of circumstances that are rather common when it comes to the electronic gaming industry. We certainly need cornerstone titles that push the technology forwards, yet more often than not these titles have been less successful than the games that have pushed the play part. I presume Cyberpunk 2077 will make a decent amount of money down the line after CD Project Red has managed to put a new spin on their marketing, fixed all the most common and outrageous bugs and the gaming media has placated and absolved them of their gaming sins.

There’s a lot of emotional reaction to the whole deal. We can’t fault consumers from reacting as harshly as they have, as CD Project Red’s PR did their job admirably. Sadly, that just didn’t meet with the expectations, or with reality in some cases.  I’ve discussed the nature emotional of marketing, corporations and customers to some extent in recent years, and with some, we’re seeing core fans feeling like they were betrayed by someone they felt a close emotional attachment to. CD Project Red is closely tied to Good Old Games, or just GOG as they go nowadays, and they have their fair share of diehard fanatics, just like Steam. As the customer feels betrayed by a brand, there’s often a harsh whiplash, but also a need to find justice. Sometimes its refusal to purchase any more products, sometimes it’s venting on social media, sometimes physical harm towards the game itself. Sometimes all three and then some.

To use No Man’s Sky as a point of comparison again, the game did get effectively fixed about a year later. Promised content and play mechanics were added as well as a large amount of bug fixing. While the game still has a bad rap overall, the devs took it upon themselves to make it the game it was supposed to be. While we can debate whether or not the game is what it was promised to be, there are chances that CD Project Red will do the same and spend the next year relentlessly fixing and patching the Cyberpunk. Unless the investors go for the throat and gut the whole company. Investors are often treated as the worst kind of being right after company executives, yet these are the people who have to make the decisions that will either make or break products, and through that, people’s lives. When multiples of millions are in the play, taking chances and risks is a bit scarier task than most would think.

We can’t fault the customers’ reactions, they were taken by the hype created by the marketing. In the same breath, we can’t really fault marketing for doing their job that effectively. Considering the kind of game, development time and hype that was involved, the current state of Cyberpunk 2077 should have been expected as an industry standard, not as some sort of terrible exception. There is no real solution to a situation like this. Rarely we get a piece like Star Wars that has everything together in a perfect way with good timing. Even if the game’s bugs and overall state would have been up to much higher calibre, from what I’ve seen it would still have been found disappointment in how it plays. From all the footage, streams and the odd review I’ve seen, Cyberpunk 2077 doesn’t actually push any boundaries when it comes to play mechanics. On the contrary, it seems it’s rather middle of the road and does nothing spectacular. Maybe that’s the sacrifice you have to make when you make a vast world driven by a story rather play. Maybe these games are just getting too big for their own good, and end up feeling smaller than they really are. Though personally I’d love to see customers reining in their expectations and the companies directing their marketing and PR to make the most realistic claims and ads with no embellishments. That won’t ever happen, but a man can dream.

 

 

Nintendo continues to fight piracy at the expense of the customer

Nintendo has been fighting piracy since they started the whole electronic gaming business. Donkey Kong the arcade game itself was a prime target of piracy, with copied arcade boards popping up frequently due to its popularity. The NES / Famicom piracy was massive despite the whole physical cartridge thing, with numerous Asian countries producing copies of the system and selling those systems and games across the globe. Hell, the Soviets / Russians enjoyed Dendy console as their mainline NES copy, with effectively all games being pirated copies of some kind. The SNES saw this practice much less, but few did fall between the cracks, with Super Noah’s Ark 3D being the most known in the West. Now, the N64 barely saw any piracy, as the concentrated efforts had moved to the PlayStation. In some ways, you can determine what system is the most popular in any given system generation by how much effort is there to put piracy into effect and how successful it has been. It’s no surprise then than the GameCube piracy was less enticing than PS2, mostly because a more popular system also has the most games for people to take a crack at. Then we come to the Wii, which wasn’t just a popular system, but a massive success and its piracy wasn’t just easily accessed; it was made into something everyone in the mainstream could do by themselves and take advantage of. Before this most systems required either external carts, an external device plugged in or physical modification to the PCB to make piracy easier. With PlayStation, you could just have your local electronics store install a BIOS chip that jumped over checking if the disc was legit or correct region. Then you could burn PlayStation games willy nilly. There was also an external box that allowed you to boot into a special menu and skip that checking routine. Wii U mostly had piracy because it was easy to implement after the Wii, but it never really had titles people were interested in. There’s a reason why Nintendo kicked it out rather fast and started the 9th console generation well before Microsoft and Sony were putting their systems out.

Seeing Nintendo considers themselves taking a hefty blow in their sales because of piracy with the Wii (in reality, it’s because Nintendo effectively abandoned the system mid-way through its lifecycle and gushed out garbage instead of putting further effort into high calibre titles) they have been taking rather heavy-handed actions against piracy with the Switch. Such things like the Switch having physical traces on the PCB that get burned out with certain updates to effectively suing everyone who might enable the system being cracked open for whatever reason. The latest hit was against Le Hoang Minh, who was selling RCM Loader, a dongle that would enable homebrew to run on the Switch. While Nintendo can’t attack Minh for piracy per se, their attacks as of late have been against groups selling dongles like this, or groups that are offering service that would modify the Switch to run homebrew software. In Nintendo’s eyes, these are all against the rule of law and End User Agreement as well as breaking copyright by circumventing the system’s protections. Nintendo DMCA’s these people often and drags them to court.

I’m not going to dance around the subject and claim that people who are purchasing these items and services have the end intention of running homebrew on their system or other more legitimate methods. It’s rather clear that piracy is one of the many end-goals here and both consumers and corporations have to live with it. However, most actions these hardware companies take to prevent piracy end up damaging the legitimate customers. For example, Sony removed the ability to run Linux on PlayStation 3 because someone managed to find a way to run homebrew through it. Not only a complete element was removed from the system, but Sony ended up paying millions because of that as they had advertised the system with Other OS capability. Now that the Switch destroys physical traces on the system, it might cause troubles down the line. Of course, fighting piracy with online-only systems and digital-only sales is one method of battling piracy as well, both of which don’t do favours for the general customer. If anything, battling piracy has only caused customers to lose control over their games and system, which actually has turned a minor section of these customers looking into homebrew and piracy even more in order to take full control over the products they bought and own.

Is Nintendo in the right in their crusade against these homebrew enablers? They believe so, and they believe their DMCA’ing and taking legal actions to protect their intellectual property that they see is being infringement by circumventing protections. Team-Xecutor, one of the more prolific teams offering homebrew for the Switch, accused Nintendo of legal scare tactics and censorship. There’s little doubt Nintendo wouldn’t try to intimidate groups like Minh and Team-Xecutor first before taking full legal actions, although throwing censorship in there is a dubious claim. However, all these products that enable homebrew can be seen as part of the Right to Repair movement. Apple and Nintendo, and effectively everyone else who offers electronics, is in the same boat here, as third party products, be it goods or services, would take repair and service revenue out from their pocket. In some cases, like with Apple and third-party repair parts, they would lose control over the overall device and its parts. This is under the guise of offering better and more qualified service, which is straight-up bullshit. This total control over the systems has stemmed from customers trying to fix their own devices or had third party members trying to fix it for them and then claiming warranty from the corporation. It was more or less a 50/50 chance whether or not they would repair or replace the product, but more often than not they’d end up replacing it simply because that was the cheaper option. Nowadays large amounts of customers still play the system and claim warranty on functional items. Stores rarely check these products and simply send the supposedly faulty device back and the customer gets a new device for free, and another few years of warranty. Warranty which they’ll go claim back, effectively getting a replacement device every few years. This is just one common example of how the customer-provider relationship is being abused constantly by the consumer. It becomes rather understandable why companies would want to take total control over the devices and software the customer purchases simply to prevent unnecessary losses gathered from customers effectively screwing them. In the end, all the customers at large get screwed.

Whether or not these products that allow homebrew on the Switch actually infringe Nintendo’s rights in any way are less important than the results they cause, and that is piracy. While piracy is seen as a massive threat to any entertainment industry and portrayed as such, it is in actuality completely different beast.  There is no better form of advertising or showcasing the value of a product other than giving it in the hands of the customer himself and the giving freedom to go town with it. Many films and music albums have been sold when people have seen and listened to a pirated copy and the same applies to the game industry. Game demos was found to damage game sales because they showcased how terrible those games could be. All sales are final is the mantra certain companies want to repeat, as they know the product they’re selling is in many ways faulty. Both sides should find a way that wouldn’t infringe either side in good faith, but that’s something that won’t ever happen because that’d require consumers to change their habits and mindsets to a large degree and corporations to lose most of the control they have over products they’re now selling. Seeing as global corporations are moving towards abolishing the idea of owning anything you buy, replaced by a subscription model that would give them complete control over the product as well as make them more profit, that’s something we’re never going to reach. Ultimately, piracy, IP and trademark infringement are used as excuses to further destroy whatever control and ownership the consumer. You’re more or less expected to consume just the same but never see the end product truly in your hands. If and when things are digital, this applies doubly so. Even with a company like Nintendo with a family-friendly image, the end goals seems to be the same as with every other company; work to consume, but never to own or control what you are consuming.

A chance for Microsoft to push forwards in Japan

Microsoft is supposedly aiming for the Japanese market, according to Bloomberg. Some are taking this as some sort of new thing, but Microsoft has always tried to make itself a big thing in Japan with Xbox. This is, in itself, nothing new. The original Xbox S-Controller was developed and design the Japanese market in mind, and it ended up being successful enough to kick out the Duke controller for good (because the Duke, in all honesty, is kind of trash). The 360 had a hard PR push in Japan, with booth girls designed to appeal to the local tastes alongside numerous exclusive games and titles that should have been hit with the audiences. However, the X360 ultimately ended up playing the third fiddle (again), but kind of did follow the footsteps of old Japanese computers in its game selection. If you love shooting games and peculiar managing titles, the X360 is chock full of exclusive titles like many of CAVE’s shooters e.g. Death Smiles and The iDOLM@ASTER killing your hopes for a new chapter of Berserk. Down the line, these titles did get sequels and ports elsewhere, but at the time the X360 was, effectively, the otaku console to have with many niche titles. Hell, even Muv-Luv saw a port for 360 before Sony got its own. It’s niche library of Japanse games that didn’t get Western releases and were behind region locking meant that the X360 saw some limited importing within certain circles. Nowadays most of the good stuff has appeared elsewhere with no bullshit in-between outside needing to use Steam, so there’s very little reason to consider doing so nowadays.

The reason why Bloomberg is making a thing about Microsoft’s ever-continuing attempts to court the Japanese consumers is that Sony’s employees internally are more or less disfranchised. Analyst Hideki Yasuda of Ace Research Institute saying that Sony’s attention is drifting away from its consumers in the home market, and that’s an understatement of sorts. Sony’s American HQ has been making hits and after hits on the marketability and development of their third party titles, of which I’ve got few posts in the past. The fact that Sony’s pushing for censorship on games on their design phase and banning whole play elements and methods surely will push developers away, which turns the consumer tide elsewhere. Sony’s emphasize with its new internal rules and regulations has damaged the company in ways that are becoming apparent in consumer behaviour. Furthermore, an example of straight-up Americanisation of PlayStation as a whole can be seen in switching the X and O confirmation buttons around in Japan, something the Japanese consumers aren’t exactly keen on. Granted, that poll was open to a thousand participants only, but treating it as a sample size should give you an indication what the majority of the population thinks. Changing an established form factor that’s been there since the Super Nintendo days is extremely short-sighted. Not only this means long-time users have to work against their muscle memory, but also that X and O make no longer sense in cultural context, as they’re now reverse. There’s also a worry about this applying to backwards compatible games. Sony has confirmed that this isn’t optional, meaning Japanese who purchase PlayStation 5 will have one helluva time trying to figure out why the hell their O is suddenly a bad thing instead of X. However, now both Xbox and PlayStation share the same scheme of menu confirmation, with Nintendo still using the “classical” layout.

Then again, that first Bloomberg article states that Sony of Japan has been sidelined. I’ll quote this bit and then drag that horse carcass back for a moment; “The US office believes the PlayStation business doesn’t need games that only do well in Japan, employees in the California headquarters reportedly said.” Whoever said this needs to be fired from their job for effectively ruining PlayStation 5’s chances. A console’s lifeline is in its library. A console can not be a success alone. When you grind things down even slightly, hardware is just the middle man, the unnecessary evil, the crutch. You only buy hardware that has software that you want to consume. A console must have its own unique library of games that entices the player enough to purchase the hardware. If you want your console to succeed in Japan, it must have a wide variety of different kind of games that appeal to the Japanese culture of video games. These games are widely different from what appeals to general consumers in the US, UK, France etc. Every nation and culture have their own things that are bombshell sellers. For Finland, it would seem NHL and FIFA games because fuck these people are thirsty of sports.

Of course, after Jim Ryan, Sony Interactive Entertainment’s CEO, insisted that the company wasn’t Americanised when they moved HQ to California rings extremely hollow. Even the size of PlayStation 5 screams American whopper. It’s ugly as hell and larger than a man’s torso. No Japanese corporation would design their machine to be that big because space is a premium in Japan. The Switch is the king of this Generation of consoles due to its hybrid nature and a good library. Clearly Ryan was spouting bullshit, as the current global agenda is leaving Japan a cold turkey, and that probably will happen to European countries as well. Now with regional departments gone, Sony can’t have its individual arms creating specific plans and games for each region. Now, all we’re getting is what the American centre vomits outs. They can’t be flexible and nimble with only one scarecrow. 2020 has shown the downsides of globalisation to an extreme degree and Sony putting their eggs in that basket was a major blowout. It will only hurt them down the line as it will kill variety and regional specialities in favour of one corporate vision, now driven by censorship. I’ve seen claims of Japanese taking up Steam and other PC stores closer to their heart after since certain kinds of titles were banned and Visual Novels started suffering on the platform. Not only that, but Sony themselves have been shooting themselves in the leg by allowing ports of their harder hitters to Steam in hopes of making more cash. That’s a sure shot method of killing your device, exactly what they did with the Vita. Poor Vita, Sony mistreated you so hard. Whatever PR Sony wants to spin, like Natsumi Atarashi’s assertation how Japan will remain their utmost importance, can be disregarded as bullshit. Sony’s actions thus far have been telling the complete opposite. Don’t tell me a house isn’t on fire when it’s blazing just behind you.

All this is part of the continuing censorship routine and globalisation Sony has been practising for the past few years, something I have posts on. The thing about Sony’s globalisation and concentrating their decision power into one HQ is that in time it’ll be a disservice for them. I already mentioned that they will streamline their services and products with this, but it will also go against them. Global organisations with this size will see the rise of useless middle management that will drag feet down. Arguibly that’s already happening with the whole internal censorship and censorious regulation they’ve put into power. This will sap energy from regional offices and will damage their work capacity to work as they always have to wait for a reply from the main office from California. The more proper answer should’ve been to gut the middle management and allow regional offices to cater their target areas the best they can. The California HQ seems to think what applies to them applies globally. It may not be Americanisation as Ryan claims, but then it’s simply forcing a skewed view of the world forcefully unto others with ideas and values that do not apply even outside the doors of Sony HQ. Sony should value what their customers value in their brand, and they’re moving to the complete opposite direction, thinking that the consumer is a sheep who follows rather votes with his wallet. No matter how much people want to sell the idea of perfect global society as part of globalisation. Take Germany’s latest stance as an example. Globalisation doesn’t mean others will take up to your opinions and views as the holy gospel. Often it’s just the opposite. In a perfect world, we would have objectively the best standards for everything, but that’s not realistic. Doesn’t mean we shouldn’t strive for them, but in the current state globalisation, people need to come mid-way to meet each other. Sony’s current practices effectively oppressing rather than allowing themselves to create a company that would truly be of service at a global scale by adjusting themselves accordingly.

I’ve also noticed a certain consumer behaviour that’s tied to all this. Early in the PS4’s and Switch’s life cycles importers preferred the PS4 versions of games if there were two available. In recent years this has drastically shifted for importers to prefer Switch version, if available. This probably reflects what kind of consumer group current importers are at a worldwide scale, with most of them being aware of current happenings and decisions taking place behind the scenes the corporates want to keep behind the curtains.

Despite all this doom speak, Japanese developers won’t abandon the PlayStation. If anything, they’ll probably aim to go multiplatform more. Theirs is a traditionalist way of working, and abandoning one of the two national devices seems to go against the grain rather hard. It’s like how the US prefers Xbox mostly because it’s Xbox. Perhaps more and more companies will go multiplatform and ensure a Steam or similar release on PC as well, while moving some of their exclusive titles being developed for the two competing platforms. Sony will hire studios to make games for their hardware for sure and the usual line-up will come out that most people will be happy with, but then the question just ends up being what’s the difference between the new Xbox and PlayStation?  If the libraries end up resembling each other even more, and there’s no real difference outside an even smaller handful of exclusives, it becomes more brand battle than anything else. Here Microsoft has a chance to shine, but theirs is a steep climb. The Xbox One managed to scrape 0.1% of all console sales in Japan this year. That’s one helluva fight against PlayStation 4’s 10.1%, and all but an impossible task against 89.9% the Switch holds. The Xbox brand could turn things around in Japan if they’d manage to find that sweet spot Sony’s abandoning and working on that like no other. It’ll take a console generation and then some to turn the Japanese consumer’s opinion on Microsoft’s console around, but perhaps if they manage to properly deliver proper titles, that is achievable.

Taking an axe to a dead horse

Let me start this post by not just kicking that one dead horse, but again mince its meat and turn its hooves into glue; the story of a game is in its play, the rest of framing. The thing that makes electronic gaming so interesting is that the framing is considered equal, if not more important in some cases, than the content it is framing.

A game’s framing narrative will always be second to the play of the game, that’s part of the medium. The framing can never escape the play part, and ultimately has to be break itself apart and into segments to satisfy the needs of play. This could be, for example,  the need for the player to move a character from locale A to locale B in order to continue the narrative segment. Or in case of Xenosaga, walk from a room to another to continue from a fifteen-minute FMV. The narrative also has the option to cover game mechanics as part of the world, but that is not specifically necessary.

The game can cover rules of the play by other means as well, but for the sake of game’s own narrative consistency, more often than not the rules are implemented as part of the framing narrative. Sometimes it makes sense, like how Trails in the Sky has the whole orbs-in-slots system, something concrete that the player sees and collects, and other times it’s rather abstract like Junctioning Magic to Guardian Forces in Final Fantasy XIII. Nevertheless, the framing itself matters less than the function and rules of the play the provide.

Of course, depending on the game, the framing device can be extremely important, or matter very little. Modern audiences are used to having everything in FMVs and pre-scripted sequences that take control out of the players’ hands, but in the arcades this context was delivered via cabinet marquees and attraction screens. In the best cases, games were laid out and designed to deliver the framing without much words or time wasted. For example, the subtitle of the first Street Fighter II was The World Warrior, referring to the world stage the player’s chosen character would be in. The selection screen itself presented this concept with the world map and plane flying here and there. Much like any other visual medium, games excel in the visual side of things. Certainly, many arcade games slapped a text to give you the base framing and that was that, which is effectively an equivalent of any modern FMV. More abstract games didn’t need any. Pac-Man eats pills and tries to avoid the Ghosts. That’s the minimum amount of framing a game needs to fully justify its play. Funnily enough, that is also the description of the play, getting two birds with one stone.

The framing fights the player agency because it’s not the content, the play is. Nowadays we take for granted how large the overall framing is to give a whole world for the play to be justified, which is overreaching it rather hard, but it is one of the easier and most accessible aspects to analyse regarding games. This is because we are taught to read from a young age and how to analyse media overall. Film criticism comes a bit later, but often we build our own preferences based on certain aspects of films, which makes the whole analysing this framing device very easy.

It’s not as easy with other media, where specialised knowledge is more or less necessary to understand how the content is being framed. To drag the remains of the horse’s corpse here for a moment, not many people concentrate on the frames of a painting or on the pedestal of a statue despite the possibility that they too could have seen masterful works themselves. A painting is being elevated further when an unique frame has been designed and carved for it, accenting its strokes and colours properly. Often they just get overlooked and whatever readily made models are there on the table gets picked up, because the frame isn’t the main point. Not many know wood-crafting well enough to begin to appreciate the necessary skill and knowledge master framers have built up throughout the years to pair a painting perfectly to a frame, and proceed to frame it in an equally skilful manner. Everything from material selection to the attaching itself must be taken into account. Or, y’know, just nab that proper sized black frame from Ikea and go with that. Sure, same thing. I’m overstating this point because handiwork and craftsmanship isn’t something we all learn too deeply. We dabble in it and may learn base skills, but we aren’t taught them to any deeper extent. Craft lessons at school mostly just play rather than building up any true skill, unlike your native tongue lessons.

Games that rely heavily on the framing narrative also tend to decrease the agency of the player, the freedom of play. This doesn’t matter too much in games that are laid out as fields of challenge, like almost every action and racing game out there, but raises its ugly head when it comes to RPGs. More often than not, RPGs do not offer a whole lot of ways for the player to realise their own play. Some RPGs allow completely free character creation and follow in suit, but even then framing device is ready and sometimes can’t even be affected. When the developer concentrates on emphasizing their framing as a single narrative, the player agency is effectively nil. Very few times the framing allows the player to have a large agency on its course and in cases like YIIK the narrative is overwhelmingly more important than the play to the point of it having been designed to hate the player. The greater the narrative design, the more it has to rely on the techniques from other media, but marrying it to the play also requires an equal amount of design decisions regarding the play. For example, Kojima may have made his titles long-ass movies at times, but simply allowing the player to turn on the first person camera and look around for clues and easter eggs add to the player agency. While the player can’t continue the scene on their own terms, they are given control over an aspect nevertheless. A small thing that adds value to otherwise lengthy scenes of doing nothing.

While the framing narrative sees ever-rising budgets and effort to have the most well-scripted stories to be delivered, there is an immense lack of any effort to meld this narrative within the content. This, of course, would necessitate far larger scale of stories and pathways the player can take, making it necessary to consider completely opposite directions of their current framing narrative than intended. For example, imagine if during a Call of Duty campaign the player could at certain points make a decision to change sides. Perhaps this could be a multi-campaign element, where the player could choose to effectively change one campaign to another, but at the same time changing the way the framing of the campaign works from thereon. The rules of the game don’t change, but rather than being one of the Allied, he might end up playing a soldier who now fights for the Axis. This would offer the developers ways depict a more complex narrative as well as offer the player more options to explore. Perhaps even allow a third option of abandoning the war altogether and be chased throughout the fields by both sides. These aren’t RPG elements or the like, these would simply be options to be presented to the player in a similar manner that optional routes are. All this of course goes in the face of the current paradigm, where the narrative must one whole that the player must experience. The Last of Us 2 aimed to make the player uncomfortable by making enemies lament on their friends’ deaths while the narrative didn’t offer any other options but what the developers intended. It didn’t work out.

This isn’t exactly railroading the player as much as the paradigm for video and computer games haven’t shifted to consider these a valid option. Not that they necessarily should, as these spreading games are more or less considered gimmicks. Surprisingly, the Drakengard series, including Nier, has taken strides in this. Their multiple endings can be unlocked by player actions to different degrees, though usually, the first round is always the same. Nier: Automata has one of my favourite examples of this, where you can turn around as 9S when you first get control of him in New Game + and just fuck off from starting point, you achieve an end to the game. Another example would be when the player reaches the peaceful robot village, and despite their pacifism, the player proceeds to murder every robot there, gaining another ending. Again, these are minor things and yet they show how the developers considered possible player actions or at least their want of certain kind of action, and realised it as a solution or a path as part of the framing narrative. None of this, of course, would function if the frame wouldn’t have designed to house these deviating rules of play.

The thing is, with games making the framing is easier than making the content. The content isn’t as freeform or artsy, it requires intensive labour hours and demands a lot of skill even if you use a ready engine. The designs of play and choices made have to function, each and every programming error and design mistake compound on top of each other faster than it does in the framing narrative. Creating the framing for a game is the fun part, but creating the game itself is where the true difficulties lie. It’s no wonder that a multi-branching game that would allow the frames to change at the player’s decisions are still rather rare, and even then some franchises make clear-cut marketing that this is an element of their play, that routes are a franchise gimmick. That’s not even what I’m truly trying to convey with this post.

Let me try to rephrase the whole thing in short; Computer and video games still rely on methods of film and literature in their framing narrative and have not been able to truly marry it to the play. This some times comes through as route selections, sometimes as exposition being spouted during a boss battle. The main split is whether or not the player is in control. The marriage of the frame and the content would need to be as with painting that has specifically made frames for; a player should have large agency, perhaps even control, to move the framing narrative. This way the story, that is the player actions during play, would be part of the narrative. This is just a solution. Furthermore, the more the framing device aims to be the main point of the game, the more the game will suffer as it still has to accommodate the play. This is why video game adaptation on the silver screen can’t work as intended because they are written and planned around the game. Point of a game is to be played, to be the active participant.

Here’s a point where this is apparent. During TGS 2020, Square-Enix released a trailer of the new Final Fantasy because overseas customers wanted to see a trailer that shows the game’s play footage. What SquEnix did first was to offer the game’s frame, as that has always been their forté. However, what the customer always wants to see is the content and that applies to every field. You can jingle shiny keys in front of the customer however much you want, but at the end of the day, they want to go for a drive too.

Review: Streets of Rage 4

A very Sega cover

The original Streets of Rage games are a prime example of how Sega of Japan mishandled the Mega Drive in the Western markets. The three original games were never really popular in Japan or in Asian markets in general, but they were hits in American and in Europe. The whole thing about Streets of Rage series being cool at the time, hitting the rights spots with the popular culture phenomena in especially in the America with influences taken from the then-current music scenes across the pond made these games stand out, though the third game’s music splits opinions harshly due to its experimental nature. Sega was extremely good with this for a short period of time in the late 1980s and early 1990s as numerous of their projects managed to capitalise what was way cool. Sonic the Hedgehog is without a doubt their shining example of this, blending polygonal visuals that were popular in advertisement at the time with a great soundtrack, with emphasize on environmental themes that were around to a point and mixing them all in a blender to produce the most attitude ladden mascot to that point. Streets of Rage harkens a bit further back to the 1980s than Sonic, with the movie Streets of Fire being a heavy influence thematically. Other contemporary games, like Final Fight, were a massive influnce, with Street Fighter II being played at the developer Ancient Corp.’s offices and having a great impact on Streets of Rage 2. If the second game was evolution of what made the first game a success, introducing more moves and wider variety of enemies, the third game took that and gave more emphasize to the stages themselves. Branching paths became a more common thing, further moves were introduced, and for better or worse, the game’s story got more emphasize with cutscenes and dialogue. Unlockable playable characters made their first entry in the series.

 

However, the fourth game didn’t materialise for some two decades. 1994 was the deathknell of the Mega Drive, advent of Sega Saturn, Darkstalkers saw a release in the arcades among other things. Streets of Rage 3 didn’t even scratch the top ten most sold games for that year. Despite the third game attempting to push everything the second game layed down, in most terms it was a commercial failure. The beat-em-up as a genre was moving out from its golden days with Konami and Capcom still making some of the best entries, leaving Streets of Rage behind both in terms of game play, design and visuals. The fourth game in the series was attempted few times around, one of which ended up as the PlayStation/N64 game Fighting Force, or Metal Fist in Japan. One of Sega’s attempts turned into Dynamite Deka series, which was used as the basis for the Die Hard license. Ancient had been working on a Streets of Rage 4 for the Dreamcast as well, but supposedly, execs at Sega of America closed it down very early in development. Nevertheless, the DNA of Streets of Rage was carried over various directions. Ultimately, these kind of 3D action games would end up as being similar to Devil May Cry, which are a far cry from the first Final Fight and Streets of Rage.

 

The reason I wanted to include this whole bit is to show that despite all fans and fanfare the two original games got, the third game was a miss despite it taking the series further. The genre moved onwards with other games and Streets of Rage was mostly used a launchpoint. Fans have been making their own games based on the IP, and all things considered, Streets of Rage had become a dead franchise. That was until 2018, when DotEmu announced they’re working on a new entry with Lizardcube and Guard Crush Games.

The initial trailer split opinions, some liking the new style while other hating it. It showed nothing too much on the play outside few seconds, but the later DotEmu would release more footage as the game’s release was closing in. However, from the very first on, it was rather apparent that the game wouldn’t push forwards what the franchise had been back in 1994. That’s probably the whole review in a nutshell.

A revival like this can be don in two ways. First is to stick to the guns and not change much, or anything, about the formula and roll with that. You won’t disappoint anyone and you know you’re catering to the core fans who just wanted a new entry no matter what. This is effectively what Capcom did with Mega Man 9 and 10, and Nintendo with the New Super Mario Bros. line. This kind of catering to nostalgia first and foremost works few times around, but it can’t be milked. The other option would be to take core essence and see how far you can push it. With two decades and then between the SoR3 and 4, it would be rather easy to see what sort of design innovations the beat-em-up, or action games in general, have made during that period and how they could be implemented. Both are very different routes, and DotEmu and co. ultimately decided to stick with the core guns of the franchise and not deviate.

Good amount of research into the characters was apparently done

When it comes to SoR4‘s play, it’s as pure action as you can get. It’s methodical and orthodox and even fights against players who want to blitz. Timing is everything in these games, alongside positioning. The wide variety of enemies use different tactics to get away from the player, with some having moves that allow the to traverse across the screen or move in the air the way the player can’t. If you’ve ever plaued, or even watched footage of a beat-em-up, you already know what to expect from the play. However, the player is ultimately limited in their actions, even if the new control scheme does dedicate a button for picking up items and such. There is no running or dashing, nor there is a dedicated button or combination for sure certain grab and throw. You can only punch and jump, and grab when you’re close up. In terms of play and controls, there’s nothing pushing the Streets of Rage forwards. At the same time, once the slow pace clicks to you few stages in, the game becomes a bit more open. You can’t really device your own ways of approaching and playing it, however, as the design doesn’t provide the tools for that.

This approach has cost the game’s design some points. While many of the normal enemies are fine tuned, some of them exhibit unnaturally large amount of invincibility frames in their moves, something the player is lacking. Benefits are given to the enemies to the point of game feeling annoying rather than hard or challenging. There’s no point trying to counter moves, when you can almost break the game by grabbing and throwing things around. This is further examplified with the bosses, as they gain similar Star moves the player has access to, but with the difference they can use them in a pattern willy nilly without thinking about their life being drained or such. Some of the bosses are just lacklustre, like the helmetted DJ that feels like an unnecessary thoraway just to have a boss in there, while others give a satisfyingly levelled challenge with their own twist, like with Shiva.

Outside Shiva’s bullshit-bunshin, the fight’s really on the even grounds

The game is also rather long, longer than it really needed to be for a beat-em-up. This is further emphazised but that slower paced game design mentioned earlier. Cutting one or two stages out and make it an even ten, or even just nine stages with multiple paths would’ve made the game more interesting on revisits, but in one sit-through Streets of Rage 4 begins to slog and overstays its welcome rather hard. However, the game has embraced modern sensibilities in that you are able to continue with the stage you left off with a save file, with 1 Coin challenge being offered in form of Arcade Mode.

In tersm of visual design, the game is top notch. It looks great with all the lighting effects and colours being used in proper manners. It looks like a French cartoon with heavy Japanese influences thrown here and there. In this the game is rather contemporary, slightly revolting against how the original games tried to level with realistic look. The way the visuals have been realised and executed is probaby the best part of the game, testifying how 2D is still the best way to realise the age-old dream of games looking like cartoons on telly. Animation work is terrific and nothing to be scoffed at, characters are easy to tell apart and while stage designs and environments can be lacklustre, they still come through strongly simply because how well they’re visually made. Despite all this, the edge in the visusal style is rather rounded and maybe even dull. The Y Twin, the end bosses, don’t really jump out in their design, and the fact that they utilise a giant robot during the end battle is uninspired at best.

On the music side, you have what we could call classic SoR tunes. It fits and doesn’t intrude on the player’s nerves. Some tunes stand out more than others, so overall a well done soundtrack that’s not too uncommon nowadays.

The story doesn’t matter. While I fully expected some scenes to be voiced, I found myself more annoyed by the cutscenes more than anything. The difference in visual style becomes drastically evident during these, which also emphasize how it ultimately doesn’t fit. Within the series narrative, it’s almost like the the early 1990s never moved onward, yet we see contemporary factors dropped here and there. Perhaps fully embracing that early 2000s aesthetic would’ve been a better option rather than create this sort of fetishised hybrid of 1980s/early 1990s nostalgia through rose coloured goggles.

This game sounds, looks and plays like a standard Streets of Rage 4 fare. We’ve played this three times before. If this game has been released in the 1990s, it would’ve scored low. Now, far removed from its setting, it stands out as a classical example of well made and polished game, but a game that offers nothing special on its own. Expecting this game to deliver anything else than that will be met with gross disappointment. It’s a game that does get the franchise, it fully embraces what it is, but at the same time, it makes itself rather hard to recommend if you’re already familiar with the series, or the genre overall. If SoR5 will be a thing down the line, it can’t surf on nostalgia and has to find its way to create its own indentity and expand on already-explored play of the franchise, or go bust. I can’t fault what the game was designed to be, as that’s extremely well realised. It’s just that design was already out of date twenty years ago.

Pizza Pizza

As long as I can remember, Domino’s Pizza has been the butt of jokes to the point even my Vietnamese associates know a few. They had a massive problem with PR and their pizza for numerous years and found themselves in a downward spiral in the mid-2000s, striking the all-time low in 2008 when their stock price was just three dollars. Nowadays they go for around 380 bucks. It wasn’t the easiest route.

Despite Domino’s hitting their lowest point, they experienced a massive PR crisis following Michael Setzer’s and Kristy Hammond’s Youtube video showcasing how much they loved to ruin the food they were preparing. They pleaded guilty a year later. This video effectively confirmed how Domino’s food was prepared in the minds of the consumers, further enforcing the jokes that were made and pushed customers away. It didn’t help that the video ended up being one of the top search results if you searched for Domino’s at the time. Even disregarding this incident, Domino’s was seen as some sort of crime against food and ingredients, or as Adweek’s short story put it on their focus testing, it’s startling to hear the degree to which consumers regard Domino’s as the embodiment of culinary evil. During this and numerous other focus tests Domino’s pizzas were called all sorts of names and claims of them using fake cheese and the like in their products were common, hence the jokes of the time. Some of them have survived long enough to be part of pizza-eating culture.

Domino’s decided that they need to turn their ship around and hard. Ever since their record-low stock price and the whole PR disaster with Setzer and Hammond, Domino’s began to comb through their complaints and reviews for the most common negative mentions and comparisons, as mentioned in their four and a half minute documentary what they were doing. This video, while being a corporate produced piece, is one of the things Domino’s did to have that boat turned. They went back to the recipes and worked on them and revised what they were doing wrong. Supposedly more training was given to the workers to prevent the mishaps the aforementioned video caused. Domino’s, in all effect, owned that they were rather shit company with workers who didn’t care if your pizza was terrible or not. The linked video shows how proud Domino’s was after they went and created new pizzas, which were more or less made from scrap. Everything from the dough to toppings was tested multiple times over and changed wherever needed. Whether or not this is all true will probably be always an open question, yet even from this video it is evident how much money Domino’s spent to revise their image by revising their image through their product. They even went as far as providing their focus group members with these new pizzas to test and get their opinions. They made these into ads, no less.

Domino’s Pizza owning up and takings steps to deliver to the customer the kind of pizza they wanted while making a public, transparent stunt out of it all has made them the most valued pizza restaurant chain. While some still retain the image of Domino’s being the worst kind of pizza you can have, that’s rather outdated view by about a decade. That, and they probably never had Greek pizza. Domino’s stocks have been in constant rise, and they’ve been trying to renew customer interest in various manners after their renewal, like collaborating with Hatsune Miku in Japan. part of their whole shtick of being transparent to at least some extent, they’ve allowed Food Insider to make a short video how their pizza is made and delivered, though personally, I have to say I’m not exactly excited by the idea of the dough being made elsewhere from the spot. Delivery food is making some nice bucks at the moment, so Domino’s made some nice bucks earlier this year as people didn’t want to leave their homes.

What’s your point? I hear Wes asking me there. My point is that Domino’s pizza listened to their customers, changed their product and working methods to better fit the demand. Not only they were willing to take in feedback and were honest about it to themselves, but were willing to make rather transparent transition from what they were to what they wanted to be. Customers love that, and that made them a billion-dollar company.

This same set of ideas can be applied to any industry on their basis. While the creative industries want to sell the image of one creator or a team of creative individuals delivering an earth-shattering piece that can only be experienced in so many fashions, the reality is that any product needs to be carefully planned out and balanced between the original intent and the customers’ wants. That is far harder than you would expect, as some corporate cultures do everything by data alone, which can lead to discarding feedback in total and the only thing that says anything is sales data. This can be combined with long-term career businessmen, who are hard stuck on their own methods of working, as it has produced large revenues up to that point already, making the total renewal of their productions hard if not impossible. In the foodstuff world, this is easier to do than e.g. in automobile production or the like, where you can only begin to start this process with the next series of cars rather what you already have in production. With games, music and film this could be implemented in an easier manner, but it requires humility among these egos, and that’s something the self-clashing creative industries do not see too often. Imagine if, for example, EA would make a public announcement that they’ve listened to all the feedback they’ve gotten through the years and have begun to consider how they produce, develop and publish games, as well as how they tackle advertising in their games or in which manners lootbox mechanics function. It’d take years for them to root out these methods and manners they’ve cultivated throughout the years and end up putting efforts into making games that wouldn’t nearly kill their workforce or would contain whatever is currently the most underhanded way of making that extra money. Something like this happening in the creative industries is as likely to happen as a pig flying through your window. It happens on occasions, but extremely rarely.

Few posts ago I wrote how I’m tired of the PR game. Domino’s Pizza turned their PR disaster into a chance of renewing their image through transparency. Because transparency to that effect would necessitate losing face first in order to gain higher PR wins in the long run, you won’t see this happening with franchises like Star Wars or any of the botched film franchises. You will never see one of the head honchos stepping up, admitting the money they spent on a movie bombing like no other was a mistake and that they will look into renewing and satisfying the customer. That would go against how things are presented to the audience, the whole Hollywood/ creative myth, how glamorous it is to be a successful creator. Yet even sure-shot franchises like Star Wars, Alien and The Terminator have slumped, the latter two effectively becoming more or less dead thanks to the latest movies. Hell, even the Predator franchise is back in the casket after The Predator managed to fuck up the series. As much as it often goes against the corporate grain, transparency and honesty are two things the customer values. If a corporation manages to be open about their faults and missteps about themselves and is visibly improving themselves, that creates almost natural emotional connections to both your current customers and your possible customers.

The one place where transparency should be the most important bit is in crowdfunding like Kickstarter. If you’ve run a Kickstarter and have managed to each your funding goal, every single thing you do with the money or with the project should be logged in without censorship shared with the backers. All the good you do is doubly more worthwhile when you admit fucking something up and explaining the methods of either supplementing or fixing what’s gone wrong. With crowdfunded products you have to remember that these aren’t your customers; these are the people who funded your project. Being transparent with them is the least you can do. The PR game wants to mangle and twist every screw-up into something positive in false manners, and more often than not the customer can see through that. It’s up to each individual customer how much leeway they might allow the PR game, and most often you can see it in the form of taking their business elsewhere. Of course, if you proceed to attack the customer when you want them to buy something from you, well, not everyone is masochistic.

Perhaps Marvel and DC should take after Domino’s Pizza. Japanese comics have been outselling American Superhero comics for some time now. In the face of this fiercer competition from beyond the ocean, it would be a good moment for American comic companies and creators to stop for a moment if they’re doing something wrong.

Yet another post about the old argument about something making money and its relation of being good

The few main things this blog has covered multiple times is how good is a terrible determinant in any comparisons or discussions and that financial success is a form of determining whether or not something is the aforementioned good. You know the argument, just because something sells doesn’t mean it’s good. Mark Hamill continued this with something along the lines of It only matters if it makes money. The two, of course, don’t exclude each other, as often products that are well-made sell just as terrible products bomb like no other. Cue for references to the latest Terminator and Charlie’s Angels movies, because a well-made product doesn’t equate to something the customers want or need. Those two movies are competently made, have high production values and realise what the staff wanted those movies to be. It wasn’t something the audience wanted or fit the franchises per se, so what does it matter if they were well-made movies? The customer is the ultimate reviewer who decides whether or not your effort and time were worth it. Nobody is required to purchase or consume products you make, just as you don’t need to appease them (if you don’t look for financial success.) Often you can veto some objective point of review, like how arts used to have. There films that are seen as cornerstones of overall motion picture history, as perfect examples of how to structure and build a movie. The same can be applied to music as well, I’d have to guess, though I have no Citizen Kane of music to reference. Whether or not it is because of technology changing and evolving too rapidly to have a proper point of reference, or people thinking video games are completely separate examples from other forms of play, electronic gaming doesn’t really have that objective point that majority of the gaming industry could look at and consider as an exemplary pinnacle.

We do have those games though and they’re all watershed moments. Pong, Pac-Man, Space Invaders, Super Mario Bros., Ultima, Wizardry, The Legend of Zelda and a whole slew of other 1970s and early-to-mid 1980s titles should be considered as points of comparisons, but of course, things get muddled down when you consider how modern gaming has changed the way video and computer games are pushed, even if that’s not exactly working all that well. The gaming industry would like you to believe that electronic gaming is a method of storytelling over a method of playing. To repeat this point to ad nauseam, the story of a game is the story made through play. The “story” bits in FMV sequences and all those are just framing devices to justify the action of playing.

Some shirk at this notion, saying the story is the thing that keeps them playing games. That only would be natural, as each and every game has to have a core reason why it is being played. At the core level, winning against the opposing player or team is the most basic reason to play something. However, the act of playing is what makes it enjoyable. The player himself feels that it is his own actions that are carrying things forward. This is the player’s agency, which is lessened with each moment the play, the control of the game, is taken away from the player. This is why, especially in the Deep Red Ocean market, not having a Skip Movie option is considered almost a criminal offence. As a side note, you can skip PlayStation’s Final Fantasy games FMVs by opening the console’s lid and closing it again, as that forces the console to seek the next bit right after the FMV sequence. This is pretty much the only way European FF9 players can get Excalibur II due to terrible PAL port screwing with the game’s timing.

This whole post really came together because Fall Guys became the most downloaded title on PlayStation Plus. Fall Guys is nothing short of entertaining, made in a relatively short time compared to its top competition, meaning its financial results will be that much greater than Triple-A games that spend the better part of the decade on the development table. Most often you can see people citing how it beat The Last of Us 2, which is rather apt. TLoU2 was intentionally made a narrative-driven game and mentioned that it wouldn’t be fun. It would end up as gritty and gruesome, wallowing in dredges and trying to be bold as a video game. Despite the game making some kind of bank, we can’t really call it good just because it made money, right? For all intents and purposes, the play of TLoU2 is very generic and overall uninteresting. Its film-like qualities have been at the forefront and whatever agenda it’s supposed to have is a few years too late, if not whole decades. Whatever debacles it had around itself is no real interest, but Fall Guys becoming the most successful PlayStation 4 game of 2020 really says it all; the customers prefer games as games. You could say there is one core, ideological difference between Fall Guys and The Last of Us 2 and that’s in the attitude of the creators.

Fall Guys was created for profit, thus it had the need to satisfy customer wants and needs in some manner other titles on the market really didn’t. Its play is entertaining and makes for a good competition. The developers had the craftsman’s mindset and it allowed them to make a game that was good. Or as this blog often puts it; the game good enough in every aspect to satisfy the customer. The Last of Us 2 development cycle didn’t clearly consider the profit part being a question, but a rather a thing that would happen anyway, as long as they stuck to the mould. After all, the series had its fans and that already would bring in the dough. Thus, it followed the artist’s mindset, which is antithetical to craftsman’s mindset. It’s against the customer, expecting the product to sell despite it ignoring the customer altogether. TLoU2 outright hates the player at times, something that has occurred more often nowadays than it did in the past, which fights its own nature as a game. You can easily make something like this with a product that’s supposedly a guaranteed success, especially during times when macro-economics are in fine shape. If the game had still been in development and would’ve published next year, its success would’ve been smaller. The entertainment industries are feeling the effects of plummeting economics. It’s become more expensive to produce anything and customers don’t have the same amount of money to throw around willy nilly. Games like Fall Guys will become a necessity for the next few years, where the customer and their play will matter more than the creators’. The trophy project mindset hasn’t been beneficial to the game industry or to the customers overall, so perhaps forcing all the developers to re-examine their methods and games on the publishing list. There won’t be nearly as many sure-shot games in the near future.

To roll it back around, sure. Being financially successful doesn’t necessarily mean something is great by some standards, but it does mean it does scratch the itch people have had and find a superior product over its competition.

Additional media is a sacrificial lamb

The concept is well tested and solid; have your main story supplemented with additional works, such as comics and novels, that expand on the core work. This sort of franchising has become extremely popular to the point of being a standard practice and very few standalone projects get made any more. Even the Marvel Cinematic Universe has seen its stories expanded in aforementioned media. This always leads to the question of canon, where the main piece always trumps over whatever the side material has stated. Hence why canon barely matters, when anyone in charge can say what really happened, sometimes wiping few comics away, sometimes erasing whole decades of supplementary material.

Nevertheless, they’re secondary at best. Licensed works to make some money out of the IP while the main thing is wiring its next stuff up. The stories and characters told in these works don’t really matter, and never have. Only decades later, when fans who grew up with these materials, may make references to them in proper works, giving them some legitimacy in the eyes of fellow fans. That’s all fine and dandy, no harm done by having someone in the background mentioning Life Day and reminding the people in the know how bad Star Wars Holiday Special is. It’s butt of the joke, it’s done to death, we get it.

Star Wars and Star Trek are great examples of this as both have extremely extensive supplementary material to go with the main works. The general rule has always been that what’s on the screen overrides whatever’s in other works. While they’re advertised as further adventures of our heroes, and for the time being they probably are, they’ll always be overridden when the IP owner comes up with something new, something that can be capitalised on. Prequels and midquels are sort of comfortable ground to many, as they’re mostly based on sayings and history told in the main works, so it’s easy to take the premise and go town with it. It doesn’t exactly require creating something completely new from the ground up. Hence why you often see sequels lifting material from the old stuff or reusing characters and settings. Jean-Luc Picard and all the re-used assets from the cutting room floor in Disney Star Wars movies are examples of this.

All this a somewhat inconvenient arrangement, but it makes two things possible; it doesn’t demand the audience to rummage through hundreds of pages to understand a new TV-show or a movie, but also allows them to engage with the IP and characters further. There’s this silent agreement with all the parties that it is probable that all the side content will be ignored when a new movie or show rolls in. Which happens all the time with pretty much every single large franchise out there.

There are of course times when this fails. The Rise of Skywalker had a collaborative event in Fortnite, where Emperor Palpatine’s speech was introduced. The returning villain and one of the major points of the plot, which was used in the beginning crawl, The Dead speak, was introduced and used in the aforementioned event. This effectively cut a section out from the movie, the message Palpatine send to the galaxy to announce his return, something the characters all react to and is the impetus behind the movie’s events. If you weren’t playing Fortnite at that time, you effectively missed something the core work, the film, should’ve had.

Too often Star Trek and Star Wars novelisation have been used to correct mistakes and loopholes in the main body of works. Loads of Trek novels based on The Original Series episodes were used to effectively fix continuity and conceptual errors within the episodes themselves. Similarly, The Rise of Skywalker‘s novelisation reveals that the Palpatine in the movie was a clone. Whether or not this is canon is of course for the fans to debate, as none of the corrections and fixes are rarely talked in the main body works. It’s not uncommon to see books and comics being published that fill in holes with some plot putty, sometimes even explaining whole backstories and events that were completely lacking from the main works. We can understand that a movie can’t set up decades worth of background story in a short time, and sometimes it doesn’t need to. The original crawl at the beginning of Star Wars Episode IV is work of sheer genius, setting up the premise. Further into the movie, short discussions about the Clone Wars as a background material elaborated on some bits, but those there to colour the world further. With Disney movies we have the gap between Episode VI and VII, which is just a void. Even after the last movie we barely know what happened, where did the First Order truly come from and why did the Emperor allow the Empire to fall just to wait thirty years building Star Destroyers under ground with gimped navigation systems. Maybe it’s Abrams’ mystery box killing the work again, maybe it’s just outright bad writing. These explanations of course are found in the supplementary material, meaning the work can’t stand on its two feet.

You could of course argue that this weaves the main work and the supplementary works together better, that it allows exploration of these events and concepts in a grander scale compared to what movies and television could. This is completely true and has been supported by multiple franchises for some decades now, mixing and matching each other punch to punch. The problem is of course the future. Be it removal of old canon or a new “real” work taking place of that timeframe and overriding the current works, supplementary material never really can stand the test of time. Not unless the creators are adamant on keeping one continuity and will always take notice what happens across the whole franchise. That task is nearly impossible, though if you were to hire bunch of people just to follow what the hell’s going on in your setting across all media, it would become manageable. Imagine if your day job was to read every Star Wars book and comic just to tell the future writers of whatever series or movie they’re making what stories and settings have already been used, and what are their historical consequences. Somebody’s dream job right there.

While you could boil this down to Canon doesn’t matter because it always changes, but that’d be missing the point here just slightly. We’ve seen the main work been put on the chopping block and some of its important elements have been cut off, only to appear elsewhere. This weakens the main work, but it also makes the story’s canon that much weaker. If you’d need one more example of this, the 2009 Star Trek reboot movie doesn’t ever tell what Nero was doing in the past after he came through the wormhole. In the movie, he’s just sitting there doing nothing and waiting for Spock to pop in. However in the comic he was captured and enslaved by the Klingons, making his escape and reclamation of the Narada that much more important. After seeing his home world destroyed, seeing Vulcans’ inaction as betrayal despite putting everything he had in their hands, and then forced to the past and for years being unable to do anything to prevent that from happening, Star Trek could’ve had its best and most understandable villain. All that was from the movie, making him just a jackass with a vengeance. It’s only a matter of time before someone writers a new book or a comic that explores this further, erasing already established events in the comic, which already is questionably canon. The comic version’s story is that much stronger compared to the movie, but it’s the not the story. It’s just an alternate take, which some people supplement the movie itself with.

Here’s a way you could make cross-media function for their own benefits without taking away any from the main work. The Mad Max game from 2015 was supposed to be tightly connected to Mad Max Fury Road, but ultimately wasn’t. The two would have supplemented each other, but only in a manner that there would not have been anything missing from either work. For example, the Pursuit Special is missing its spoiler in the movie. Not a huge detail, something most people probably missed altogether. However, in the game it would’ve been a collectable item with some story tied to it, adding to the overall story of Mad Max. We don’t know what these details were going to be, as the game was completely revamped and reused two decades worth of abandoned concepts alongside concepts for possible future movies. If you’re a fan of Mad Max, the game should look and feel extremely disjointed and somewhat schizophrenic because of this.

This is really convoluted and lengthy way to say how works, even sequels, need to be standalone enough to be consumed as-is without any surrounding media taken into account.

10 is the same as 0

Reviewers have always been influenced by the producers of goods and have been enticed with gifts to influence their reviews. Bribed, in other words. It’s an open secret how this happens all the time, though social media and how current reviews, especially with movies and games, are being influenced is laughably transparently covered. For example, back in 2014 when Watchdogs was about to come out, Steve Hogarty admitted how Ubisoft had put up an exclusive preview event for the game in Paris, where they gifted reviewers with Nexus 7 tablets. While this one event got some coverage, it’s far from being a rarity, though a normal consumer who doesn’t have any access or ties to any media houses wouldn’t know. Press kits for game journalists in events like this, and outside, tended to be rather expensive. Kotaku may be one of the worst sites around when it comes to objective news and articles, but a post from twelve years ago about Capcom sending them a three hundred dollar chess kit, while mentioning off-hand how EA offered to give them Porsche driving lessons so they’d get to play more of then upcoming new Need for Speed, shows how much the publishers and developers want to influence the media. It isn’t surprising that for each one who declines, there are at least two who say yes. This is an old topic in itself, and this sort of lack of independency between media and providers is always an issue. Sometimes kicking off consumer revolts. If you look up video game press kits on eBay, you can find journalists selling their gifts away. It should make you question why these kits include statues, backpacks and other goodies. If these bribes didn’t work, they wouldn’t be made.

Social media has changed the game quite a bit, especially with Youtubers. The providers don’t work with just media houses any more, but have tied single content creators around their pinky fingers as well. With Star Wars we saw large amount of media applauding the new movies, but after few years these reviews look suspect when the same writers repeat criticism consumers had with the movies in the first place. You can always argue that the reviewers bought the hype and had more objective lens after some time had passed, though that just means these people are terrible reviewers who let their own feelings and views influence their work. Youtubers often are fans making content. Fans’ love towards something is traditionally strong and can be easily exploited. They feel like they’re doing something right for the community and the brand by promoting it, and more often than not the big hits are hanging off from the companies’ strings. If you’re connected to the provider and manage to get exclusive behind the scene views or clips, the more views you manage to rack up. If you get on their bad side, this lifeline will be cut. These are fans hyping up other fans. That’s their job, in effect, and it’s not even a real one. They’re doing these companies’ PR and advertising, hyping titles up to high heavens, and they don’t even get properly paid for it. There is no self-respect at play here. Let’s not get into how Youtubers, influencers and press often get pre-release review copies, sometimes to own, sometimes with a bunch of the merch. You scratch their back, they scratch yours.

We of course come back to The Last of Us 2 and it being review bombed all the while the gaming media is praising it. Oh there are proper review scores all around for sure. It’s just telling how screwed up the system is when customer reviews are being bombed to the ground with zeroes while similarly the official side is hitting it with perfect tens. An old joke in video game reviews is that it’s really just a three-star system, or the range of score goes from 70 to 100, but that’s sort of the reality of it. The more you find popular Youtubers and press media repeating the same points in almost the same wordings and ways, the more reasons we have to ignore them. The modern review system is bust and completely tied to the providers. Social media might be completely screwed with this, outside the ones that are truly independent, but the Internet also allows us to completely ignore content creators who are just marketing, shilling, products to your face. Give all channels and sources you use a hard look. If they’re championing something that’s transparently false or hyping something overtly, they don’t have your best interests in mind. They might be fanboys hyping, they might’ve lost their independence as content creators, the end result is the same nonetheless.

I have to admit that I did go overboard with the Muv-Luv stuff when the Kickstarter was on, but none of that was from the company’s side. I’ve got only friends in the translation team, no connections to the company proper per se, and it’s highly probably nobody at âge is even aware of this blog.

Nevertheless, the Internet has given us the chance to review everything we want on multiple sites, aggregate or not, and voice our own experiences. The onus is put on the consumer in this, which is why aggregates exist to make going through reviews easier, but as you probably know, that’s not exactly a system without faults. Still, if you look at item reviews on e.g. Amazon and read through them, you notice a pattern of mid-range star reviews usually having the best pros and cons. Top and bottom reviews can often be just one word and be left that. That’s pretty much what all these 0 and full score reviews are, empty hate and hype with no value. Not many want to do the legwork themselves, going through review histories and search up opinions from people who haven’t written reviews, resorting to these Youtubers they like and find likeminded to deliver the condensed version. There’s also something about wanting to enforce your own believes and sticking with the group mentality. It’s either cool to like or hate something, join the mob, despite the mob being driven and created by providers for profits. Nothing is more profitable for providers than zealots and true believers, as dropping something that they agree with can get you nice profits. However, bet on the wrong horse, and you’ll alienate the rest of the consumers. If you bet worse and the horse gets injured behind a bush like Silence Suzuka in 1998 Tenno Sho, it’s not hard to find yourself with diminishing revenues on the long run despite all the influencing and hyping.

As stupid as it sounds, stealth marketing has crept into every area of media we consume. It’s tiresome to take everything as suspect and wage through dozens of options and reviews just to find if something like headphones work for you. The amount of reviews and opinions will ultimately always overwhelm you, and in the end, the only proper way is to educate yourself on the subject to some extent base your decisions on that. A bit hard for video games and movies, but just like with everything else, having experience and foreknowledge about the subject helps you a long way. In the end, intuition is learned through experience. The good ol’ argument of giving something a go before you make a decision or the like doesn’t really apply with games and movies, or any entertainment media, as the provider gets your money even if you didn’t end up liking the product. Movie trailers rarely do any justice to the movies, as they’re made to market it. Game demos on the other hand almost died out completely, because they ended up representing the games a bit too well and impacted sales negatively. Piracy of course is the great controversy, as it’s claimed to negatively impact sales even when in reality people tend to use it as a method to test drive movies and games before committing to a purchase.

Any time you see someone holding a torch to something, giving it higher quarter score, go through it with extreme criticism. Reviews on Disney Star Wars, Marvel movies, The Last of Us 2 or any other high-profile piece, including Star Trek Picard, are under suspect, and through them, every other reviews these content creators have. If their standards and level of criticism yields 10/10 with only minor issues here or there, there’s something amiss. Look for authenticity in the reviews you look for.

Double the Fantasy

An element video and computer games have to them is the necessity for the player to suspend their disbelief twice. The first is, and the one players are most aware of, is within the game’s own setting. We can suspend our disbelief that Mario can jump as high as he can or run endlessly without exerting himself. Take any game and you can find any number of elements that we freely suspend our disbelief about, because they are games. Not many games overall, outside sports, have a need to adhere to the rules of reality. There is no magic, yet there are no issues of understanding and using magic in a given fantasy game. It’s part of the system. However, even before that we have to suspend out disbelief with the technology, on the matters that are not about the game itself. Things like having save slots, passwords to continue or even creating a character are separate entities from the game’s play itself. We expect these things to be part of the whole deal. We expect the games offer a fantasy world we can escape, but we’re still in need to use the tools that the games are built to function on.

While game worlds exhibit elements of different worlds, they’re tied to their social functions. Using somewhat old terminology, the fantasy of these games crosses with the necessity of cyberculture. The player, as part of the cyberculture, often demands elements that do not fit with the fantasy of the world, like Non-Player Characters directly talking to the player rather than to the player’s in-game avatar, like whether or not they would like to save their game. Players’ socialising is also completely apart from the game most of the time, though some players do play their role properly, not breaking their character in-game. The human brain is capable of handling two opposites as true, as players treat the fantasy the game offers as reality just as much as the true reality the game functions in. The fantasy of the world, while contradicting its necessity to be tied to being a software that can only be on a screen we control via input devices as dictated by the game’s rules, is no less is not broken by the necessity of reality.

To use Monster Hunter as an example, we know humans can’t wield the kinds of weapons the game shows. There is no in-game explanation either, it’s part of the deal. The same with monsters themselves and many of the fantastic elements the game has to offer. Controls is an example where the dualistic mindset steps in; we can’t simply do Action X, because the game’s design and code doesn’t allow us. This is part of the rules of the game, despite the games often showing movies how the hunts really look like within the context of the world itself. Items are part of the mechanical elements of the game, where you can carry only this many items in a given number of slots in your inventory, though nothing actually shows on your character that you have them. No backpack or the like on the character.

Some games aim to dissolve the distinction of the two layers. Rather than having the player save their game, the game makes the player write a diary entry and does not make references to the player’s own actions. It’s the player avatar writing the entry, keeping the layer of fantasy unbroken. Yet this is rarely done in favour of making clear to the player what function is what within the game’s rules. To use Ultima Online‘s saving as an example, the player could not open a menu and click Save Game, as that breaks the game’s fantasy. First the player must gather the necessary equipment to camp, like a tent and firewood. Then the player must find a fitting spot to camp and initiate camping procedures before he can log off from the server. The player can’t simply cut the connection at any time he wishes, as that gains him a penalty, where the player character is forced to lay still and possibly be mugged by thieves or mauled by wild animals. EverQuest handles this differently by the game announcing camp preparations with a countdown. The fantasy is not broken, instead it has been replaced with a narrative element in both examples. With games like Final Fantasy, there is no consideration for the fantasy itself. The game and its in-game external functions are treated as two different things.

Games like Baldur’s Gate allow breaking the game’s fantasy even further through constant renewing of the player’s party and character, being able to rewrite the backstories as many times as they want and renew pretty much everything about the party as much as they want. In online mode, a player can bring in a character from their single player campaign that might be significantly higher in levels and progression in the single-player campaign. The fantasy of the game requires moulding that sort of character back into proper spot in that online campaign’s progression, otherwise the fantasy of the game world is broken down by the game’s own in-game external functions. Baldur’s Gate treats itself as a hybrid of what it is, thus allowing its fantasy to be very easily broken by the necessities of its Dungeons and Dragons roots. The game doesn’t try to mask majority of its mechanical functions with its fantasy. Incidentally, while the aforementioned Monster Hunter doesn’t go its way out to include any real ways to keep its narrative functions, a lot has been discussed if the monsters’ Life energy and states should be shown to the player. The game’s design relies the player to further themselves into the fantasy and observe the behaviour and actions of the monsters to determine how badly they’re hurt or if they are enraged. While the game’s rules makes these very apparent by drastically changing the monsters’ actions and adding new elements to the monsters, like raised spikes or glowing eyes, it has moved an element of the technical into the fantasy.

The separation of the fantasy and its mechanics have become clear, and the two-layered fantasy is mostly gone. It has become more a meta subject for some of the developers and designed to toy with, with Metal Gear Solid being one of the best examples how a game’s world can intentionally break the fantasy by using the mechanics accessible to the players themselves, like reading contents of the Memory Card to enforce the idea of Psycho Mantis’ psychic powers and necessitating the player to use the second controller port to fight him. That, and using the controller’s vibrating function as a massage device. This kind of meta approach, while breaking the fantasy, also ties the two layers together, making it meta. However, in the same vain other developers have been chasing the cinematic and Hollywood presentation of Metal Gear Solid to the detriment of the medium, fracturing. the game’s fantasy further.

Video and computer games’ main narrative elements comes from the player’s actions. Each play, in themselves, is the story the game has, not the readily made framework the player progresses through the game. The play’s narrative can easily mask the necessities of the game’s rules and mechanics by giving them further narrative elements. While the players themselves will break the fantasy by meta-discussion about the game, the fantasy of the game world itself can be kept wholly cohesive. However, the wants of the players themselves often necessitate breaking the fantasy in order to offer them things like Quick Saves or the like. While we can argue that we’ve advanced in designing games and their interfaces, the modern electronic media and cyberculture is very much different from what it was ten, twenty years ago. Video and computer game designs reflect this, where the player driven narrative and story has been replaced with an emphasize on the pre-determined framework, despite modern technology allowing far more complex game progression to be designed and realised. The paradigm in current game design however wants to fight this, as it has been separated from the technological fantasy of controls, mechanics and rules. Rather than games being presented as a cohesive whole, with the layers being as melded as possible, the current paradigm in design wants to present the games as sectioned as possible. Perhaps it is because different teams are working different sections of the game, where the need to make clear-cut definitions betweens them becomes apparent. However, the consumers at large don’t see to mind this and are capable sidestepping the necessity to suspend their disbelief with fantasy due to simple nature of games running on rules.

A touch of medieval magic

During the last three to four decades the worldwide popular culture has enjoyed large amounts of content that hits itself back to the middle-ages with a touch of fantasy. Dungeons and Dragons is first on the tongue of many who play it and it would be dismissive not to mention the influence of Tolkien’s works played in part. Some of the largest video game franchises stem from these sources when traced back enough, while games like Ultima Online and EverQuest almost directly were inspired by. The influence of the The Lord of the Rings movies as well as Harry Potter, and even Shrek, the modern revisionist fantasy is strongly felt. We can go ever further back from the early 2000’s to the 1980’s as well, where titles like Dragonslayer and Conan the Barbarian were making ways in the genre. They all share the same fantasy tropes of castles, swords, dragons, fairies and magic ties them all together in one massive heap. Not only that, but IT books used to be full of lingo directly related to fantasy, with titles like Dreamwaver 4 Magic or The C Wizard’s Programming Reference. Hell, even when installing a program you might open up something called the Installation Wizard.

All these are tied to old stories about knights and dragons, fables and tales of lords and gods. Stories like King Arthur, Waltharius, Prose Edda and whatever story your countrymen tell as their national epochs all contribute to what we see in modern popular culture, especially in electronic gaming where games across the board freely borrow concepts, names and places from. While you have games like Valkyrie Profile that adapts Ragnarök as its background while exploring humanity and its effects on a divine Valkyrie, other titles simply take the names and drop them into a given setting like how Final Fantasy does with its Summon spells more often than not. While we lean back to these old tales to large extends, the modern world has allowed to continue telling stories in more effective ways. Movies, books, comics, animation and whatnot you have in the popular culture can be often put breast to breast with old epics and make comparisons between the characters and events. Captain America, in his own ways, is the United State’s very own Samson.

Using these names and concepts is an effective way to convey to the customer what are buying into at any given time. The aforementioned Installation Wizard works like magic, with the user not needing to concern themselves with the details in installing a program. It’s like magic, no need to explain how this works. It’s not always the classical terms or works that get referenced. Band names are often an example of this. Names like Shayol Ghul and Lanfear are both references to the Wheel of Time books, where both carry rather sinister and dark connotation. You wouldn’t be surprised the former is a Black Metal band while the latter plays Power Metal. Modern fantasy has played a major role as the inspiration for large amounts of rock and heavy metal. A game example to refer an idea through name alone would fall to Nihon Falcom’s Ys-series, as it is a direct reference to the city of Ys, or Kêr-Is in Breton, which sank in the ocean. Not much else was lifted from the original story other than a vanished city that had to pay for its foolishness.

While fantasy (especially the medieval fantasy that reaches well into the Renaissance) has been rising in popularity slowly but surely, works that could impact the cultural mind have become relatively rare. Not since Harry Potter have we seen a true fantasy work that turned people true believers of sorts. Perhaps the latest fantasy work that left a permanent impact was Dark Souls and its lieu of copycats and a forced genre naming Soulslike, which harkens well back to the day of Doomclone. As a piece of story, Dark Souls may not offer much and heavily leans on its own inspirations, one of which is the fan-favourite Berserk. However, as a game it offers one of the best modern examples of ways people share their own particular stories. The framework of Dark Souls is nothing special in itself, not even its method of leaving the player to tie the background story together through environment and item texts, something even Metroid Prime utilised through its logs. However, it offers one of the best examples where player actions is the bulk of the story. Sharing these stories, how an enemy was faced with a particular weapon, or how they were battling another player, is an essential part of the overall experience. Sometimes its shared through streaming, where the player effectively becomes a theatre performer and the game is his stage. Maybe they’ll just ragequit after Pinwheel kills them, ending that particular tale right there. Here lies the Hero Skarnix, yet another dead. Dark Souls took what was already there and mixed it all together to create something new from the old, though it must be mentioned that FromSoftware had already laid out the framework with Demons’ Souls and King’s Field series of games. However, Dark Souls is the one that truly broke through the cultural wall as a defining work.

Classic sword and sorcery fantasy seems to be a sort of thing that’s easily accessed by anyone. We understand the romance between a hero and the sword, the dream of heroic tasks we could undertake and overcome. Sometimes the twist is macabre and depressing, lacking in any hope, but even that we understand without much explanations. Life’s unfair and only we ourselves are in charge of our own lives. Make the best of it. Perhaps there’s a bit of nostalgia as well in there, as the World Wars tolled so many to the point of needing to invent Dada. Despite fantasy games offering complex mechanics and vast storylines, at the core there is simplicity that modern day doesn’t offer. Some prefer even historical stories prior to Renaissance due to lack of cannons and other similar projectile weapons, when all you had was steel and catapults.

While Science fiction had a similar rise as fantasy when we had the great writers, from Doc Smith’s Lensman and Asimov’s Foundation to Heinlein’s Starship Troopers and Arthur C. Clarke’s A Space Odyssey, modern science fiction hasn’t seen much success either on print, video games, films or television. Whether or not it is because of modern audiences simply being tired of science fiction, or that most modern writers can’t build a story that’s as entertaining and brain racking as the aforementioned authors’ works, the genre’s a passé. Fantasy, on the other hand, is ageless as it creates a false history to build upon. It doesn’t need to make guesses or assumptions what might be in the future or ask What if… Thus even science fiction weapons that have entered the general lexicon as most powerful are based on extensions of cultural history and fantasy, light sabre or laser sword being probably one of the best examples.

In time we’ll see new forms of media popping up and new ways to create content to tell stories of heroes, of might and magic, or wizardry and quests for glory. They’ll still stand on top of what we have now, just as the works we consume are standing on top even larger giants. After all, the culture of telling stories and playing games is ever-evolving.

Well done, Turner!

We have more electronic games at hand than we’ve had ever before. Same with television, with Youtube and other streaming services allowing each individual to put their own show and tell what’s on their mind. The same way how blogs and such are the newspapers’ opinionated pieces of the Internet. The more we got everything, the less the little gems pop up, the less we’ll know about those single pieces of media that are being lost in the twenty-four/seven information onslaught. We can talk about how nothing is lost to the media and how every game or show gets reviewed by someone and you’re able to find some bits of information about something, but that’s not even the case with English language games. Less so with titles that are only in a language you personally don’t understand. There’s absolutely nothing about African video game industry on the overall Internet, as they’re all extremely local and do not do well in comparisons. There are no reporters or interest looking into what’s happening there outside curiosities. You’d think this wouldn’t apply to Japanese markets, but even then you have stupid amounts of self-published titles that haven’t been listed anywhere, despite later being introduced to digital stores like DLSite. Big names roll the most, and looking at the titles that are the most hyped and on the nose of the market, there’s nothing new on the table.

From what I gleamed quickly at a casual glance, the Internet’s all about the new Doom game, the new Animal Crossing and about Final Fantasy VII Remake. There certainly are some other titles there too, but these are the ones that seem to pop up the most frequently. All three are titles belonging to long running franchises, and you could argue Doom Eternal is a remake of sorts of Doom II. All three have been selling like hotcakes and not many people are complaining about any of the three. They all have different target audiences, and all three resort to combination of the two Ns; Nostalgia and Novelty.

Good ol’ saying from the business world is that the customer is afraid of everything new. That is largely true, as people tend to find the most comfortable spot with the things they are most used to, the things they know the best. The things they’re connected with the most. With games this is easily seen in genres some people prefer over other and sometimes aren’t willing to step outside their comfort zone to try out something completely new. For example, a person who has always played Role-Playing Games ‘knows’ he wouldn’t like a semi-realistic hunting simulator. It just isn’t something he’d like. Customers are strange beasts in that we don’t actually know what we like or what we want. While our purchasing decisions are based on complex sets of decisions on merits of a product compared to its competition and how it’d do in our personal use. We might deviate from the usual product we buy if there’s something cheaper at hand that does the job better, or we want to change things up. It’s more common to abhor a new product or its competition though, and we want to change things even less if we’re emotionally connected. All things corporations capitalise on, hence why you see one company offering multiple different kind of sauces on the store shelf. On one hand, you might like that runny tomato sauce from X Brand, but that chunky tomato sauce looks pretty good and now they’re having a sale of three for price of two. Plus, that new sauce with seeds and chopped stuff in it looks good too and I know this brand has good sauces, so trying that out won’t lose me much. Turns out you love the chunky sauce and wonder why you never tried it out before.

I tend to default for mint ice cream.

The three aforementioned games are like that. They’re safe options for anyone who has experienced a game in their series or have a passing experience within the genre. All three titles also belong to games that have made an impact on the cultural scene, though Animal Crossing‘s the least of three. It’s effectively Japanese Sims with anthropomorphised characters, a simulator of everyday activities in a more peculiar environment. Doom created the modern first-person shooter, while Final Fantasy is effectively the golden standard series for role-playing games as a whole. You can contest Dragon Quest or some other franchise here, but as a global phenomena they can’t really hold the candle. They’re safe bets, titles that will deliver profits even when handled in a half-assed manner. They’re a franchise, something will keep ’em afloat just fine. With title like Final Fantasy VII Remake, there was never any questions if it made any money. The question was how much money it would make. Not because FFVII Remake would ever be reviewed or seen by its own title, but because it is a remake of a game that is perceived as one of the pinnacles of modern-day popular culture. Because the game this remake was based on managed to attach consumers emotionally to the brand and the name, striking just the right time in the right place. Whether or not the game was put into production because the developers felt they could do FFVII more justice with modern tools and methods doesn’t really enter the equation, when the game was a safe bet. It has been requested for years on end and it would be gobbled up no matter what the end result was, and the sheer power of personal emotional attachment would colour however the game would end up being. All usual business, and I’m ranting about this again.

We could split the history of video games in slots where certain genres or certain styles were the most popular. The First electronic game Generation saw large amounts of Pong clones, with the Second Generation trying out a lot more stuff with titles like Pac-Man and Space Invaders. From the Third Generation onward we saw the 2D platformer surfacing as the most common type, but whether or not 2D action was the game that was best done in that manner could be open to debate. PC side was doing 3D stuff at the time already, but not all that well. Come to modern day, and most games, even RPGs, are third-person action. While mechanics may be a bit different, they’re effectively the same kind of game all over again. The coat of paint might be different, yet third person is the way to go now. In reality, that’s not the case, is it? Despite some of the most spoken about games in last years, from Nier: Automata to Metal Gear Solid V and even Senran Kagura are all variations of this same core game concept of controlling a character’s actions from behind them. Despite the third person view, it isn’t uncommon for players to refer the character on the screen as themselves in action. “I have to sneak there,” for example. Even with VR the most titles are some kind of variation of the first person type, because there’s nothing much else you can do. Perhaps that’s part of the equation, where gaming isn’t exactly able to do anything else what we’re now having. After all, playing with Star Wars dolls is in effect the same action as playing Knights of the Old Republic or how Doom is like taking a toy gun and going outside to play war with your friends. The framing and limitations are just different, the act of playing is still the same

The game industry is already feeling a moment where they are having workers who have grown up with video games. Logic would dictate that these workers know how a game functions, but that becomes a limitation and a liability. Games like The Legend of Zelda are based on real-life experiences, the adventures and explorations a child does in a forest with a wood stick as his sword and finding a cavern. Pokémon is about insect collecting and finding the biggest, baddest one and then to compete with your friend. When your life experiences are with games and the game media all around, you ultimately end up resorting to what you know best, your experiences and nostalgia. Games based on other games become saturated by its own culture, inbreeding itself. The concept of the play has already been somewhat lost in modern gaming, where story is considered to come from pre-existing narrative rather than from the act of playing. Interestingly, it is common for games to section themselves into story bits and game bits, and has been doing this increasingly so as time has passed. Perhaps nostalgia and experience with previous generations of games has produced this approach with experimentation being left out. The inverse of course is if a person doesn’t have any experience with games and comes from another industry, like film, a game might lose its play in favour of film elements. This arguably already happened with the FMV titles in the 1990’s, when gaming was being pushed to become a second Hollywood and abandon the element of game in favour of video, and left a crater on the gaming as a media. That said, it’s easy to pick up one of the modern games offered and trace its influence in gaming back at least a decade or two. Easier still with titles like the FFVIIR, where you see the connection with the original FFVII and Kingdom Hearts in terms of gameplay and how progression is handled. History of the developers on the showcase.

The mainstream gaming doesn’t see many truly innovative games, or games that try to tackle the pre-established mould all that often. When it does, it’s often tacked unto a pre-existing IP. While Mega Man Battle Network still splits some opinions, it is a game series that doesn’t have much imitators. Its combination of RPG elements with real-time action with card collecting makes it stand as a unique piece, but something that didn’t necessarily need the Mega Man IP name to carry it. While it certainly helped with the recognition of the game at first, we’ll never know of Battle Network could’ve been bigger if had been something completely original.

That’s where the whole thing rolls back around to itself. Customers know these things, they’re familiar with certain kind of things, execs and investors want to make the best bucks and developers end up making games according to these points. However, it’s also a point that while developers are chained to this leash, often devs also want to make a game similar to this fashion or that fashion, a game in this particular genre and this way. Japanese may showcase some of their titles as unique titles with no real connection to the past, but that’s PR speech and trying to pass yourself in a higher degree compared to the lower tier workers in the company hierarchy. Shit rolls downhill. You look at a developer like Platinum and their library of games, and you don’t see any real innovation and chances. All of their high profile games are effectively one-horse tricks. There’s no innovation in them for the medium as a whole, they’re “just” well made games in a given genre. Just like the big heads sitting in the board meetings, the devs resort on pre-established patterns and methods which have been found to be working and a success. No need to fix what’s broken, and that applies to the creatives just as much. Sometimes you find the perfection combination of chance, time and people with the rights wants and intentions that push the envelope, even if by mistake, but combining all the right parts of past in a way that creates a new tapestry. To use an old example, whole Super Mario Bros. wasn’t anything new, the way it was put together and as to end the cartridge games on the Famicom, the genre gained a completely new lease in life and a the franchise in itself was reborn more Super.

Games are now more than entertainment, supposedly

The Finnish National General Broadcast News, or YLE news, recently had a piece about video and computer games being more than entertainment nowadays, that they now comment and depict social issues as well as touch upon hard philosophical as well as explain stories. This naturally is horse shit at its best, as this would imply the half century games have been around didn’t consist of wide variety of games that were exploring topics that other forms of media have. Ultima alone made its legacy of creating a game where the player’s Avatar creates rules and virtues to improve people’s lives and give them faith. The follow-up games was all about perverting those ideals and how they can be abused the worst way possible. That’s just one example, with the Japanese PC platforms also containing their own adventure games with even more exploration of culturally relevant topics. I don’t mean VNs, think more along the lines of Sierra adventure games and you’ll be on point. Then you had titles like E.V.O. The Theory of Evolution that still stands as unique simulation-RPG, that the SNES sequel doesn’t exactly stand up to.

The issue of course that entertainment was depicted as something that doesn’t handle topics that require the audience to think. Literature, music, all forms of games, films and television are all *just” entertainment. Something being entertainment doesn’t suddenly mean they wouldn’t be able to discuss topics that would make the audience’s head ratchets clatter. Some people find their entertainment to be all about the discussion about current topics and politics, where they are required to consider issues that oppose each other as well and weight on the benefits of unsavoury actions. Other people like bang band woosh flash kind of entertainment where you can watch Iron Man punching Hulk in the face for fifteen minutes. Both are as valid as entertainment, but they’re different kind of entertainment. Both offer their own thing for the audience and the audience consumes them at their own pace. The difference is, of course, that games are active entertainment. The player is required to make the decisions. This isn’t what the news meant, as it had the classical approach of pre-written narrative being the core. After all, that’s the narrative about video and computer game storytelling, rather than the significance of playing and player being the most significant part of the story by creating a unique tale through player’s own actions and decisions. It’s strange that there are no news or studies made how much decision making in any given game situation affects the play or the player’s current mind set.

Because games are a form of entertainment the player takes place, player’s actions and decisions have all the ramifications within the game’s world itself. Sure, most players will blow things up just for the fun of it because they can and there are no repercussions, but in the same breath we can say that the same actions wouldn’t be taken in real world. That’s why games don’t work as a training device for general population without being conditioned for it and help of external real-life devices, as games are played. It’s interesting to see how little the media discussed playing being the most essential part of games, with terms like gameplay, game-loop, designs and whatever is the current buzzword thrown around to describe the simple of the player taking in the game rules and acting on them both physically via the input device as well as playing in their mind the role the game is giving for them. While it’s quint to see papers wondering how people can relate themselves in the characters on screen and refer their actions and events in first person rather than referring to the character on the screen, it also tells that it is common to see video and computer games as a separate thing from usual playing. There is no difference in a player controlling Mario in Super Mario Bros., controlling the horseshoe in Monopoly, playing the role of mother in playing house, referring to yourself when playing with dolls or being the dwarf in Dungeons and Dragons. All these forms of play have the same point of putting the player in the actor’s role and being there. For whatever reason this is seen as a more juvenile form entertainment, and all the forms of entertainment that are passive and ask the viewer to be a non-participant in are the more elevated thing. Funny that, that was one of the arguments what separates art from video games, where art can only be observed and not interacted with, despite interactive art and instalments have always been a relatively common thing.

Is this art, or is this a toy?

Toys are some of the best of entertainment. The toys we play with changes as we grow up, but the act of playing with something doesn’t. It’s also interesting to notice that at some point we “grow up” from something, but much later in life we return to them. Action figures and model kits are an example of this, but the best example might be doll houses. For whatever reason, at some point doll houses become a passé to a teenage girl who abandons childish toys, but just as often she finds herself playing Sims on the PC to pass time. Later in her life doll houses become a thing again, but this time she might build everything herself. From readily made toys to serious hobby, but in the end, it is still playing around. Just with more gusto and more expensive toys.

Video and computer games, much like all the other forms of entertainment we consume, don’t suddenly evolve or step up from their lower-ranking or childish spots. Games are, have always been, entertainment that put the player into uncomfortable positions to make hard decisions due to their nature of play. Often through competition either against the machine or the other player. However, these are momentarily events and something we can’t pass to anyone else, just like all play is. It isn’t that people stop to look at the veneer on the surface, but rather the simple lack of understanding how electronic gaming is no different from the rest of the play cultures we have. The form may be the different, the underlying actions and intentions are the same. Despite we’ve had few generations that grew up with electronic games now, they’re still treated as a second or third tier entertainment compared to the more classical form of media. Then again, modern comics are about a century old now and the view on them haven’t changed despite multiple generations have passed and their status as a form of proper art and storytelling has been challenged every which way. Perhaps this is another form of classism, where we have to create hierarchies instead of accepting that one form is no better than the other, as they are intended to be consumed in different manners with different end-goals. What is expected from a challenging piece of media has been relatively common due to sheer lack interactive element before, and now that we do have a whole new media dimension in our hands due to the digital revolution, the expectations are all fucked up. Perhaps in order to justify our interests and hobbies we often prescribe already accepted nominations and expectations of others. That way if we love to eat a BigMac and think it’s the best thing since sliced bread, we can describe it in the exact same manner as we would describe the most high calibre steak. This sort of reflection is sadly somewhat common, which forces arguments to lean on existing media and views rather than building new arguments and perceptions for the benefit of electronic gaming. Whatever the kids are into now can’t be better than the thing you grew up, after all.

Entertainment doesn’t need to be mindless and stupid. Some of us find it entertaining when the media challenges us to think, or in case of games, challenges to base and act our decisions that have ramifications larger than any other form fiction can depict directly with the inactive consumer. It only depends which game we are playing. We’ve always had games of all needs we’ve ever wanted.

Digital takeover?

With nations going to lockdown modes, travelling being restricted and products unable to move from place A to place B, the world faces changes. Some of the changes will be long lasting, while others will be temporary at best. In a way, we’re faced with a moment in time, where only the essentials should matter. If you’re not directly in relation of producing foods or essential services, or are able to work from home, chances are you’re going to miss some work. Entertainment is, to be brutally honest, is probably the least important part of life. While the modern society is mostly used to have content provided via whatever screen we choose, numerous places that offer entertainment outside your home environment. For example, the movie theatres are effectively closed for the time being, hurting their income and their workers’ pay. With the theatres closed, some of the studios have opted to stream their movies in much faster order than usual.

The discussion of digital superseding over physical is often only about the media, how games, music and movies are going to vanish from the store shelves in the future and be replaced with digital-only counterparts. While this is extremely rosy view of the future, this discussion should also include automatisation as an essential part of it. Some types of work will be replaced with their digital and automated, and on the long run, most work from medical care to translation can be automated. It’ll just take long time to get there, improvements in special kind of AI and automatisation, but nothing’s really out of question. At some point we are going to have discussions whether or not we are going to allow digitalisation of work to replace human workers in some particular fields. Futurism.com has an article about Artificial Intelligence that is able to make more accurate diagnoses as a doctor than a human one. In time, digitalisation will take things to the point that consumers will be taking goods and be served by automatons. Digitalisation promises offers of superior experience every which way. It is already spilling out from factories and whatnot to digital environment, where 3D models are already used to entice viewers to enjoy video contents more.

Though who needs mp3 players or whatnot when you can have a non-digital automaton playing tunes for you

The whole Virtual Youtuber thing is digitalisation at its best. Sure, you have someone acting behind the character, but the 3D model removes all the needs for the actors to change their body structures or put make up. Chaturbate users experienced what it means to compete with automated content, when Projekt Melody shot to the top and displaced most of the top models and was raking in money like no other. Projekt Melody is effectively a VTuber for porn and offers the exact same benefits that other automation offers; Better results in less time, and end result that will entice more customers. It’s more efficient and with the provider being able to deliver whatever visual designs and flavours the customers want, Projekt Melody is able deliver harder and faster the same experience live model have to work hard for. This lead many of the models on the site rioting, of course, resorting to name calling Projekt Melody’s viewers and fans (despite these exact same people are their potential customers) as well as claiming this was unfair competition. In reality, they are now facing the first steps in having digitalisation and automatisation entering their field of profession.

Digitalisation doesn’t straight up mean that robots and automatisation replaces someone’s work. Well, in practice it does, as rarely the same person is trained to maintain the automation. At least one human has to be behind automated work to keep it in check, to ensure that it runs well. A welder would do good by aiming to move from manual welding to become a robot operator, if possible, as in time welding in factory conditions will slowly but surely replace the human worker. The companies themselves might be against this, be it trusting human worker more or due to sociopolitical issues, but robots will always end up being more efficient than the humans, be it in the factory, in the doctor’s office or something you want to jerk off to. We are already happily using platforms that are supplanting physical environs. Netflix may be new television, but it has been said to be the reason why movie theatres are dying, online shopping has been replacing physical stores (which is a terrific example of its implementation as the customer feels like their doing something significant and non-automated), especially now that you can order your foodstuff to be delivered to your door. I wouldn’t put it past the post offices around the world to aim replacing their postmen with drones, like how Amazon is testing their drones. It all might have a high up-front cost, yet on the long run it’ll be that much cheaper. This is one of those things where companies may not want to prioritise short-term gains over permanent long-term gains and begin automation. Current structures may not support automated environments straight up, but all that is easy to change.

While digital media has not phased physical media out, there is a possibility that the infrastructure for that is being implemented at this moment in time. After that, there really isn’t a need to go back. Digitalisation and automatisation go hand in hand, and while customers are now inconvenienced by the epidemic, the most inconvenient and easier way to consume and explore entertainment is digitally. The discussions about consumer rights and ownership is not even thought about, something this blog has been discussing to a major extent in the past. Consumer behaviour has been drastically altered now and it is possible we are seeing a strong paradigm shift. Not only customers are going for the digital option, either because of fears or convenience, the companies have to make due with whatever production methods they have at hand. China’s factories being closed means everything has to be postponed or other forms of delivery (i.e. digital) have to take priority. Local production may be emphasised and thoughts about becoming more independent from foreign produce. Of course, some nations can’t really match up the sheer volume in production others can achieve, which will lead into local produce being costlier than imported. Whether or not this would be a chance to increase local production, or if people will simply change their habits of consumption, is open in the air. It’ll be interesting to look back few years from now to see how both customers and industries have changed.

Sony has no strong IP of their own

There’s a rumour going on that Sony would like to purchase Castlevania, Silent Hill and Metal Gear franchises from Konami. I’m sure you already heard about this, but the news sites have been making rounds. These being PlayStation 5 exclusive titles would make sense, as at one point Solid Snake, alongside Crash Bandicoot and Spyro the dragon, were considered Sony-only, unofficial mascots of sorts. The thing is, Sony has a terrible track record at maintaining and running their game franchises. Hell, Sony been butchering their movie franchises just the same, with Spider-Man only becoming success after failed reboot when Marvel stepped in to help. They’ve always been too reliant on third party titles and have taken exclusivity as a kind of self-evident point and understanding that the PC and console game markets are not in direct competition with each other.

Sony has recognised that both Metal Gear and Silent Hill franchises are often associated with the PlayStation. Both of them have their best titles on Sony platforms and made their impact and name on a PlayStation. They are games series that are both nostalgic to fans of Sony’s systems as well as franchises that have significantly driven the sales of PlayStation brand as a whole. If they can get Hideo Kojima involved as much as possible, to replicate the golden days of the Metal Gear franchise (despite Kojima historically saying he’s done with the franchise after the first game and after each subsequent sequel), then Sony would have whatever one-two punch they want to replicate from past. The thing is, as mentioned, Sony really can’t manage their own franchises worth shit and there’s no indication they would do any better with any of these. Kojima’s Death Stranding, despite all the hype, has strongly mixed reception and hasn’t made the impact or sales such hype train should deliver. I’m sure some guy sold his mattress to play Death Stranding, and fanboys will hype it, but data isn’t supporting Death Stranding all that much. Sony has tried to make amends between Konami and Kojima as well as tried to fund development of new titles, but no avail.

Nevertheless, Sony is feeling the absence of their strongest third-party lineup, and Konami not exactly wanting to make these games due to the bad blood associated with them, so buying the rights outright would seem to be the most sensible option. After all, reboots of other classic Sony associated franchises have seen strong sales. Final Fantasy VII Remake is almost guaranteed to sell platinum on its first quarter. Konami not making new entries is hurting Sony’s bottom line and Konami has no reason to sell or develop new titles at this moment. Selling their IPs to Sony is highly unlikely, as they still make money as franchises, be it as pachislot machines, animation, via collections or digital re-releases, toys etc. Konami isn’t just a game developer, their business heavily involves in producing other media content like animation, production of goods like toys and are heavily involved in other kinds of activity centres that are not involved in gaming directly. To them, there’d be no reason to sell IPs that trickle in money from things that aren’t video games despite them originating from there, like with the Castlevania cartoon.

If Sony were to purchase the IPs, and to bring in the big name hotshots that were running the franchises almost two decades ago, what’d that yield? The rumour says the first thing would be a remake of Metal Gear, which is currently probably the most obvious choice to many. Silent Hill would see a soft-reboot, again. Castlevania would see a hard reboot to model itself after the Dark Souls and Bloodborne (which would personally throw me into a fit as that’d be retarded. Castlevania was, and should always be, Hammer Horror Action Games.) All these probably would get an entry, and then nothing for some time. Just look how well Sony handled Gravity Rush, their most high profile new franchise that was expected to hit big and hard. It was the game the Vita was sold on, and then nothing until it got ported to PS4, effectively being the moment when Sony killed their handheld. The second game had lacklustre development cycle, had a timid release in the West and there is no word if spin-offs or third title in the series. Gravity Rush is a bust. It has a cult following and has a favourable opinion overall. It’s a franchise Sony could have worked with to improve it and make it a larger hit and build on that to make new IPs to balance the scales further. This isn’t what Sony does, this is what Nintendo would do.

Sony, much like Microsoft, really suck as handling their own, original IPs and pretty much every high quality title that’s mainly associated with has been bought from somewhere else or a third-party product. Sony, to this day, has not created a strong, long-standing franchise of their own that they could proudly stand-by. Their systems’ sales are dependant on these franchises, especially during periods of economic downward spirals, where convincing the customer to put their money into non-essentials like games is stupidly difficult. Sony wants to get all this under their belt to ensure the future of their own platform by name recognition, both in terms of IPs and with the faces of the developers, but that’d be throwing pearls to the pigs. What we’re looking at here is Sony effectively wanting to ‘Disney’ Konami’s franchises, especially Castlevania.

Sony wants to make money and Konami owning these franchises is preventing them from doing so. Their aim wouldn’t be treating these franchises right, or how art would demand, all that matters that is the customers see familiar names and faces alongside somewhat expected games. Sony needs this, and it wouldn’t be too far fetched to say they want to hammer nostalgia with remakes and reboots, especially now that they’ve got nothing of their own to makes those sales.

Unmade money with old games and consoles

Masayuki Uemura was interviewed by Nintendolife recently. He was the main engineer of the Nintendo Family Computer, as well as the guy who lead Super Famicom development. Naturally, he also was behind the workings of their American and Western equivalents. The interview covers decent ground and has some interesting factoids spread around. For example, all the innards of the FC was to cost give thousand yen and then sold for fifteen. Taking inflation into count, that five thousand is about six and half thousand yen, or about fifty five euro. The FC wasn’t exactly cutting edge for its time either, and the initial FC games are a whole another world from what the Western world came to know with the NES. You could even say that the split between the games, sort of, is pre and post Super Mario Bros., as that game was build to be the ultimate cartridge game before the disk system hit the corner. After SMB‘s success, the quality of the games on the system skyrocketed in number and begun yielding classic titles after another. I still maintain that the NES’ US launch line-up was one of the best a console has seen, as Nintendo of America had the chance to hand pick all the most fitting titles from the Japanese releases to fit the American taste. The Wii also had a relatively low-cost innards, which didn’t hamper its success. Nintendo’s lack of support after few years though, and Wii’s sales were still top notch.The Wii’s Virtual Console on the other hand, that sold the system to so many people.

Uemura mentions costs to be one of the driving elements in the design, and this is something the common consumer doesn’t tend to think. Certainly you know that better materials cost more money, but that’s only part of the equation. Shapes and colour add to the cost as well. For example, pink plastic has a higher melting point than blue plastic, requiring more time and energy to melt the plastic into the moulds. The colours themselves are also a factor, as mixing and making different colours cost different sums. Of course, you also have consider what that colour can do to plastic on the long run and if it’s worth it. For example, Beast Wars era Transformers toys have Gold Plastic Syndrome, where the colour and flakes added to the plastic have chemically interacted with each other and brittled the plastic, making it prone to break very easily. Some examples were found on the store shelves during the 1990’s already, and the issues has only become more pressing with time. Let’s not forget the shape. The more complex the shape, the more time and money it takes to develop needed production methods and finding the proper material to work with those shapes. Machining and maintenance are the key factors, and sometimes shapes need to be simplified due to either needing excess amount of parts or corners and loops that simply wouldn’t fill. Uemura mentioning that they went through numerous different variations for the controller is nothing surprising, but something that hasn’t been recorded and archived anywhere. If NES would’ve had the same kind of joystick as the Atari 2600, it would not have been the same success. The choice to try out Game & Watch Directional Pad appears to have been a somewhat desperate attempt to cull costs and prevent breakage if a child steps on the controller, and it worked.

The most interesting, and perhaps even most important section in the interview, is Uemura talking about the Famicom Mini;

Why make it mini? I think they could still develop a regular Famicom and people would still buy it.

Uemura’s hitting the nail with this, and it’s not just Nintendo that this applies to. Unlike what the industry wants to tell you, a console has no true life cycle or end of it. A system lives as long as the parent company decides to support it. However, the practice currently is to support one home console and one handheld at a time, thought the Switch really does both. All these reproduction consoles that are going about are an example how there is a market that’s untapped by the original companies. If Nintendo decided to develop and official GameBoy with a backlit screen, it would sell not only to the collectors, but to all interested parties. Reproducing cartridges nowadays is much simpler and cost effective. I’ve discussed this topic previously in a review. While it would increase the cost of the mini-consoles to add a port where consumers could use their own old cartridges, it is something these companies should have strongly considered. The games and their players have not gone anywhere. These same games are being published time and time again either as individual games or as parts of compilations. The game industry is almost schizophrenic in this. Something is supposed to have a limited lifetime, and yet people pirate ROMs to play these games and purchase compilations. Developers try to push for the new titles and games with high budgets and production values, and it’s the small side-game that’s more true to the older games that sells like hotcakes. We are still playing the same board and card games from hundreds if not thousands of years ago, and the could apply to electronic gaming if the industry wouldn’t treat them as one-time consumables. Yes, old cartridges and consoles will yield to time, to wear and tear, but the question really is why isn’t any of these companies willing to address this? There is a market that Sega, Konami, Sony, Nintendo etc. could go and tap.

Of course, developing a new console that would be planned to run old games would be time off from the more modern and current projects. Where’s the prestige in that? It would take some time and effort to see what made the original systems tick, if we’re to avoid emulation, and then expand what they can do. Using HDMI would be the first step, though if fans have created modifications to add HDMI output to old systems, so can the parent companies themselves. That is, if there is know-how and skill to do yet. Just like in the film industry, where colour and digitalisation effectively killed old skills (nobody knows how to make a true black and white movie anymore or how to properly run a reel, everything’s just a guess) the video game industry is in the process of forgetting how to develop for analogue platforms. Only the enthusiasts and retro-game programmers are keeping these skills alive. Hell, most big developers don’t even develop their engines any more, opting to use pre-existing engines. Capcom is one of the few developers that do their own in-house R&D, and it shows. Perhaps the kind of sameness games nowadays exhibit is partially because of this, and partially because games don’t develop as fast any more. In the 1980’s and early-to-mid 1990’s the industry kept developing fast and weren’t defined to the point of being set to stone. You had separation what kind of game was on what kind of system (PC, console or arcade) yet now more games are more the same. I’m ranting again about this, aren’t I?

There is money to be made with games and consoles, even if the industry perception is that they wouldn’t be much worth. The NES Mini outsold itself twice, the SNES Mini sold itself out about as fast, the Mega Drive Mini has been hailed from left to right as the best Mini system to date with excellent choice in games and the PlayStation Mini is still sitting on the shelves for being shit. There needs to be quality of course, as not even the hardest of the core customers will stand for lack of proper effort and lacklustre products. This market isn’t just for the small percentage of people stuck in the past. Old games, as long as they are available, will sell. A game is an ever-green product you can press again and again and sell it over and over again. They don’t grow old, playing games is an ageless pastime. They are mass consumer entertainment, and if you were to present them in their proper, original form with somewhat updated hardware for the new times, you’d have a new pillar to support your business with. Then again, we’ll always be an impasse, as that’d be looking back into the past and not trying to push the latest newfangled stuff.

Play as movie

The recent success of the Sonic the Hedgehog movie has given a raise to the discussion why and how adapting video games as films is supposedly difficult. This haughty attitude usually comes from Hollywood, and when Hollywood wants to make games or show the ropes how to make great entertainment, the games themselves turn out to be less than desirable and low in success. On the other hand, a movie turned video game is usually about as successful, and the more it veers off the course and does its own thing, the better success it tends to garner. Take the NES Batman as an example, a game that is less than spectacular adaptation of the Tim Burton movie, but as a game it has aged like fine wine.

Perhaps one of the best early examples of using a movie as the basis rather than directly adapting it. There’s also that top-tier Sunsoft soundtrack

The issue is rather old topic for the blog, but perhaps it needs to be stated again; games’ stories are player acting them out. The FMVs, story sequence and all that, those are the framing device for player’s action, not the other way around. Describing someone playing is boring, but when you’re the one doing the playing, be it with dolls, wooden swords, card games or whatever, it’s interesting: entertaining. Hence games are about personal action within given rules, and real story is build by player actions. Take the TAS above; the framing is Batman must defeat Joker and his minions but the way to defeat the Joker and his minions is far more interesting when it’s a game. How do you approach an enemy, how do you avoid this trap, what’s the best route to take in a given situation? These moment to moment actions are what builds the game’s experience, the story the player is weaving with the game. The less player actions there are in a game, the less there is a play to be had. This play can’t be turned into a movie, a book or anything passive. You, the viewer, can’t be the actor.

This really is the crux of the issue. When a game is being adapted into a series, movie or whatnot, the first thing that is being looked is at the framing device. In Mega Man, the main character fights evil robots lead by a mad scientist. Easy to adapt, the games have sold millions so a story as simple as this should be a piece of cake. The issue of course is that Mega Man games don’t exactly celebrate how well their framing stories have been constructed. After all, all of them are just there to facilitate player going through stages and beating enemies. You always have to write something extra, create new content that might make a good story. You can make Mega Man running through a stage into an action scene for sure, but eight times in a row? A movie doesn’t have for such things, and even in comics action chapter after action chapter without a breather makes you feel stupid. A TV-series, surprisingly, is the best place for a video game adaptation in overall terms, as it not only gives time to explore expanded characters, but also gives leeway for action. Even one cours series, that is about twelve episodes, would be enough to adapt any game.

The Mega Man OVAs are interesting beasts in that they didn’t adapt the games at all, unlike the Ruby-Spears TV-series. Instead, they were vehicles to introduce children to cultural heritage, hence the it was Presented by Japan Center for Interculultual Communications. It should be cultural, but typos tend to sneak in even.

A game becomes easier to adapt to the silver screen, or elsewhere really, the more there is framing for the play. That is, the less there is chaotic elements, the less player actions there are. The frame never changes. This applies to role playing games as well, and the difficulty bar gets set higher the more options the player has. For example, RPGs that allows completely customisable characters and party creation determines how the characters advance forwards. With each change to the party characters, and how the player wants to approach any given opponent, the story has already changed. Perhaps in one playthrough the player goes with an axe wielding warrior to save the day, and in another opts for a mage build. The connotations, suggestions and approaches are all different and while the base framing is the same, the core story has been drastically altered. Perhaps the player character opts to use a fork as his only weapon. I heard you can make a fork as one of the most broken weapons possible in Skyrim.

It is largely evident that most game adaptions on television and the silver screen have people working on the product that don’t understand games. Sure the framing is easy to get. Expanding that to a full film-length story is what’s usually done. You can’t turn play into passive entertainment, unless that play has been executed extremely well. The reason why I linked Batman TAS is because of this. A mundane playthrough of the game might look boring, but a TAS, in principle the most effective and best way the game could be beat, becomes almost cinematic. Issue of course is that you need to know how the play is acted out, and that’s different from genre to genre. On the reverse, it’s also hard to make a movie into a game, as movies don’t tend to have content that can be easily turned into an active play. They might offer one or two set pieces, but games require far more freedom than what a strictly structured story can offer. A game of course can fill in missing spots in an action sequence or the like, but the more game adheres to its adapted source material, the less room for play there is.

Then again, the easier and less chaotic the game’s play is, like a tournament fighter akin to Mortal Kombat, the more clear how to adapt and how becomes. Nevertheless what kind of source material you have in your hands, the adapted material can always trump over the source, and adapting always asks for something more than directly lifting elements from one medium to another. Individual decisions and actions are just far more difficult to adapt to the silverscreen than, e.g. a comic panel. You could, of course, take one well played game and turn that into a film, considering that would be that particular player’s story and all the emotions and excitement it brought with it. Perhaps that should be considered more rather than just the framing.

This is why something like Game Center CX is entertaining. It’s not just about the game or the play, but about the how the games are played and what happens during the play. That’s the core of a game’s story

As an end note, this blog’s 9th anniversary was yesterday.

Something new and the countering culture

For some time now, I’ve criticised companies for rehashing the same old IP and the same old stories for a new product. Ever since we got The Force Awakens‘ first trailer really, when I had a post how they’re effectively recycling concepts from the cutting floor. 2016’s Ghostbusters is an extreme example of this in many ways, where it was beat for beat remake of the original. Well, so was Force Awakens and that’s the problem really. At some point all these big franchises that we’re now getting remakes and sequels of and to were something new, something ground breaking even.

Star Wars was born from New Hollywood. It was counter culture, much like how American Graffiti was before it. It something new, something that wasn’t done at the time. The 1970’s America was rather drab places, marred with controversies about war and politics. New Hollywood wanted to move away from what the establishment was doing, and as it tends to be with counter culture, it won and became the new establishment down the line. Goerge Lucas might’ve hated Hollywood and wanted to do this own thing, but during the production of Empire Strikes Back, he became a Hollywood producer himself in practice, and ultimately Return of the Jedi was more of the same, just like The Force Awakens. You have the Vietnam War parallels even stronger, you have the Wookies in form of Ewoks in the movie Lucas wanted in the first movie, but couldn’t have, you have another Death Star and a daring run into it to blow it up. The Force Awakens might “rhyme” with A New Hope, but it’s the second movie to do so in the franchise. It might be what people expected more, at first, but it’s also the deathknell of a franchise. You can’t keep doing the same thing over and over again. Franchises that keep revisiting and recycling are stale, and the revenues will diminish as more of their audience will turn away.

Star Wars as a franchise is the primary example of this, because it has revisited its stories so many times already. Rogue One was about getting the plans for the Death Star, something people who read the comics, books and played the games already had seen three times already, and it is something that had bled into the popular culture through osmosis. There is a trilogy of books of Han Solo’s childhood and backstory, a series of books that’s superior in every respect what the Solo movie was, despite it lifting elements from said books. In principle Disney made the right decision to purge the old Expanded Universe, as much as that made people disappointed, but what they proceeded to do was nothing new. They began to re-introduce old characters into the new canon, like Thrawn, rather than taking this chance and completely recreate something new. Disney, in effect, took the most popular pieces and simply made marketable works out of them. The short term revenues will be there, but will damage the brand and the franchise on the long run, just like The Force Awakens and the movies following it have done to Star Wars overall. You either have to be new to popular culture to consider The Force Awakens something new, or be a child who has no experience with culture at large yet.

That is an argument with some, that recycling stories for children is nothing new and older people should already grow up or move along. That’s a weak argument. Children more often than not will be entertained by something their parents are heavily invested in, that’s normal generational behaviour. New children’s franchises are successful and popular because they’re new a tailor made for that generation, be it either through tools or paradigms governing a given era. Repeated creation of the same ol’ thing without adding anything new to it will not create new content. It might be good business, especially if you have lots of IPs under your belt that you can reuse and recycle years on end, yet you will come to a point where that’s all the business will be. A competitor that innovates and puts out something new, creating paradigm shifts and shaking the industry standards, that’s where the money is in the long run.

The game business is not exactly analogous with Hollwyood. In Hollywood, things like Ghostbusters 2016 might fly in theory, and in practice fail simply because Hollywood can’t think anything new by itself. Hollwyood has a problem of thinking one-way and nothing else can enter its sphere. Hollwyood as a problem in diversity of thought, if we’re completely honest. You often see big movies like The Last Jedi including something about how capitalism is bad and evil, despite being the most capitalist engines on the planet with lots of gravy of nepotism. Woes is the world and its poor nations when big titles have larger budgets than some nation’s GDP. Hollywood has no touch with the general public or the world at large, it’s an insulated bubble that’s sold on one thing at a time and it shows in the movies. It’s no wonder China has become the main stage, when they’re making movies the general audiences don’t really care for. Certainly one-time event movies will make big bucks, like Avengers: End Game and The Force Awakens, but that works only once or twice. After that you have to introduce something new, something of high quality, something that shows We can do better, we can deliver superior produce. All big movie franchises have failed in this. More often than not, when things fail, the fans are called to be at fault, that their expectations and voices ruin movies and TV-shows, despite these people only hearing everything after the fact.

Look at Star Trek for another example. The nuTrek, the branch-off J.J. Abrams put out, are not Star Trek in its core element. However, because they effectively failed to captivate the audience and the fourth movie is on the chopping block, seeing nobody wants to fund the fourth movie, you got Discovery. If Star Trek Discovery had been affected by the fan reactions and backlash from the Abrams’ movies, it would have been very different show, more akin to The Next Generation if nothing else. Rather, the powers that be decided to make whatever the hell they wanted, and only after the reactions from the audience you began getting all those news pieces how toxic a fandom is and the like. Hollywood doesn’t care whether or not they make films and shows that are faithful to the franchise, or even well written. There are only few people who want to make movies for the sake of making movies, and people who want to produce something of actual worth. These people are going against the Hollywood grain.

Video games are a bit different as they are not just something you consume passively. You can drop an hour or two into a movie or a TV-show, watch something part of your streaming service or once in a whole buy a ticket or a disc from the store. There’s not much investment into a movie, it doesn’t take much of your attention or time. A game does, and a game requires something from the player in regards of skill and participation. Sequels and remakes to games are expected to expand on the play of the game more than on the story. Games that don’t do this languish and die out. Look at the New Super Mario Bros. series of games as an example. Massive first success with the DS title, the first 2D Mario game in years, and after that the series does nothing with it. Super Mario Bros. 2 and Super Mario Bros. 3 are great examples of game sequels that expanded everything about the predecessors. The Japanese SMB2 didn’t and it’s best left as Lost Levels, as it really is a great example of a lacking sequel.

Games like Resident Evil 2 Remake and Final Fantasy VII Remake are hitting the nostalgia boner people have. Nostalgia is extremely easy way to make money, especially with IP and franchises that are still running and popular. They’re safe for busainess due existing fanbase, there’s not much PR that company has to do to be a hit. At least that first few times. REmake2 and 3 only work this one time, and Capcom can’t go on remaking titles like this down the line. At a point customers, even new ones, will ask if this is all.

Popular culture, and culture overall, thrives when something of new worth is added to it. Star Wars originally was an amalgamation of ideas that Lucas had met before that point. Star Wars wasn’t a ripoff or copy of something, but an amalgamation of multiple aspects into one new whole. We haven’t seen this happening for some time now. Rather than having something new on the table, existing concepts are reused and recycled. Marvel movies, Disney Star Wars, 2016 Ghostbusters, that new Charlie’s Angels, New Super Mario Bros., Resident Evil remakes, Final Fantasy VIII Remake, four last Terminator films and so on are all creatively and conceptually bankrupt. None of them have added to the cultural scape what their predecessors did. They are hollow cases, filled with content that will taste sweet for a moment and rot away fast.

Something like original Resident Evil or Star Wars doesn’t happen in a vacuum. It needs someone to say I want to create something of my own and do it. Creativity doesn’t just happen, you have to work for it. You make your own environ and the sources of inspirations. You can’t make a great Star Wars movie if you only grew up with the media and culture surrounding it. You have to read into the world mythos and philosophy, watch old movie serials and films from different cultures, understand core concepts of human psychology if you are to make something that would be like the first Star Wars. If you only understand a story, be it a film, a game, a visual novel, comic or anything else, on its own, you don’t truly understand it all.