Stuck in the past

What does Star Trek and Star Wars have in common? Both have slew of prequels to them. The idea really is solid; explore how things came to be and see what sort of stories could be made within a certain set of time. The problem with either franchise is that there are definitive elements within those worlds that dictate how certain things must be in their prequels, otherwise the stories would not make sense or even connect.

Star Trek Discovery is supposedly set ten years prior the original television series. One would expect them to follow how the series then should look, albeit updates here and there. After all, Star Trek is a pillar of modern western popular culture in many ways. However, pretty much everything was moved to the side in favour of visuals that follow more along the lines of the nuTrek movies, or the Kelvin timeline as its now called. For a common couch potato this all fine and dandy, and requires little suspension of disbelief. However, for even a light fan of the series, the visual just don’t sit right. All this is of course because the series is developed under a license intended for an alternate timeline Star Trek, not under one that’s meant for the mainline.

There is no problem in making a prequel in itself. The problems rise if the creators want to have freedoms that are not tied too much to pre-existing stories. Especially with stories that are set between set events. Essentially, you’re boxing yourself between a rock and a hard place when it comes to creative freedoms. If you’re not willing to utilise given tools and take advantage of the existing stories, then it’d be better just find someone who can.

This isn’t a hardcore fan’s perspective either. A story of any sorts requires at least some level of respect towards it, otherwise the end product will most likely end up being schlock at best.

A good example of a story shoved in-between two other stories would the Shadows of the Empire. While it was a well made marketing decision to create a Star Wars phenomena without a movie, it did stand on rather good story that utilised elements from Empire Strikes Back that would lead into Return of the Jedi. All the while creating something new.

Say you want to write a story for Star Trek without being hampered down by existing restrictions. That’s an impossible task, but the most freedom you would have if you were to create a sequel story. This would allow you to have pretty much all the freedoms to do whatever you want, with the only restriction being the overall history and relationships between factions. Nevertheless, you could still have Klingons as enemies with a good reason despite there existing an alliance between Federation and them.

Star Wars’ prequels movies didn’t exactly suffer from being boxed between stories, like STD does, but what they suffer from is spoiling and devaluing the original trilogy. For example, Empire Strikes Back has less impact when you’ve seen Anakin becoming Darth Vader. Vader himself changes as a character if you don’t make a mental distinction between trilogies.

Under Disney’s rule, we’re getting new prequels all the time, for the better or worse. Rogue One‘s story was something we’ve seen few times over already, and due to this SW‘s Expanded Universe had to reconcile how things went down between events and who really stole the plans. That, and you couldn’t have anyone alive at the end. That didn’t stop them mucking up the storyline though, as the end of the movie contradicts the opening of A New Hope.

The question that is required to be asked if we even need to see these stories unfold. The fact that Death Star’s plans were stolen isn’t an important story in the end, but what happened afterwards is. The same thing happened with Death Star II’s plans. We didn’t need to see many Bothans die on-screen to understand how heavy their losses were. Mon Mothma does that well enough on the screen with her acting.

For Star Trek, we don’t really need to see the Earth-Romulan war, despite plans existed for it during Enterprise and fans wanting it. There really isn’t need to see what happened between the period of the Original Series and the movies. These would be best explored in supplemental materials, where the fans could enjoy these events the most. This is due to the nature of Star Trek itself; it’s not a story about wars. Deep Space Nine being an exception rather than a rule. Even then, DS9‘s war was naturally developed aftermath of finding a stable wormhole.

Hell, if STD wanted to tell a grim story about Federation warring, the staff could’ve introduced a new enemy and make heavy questions if a society like Federation can exist in its high-horse haven like state when reality does not match it. The Original Series does this to an extend, especially with Kirk, who constantly has to fight to uphold his ideals in a human way. This is the exact opposite to early The Next Generation, where the cast was completely idolised without much shred of humanity. That all came down after the Borg invaded. In retrospect, it could be even argued that Federation was taken down a peg by the Borg and made them realise how their own society had moved towards a more terrible direction.

A natural progression of a story is forwards. Episode VII made the right direction to move forwards in Star Wars‘ canon, whereas we can debate if seeing a film about younger Han Solo was ever needed. If you’ve ever read Han Solo at the Stars’ End, the answer is Yes. However, those who know the book also recognize that Solo in this book is very much a different beast from modern Star Wars’ take on him, especially if the rumours of the solo Solo movie’s original take was to make him an Ace Ventura-like. Midnight’s Edge unsurprisingly has a vids up on the whole issue.

Boxing yourself tight into a prequel takes a certain set of mind, one that has to be able to to utilise given resources, not make up whatever shit you want. Whoever owns Star Trek in the end, be it either CBS or Universal, they really need to move forwards and do a new The Next Generation rather than trying to milk with remakes, prequels or reboots.

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A Mega Man movie

The first question the whole thing raises up is Why? Mega Man as a franchise is not currently relevant to the game consuming crowd and has fallen into a niche. Yet, Twentieth Century Fox worked two years to acquire the rights. Exclusive news be damned, there’s something rotten in the land of Denmark.

Let’s step aside the fact that Hollywood reported used the wrong sub-series picture and managed to fuck up telling the premise of the games, as Rock is Mega Man’s non-hero name and he volunteered to be turned unto a super fighting robot. They are also using the Capcom method of counting the games, with ports counted as separate entities from each other.

The question we have here isn’t if the movie will be good. It’s almost guaranteed not to follow the little plot the original games had and will deviate from it like no other. All Mega Man adaptations have done this, for better or worse. What is relevant about this keg of horseshit is what will the approach be. Whether or not Henry Joost and Ariel Schulman will direct the movie is slightly less relevant on what the studio wants. I can see Twentieth Century Fox wanting to move forwards with video game adaptations in order to fight Marvel’s comic book movies, and adapting Mega Man is all about nostalgia, currently.

The original Mega Man is a children’s TV-show, essentially speaking. The same goes for the Legends series, which can be even played episodically like that with certain pacing. The X-series can be a cartoon for slightly older audience, but much like Zero-series, it could be adapted to a full war story, though both of them do offer interesting philosophical points about humanity and robotics. However, despite that, Mega Man as a whole isn’t about that, and a Hollywood adaptation most likely will miss the little point the games have going on for them.

Let’s not beat around the bushes, the movie’s probably not going to be very faithful to the games and will probably make the fans disappointed while the rest of the audience couldn’t give two shits. Saying this before any solid info on anything has surfaced is presuming a lot of things, yet that’s how it usually goes. Even decent game-movie adaptations tend to suck and have no impact whatsoever.

There is also a possibility for franchise confusion here. With the Man of Action cartoon coming out 2018, Capcom probably has been revving up to emphasize that as the main vehicle to resurrect the franchise. That’s all good and dandy, there is validity in resurrecting the franchise for children from a clean slate, even though it will piss off the older fanbase. However, all the current fans should recognize that they were catered when they were kids, and a kid’s IP should stay that way for future generations rather than change to be something it’s not.

These points worry me. It is possible that the movie will be aimed that older fans and the content of the movie will reflect this in content. This would mean the Man of Action’s take on the franchise could stay as the kid friendly entry, with all the toys and possible games aimed to cater them solely. An adult oriented Mega Man would not be a good idea, unless it specifically concentrated on the more mature aspects of the larger franchise, as mentioned.

That’s where I can’t trust Hollywood Reporter on this. They’re speaking of Mega Man all the while using image resource from X-series. Let’s suppose for a moment that Twentieth Century Fox didn’t just get rights to the Classic series, but for Mega Man movies in general. Then it would be possible for them to use any material from the franchise. I wouldn’t put past them to just use elements across the franchise rather than sticking to one, which Man of Action is kinda doing with their entry.

Chernin Entertainment, the company making the movie under Fox, has multiple action films under its belt,  like the reboot series for the Planet of the Apes movies alongside few dramas and comedies. Outside Parental Guidance from 2012, none of their production is something that would reflect positively on Mega Man. This bodes just as well towards a Mega Man movie as Fox as a movie studio. Their track record with game adaptations like Legend of Chun-Li is absolutely terrible, and while Tom Rothman is not working for them anymore, they’re not getting out from the low-quality swamp anytime soon.

Granted, Deadpool was a damn good movie, but Chernin Entertainment had jack shit to do with it. Telling me that fans that love Mega Man doesn’t carry any weight around here, and while Masayori Oka probably grew up playing the games, Fox is ultimately the ones to put the boot down.

Oka’s some sort of gleam of hope in all this, to be frank. In an issue of SFX Collection, he mentioned collecting Pluto, a retelling of sorts of  Tetsuwan Atom‘s arc The Greatest robot on Earth. It’s not terribly far-fetched to say that Naoki Urawasa’s works have affected Oka, and this influence could be seen in the Mega Man movie. That is, if Joost and Schulman won’t ignore their producer completely. More than a handful of movies have been completely and utterly destroyed by executive hands, like the recent Ghostbusters reboot or anything Rothman touched.

Knowing Capcom, they’re not going to care one bit either way. They have a long-time partnership with Hollywood ever since the film version of Street Fighter II came out, and movie adaptations of their games haven’t really gotten any better. Resident Evil is still going on, supposedly, and there were even Dead Rising films. A Mega Man to the mix is just a droplet in the river for them.

If this post reads like I’m losing all hope and faith in the product as I write this, that’s not too far from the truth. While the movie industry is pumping out products that sell millions at the worldwide market, they’re lacking in imagination. A movie about a boy robot fighting an evil scientist’s ambition to take over the world sounds like something that doesn’t carry itself. What works as a game doesn’t work as a movie, and that’s the crux that will nail the Mega Man movie’s faith to either direction.

No, this does not need to be in

Consumers purchase what they like. No sensible person would put their hard-earned (or Patreon) money into something they don’t deem worth the effort they’ve put into the work they’ve done. Corporations exist to make money and the way they make money is to produce goods and services that interest, are in demand and are wanted by the consumer, and thus the consumer in the end dictates what goods are produced by their use of money.

However, no organisation is ever required to make anything the consumer wants. They don’t need to include elements that would hit the consumer consensus. That is if they don’t want to make any profit on their product.

To use an example, the non-controversy with Ghost in the Shell‘s lead being Scarlett Johansson irked some, while most of the rest of the consumers didn’t give a rat’s ass because of two reasons; they had no prior experience with the franchise, and they’re not obsessed by who acts. Johansson has star power behind her that attracts the general consumer and has shown to be a capable action movie star from time to time. So for a company aiming for profit, this is a natural selection over less known actresses. After all, the licensed company has all the power to decide over the product, and the decisions made will be reflected in the box office. At no time they are required to pander to an audience, for better or worse.

To take this a bit further and dwelve in the subject, at no point there is any reason to create a cast of characters of diverse background in a given movie or a work. This can be twisted in multiple ways, but be sure just to take this as it’s said; the provider can do whatever they like with their product. The only way to really change what is provided is either by making it a more viable option for profit, or produce a product that fulfils that niche.

Just as companies like Twitter and Facebook can run their business in whatever way they like, just as much the consumer of these platforms can decide that their time and money is better spent elsewhere. The discussion what is moral or what are the responsibilities of huge platforms that have become part of everyday life to some extent is a discussion for another time. However, perhaps it should be noted that companies do tend to be on the nerve of whatever is on the boiling surface of social discourse and will take advantage of this for either direction. Pepsi’s recent commercial with a protester giving a can of Pepsi to a police officer as a supposed gesture of friendship, while on the surface wanting to comment on the event (which can be read oh so many ways) is ultimately advertising and showing signs towards certain crowd. It’s PR management after all.

It goes without saying, if someone thinks there is a market, for example,  for a certain kind of movie with certain kind lead actor, surely they’ll tackle this market and rake in the profits themselves. That’s capitalism, after all. Finding a niche to blossom in is the best way to climb to the general consensus. This is not Make it yourself argument. A niche that has demand is usually filled by those who know it exist and have a little know-how to tackle the market. The know-how can even be purchased nowadays thanks to all the companies and individuals offering market research and help in putting up a company.

All this really ends up with the good ol’ idea of wallet voting. You buy what you like, you don’t buy what you don’t like. I’m told time and time again that wallet voting doesn’t work, and every time I have to respond in laughter; it does work, more people just vote against your interests. This is consumer democracy that is decided through free use of money. However, there is a problem within this. There is always a demographic that wants to control a product or field of products without consuming the product itself. This twists the perception of the provider to an extent and can even prevent production and release of a product that would have otherwise faced no problems. The past example of Grand Theft Auto V being pulled from stores is an example of this, and maybe the whole issue with Dead or Alive Xtreme 3 should get a shoutout.

A product that sees most sales doesn’t mean anything else but that the consumers deem it valuable enough of their money. Whatever other reasons may be behind the decision to invest money into a product is up to an individual and a separate study for these reasons should be conducted as they are not something that come up through raw sales statistics. Often you can’t even deduce what sort of consumer group has put their money in a given product, outside what the product itself promises.

A traditional corporation would aim to invest into a development of a product and its sales to rake in money to fill the pockets if their investors and pay the workers, as well as to put money back into further development of future products. This of course requires the consumer to value the product first of all. However, in recent years there has been providers, especially game developers, who seem to consider their right to be paid and gain success by the virtue of them providing something, be it in demand, wanted, needed or not. Naturally, if your product does not meet with the demands of the consumer, you shouldn’t expect high profits.

Of course, you could claim to be a stereotypical art-type provider and do your piece for the sake of love of it, to express yourself to the fullest and never see a dime.

This is not to say a provider can’t make something described above and make money. Finding the right balance between the thing you want to do and providing the consumers is tricky business, but not impossible. It just takes two things; hard work and research. Guts is optional but recommended.

As you might have surmised, this topic was originally supposed to be part of Another take on customers series of posts, but we’re good 40 posts away from our next hundredth post. Thus, decided to timely put this down now rather than forget the content I had scribbled down into a memo.

Themes of Godzilla

Each summer I have written a long, special theme post about a topic. These have varied from Kimi ga Nozomu Eien to the history Original Video Animation. This year I present you Themes of Godzilla in celebration of the theatrical release of Shin Godzilla.

Godzilla is not one monster or theme. Throughout its 62 years run in the movies Godzilla has represented many things from atomic weapons to heroes and Japan itself. The monster is a character that has been fitted into many themes and motifs across the ages. It could be even argued that the original film, despite being the originator, was disregarded at one point in favour of something else, something that fit that particular time. As such, if one argues what Godzilla, either as a character or theme, is based on a selection of media, you can argue otherwise using different selection. After all, we are talking about a franchise that has been running for more than a half a century with almost everything but porn being in the official line up.

Before we dwell into the movies and what they represent, let’s dwell a bit into where Godzilla originates. I will also use the official English name for the character, Godzilla, all the way through the post.

While Godzilla is usually traced to the Second World War, many make the distinction of King Kong and The Beast from 20 000 Fathoms being the film inspirations. King Kong is often seen as the start of the giant-monster genre, thou The Lost World predates it almost by a decade. Nevertheless, it’s the effects and the story that people remember from King Kong, and those two were exactly the things that drove Eiji Tsuburaya into the film industry. The Beast from 20 000 Fathoms comes into play as the movie that inspired Tomoyuki Tanaka to produce a similar movie. The story is that Tanaka was to make a movie in Indonesia that would ease the relations between the countries, but his crew was turned back, denying their visas. While returning to Japan, he was reminded about The Beast from 20 000 Fathoms, and with the S.S. Lucky Dragon #5 incident still fresh in his mind, Tanaka pitched an idea based on these two elements to the producer Iwao Mori. Tanaka grabbed the director Ishiro Honda to direct the film. Despite few pre-existing scripts, one being submitted by Tsuburuya, Honda and a writer named Takeo Murata wrote the final script in three weeks.

A final person between Tanaka, Honda, Tsuburaya and Murata was Akira Ifukube, a classical composer who gave Godzilla its sound and music. Without Ifukube’s compositions, the movie would’ve lacked in sound, as each theme emphasizes doubly whatever was happening on the screen. This is to the extent that both the film and music should always be one and the same and never be seen or listened in Ifukube’s mind.

The S.S. Lucky Dragon #5 incident is what births Godzilla in the original 1954 film. The incident was USA detonating their first hydrogen bomb named Castle Bravo. It was estimated to be about four to eight megatons in yield, but proved to be fifteen megatons due to lithium-5 becoming active in the explosion.  This spread the fallout far beyond what the estimates safe zone was, and caused the crew of Lucky Dragon #5, effectively giving them lethal doses of radiation.

The final element Godzilla had is tied to the nuclear weapons used in Hiroshima and Nagasaki, and probably is the most known aspect about the monster, only second to it fighting another.

Let’s start with the themes in the movies. I want to keep comment on each entry in the franchise short and to the point whenever needed. Each movie would deserve a full-fledged post to dwelve deeper into them, but currently I’m not intending to start multi-year “series” that nobody wants. We’ll leave TV-shows, games and such out from the picture for now, they’re a massive undertaking on their own as is. There is so much history in Godzilla that I can’t touch upon in this one, but maybe in future I will elaborate on certain aspects if there is interest.

Continue reading “Themes of Godzilla”

Monthly Three: Of remakes and remasters

The difference between remakes and remasters to some is cosmetic or about marketing terms, but when you look at the examples, there’s a bit more to them. A remake is based on a previous work, a new piece of product that recreates the original piece somehow. Another meaning of course is that something is taken and remade anew, like reconstructing a knife. Remaster on the other hand is completely tied to the original piece, like video or audio, and then improved on it somehow. For example, the recent Fight!! Iczer-1 Blu-Ray release was a good one, containing a properly digitally remastered version of the original.

NES remaster

Unlike what the package says, Ducktales Remastered is a remake. Nothing really is taking from the original game outside the overall stage designs. The musics have been remade, the graphics are remade and so on. If WayForward had remastered Ducktales, the two screenshots would look the same, except the resolution of the remaster would be higher. Digital things are pretty neat in that way that in principle as long as you have the source code and assets, it should be relatively easy to adapt those to a new machine. This is essentially doing a higher resolution ports, but I’m leaving HD “remakes” for next week.

Remasters on the other hand would look something like this.

dvd_28_09.57.35] screenshot016

The first one is from the Anime Works DVD, the second being the recent BD release. The difference is rather staggering, with higher definition bringing the line work out much more and showing more detail in form of dust specks and the like. For more colour, check the examples for these two stitches, first being from the DVD, the second being from the BD.

A remaster can bring new life and vibrant dimensions to a product that didn’t really have it before. An original master may have all the elements in there, but for whatever reason it could not be put into use. The LP-records  could not contain as much data as the compact cassette could, just as the compact cassette couldn’t hold as much data as the CD could. A CD on the other hand lost its place to digital sound formats that can, in principle, be as large as one wants them to be, even to obscene amounts.

While having as pristine version of something is desirable, the fact is that at some point there is no point of trying get any higher version of that piece. It could be even argued that the screenshots of Iczer-1 above is too highly defined, as it was never intended to be seen at that resolution. That goes for anything in audio and visual department, as in case of Star Trek, sixty years of development in television technology show every bit of those sets, costumes, double actors and the like, which were never visible before thanks to the lower standard definitions. This can have a largely negative effect on the piece from some, as they will point out and laugh at how cheap some of the things look nowadays. Can’t really fault them for using the best technology they had available at the time, which would be a good thing to keep in mind.

Another thing that pops up from this is that now that we can see absolutely everything, we can enjoy and even research the way some of those sets Trek used were made and so on. In animation we can admire all the fine lines and colours that were put in there by the animators and painters, things that we didn’t see before because of the lower definitions.

The necessity of remakes can be questioned, as in film their quality has been largely dubious. From making remakes cult flicks like Nightmare on Elm Street to remaking television series like Charlie’s Angels and Kamen Rider (The First is an atrocious movie with great suits), none of these really all the well received. The idea is solid; take an existing franchise and update it to a modern audience with modern techniques and technologies. However, rarely these remakes are made for the benefit of product and aim for pure nostalgia grabs instead. Very few remakes stand against the originals because of this, like the 1982 The Thing against 1951’s Who Goes There?, and 1986’s The Fly against its 1958 counterpart.

It’s often argued that remakes miss the point of the originals, and that the excess use of CGI elements do not stand up to the originals’ practical effects when it comes to films. Simply put it, it can’t hold the candle in direct comparison. This can be up to opinion to some extent, but it is true that CGI ages faster than practical, so take that as you will.

Maybe the most pressing argument against remakes is that they do not add anything new to table. While everything we produce nowadays is more or less a remade variation of pre-existing myths, stories and legends, exact remakes in and out of entertainment media don’t even try to create a basis for something new or expand into region less explored. An example of starting with a similar core idea and making it its own piece could be made in comparison between Star Trek and seaQuest DSV. On the surface, the both shows have similarities with their missions and overall idea of a top of the line ship send to the unknown for exploration and research. Yet, both shows stand apart from each other because of their themes and how they were handled, adding something to the cultural view in ways that a simple film remake never could.

I would wager that the bottom line is that some expect a remake to simply remake an original piece for the modern era, while some expect a remake to stand on its own two legs and be something more. There is a golden middle way, but not many seem to be willing to take it.

From art films to Dr. Pepper and forth

Localisation has become somewhat divisive word. For some it’s almost a curse, a method to taint the sanctity of the original work, be it whatever it may. To others it’s more like an overall way to tell you’re doing your best to bring over a work with a whole new translation thrown in there.

Localisation costs money, there’s no debate about that. In the years past localisation was only done to pieces that garnered that extra effort in order to maximise the exposure and consumption of the product in good faith. I’ve used Godzilla: King of the Monsters as an example before, as it’s a damn good example of localisation adding something to the piece while not taking anything essential to the story. While purists will always claim that Godzilla/Gojira/ゴジラ is the only true version of the movie, the Raymond Burr starred version was instrumental in the success of the franchise in the West and changed landscape in many ways.

Godzilla: King of the Monsters wasn’t a run of the mill dub, it was more and took itself seriously. Burr’s character was essential at the time to bring the events closer the American (and European) audience, as none of us experiences the A-bomb like they did. Not that the current Japanese society has, they’ve more or less inherited the cultural trauma, but with Fukushima accident being used as the background with Shin Godzilla, we have a good branching point with the whole runaway nuclear message. Burr’s narration and scenes added to the work, but never tried to take anything away from the core piece. It helps that Burr was an excellent actor.

Keep in mind that original Godzilla had hit the theatres in the US in a very limited way, and with equally limited success. It wasn’t until King of the Monsters was localised, or Americanized, the franchise made the cultural impact in the US as we recall the franchise starting as today.

New World’s Godzilla 1985 tried to replicate the localisation that the original had, but the less said about how largely they lacked the respect for the work and how much Dr. Pepper had advertisement in it, the better. One of the best bits that came from the disaster was Burr’s ending speech, which still can resonate with viewers. Not because it’s that well scripted, but because Burr manages to put some damn effort into it.

With movie companies getting more lax with their localisation, often just throwing in a dumpster-tier dub or the rare hastily collected translation, Nintendo tightened their grip with the games released on their system, removing religious tones, violence and gore. While Current Year is no argument for anything, you’d think that in these thirty years and some, Nintendo and other companies would’ve loosened up and stopped dictating what consumer can and can not take.

That is the crux between the current idea of localisation compared to the 1950’s. Rather than thinking How do we add to this piece so it can be enjoyed by a larger amount of people?,  it seems places like Nintendo Treehouse and 8-4 translations are in a stance of How do we change this so it won’t hurt anyone’s feelings while pushing an agenda? The agenda bit may seem a bit overbearing, but when you remember 8-4 turning a character into Tumblr pronouns in Gunvolt and changing Panthera’s name into Zonda, fucking the script and characterisations in Drakengard 3, Treehouse cutting in-game content and screwing up the translation in latest Fire Emblem and removed character modifiers in Xenoblade X.

The basic main intention is there across all the variations; to allow the piece to have as large exposure as possible to general audience. For Godzilla: King of the Monsters it was believed to be a movie worth the localisation effort because the movie was too good to leave to the smaller audiences. Then with Godzilla 1985 you had the deal with Dr. Pepper in there with the Cold War making an impact on the editing table. Now you have these companies not only localising these pieces, but doing intentional omissions and changes to fit certain world view, in some cases catering only on sort of audience rather than towards the general consumers.

You have to question whether or not it would be a good idea to cater to niche audience within niche audience rather than aim for the things that makes bigger bucks. For Fire Emblem, the audience is already within a niche, and as gaming consumers seem to demand more puristic localisations, if not just straight up translations with nothing else, you really have to sit down and think twice whether or not you want your core fans to throw their arms and call your localisation team on changing the content of the game. We should be asking why was Fire Emblem If… developed to have head patting minigame, but that’s as the developers intended and catered to the adult otaku audience, the crowd Treehouse didn’t seem to want to attract. Often a raging fanboy will just cave in at some point and nevertheless purchase the product they so vehemently opposed. Then again, Nintendo does whatever the fuck it wants without giving two shits about what the general consumer wants, so meddling with game content pretty much fits with that.

There has always been a sub-cultural movement to gain foreign products in their most unchanged form, but yet the overall cultural atmosphere e.g. in the US, Germany, Spain, Italy and France require almost everything to be dubbed, maybe even localised to a large degree. Japan themselves are not foreign to this either, but nobody in the West ever calls out them for dubbing or whatever Japanese equivalent for whitewashing is. We’re not even getting some games to West because of rampant feeling hurting imaginary bodies have on some, and the games we do get seem to always go through this sort of content removal and censorship process. Even now, games are being censored to keep certain age rating, like with the upcoming Western release of God Eater. This sort of changes are more understandable than outright omission of gameplay elements. Most people don’t have the option of importing either, due to lack of language skills or due to other issues, like local legislation on import goods or the like.

Of course, people have argued that games should be grown up and already do away with content that could hurt somebody’s feelings, but equally so these people should grow some balls and let things be as intended and allow people to enjoy them in whatever way they want without any bells and whistles attached with the localisers’ own interests. Then again, if it sells well, then it sells well. And then again, any company can save a lot of money on not spending resources on unnecessary changes and just give a title good and proper translation without taking anything else into count.

Monthly Three: Freedom fighters are awesome?

Kids can’t become Robocop, but kids can become John Rambo. What the hell is he saying, kids can become a war veteran with a severe PTSD? That’s pretty much what I’m saying, yes.

Robocop was easy to understand why and how it became a cartoon few times around and why it never reached that R-18 status again. For the Rambo franchise, it dibbled into the cartoon region and then never returned, becoming a hard R again with John Rambo, giving the franchise a satisfactory end. The cartoon on the other hand just went nowhere. But let’s start from the point why they even made Rambo: The Force of Freedom.

In 1982 First Blood became a box office hit, and despite it got a mixed reception from the reviewers, its success could not be underestimated. First Blood wasn’t exactly fresh on its material, as post-Vietnam War America and the treatment of soldiers had become somewhat overused theme in war movies. It was nevertheless an intelligent action movie, especially in its changes and with the new ending, which deviated from the original novel’s ending. It didn’t force the viewer to think itself too seriously, but it’s events required some thought.

Rambo: First Blood Part II hit the theatres in 1985, and used the Vietnam War POW/MIA issue as its backdrop. As an action movie, it’s a classic and without a doubt one of the best and is the most iconic film in the franchise. It’s been parodied and ripped off more than one can count, and hell, even the cartoon’s first episode replicates some of its scenes pace by pace, just with less violence. While the critical reception was less than favourable, First Blood Part II was an international box office success.

Meanwhile, Hasbro had renewed their G.I. Joe toyline with the help of Marvel. Before the televised series in 1985, G.I. Joe saw mini-series that were essentially just vehicles for toy advertisement, much like what pretty much all multimedia franchises’ televised parts would be named as. Rather than going deep into G.I. Joe’s history, I recommend you to check first part of SF Debris’ Transformers History, because the two are linked to a large degree.

G.I. Joe was big in the 1980’s and changed popular culture much like how the two first Rambo movie had. Despite Vietnam War had made war toys a big no-no, but 1980’s was pretty much the opposite. Hasbro didn’t just learn from G.I. Joe’s success when creating Transformers and their other franchises, like My Little Pony and Jem and the Holograms. Say what you will, Jem and the Holograms was fucking awesome with good music and I hate the fact that I only see bits and pieces of it when I was a kid.

It wasn’t just Hasbro that learned from the success, as the competing companies saw potential in replicating Hasbro’s multimedia franchise hit. Despite Rambo being an adult only movie series at that point with plenty of violence and themes that kid’s don’t really get, somebody thought he would make a great lead for a fighting force themed series.

I get the logic, I really do. Especially in the context of the cartoon. Rambo III suffered from the perception that Rambo had become a soldier who would be summoned to do operations for the military, as he was the only man who could do it. The usual super soldier trope you have in Escape from New York and Metal Gear series. The cartoon dropped all the hard issues First Blood had brought up and essentially made no references to PTSD or Vietnam War issues. The cartoon Rambo was character at its stereotypical, a one-man army.

It ran 65-episodes and was essentially made for syndication. It’s one of those rare shows that allowed to have realistic weaponry and vehicles, thou to push toys some of the vehicles were very cartoony. Outside that, it’s a very non-descriptive piece, not very high in entertainment value. It feels and reeks like a G.I. Joe clone, and that’s what it is, with the exception that the character cast was smaller. Some of the plots were stupid as hell too, like General Warhawk raising the battle ship Yamato from the bottom of the ocean to conquer a fictional country of Tierra Libre.

In the cartoon, Rambo could be something Robocop never could; a sort of role model or something to aspire kids to become; a hero to fight evil forces in the name your own country and whatever ideology it upholds. It’s not a bad one either, just very damn generic one.

Generic is also the term you could give all the villains in the series, as their dime in the dozen designs would fit any and all fighting force cartoon from the era, and some even fitting in with the likes of Hokuto no Ken. The music on the other hand was licensed from the two first Rambo movies, and they give the series far more oomph than what it should have.

Rambo III hit the theatres in 1988. A this point people were more or less tired of the character and overall everything of like it. It’s overbearing anti-Soviet themes and lacklustre plot has given it the spot of being worst movie in the franchise. For whatever reason, I remember this movie being the one kids would see the most often see after it came out. It lacks any and all finesse First Blood had, and replaced all that with even more action and death.

Rambo III suffered from mediocre acting and bad script, but at least it wasn’t forced to be kid friendly. Even with all the blood and violence the movie had in it, it was mostly a harmless, slightly backwards movie for the time.

(John) Rambo was an independent release in 2008, closing the franchise. Unlike the third movie, Stallone’s performance here is excellent and he didn’t shy away from the core roots of the character. There was no overly political connotations thrown around or pampering around issues. The character of Rambo has grown old, and is more in-tone with the original novel, and the movie mirrors this. The character also is given a solid closure.

Both Rambo and Robocop were at their weakest when they made compromises to make either franchises more family friendly. Both franchises had cartoons that had the original points removed and tailored them for general consumption. It can work, like with G.I. Joe, but a tool should always be used for its intended purpose.