An untouched library

There is an excess of video and computer games nowadays. Games are a luxury items from the get go and have always cost a high sum, especially computer and NES games in Europe. The amount of games released per system seems to to grow with each generation with the ease of digital publishing. However, there are fewer games that carry impact on the industry or the consumer crowd, partially due to how large the marketing push for Tripple A titles are getting and partially due to sheer amount of them. Despite the overwhelming amount of games released, some with extremely questionable quality, there won’t be next Video Game Crash. The core gamers will see to it.

A classic gamer seeks to build a library. Not just digital titles in your Steam subscription. That’s what mostly separates a modern gamer from an old-school one. The use of money also applies here. A Steam user builds a backlog so much faster and easier than an old-school gamer who picks what games he purchases and why. Valuing a single game in its entirety, if you will. There is a significant difference between purchasing a game from a store and… whatever the correct term is for getting a license to use game software in Valve’s digital console. The same really applies to GOG to lesser extent. The simple physicality of it all is a significant separation enough, though there is more to it, like owning a copy of a game rather than just having a right to use it.

It is harder and more expensive to collect a proper library than one in digital form. It’s not uncommon to see Steam users that have thousands of games in their Steam library, most of which are barely ever launched. Most of these games come from sales and bundles. It is a common practice to sit idly and wait for games to drop in price, and Steam’s sales have become rather expected even within the user community. These games that just sit in the library really have no value to the player, thus the overall perceived value is low and fetches low amounts of money. This sort of attitude really seeps into other titles easily, where the expectations of low prices has become a standard across the board.

This is a problem of sorts. It twists the market results quite a bit, and when everything is eventually available at a bargain price. The Tripple A titles saw a decline in sales from 2015 to 2016, and the trend seems to be continuing. This directly reflects to the fact that these high budget, highly hyped titles simply do not meet with the consumer demands. This really should tell something to the developers and publishers about their products and about their approach for them.

For these reasons, about 38% of game consumers have stated intending to purchase fewer games than previous year. With an increasingly number of titles in one’s software availability, putting more resources into something you won’t be able to consume and enjoy really seems stupid as hell. We’re getting to a point where people have more games than they can play in their lifetime, even if they were to become full-time gamers.

It doesn’t help that with emulators and such we have the access for most of the games produced. There is an excess of games, but that’s market for you.

Perhaps because of the excess itself one should practice a more moderate approach in their purchasing habits. Considering digital games are pretty much always online, unless if it’s a licensed game, there really is no reason to purchase a game at launch or at sale. While library collecting is a part of the whole high-end game consumer culture, this should not displace the act of playing these games. With digital games it can’t be argued that someone is buying them for value either, as digital games can’t be sold onwards as such, especially not on Steam (which is why Valve had to change the description of their service.)

The fact is, the fewer games you have, the more you’ll be ending up playing those individual games, and thus your library will be end up being far better curated. Switch’s current library isn’t anything to call home about, especially so if we’re only counting the physical titles, but the more reason to practice this self-limiting, selective purchasing. All this really maximises the amount of time a consumer should be spending with an individual game. There is something in common with the idea of practising one motion a thousand times rather than practising a thousand motions once.

It is also easier to appreciate a game when you’ve spent enough time with it. If you’ve ever experienced lower-income households where money is tight, each luxury item is valued. This applies to each and every game purchased, despite their quality. Thank God rental videos and games was a thing, so people could test games before committing to a purchase before widespread use of the World Wide Web.

Collecting a library of games does not necessarily mean the consumer doesn’t have appreciation for the games he has, though without a doubt less than a person who has gone through nook and crannies of his own library.

This excess and the possibility to even collect a large library of games is taken as self-evident. While I did mention that another video game market crash is not likely to take place, an implosion is not. Steam’s Greenlight and Kickstarter have been full of titles that never went anywhere or have questionable quality at best. Anyone can become a game developer if they so choose to, but very few indeed can become good game developers or even successful ones.

I’ve said this before, but this is the first time in gaming short history where we live in an era where you can purchase most major titles from past consoles on your modern one. Not only a new game is competing with its contemporaries, it’s also competing with highly venerated classics. There are very few games that even intends to stand up to the challenge, and sadly there are those who are in for the simple quick-cash and nothing of worth or intending to push an agenda for the sake of it. Eventually, all this will reflect in sales and direction the consumer goes. When one-third of the consumers seem to go back to their untouched game library and rather than investing in new titles, that’s time for some alarm bells.

Games cost money to make and buy, and it would seem that it would be the right time for both consumers, developers and publishers to take a good look how they are spending their money.

A franchise chilled

This and the two previous posts would’ve formed good ol’ fashioned Monthly Three I put into indefinite hiatus, though this time it’s more or less on an accident of sorts. All in all, these should’ve been one long post.

A franchise has to have quality that is expected of it or higher. A fluke here and there is expected, but overall speaking a title in a series has to deliver at least to its core fans. When it comes to games, each and every title seem to be important and a drop in sales will be taken seriously. Seeing how the game industry barely understands how to hit the Blue Ocean market (making games easy or dumbing them down for “accessibility” is laughably weak method,) it is understandable how a franchise can fail miserably when its quality is weakened by newly added elements that are supposedly aiming to expand some aspects of the franchise.

I’m not really sure how Mass Effect got where it is now. As a franchise it was hailed as one of the stronger new franchise introduced during the Seventh Console Generation. Overall, it had a good balance between hitting the census of the consumers of the era (economics have changed quite a bit during the last decade) to the extent of Mass Effect being considered as one of the bigger franchises in the industry on par of the likes of Metal Gear. These are of course up to contention, to my knowledge no Mass Effect game has not been perfect enough to be considered for pachislot conversion.

However, as things tend to be in the industry, game sequels seem to get more attention from those who put the money down on these things. Mass Effect 3‘s colour coded ending has become infamous, but if the rumours are to be believed, EA was the one that put their boot down with the deadlines and BioWare had to relocate the “real ending” to DLC. Whatever the case is, Mass Effect 3‘s ending (and some argue the whole game) is below the average quality the consumers expected from the franchise. The ending is just one of the examples why Mass Effect 3 was panned by the core fans, mostly regarding contradictions in the setting, and inconsistencies regarding BioWare’s statements during development and how the game ended up being.

And a franchise it really is. While here up North we barely get anything relating to the spin-offs or licensed products, Mass Effect 2 and 3 had a huge ad campaign in magazines, television and in stores. Comparatively speaking, game ads have all but dried out from the general media, telling more about how they’re marketed and what the targeted consumers are than about their success. However, pretty much all fans of the franchise I’ve known have talked me about the mobile games, books, comics and whatnot. Even a movie based on the franchise has been under works since 2010, but very little has come of it.

It’s no wonder Mass Effect would go to a small hiatus. The trilogy had come to its more or less natural conclusion and the final part didn’t exactly match up what was expected. At times like this companies tend to take a small break and return when there is renewed interest. However, it would seem the franchise has now been put in ice for the time being due to the lacklustre success of the latest game, Mass Effect: Andromeda. While we can debate the finer details why the game performed worse than expected, the first bit that sounded alarms bells with yours truly when with the announcement of the game running on a new engine, which means you will see, hear and feel Mass Effect like never before. That’s a direct quote too. Clearly they missed the part that games need to play better than any of these.

Andromeda took five years and forty million dollars to develop. That sort of money and time is expected to deliver higher profits and far better reception. Alas, they the developers couldn’t even put a gun the right way in. Then you have issues of gameplay being worse than its ten years older progenitor and animations being absolutely all over the place and the plot’s not all that good either. Effectively, pretty much everything that should make a game great is sub-par. Andromeda overall shows how lack of quality control and professionalism, opting for making whatever brew you think would work the best.

It’s no wonder after an abysmal entry, the games went under hiatus. Sadly, Andromeda is probably the best example of current Tripple A games in the industry. One has to wonder where did the money go during the development. It doesn’t show up in the final production. When a franchise’s fame has taken a hit two times in a row, with the second making pretty much everyone who was involved a laughingstock, it is a good idea to take a step back and put the things on hold.

To use an example with Godzilla, Toho has put the franchise into ice three times over. First one was after the second movie when they had no idea how to continue properly onwards, though I still want to see Bride of Godzilla? realised in some form. The second time was in the 1970’s when the movies stopped bringing in enough profits, though the quality had dropped a lot since then. 1995’s Godzilla VS Destoroyah was supposed to end the franchise in Japan and have Hollywood continue it, but alas that was not to be. Godzilla was brought back fast in 1999, after the American attempt failed, and then was put back into ice after Godzilla: Final Wars. 2014 saw a new American Godzilla, and 2016 showcased us what I’m going to call a the bets modern Godzilla made in form of Shin Godzilla.

When a notable franchise like Godzilla returns after a significant hiatus, it is usually with a new take that is intended to make an impact. If a new Mass Effect game would be done right now, it would carry the baggage of Andromeda for the worse. As much as fans would like to see a game made right away to remedy the situation, sometimes it’s better just to wait for things to settle down and let time give more perspective on things. Whatever was done, be it due to corporate or personal interests from the developers’, the game took a sledgehammer to the franchise and damaged it. A hiatus also allows the developers and publishers to look into other options and possibly put resources into new IPs, though my personal trust in EA or BioWare has never been worth mentioning.

What is apparent that whatever happened during production of Mass Effect: Andromeda, it’s clear that the no research was done on what the consumers really wanted or needed, and that’s probably the worst offence a provider can do; not giving a jack shit about the consumer.

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.

Changing Mega Man

Ultimately, what was the strength of past Mega Man games? I would argue that it was the strength of change that kept it relevant as long as it was with rather constant quality, overall speaking.

Keiji Inafune, whatever you may think of him nowadays, was without a doubt the driving force the franchise for the longest time. In an interview in an episode of Game Center CX, one of the Mega Man or Capcom related episodes, where he tells how he had wondered many times throughout the years whether or not it was fine for the series to keep going. This was around the release of Mega Man Battle Network 3, and this contrasts his battle with the series. What he said in this interview was whenever he would face a block on the invention front, he’d go to an event for children and see what they liked the most, what was favoured.

This plan to to observe Mega Man‘s main consumers and record their interest is without a doubt a key factor in the franchise’s success, especially when it comes to Battle Network. While long-time fans moaned about the series (Battle Network was essentially Mega Man‘s Beast Wars in this regard [ROBUTT NOT NAVI]), a new generation of consumers took the series on themselves. Battle Network saw the most divergence of all the sub-series with comics, arcade games, card games, toys, tabletop games, a cartoon, spin-offs and shitloads of stuff that never really left Japan.

Let’s not beat around the bush, the Battle Network series was huge. Starforce never could hold a candle to its predecessor in any form, starting from the gutted gameplay to the more or less terrible plot. It combined card game strategy with fast and skill based gameplay, rewarding experimentation to a large degree. Even when 150 Battle Chips sounds rather small amount to choose from, there were loads of unique combinations and tactics that could be put together from them, though some were more viable than others.  A new Battle Network game would be behind its time and it would sell on nostalgia value. Card collecting is passé for kids, just like robots of all kinds. After all, Mega Man is a children’s franchise first and foremost.

Mega Man stopped working when it stopped changing with the times. The original series kept itself relevant by adding more complex gameplay mechanics in order to compete with further developing games on the NES. Mega Man 2 had additional items, which Rush replaced in MM3, which also saw the additional of new mobility function in Sliding. MM4 saw the inclusion of the Charge Shot. While it could be argued that this was the point where classic series started its downhill run, the series still kept changing in increments. MM5 had diverging paths to find Beat. MM6 had Rush Adaptors, which while where a small thing, changed how you’d need to approach higher jumps and the like. MM7 played it safe as with most NES based franchises jumping unto the new platform and tweaked things with further secrets and such that were becoming common. The same applied to MM8 to a large degree, but whether or not these changes made the games better is up to question.

However, as Classic series evolved, the franchise really took its changing nature to heart with Mega Man X. While it was mainly a revisit of the classic formulae with new lick of paint, what makes it stand out from the Classic series is the inclusion of RPG elements. According to the developers, certain kind of RPG were becoming popular with the consumers at time, and though I question the validity of this argument due to RPGs becoming stupidly popular years prior thanks to Dragon Quest, the elements in MMX  series is easy to see. Hidden Heart Tanks permanently increase X’s Energy akin to stat upgrade. Their hidden nature also encouraged stage exploration and trying out weapons on the environment to a larger degree compared to the Classic series. Hidden Armour upgrades serve the same function. The X-series continued with additional elements much like the Classic had.

However, not all changes have kept franchise relevant. As much fans like the Legends games, it never caught on. Low sales meant Legends died off. Perhaps it was too far off from what Mega Man consistently had been thus far, or perhaps the games weren’t what the consumers wanted. That’s a whole another post really, but one of the things that could be said is that if Legends wasn’t based on the wants of the child consumer, then it wouldn’t be success in the same manner as its two predecessors. Battle Network on the other hand was.

This leaves both Zero and ZX series in a place where they didn’t exactly see the same level of sales for being aimed at the older audience that had grown up with the franchise as a whole, but also show contradict the main audience. One of early fanfares the Western fans had for Zero series was that it made Mega Man hard again, which is bullshit because the franchise never was hard. Even a four years old child could finish Mega Man 2. Not all changes are for the better, and ZX further convolution with multiple Mega Men and having adventure-action layout with its game structure alá Space Hunter or Metroid really didn’t catch on. The games replicated a form that was out of fashion at that point, but also came out too early for Western audience starting to masturbate over again. Things with both Zero and ZX didn’t add up, and aiming for the more mature audience that wasn’t the best way to go.

Mega Man 9 and 10 were throwbacks, and as such they didn’t evolve or take the franchise forwards in any way. MM9 sold on nostalgia alone, and MM10 failed that too. Too much carry over design elements from Zero and ZX also meant that this wouldn’t continue.

Mega Man really is a good example of a franchise that renewed itself constantly to stay in touch with the core consumers. As Inafune said, as long as children enjoyed Mega Man, the franchise would have a reason to keep going. Changing the franchise to a mature one would do a major disservice, as you can keep it appealing to both adults and children alike. Renewing a franchise, sometimes in a very drastic way, is necessary to keep a franchise afloat. A stale franchise that does nothing new and is unchanging will have harder time to penetrate the wall of obtaining new consumers. It all really hinges on whether or not this change is well handled, or a complete catastrophe.

With the new cartoon coming out in 2018, we can only hope for a Mega Man renaissance of sorts.

Nintendo itself is not the brand

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

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

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

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

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

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

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

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

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

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

Switch inherits Wii’s philosophy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Thing of remakes

Remakes seems to be a subject I return yearly. This time inspired by a friend’s words; Remakes of great movies have an almost impossible task to improve on the originals. I’m inclined to agree with him, and the same goes for video games, generally speaking. Even with the technology gap between now and a game from e.g. the NES era, it’s still a task that rarely is done right.

I admit that the requirements this blog tends to set for remakes, mainly that they need to influence the culture of gaming in some significant way and create make the original completely and utterly, are almost far too high standards to meet up. Almost is the key, as if you’re not going to make something better than the original, why make it at all?

The same applies to movies to a very large degree, even prequel remakes of sorts. John Carpenter’s The Thing is probably a good example of this, to both directions. Originally a novella named Who Goes There? in 1938, it was adapted to the silver screen for the first time in 1951 as The Thing from Another World, just in time for the 1950’s boom. While Carpenter’s 1982 version is far more true to the original novella, it still draws elements and inspirations from the 1951 movie. The two movies show what thirty years of difference can do in movies. While the 1982 movie obsoletes the 1951 in pretty much every way, it could be argued that it’s worth a watch for the sake of having a perspective. However, it does lack the signature element of the Thing itself; mimicry. Then again, perhaps it could be said that Carpenter didn’t remake the 1951 movie, but stuck with the source material all the way through.

2011 saw a new version of The Thing in form of a prequel, but it’s essentially a beat-to-beat remake of the 1982 movie. Opinions whether it’s a good movie or a terrible one is up to each of us, but perhaps one of the less voiced opinions is that it was unnecessary. Much like other side stories, prequels and sequels that expand on story elements that never needed any expansion and were best to be left as they were. After all, we’re curious about mysteries that are not wholly elaborated on, but often feel let down if that mystery is shown to be terrible. I’m not even going to touch the PlayStation 2 game here, it’s just a terrible piece.

Both games and movies stand on the same line with remakes; they need to have the same core idea, core function if you will, and create something more era appropriate. One could argue that Mega Man X is a good remake of Mega Man. While it has a new lead, new enemies and stages, it evolves the formula and tackles the franchise in a new way. The idea is still the same nevertheless; beat a number of boss robots in an order selected by you and then advance to the multi-levelled final stages before you face the mad last boss.

However, both Mega Man and Mega Man X got remakes on the PSP, and while we can argue whether or not they obsolete the originals, they are pretty much beat-to-beat replicas with some new stuff bolted unto them and do no deviate from the source material jack shit. This isn’t the case with the Ratchet and Clank remake, which opted not only to change things around, but changed them so that it could have been a completely new and independent game.

Perhaps this is where we should make a division between reboots and remakes. Maverick Hunter X is a remake whereas Ratchet and Clank 2016 is a reboot. Reboots can and often do change things around to fit this new reimagined world. That’s one of the reasons why reboots don’t go well with long-time fans, as it would mean the series they’ve been emotionally (and sometimes financially) invested in for years is no longer the same. There’s an 80 minute video that goes over how Ratchet and Clank‘s reboot missed points from the original game. If you’ve got time to kill, it’s a good watch. Especially if you’re even a passing fan of the franchise.

Mega Man as a franchise is an interesting entity that for almost two decades it had multiple series and sub-franchises running alongside each other. While Battle Network could be counted as a reboot in modern terms, the 2018 series will probably be a total franchise reboot, at least for the time being.

The point of reboots is somewhat lost when the end-product does not stand up to the comparison to the original. Some claim this is unfair, as the new piece should be treated as its own individual piece without any regard to the original. There can be validity in this, if the product can stand on its own without resorting on winking to the player about the previous incarnation. This is a two-bladed sword; on one hand it’s great to acknowledge the history your remake stands on, but on the other hand any sort of reliance devalues the whole point of a remake. It’s a line that needs to be threaded carefully.

Perhaps the thing with remakes (or reboots for the matter) really is that they are facing a task larger than just the original product; they are facing the perceived value of the product from the consumers. People tend to value things on an emotional level a lot more despite their faults (like yours truly with Iczer-1)  and when something new comes into play to replace it, our instinct tells us to resists. It doesn’t help that most of the remakes and reboots then to be terrible on their own right, even when removing from the original piece. Just look at Devil May Cry‘s reboot, which luckily seems to be just a one-off thing. Maybe remakes like this are needed from time to time to remind us that capturing the lightning in the bottle twice is far harder than it seems, and perhaps creating something completely new is the better solution.