Two-One Punch of Mega Man Million

Capcom recently updated their sales data in their Game Series Sales section, and with that we saw Mega Man gaining one more million units sold from 34 million to 35 million units since February 2019. That’s three million more units since June 2018. Their Annual report from the end of last, year, which I have a post about, stated that Mega Man 11 performed well. We could read between the lines that they were expecting it to perform worse, but the Blue Bomber still has some pulling power. With the cartoon series running, though not exactly making the biggest splash out there, the franchise has resurfaced again, much like how Devil May Cry made the news once more. Devil May Cry 5 performed a lot better, and if we’re completely honest, is the better game of the two. It was ambitious project that was true to the core gameplay but also pushed the 3D Action games just a little bit further once more. Mega Man 11, as much as the game is loved, did end up somewhat a shelf warmer. Compared to DMC5, MM11 is a lacklustre title. It was too safe a title.

It is because of Mega Man X Legacy Collection that the series gained one more million sales. Mega Man  11 sold some 870 000 units, so previous digital titles and X Legacy Collection must cover the rest. This is how Mega Man ultimately worked ever since the X-series was released. The Classic-series may have solidified the series’ status as an icon. Good games, to which Capcom would churn up sequel after sequel year by year, until they put the franchise in ice.

Neither Mega Man 11 or Mega Man X Legacy Collection sold one million units, as they don’t appear on Capcom’s Platinum million titles sold list. I don’t know Mega Man Battle Network 4 has sold so many units, it’s the very bottom feeder of the franchise itself. However, outside the NES era of games, most of Mega Man had one more or more sub-series running side by side. At best, Capcom offered 2D Action, 3D Action and RPG under Mega Man brand name during the busiest days of the franchise, and even more if you were in Japan.

If you were wondering, Mega Man 2 is the best selling title in the franchise

I would argue that outside the NES days of Classic series, when it showcased quality game design and tight controls in comparison to some of the schlock the NES and (especially) Famicom had, Mega Man‘s strength later on relied on its multiple approaches and titles on the market at the same time. Capcom did manage to avoid brand confusion by clearly having different kind of visual flavour across the board. The core mistake between Mega Man and Mega Man X is, really, that the two look too similar. X simply looks an older, edgier take on Mega Man. Which he arguably is, but that was the 1990’s. That was par for the course and I love it. Each subsequent Mega Man was different enough to tell the difference, even at their games, but recognisable enough to say that they were, indeed, a kind of super fighting robot.

Mega Man is a multimedia franchise, make no mistake about it. Despite the games are its main product and lot of the side pieces like comics and toys were there to support the sales of the games themselves, Mega Man saw its most success when you had a little bit of everything out there. Mostly in Japan, sure, but that really reflects the nature of the franchise world wide; the little bits of that everything that West ever got was cherished by the fans like nuggets of gold. When Hitoshi Ariga’s Mega Man Megamix got its English release, the fandom celebrated like no other. This wasn’t the first bit of comics Western world got from Mega Man, but it sure was one of the most wanted.

How did Mega Man gain all those millions of sales since the last update without neither of the two big releases hitting platinum sales point? I told you that already; combined sales of multiple products. Whether it is because 2D action games just don’t have the same market pull they used to, or because Mega Man had become such a standard for the genre that despite their high quality they’re seen as run-of-the-mill titles or just because the franchise’s envelope can’t be pushed all that easily like DMC’s, one Mega Man title hitting that platinum point in the current era of video game market must have something significant behind it.

On the other hand, Capcom could go the true and tested route, put together a standard Mega Man title like MM11 and comp it with something that’s a bit different. If they were brave, which they might actually become with these increased sales, they might even try to make a new sub-series that would break the mould. Love it or hate it, Battle Network was a smash hit. Legends, not so much. Still has a stupidly dedicated cult following, who still keep hope for Capcom reviving Mega Man Legends 3. 

Maybe that would be a decent pull, start the project from scratch and make it play better than what Gaist Crusher did. If you didn’t know, Legends 3‘s engine and very basic gameplay was more or less directly lifted and heavily adapted for two-part game series, which never really went anywhere despite having a cartoon and toys that interacted with the games. I’ve got few posts from 2013 (Christ that’s old and they’re terrible) about Gaist Crusher but never got around getting the second game and reviewing it. I guess I lost my interest in seeing how the series did, just like the Japanese kids it was aimed at.

Capcom could just go full stupid and release Mega Man titles like usual, throwing compilations left and right all the while not really considering how to grow and further the franchise. You know what? Give Mega Man Legends the REmake2 treatment. Take the base elements of the game, expand on the whole connected underground tunnels concept, polish and fully upgrade the gameplay, add more optional parts and possible modifications, explore further the concept of Rock being able to turn black rather than just have it a an interesting joke element (I’m pretty sure this ultimately evolved into the whole Black Mega Man and Synchro concept in Battle Network) and make the game look like a real Saturday morning cartoon it was clearly mimicking.

I can always dream.

Still, with these sales, Capcom probably will be making few Mega Man titles in the future, that much we wager to be certain. If they want to revive Mega Man properly rather than just with one game and collections, Mega Man X9 is probably high on their to-do list.

Review: Mega Man 11

It’s been about eight years since we got a proper Mega Man game, though I’d go further back to pin point a true “new” title in the series. This isn’t the first time the franchise has been revived either, with the 8-bit throwbacks essentially serving the role and Battle Network being a kind of total reboot that essentially allowed a new generation to enjoy a Mega Man branded product. However, Mega Man 11 might be closer to the throwbacks, but thematically and in intention it leans more towards reintroducing the franchise to the field. As such, there’s three takes I could use to review the game; developer intention, as a Mega Man game and as a standalone title. However, splitting or choosing just one felt awkward. So rather than overthinking how to make this one stand out or be something special, I’ll just go in without much worries and say this straight out of the gate; Mega Man 11 is a good Mega Man game, but ultimately runs short compared in this modern era of games.

If you’ve played any of the NES Mega Man games, you know what you’re getting into, and MM11 is best argument against MM9 and 10 in that you don’t need to use throwback bit-graphics in order to make a “true” Mega Man game. The controls are tight, responsive and work exactly as you’d expect. The amount of control over Mega Man is perfect and pretty much everything can be put on the player in damage and death department. The PS4 version has the most control lag, with Steam and Xbox versions coming at top, which can only be blamed on Sony wanting to add too much post-processing on their games on PS4 Pro. Switch is somewhere between, closer to Xbox’s and that’s fine. Unless you’re crazy over NES-CRT level responsiveness, you’re more or less boned and should go for the Steam version. That’s probably the only significant difference between the versions, outside Switch’s Amiibo support that gives you items mid-game. It’s a nice idea, but really sucks when you realise how haphazardly it’s been implemented, much like in every other game out there.

For those who haven’t played a Mega Man game, the formulae is simple and solid. You’ve got eight stages, each with a Boss you have to defeat in order to advance to the final stages. You gain each Boss’ weapon and they have rock-paper-scissors mechanic going on, one being weak to another. Back when games were more or less strict on the progress, Mega Man was a breeze of fresh air, and modern stage-selecting was more or less inspired by the franchise. The franchise is famed for being difficult, but this has always been hyperbole at best. The six NES titles are easy enough for a five-years old to beat. The right word would be challenge, where the game offers some obstacles you to tackle, but with some try and experience, you’ll beat them in no time. The stages are overall designed to have a combination of environmental hazards combined with stage enemies, sometimes moving and sometimes stationary, which also gives all the stages their own little gimmick to work with.

The stages, of course, are the main meat themselves. Sadly, the game’s design did not escape the usual fire-water-grass thematic that has been overused in the series far too often. This time we’re getting both spikes-in-water and an ice stage, which shows that despite the series having almost a decade long hiatus and thirty years of history to learn from, the new dev team ultimately had to resort to recycling some old ideas. We’ve seen pretty much everything at this point in the franchise, from water purifying facilities to cityscapes, from forests to ancient stone temples and even space stations, thematically Mega Man is all spent. It doesn’t really offer anything new, and veterans feel it. Each stage offers their own challenges, like the aforementioned spikes-in-water stage that emphasizes on careful control. Each of their gimmicks should drive the player skills higher in order to beat the final fortress levels, but ultimately these stages don’t take all the advantages the eight main stages offer. The difficulty and challenge doesn’t exactly ramp up drastically, especially now that there is a total lack of Capcom gauntlet. A Capcom gauntlet is an old term for stages that come at a later stage in a game, where the player is unable to return or retreat to recover items, having to resort with whatever limited resources is found during the gauntlet. Boss Rush has always been part of this, with an additional twist or two in the mix. Mega Man games excelled in this by the natural design. However, Mega Man 11 allows the player to access the previous stages and create items between each of the fortress stages, making the gauntlet completely neutered. The ramping up element is now gone.

This of course begs the mention of the game’s gimmick, the Double Gear system. The stages have been designed so that there is no need to use use either Speed or Power function to beat them. Speed is naturally the more useful of the two, as its slow-down effect makes everything much more easier. The Power in itself is largely useless outside few situations, and is mostly used to use the powered up versions of the Special Weapons. However, because of all this the system works more or less as a build-in cheat, which can be further powered up with purchasable items. The game meanders between trying to appease people who want a more pure Mega Man experience and people who go all out, and ultimately doesn’t exactly fulfill the necessities to use the Gears. Even the speediest or smartest sections of the game are easy without the use of Speed Gear, and Power Gear makes some of the Special Weapons just absolutely bonkers, being able to wipe the screen of enemies, shield or not.  That said, the weapons themselves are pretty well designed and balanced, again fitting pre-existing moulds in the series e.g. utility weapon, movement option attack, full-screen weapon, a barrier and so on. Their powered-up versions, as mentioned, are overkill in most places, and make mid-stage bosses a laughing stock.

This means the game ends up being very easy to beat through the use of cost items rather than skill, but perhaps this is more or less about personal challenge than anything else. Mega Man games have always been welcoming, though the game does seem too accommodating rather than trusting the player to build enough skill to beat it. Resources are readily available for anyone to buy if the game puts a wall against you. The stages have some elements designed around some of the Special Weapons use, but their limited scope and length don’t make much use of them. The fortress levels even less so, and you can rely on Tundra Storm to wipe enemies off from distance.

Visually speaking, the game looks very much for the part. Colours are well used and detail can be found everywhere. There is a definitive Mega Man flavour to things, just aptly cartoony with clear and defined lines. It may not be the cutting edge of graphics technology, but it doesn’t need to be. The game stays true to the NES era’s designwork almost to a flaw, where certain amount of detail is lost on the designs. Backgrounds get the most detail overall, with some referencing past games. There is a definitive charm to everything, the same charm Mega Man used to carry. This carries to the Robot Master designs as well, with the Gallery mode expanding on their characters more than the game can properly convey on-screen. While pre-battle quotes have been around for a time now, the Gallery entries really make them shine even more. Mega Man & Bass’ CD Database gave a nice insight to all of the characters, but not to this extent.

The music, however, is t he game’s weakest point by far. It goes all techno on the soundtrack, with synth bweaaaing being the main instrument. It all ends in almost a cacophony, most stages ending up sounding the same and unmemorable. This is a far cry from previous’ games’ soundtracks, which made the songs stood out, either due to the more limited sound samples or simply because the songs were that superior. The pre-order downloadable soundtrack is not much better, opting the techno for nondescript jazz that sounds worse. Acid Man comes out the best in this, mostly due to the instruments working better with his theme, but overall you’d be better just muting the BGM and putting something better on. Rock and rocking kind of instruments have always sit the series much better, more so in the X-series. That said, sound effects are pretty much spot on and have an oomph to them, though Mega Man no longer makes a noise when he lands. In the NES games, there was a small te-det sound, which is absent here, but it’s something that isn’t all essential.

This review reads like a ramble, because trying to say anything definitive how it is fails to a point. The Mega Man 11 doesn’t innovate on the formula of the series and is a step back in terms of length and game design. However, on the other hand it is well made and intentionally open for everybody, concentrating on the core building blocks what makes a Mega Man game. However, that’s all it really is. We’ve seen this before. While there is a need for smaller games like this one the market now, retreading things once more like this works only once. Just as with Mega Man 9. If there is going to be a Mega Man 12, it must innovate, expand and push the envelope on Classic Mega Man as much as possible. As a standalone title, the game doesn’t exactly stand well against the swamp of other 2D action titles, but its sheer polish and execution ultimately lifts it just enough above the surface.

Music of the Month; Give it a Shot


Funny that, this is the best song on the album. Otherwise it’s extremely disappointing

Generally speaking, I don’t do music album reviews, but for this once I’ll do a short exception; Rockman X Anniversary Collection Soundtrack is not worth the price. Outside the two versions of Give it a Shot and RE;FUTURE, the album’s pretty bland. Spending track space and time to remix six first games’ Boss Battle themes. These were clearly chosen because they could been easily selected over stage themes. If we’re completely frank, the Boss Battle themes are not the best parts of Mega Man series’ soundtracks. Most of these songs simply end up being grey background noise. This is a far cry from previous releases’ quality, like Chiptuned Rockman.

Speaking of reviews, you got two last month. I’m not exactly happy how either of them turned out (though I never am with my posts) and I know the end result of the Muv-Luv Kickstarter goods did give rather negative view. However, that’s mostly due to how high standards I tend to use in my reviews. If there’s something I see that could or should have been included or improved, I aim to mention it. If there’s a point of comparison to be made for improvements, I always aim to make that comparison. In that, the aim often is to give constructive criticism, the kind of I’d want to have. It’s no use calling things shit or terrible, it ultimately ends up meaningless jabber. While improvement suggestions are always welcome, those should never be expected unless separately requested. This may sound harsh, but the reasons why something may be lacking don’t matter, as this can lead into further questions. Too many times I’ve seen and experienced people pointing the lack of experience for a reason why something is lacking in design, which always follows with questions like Why didn’t you hire a professional then? or Why didn’t you find professional to help? The reasons, ultimately, don’t matter. They can make interesting trivia though.

The JoyCon review was approached the same way. However, a controller review has to take into account ergonomics, and this breaks the whole Why isn’t necessary question thing into the air. There I tend to look for why certain shapes were made in the form they are, and often the answer is to conform to the general shapes of hands. It’s not exactly the same question or reason, but close enough for some people to bring the point up.

Pachislot Rockman got announced and we’ve got our first look at some the characters somewhat recently. I’ll be doing a comparative review of Mega Man’s redesign, just like how I did one on the Man of Action cartoon design. While we don’t have multiple angles to use, the one in the linked page is more or less enough to get a good feeling what elements were incorporated across the franchise. Pachislot and pachinko machines tend to redesign characters, sometimes to very large extents, but often do keep the core aspects intact. To use an example, CR Cutie Honey has designs that combine some previous series’ entries into one with healthy dose of detailing. People who handled this knew what they were doing as well, as the bunny girl form is named Cutie Bunny.

As for the rest of the month, I’m planning a short overview on what are Lunatic Dawn and Exogularity booklets âge is self-publishing at Comiket. I should not be surprised that the fandom seems to have taken Exogularity as the title for some story or setting, when in reality Exogularity is rebranded Lunatic Dawn. Well, I guess that’s it, they’re both source books with different names. The actual post will have examples, of course, but that’s the gist of it.

You’ve probably noticed how weekend posts have been appearing on Sundays recently rather than on Fridays. This is me moving towards the new schedule I mentioned a month ago or so. I’ll take this chance to also mention that there’s no post next weekend, as I’ll be away. Truth to be told, I intended to write this post for Friday, but thanks to rain I fell ill. My fever’s not going down, and I’m actually writing this on a phone. You can see the irony here, as I’m giving you a Why despite my arguments above stating the contradictory. Well, I do think there’s a wide gap between a KS and this blog.

Remember to sharpen and oil your kitchen knives and such. Cooking will be much safer and enjoyable afterwards.

 

It’s Mega Time?

This week has seen slight avalanche of Mega Man related news. We’ve seen more gameplay and stages revealed from Mega Man 11, some  footage of the cartoon has been made available, a Rockman pachinko was announced and Rockman X Mega Mission is getting a States-side released.

To start with Mega Man 11, the one thing I mentioned early on was that it looked like it’d hit the spots with controls and add some neat new controls. To use an official source, check this gameplay in Fuse Man’s stage. Early on there is a showcase for change in the sliding mechanics that gives more control to the player, where previously sliding was more or less dedication motion to a direction. Now, you can change direction mid-slide. This is accompanied with slight yellow sparking and a sound effect. The reason why I’m pointing this separately is because this is detail quality is build on.

Should I also mention that enemy explosions are very 1980’s?

With the introduction of Power and Speed Gear the game’s core play has changed to a significant degree. Previously this sort of elements would’ve been relegated to supportive role and mostly as gimmick function. In Mega Man 11, the Gears are part of the core design to make stages and enemies easier. It would appear that neither of them are not required to complete the stages, but are used to make them significantly easier at places. This is an extremely welcome decision, as it means the core Mega Man play design is left untouched for those who would rather have purist approach to the game.

This doesn’t seem to extend to the bosses to certain extent. The Fuse Man Boss fight we see around 13 minute mark, the normal pattern is something that’s easy to deal with. Its power attack is specifically designed to be taken advantage of with the Speed Gear, though without a doubt a player can beat the boss without the use of it. However, saying that you don’t need to use it doesn’t null the fact that the bosses patterns and attacks are designed around the Gears to a degree, effectively making them additional weakness to the normal Rock-Paper-Scissor weapon cycle. This isn’t a negative in itself, as all this means the Gears are more or less completely integrated to the overall design rather than bolted on top of standard Mega Man design. On one hand, hopefully this won’t mean that future Mega Man games all share different important gimmicks jammed on top of them, but on the other hand, can the Gears be recycled into future titles with revisions to it? Is the Classic series to become like the X-series, where each game has a new gameplay mechanic in form of Gears to X‘s armours? We’ll have to see.

Otherwise, the game seems to be coming together just fine. The run cycle’s still a bit jarring and visuals are still rather plastic, but overall Mega Man 11 looks like its been carefully crafted to be a good entry in the series. You don’t need a million dollar budget for that.

To stick with “base” Mega Man for a bit, the whole thing with Pachislot Rockman came pretty much out of nowhere outside the rumours, but for Western audience this means jack shit. You’ll be playing this only in Japan, and we don’t even have a cabinet pictures, just few low-quality magazine scans and an announcement pdf. The designs are all over the place with this, combining elements from all the mainline series into one. This is easiest to see with Blues/ Proto Man there, as he has that hair from his Battle Network version and glasses look like Star Force‘s Rogue dropped them by, with the Life Gem on his forehead and chest being something that’s prevalent in the X-series. I’m interested in seeing how they’ll include Mega Man series’ elements into pachislot, and how garish the machine will end up being.

Speaking of Mega Man X, Capcom has hinted that Mega Man X9 will be a thing. With the X Legacy Collection hitting store shelves early in Japan, the manual mentions that the story isn’t over yet. Mega Man 11  was teased in a similar manner. It’s good that Capcom decided to pack all the X games into one package, as there’s less nostalgia for the newer games in the series to pull in the audience. Mega Man Legacy Collection should’ve been one package as well, with the Game Boy titles with it, but those won’t be re-released anytime soon outside Virtual Console. Hopefully they’ll drop most, if not all pretenses that there’s some sort of deep and meaningful story in the series and concentrate on making a damn fine game with Sigma as the final boss.

Udon has also procured the license for Mega Man X: Mega Mission, a one-shot Hitoshi Ariga adaptation of the Carddass series of the same name. Sadly, it’s in full colour, so we’re going to miss the intended gray scale. I’m guessing they’re doing this because the previously coloured Ariga Mega Man comics sold more than their untouched originals. If you’re interested in checking what the original story was about, The Reploid Research Lavatory has you covered.

Then we have the cartoon, fully titled as Mega Man: Fully Charged. While it looks slicker than previously and this particular trailer drops all of Mini-Mega, who we see more in the US region only preview, the show’s pretty much Cubix remade. It says Mega Man on the tin, they’re forcing sprite graphics to tell a story, they’re even using cues from Wily Castle I theme from Mega Man 2, and yet it doesn’t look or feel what you’d expect from a Mega Man cartoon. Then again, like a broken record I am, this isn’t exactly an adaptation. This takes the idea of a good boy robot fighting evil robots with some general resemblance to its namesake. However, the more there’s footage, the less impressive the whole show looks. Neither the 3D or the designs look impressive, but seeing this isn’t supposed to be anything groundbreaking, it’ll get the pass by the viewers.

All in all, Capcom is gearing Mega Man for the next few years, and depending how all this goes, the franchise may become relevant again. It won’t happen overnight, but maybe in few years if things keep at a steady pace and all good things are taken advantage of.

Asimovian Mega Man

The opening crawl of Mega Man X states that Mega Man X, the title character. is the first type of new robots able for independent thought, or to quote, has the ability to think, feel and make their own decisions. Right after this, the first rule of robotics is mentioned in a shortened form; A robot must never harm a human being. This is how the first rule was originally quoted, if not for verbatim. However, the full updated rule is as follows; A robot may not injure a human being or, through inaction, allow a human being to come to harm. As such, the game directly states that all previous robots in the game franchise, have been under the rule of Asimov’s Laws.

Asimov’s Three Laws of Robotics are a cultural cornerstone, as Asimov’s robot stories explore and make extended use of them. While they are capable of independent thinking, they are governed by the three laws. To what extend they are able to independently act and think depends on the level of the technology, but all are ultimately slaves to the three laws. However, as Asimov’s robots are based on logic rather than reason, these three laws are easy to get around with proper logic.

Each three laws override their predecessor, meaning the protection of human comes before the second law, fully quoted as a robot must obey the orders given it by human beings except where such orders would conflict with the First Law. This overrides the third and final law, which stahtes that a robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

In Mega Man, we see these three laws playing a role in how Rock becomes Mega Man. The canon states that it was his strong sense of justice that convinced his transformation from a household robot into a super fighting machine. What concept of ‘justice’ Rock had is unknown, but the result wanting to fight injustice, even if it required setting himself under threat and oppose commands from a human, Dr. Wily in this case, enforced the first law in form of no human being would be harmed. The logic here is that by opposing one human, Rock is able to prevent harm or injury of many more.

This, of course, is as according to the 0th Law of Robotics Asimov later added; a robot may not harm humanity, or, by inaction, allow humanity to come to harm.

Combined with the Asimov’s laws and the clear statement that X is the first robot able to independently think sets to stone the fact that all robots in the Classic series are slaves to pre-determined models that they can’t branch off from, and are slaves to the Three Laws of Robotics.

Within Asimov’s robots, the three laws have been embed into robots on mathematical level to their positronic brain. Without completely redesigning and reconstructing the positronic brain as a concept itself, these three laws can’t be removed. However, it is possible to remove a rule in descending order depending how advanced the robot needs to be, halving the needed brain size and pathways.

However, Mega Man robots don’t have positronic brains. Instead, they have micro-electronic brains, which seems be more dependent on the creator driven programming than the Three Laws. We can take two stances on the laws here; either the laws are universal among the robots, or that the laws must be implemented into them by design in each separate case.

If the laws are universal, we can assume that Dr. Wily was capable of creating some sort of separate method to circumvent the First Law, which would yield the whole Robot Virus Project. While not canon to the games, Hirotoshi Ariga’s Mega Man Megamix the Three Laws are circumvented by Wily implementing a separate chip that allows the original six Robot Masters to injure and harm humans by direct action. As such, it would not be necessary to change the design of function of the micro-electronic brain, when Wily has a ready made chip he can install into whatever creation he makes. This also assumes that the micro-electronic brain works in a similar fashion to the positronic brain.

The second take of course means that there is no standard template for the robots’ brains in Mega Man and are completely dependent on the coding skills of the creator. The basic hardware may be shared across the board, but the Laws themselves are not burned to the core design. This would give more leeway in how the robots function. After all, the canon states that Dr. Wily reprograms  robots he capture, thus we can assume the basic template does not function similarly to the positronic brain, but the Three Laws are a software function.

Even without the Three Laws governing the actions of the robots, they would be slaves to the predetermined to the lines of code. This makes them nothing more than automatons, unable for creative thinking. However, with the existing Three Laws, a robot must be able to device ways to upheld the laws. When Proto Man tells Bass that he can’t defeat Mega Man, because he has nothing to fight for, this can be taken as Bass lacking the Three Laws. He is inert in how he fights, as his main drive is to defeat Mega Man. Mega Man, however is governed by the First Law, and knows that his lost would contradict said Law. Of course, this is more about the moral of the things, but the two don’t exclude each other.

However, there is a place that in-action provides context for Mega Man robots essentially functioning according to Asimov’s robots, including the functions of the positronic brain; the ending of Rockman 7. In here, when Dr. Wily reminds Mega Man that he is simply a robot and can’t harm a human being, the First Law kicks in and contradicts his actions, causing him to pause. This is a moment many Asimov’s robots go through, where the probability is calculated within the brains for the route of least harm at that moment. This was changed in the localisation, where Mega Man 7 has Mega Man stating that it is more than a robot, Giving Mega Man the Pinocchio syndrome is an interesting idea in itself, but it fights against what the series has established.

While the robots in Classic series seem to exhibit natural personalities, they are far closer to pseudo-personality, similar to Star War‘s droids. Droids have a pre-programmed nature that they can’t deviate from, exactly like Mega Man‘s robots. Both also accumulate data, which they can then make decisions on, but in Mega Man‘s case, they can’t learn without additional data to their coding. Hence, why Rock’s transformation process was more than just donning an armour and weapon; it required rewriting some of his core pseudo-personality.

Within Mega Man X era, Reploids are robots based on X’s design. X was sealed to test whether or not he would be reliable. How, is the question, with the Three Laws of Robotics being the answer. Without them, X must be tested based on his reason and morals rather than mathematical probability and logic. Whatever brain he has must be more advanced than positronic or micro-electronic, perhaps similar to gravitonic brain in Roger MacBride’s Allen’s Caliban series of books set in Asimov’s universe, which allow X to have empty pathways, which would then build during the testing. Funny enough, both the first Caliban book and Mega Man X were published the same year.

If we consider the Three Laws to be suggested, something that’s learned rather than implemented, the very nature of the created Reploid should be beneficial from the get go. This would put greater emphasize on the initial creation of the programming, especially seeing how Reploids are created as mature beings rather than educated. Think of the training the clone troopers get in Star Wars, which teaches them skills and ethics required. Similar flash training could be adopted for Reploids in faster pace, but this does not seem to be the case. As such, mental deficits and errors are at the hands of the creator.

The viral reason for going Maverick seems to follow two corrupting paths; removal of any resemblance of the Three Laws and corruption of the personality. I say resemblance, as they’re exactly like moral laws any human society has. They’re not set in stone, and can vary widely. Secondly, Dr. Wily is the origin of this virus, meaning its coding has to be tied to the original nature of Classic series robots. Because of this, the free-willed robots of the X-series will uphold their own morals, even if it would clash with the Asimov’s laws.

Reploids, despite most of them seen in-game being more animal in appearance, resemble Asimov’s advanced humaniform robots, where there would be no distinction between humanity and robots when advanced far enough. Many times over in the series, Reploids labelled as Mavericks simply wish to gain their independence from humanity. However, no Reploid group has been allowed to so, and it would even seem that Reploids are labelled as Mavericks for political reasons, giving hints how oppressive the human government is over mechanical life forms. There is large amount of story potential in here, something we’ll never going to see.

The true end realisation of Asimov’s humaniform robot, as discussed in Robots of Dawn, is seen in Mega Man Legends, where the civilisation the player sees considers themselves as humans and are generational, able to reproduce, live and die. In effect, outside the ability to customise one’s body, there is no distinction between human and artificial human life. Both the World and Master Systems are bound to the Three Laws of Robotics, as their prime directly is to protect humanity, and do not recognize Carbons, or Decoy’s in original Japanese, as humans. Furthermore, the Mother Units of the System are built with the positronic brain, as mentioned by the games, creating a very Asimov-like situation, where Mega Man Volnutt recognizes that Carbons are humanity through their nature. This enforces his First Law function to protect them, further explaining how he ends up being the one defending Carbons, especially after the Master, last living human being, enforced Volnutt’s logic through their discussions. The System’s other parts, however, still act according to the logic of Carbons being artificial, thus the First Law does not concern them.

It might seem that Reploids are the most advanced form of robotics in Mega Man series by this comparison. However, it does seem that the ultimate end of humanity and robots is to become one within the frachise, and whether or not the Three Laws of Robotics governs Carbons is not important at that point, as they have already become the legacy and successors of humanity.

Gimmick Man

After all that Virtual-On, I decided to revisit Mega Man games for the kicks. Playing the games back to back reminded me why the series was such a hit. Great music, great controls from the third game onward, steady progression and evolution of the concepts and their implementation, and tight level design. Well, most part, at least.

I’m not sure at what point Mega Man saw a change. It’s not clear-cut as to say that a particular game had a definitive paradigm shift that changed the MM formula, as each game gave a new twist in some manner. 2 introduced 8 bosses, E-Tanks and classical help items, 3 introduced sliding and Rush, 4 introduced chargeable buster and slight branches in the stages, 5 expanded on in-stage collectables with Beat and backup tanks, 6 had Rush Adapters and colour changes to stages depending whether or not you have BEAT letters collected, 7 introduced the initial Robot Master split to four, included a lot more support items and took some parts from the Game Boy Mega Man games, and 8 revamped all the stages to have a specific gimmicks.

Perhaps the existence of these gimmicks rather than concentration on the core of Mega Man ultimately drove the sales down.

The best example of this is Mega Man 8. While Mega Man stages are all about a certain kind of theme to them, with a gimmick or two in there, they’re usually either harmless or practices in moderation. Mega Man 1‘s Guts Man stage is an example of an early exception for this, as its moving platform segment is infuriating, but luckily relatively short. With the PlayStation era, we began seeing the inclusion of automated driving stages becoming a thing, culminating to one of the worst stages in the whole series with Mega Man X7‘s Ride Boarski. Similarly, X8’s Gigabolt Man-O-War and Avalance Yeti have driving stages as well. Two out of eight main stages were effectively wasted for driving.

The increase of gimmicks like these, be it Rush Adapters or driving stages, really didn’t do good for the series overall. While some argue that Mega Man 9 and 10 returned to the core of the series, they concentrated on the wrong aspects in overall terms.

The evolution of the series core concepts has always been slight changes to the controls and what initial tools the player has. Sliding was a solution for quick evasions and increased movement, which also gave the developers more options with enemy and stage designs. (In DLC Proto Man has the slide, when he previously had a dash. Gotta earn that nerd cred.) Charging shots increased damage output per shot, but it’s not necessary in all cases. Still, it allows both the player and the designers to tackle certain aspects in enemy design differently than with just the lemon shooter. Rush’s inclusion, while stemming from the mobility Items from Mega Man 2, again is a tool for movement and stage design options.

These could be considered three core additions to the series since the first game, and should always be there. However, at some point the series began adding too much unnecessary stuff without really compensating, and then you lost most of the good stuff with Mega Man 8 and its two sequels.

It says a lot that Minakuchi Engineering, the company in charge of the Game Boy games (par the second one) really made additions and tweaks to the formula work well, and Capcom’s stuff took some of it and ran with them in MM7 without really understanding why they worked. Well, outside the Item Replicator, which allows player to produce support items for a cost, but they screwed that over with MM8 by limiting the amount of bolts in the game to build items, and the removal of support items in general.

Mega Man 8 is really a weird game, it tried something different, but failed pretty badly.

Stage gimmicks, the constant addition of option tools and lack of emphasize on the core aspects is probably why the series stagnated as hard as it did. Mega Man 11 has an uphill battle to re-instate all the best elements from the first eight games while trying to ignore the two last ones. Let’s be honest with them, unmaking a decade worth of design and evolution in favour of nostalgia pandering was the very first misstep Capcom made with them, but this was the era of retro-lookalikes being the hottest shit on the block. Can’t really fault them for striking that trend. (This is also why Mega Man 2 was used as the base to model MM9 and 10 after, because nostalgia was rampart and the game has a deified status [Despite certain later games being objectively better.])

Cuphead showcased that the stigma 2D action games had during the naughts is more or less over. However, I hope Capcom recognises that Mega Man has ten games doing the same thing, with varying success. If Mega man 11 is to succeed, it should not pander to nostalgia. It needs to find the proper way to evolve the formula and make the best use of it. It should be more like GameBoy’s Mega Man IV than Mega Man 8 (or 9 and 10) in how it doesn’t forget to balance the core and new.

Certainly the fans will appreciate it just fine, but if it’s just another throwback for these fans, Capcom might a well quit making the game mid-way through. The announcement trailer does give some glimpses, that the core elements established by the first four games are in there to some extent. Charged shots and Rush are in there, with no movement slipping. Sure, the animations could use some work, but that’s always the case. Bolts are back, so we can assume Item Replicator is being implemented. There seems to be some sort of overcharge shot as well, meaning we’re going to see additions to the core formula. We can just hope that their implementation is decent at least, and the staff do not negate the core aspects of good level design first and foremost.

Mighty Number 9 is a great example of all the core elements missing quality to them.

Street Fighter 30th Anniversary collection and then some

Ever since Street Fighter turned 20, I’ve been making some insignificant noise to see proper recognition for the original Street Fighter, as janky as the game is. It is one of those games that would deserve a complete remake. Capcom has been dropping bits and bobs about the first game here and in form of optional outfits and such, but a straight remake is still a pipe dream.

The 30th Anniversary Collection is a step towards right direction in many ways. Not only it makes titles like Street Fighter III New Generation and 2nd Impact accessible to those who don’t have a CPS3 or Dreamcast, but collects all the main titles under one umbrella title. It would be great if all the games had online to them, but companies can put only so much money and effort into celebratory collections like these. I don’t mind using my Dreamcast, but many don’t have access to a DC. Similarly, it would be perfect if there was online for all the titles, but that’s not really happening, is it? Online is important for modern games, without a doubt, despite yours truly still regarding couch coop the best form of multiplayer.

I’m not surprised that the EX games are missing from this collection. They never were mainline SF titles, but the first two did enjoy success on the PlayStation. Capcom would have to pay royalties for the original characters, as ARIKA owns their rights. Not that would be a bad idea overall, with ARIKA’s upcoming unnamed fighting game project  (which carries the title of Fighting EX Layer for now) coming along and making some buzz in the fighting game scene. It would have been good cross promotion for ARIKA as well, but I never held my breath for their re-release. Might as well pick up the original PlayStation discs if you’re interested, they don’t go for too much. If I’m honest, I’ve been following this one closely. Graphically and mechanically the game is sound, even at this early state, but ARIKA does need to rework the sound department at some point.

Of course, the collection is not limited to one system. Not many things are nowadays, but perhaps that’s OK for this sort of celebratory game. I wouldn’t be surprised if the sales numbers for the Switch version go high, as Ultra Street Fighter II sold rather well. This collection makes a good addition. Shinkiro was employed to illustrate the key art for the game, and all in all it’s an improvement over the aforementioned USFII.

The additional goodies are a sprite viewer and a music player mode. Street Fighter sprites have always been popular on the ‘net, for better or worse, but having this sort of access does allow closer inspection without any hurries for those, who don’t want to resort to emulation or looking up sprite sheets. It may be a bit insignificant addition, but this sort of little things go add a lot. The music player is a neat addition, though the one that would’ve broken the bank would’ve been a colour edit mode.

Capcom’s going to the right direction with this. Street Fighter V has been a sales and success disappointment all around. With its Arcade Edition coming out, alongside its Season 3, Sakura and bunch of other characters are confirmed to join the final roster. However, these two titles are at odds with each other. SFV was developed with the eSports scene in mind, and that’s where it has seen its limited success. The assumption that Capcom will release further versions of the game is more or less based on the fact that ever since SFII  this has been the case. However, as we’ve seen examples with Star Wars Battlefront II (2017) publishers and developers are trying to make each title pay off more on the long run. DLC is a practice on itself, with Season passes essentially being planned additional content on the base title. Arcade Edition got some negative feedback from the users that got unto the ship from the start and have supported the base game, but from general audience, it’s been all but positive.

Street Fighter V is an example, where Capcom took its gold egg laying goose to a wrong direction. While some games can be fitted into a modern mould, Street Fighter V showcased that you can’t beat an arcade roots from an arcade game. The necessities must be met; a complete game from the start, Arcade mode, a full roster and (surprisingly to some) less emphasize on the tournament scene. SFV should have been a safe game for Capcom to publish, but just like Marvel VS Capcom Infinite, it’s full of decisive flaws in the core design and structure department. Capcom’s competitors are in a far better position nowadays, with all the big houses having at least two decades of experience under their belt and have been pushing out better fighting games than what Capcom has. ArcSys even has a popular license under their belt now with Dragon Ball Fighter Z, which probably sells more than SFV during its lifetime by name recognition alone.

Capcom is one of those companies with rather clear periods. 1980’s Capcom saw its first change with Resident Evil, and the company changed its direction around the mid-90’s. 2000’s Capcom saw a paradigm change around 2006, something that Capcom has been moving away now slowly, but surely. These changes are not immediate, but take slowly place until something significant is showcased. Capcom’s arcade essentially being ran down in favour of console development, classic titles all but missing and ignored, emphasize on Western games, the DLC tactics that consumers didn’t like, and now, nostalgia. While Mega Man Collection games should’ve been just one disc, collecting all the Classic-series games, including Rock Board, those and SF 30th Anniversary Collection are an indication that Capcom wants to serve their long time fans, albeit with pre-existing products most of them already own. With Mega Man X games coming to modern platforms, it would seem that Capcom is testing waters for resurrections, even with some of the newer franchises like Devil May Cry getting its HD collection ported to current systems. Of course, we can’t ignore the rumours for DMC 5 being in development, which became more plausible with the reveal of Mega Man 11.

All that said, Inafune separating himself from Capcom did leave the franchise in a hard place. Just like how he was the face of the franchise to the consumers, he was also responsible inside the company. Kazuhiro Tsuchiya does not necessarily need to become a new face to carry the franchise onward, but that might be inevitable.

It’ll be interesting to see what’s going on at Capcom currently. Keep an eye what’s reading between the lines, as all the interesting bits are there.

Mega Man 11

While I’m typing this, Capcom’s own 30th Anniversary stream is running on Twitch. I, and the steamers acknwledge that this is a bit early, but there’s really no better time to do this. I’m looking at this stream and thinking to myself Is this how we want to see it being celebrated? Without a doubt, this era of social media has made it easier for fans to gather and exchange ideas and experiences. Well, as well such can be realised in a fast paced Twitch discussion, where nobody really reads anyone’s comments either way. Nevertheless, here we are, watching four people in a brick studio with, surrounded with Mega Man merch.  Seeing Kazuhiro Tsuchiya taking the stage uplifts the whole deal, especially when he joined with another members of Capcom Japan’s staff to talk about Mega Man X particularly as an evolutionary step in the series.

A short, rather hammy video of the franchise’s history ends with the announcement of Mega Man 11.

 

This is the meat of the show; the developers talking about their own experience and work with the franchise with the emphasize moving to Mega Man 11  and how it’s been handled becoming the main bulk of the stream. There are a lot of good tidbits, like how different styles were tried out, but the constant use of nostalgia for pixels was deemed to have taken too far already. Hence, why the aim is to use 3D without creating 3D space. Most modern 2D action games want to obscure the ground somehow, either by adding grass to it or make it seem like it’s somehow a natural part of the scenery or the like. A 2D action game is by its nature rather abstract to begin with, as you already lost a whole wall and everything’s sorta cut into two dimensions. With titles like Mega Man, there is no reason to even remotely try to make things work realistically. Video games have always had the edge of showcasing abstract stages and nobody questions their sensibility, because the design is showcased as a part of a game and its challenge. This repeats everywhere, even in the most realistic game, where challenges are laid out by design where there should be none.

That said, everything gets a new lick of paint. Characters will get a redesign, but nothing major. It’s funny to see the above 30th Anniversary Trailer using an old design rather than the new one, hinting that they’re not putting their faith in the new design completely.

Is this a bad re-design? No, it’s not. Mega Man has always seen redesigns and tweaks with each new game when a new pair of hands have been given the task to bring the Blue Bomber back to life in visual terms. Rockman Memories even jokes about this by asking if Mega Man and Roll have grown up.

Roll’s redesign for Battle & Chase (rightmost Roll) was based on Sally the Witch‘s dress with additional sleeves and different coloured buttons on the bosom

The new design is sleeker with less mass on the arms and legs for sure. The blues have changed the hue a bit, but that’s nothing new. The proportions are less deformed, and follow more what a modern child heroes seem to have. While Mega Man was originally supposed to have a Super Deformed look, that was dropped rather fast due to technical limitations. Nevertheless, the proportions stuck the longest time, until Mega Man X 8 saw a complete cast-wide redesign and made everybody lanky and thin. There is something missing in Mega Man, if the character’s proportions are more “correct.”

While a new design was to be expected, it is disappointing to see the Smash Bros version having its influences in this one. The calves and the odd lines running down from shoulder to chest, connecting to the seams on the sides are something that’s rather unique to the Smash Mega Man, though overall that’s just playing with the winds of current taste in aesthetics. Can’t really say I like it, but here they make sense, assuming these are clothing seams. The few slots on his left arm and calves are additional details carried over from the back of his helmet, but the gloves he has are full-on Hitoshi Ariga. Even the neck padding, something that got carried over from various designs, is present.

The concept of Mega Man changing physically when using a new weapon is nothing new in itself. Supposedly, the square on his forehead was to change with weapon choice, but technical limitations prevented that.

The changes are limited to the head and arm while the rest of the body stays the same. The X-Series played with armours, while Legends and Battle Network furthered physical changes. This is a good medium form, renewing old with something new all the while keeping it recognisable. When doings something new, they seemed to have stumbled upon an old idea.

Cute as a button

Roll’s modern design fits her well. It follows the usual red dress idea, but the new cuts and zipper line, combined with a removable hood, does make her feel a lore more fresh. She looks a bit sharper, though the shoes could’ve used few more iterations. Currently they remind a bit too much Sonic’s shoes.

Rush and Beat got redesigned as well, but what they got was more modern touch-ups than anything else. We’ll get to these two whenever we them in motion.

In many ways, this Mega Man is a composition of many past designs in one. Perhaps What makes the “classic” Mega Man we see above next to the new one more iconic is nostalgia. Maybe it’s the fact that the lines are thicker and and more cartoon like. Detailing is fine, but what use are details if they’re just additional lines? Less is often more, and perhaps that’s why most modern redesigns of classic characters tend to go awry, because they really don’t know how to keep their hands off. One line too much can, often will, ruin otherwise perfect design.

 

You can stop at step two. Jesus Christ please stop at step two

 

Music of the Month; To Fly Through Fire


It’s one of those months for sure

I recommend people to carry some sort of pocket knife with them. Not in order to do violence, but to have a tool with utility. There are times when in an emergency arises and having something sharp and multiuse comes in handy. Like when your work clothes catch on fire, and you need to get them off as soon as possible. In a car crash it comes handy in cutting your seat belt off, it you can’t get the lock system open. Of course, you can slice apples with it too.

To talk about the whole mecha post issues I’ve been having, mainly that I haven’t kept the transformation theme constant and skipped it few times around, it’s a combination of lacking time to put the time into proper description and finding really good sources. There are few books out there that I could recommend for you to read through yourself, but most of them are in Japanese, which limits their effectiveness to an extent. As such, I might as way it officially that the theme is dropped for the rest of the year, because I have to concentrate on other things. I’ll still aim to produce mecha content monthly, and not just TSF stuff. Not everybody likes them after all.

On more game related side of things, I came across a SNES Mini and decided to pick one up for my nephews. First I thought picking one for myself too, but thought that as I already have most of the games on my shelf, it’d be a waste. Because Christmas few months away, I decided to test the machine so that there would be no let-downs on Christmas day. The thing about these Mini consoles is that their built-in library is, ultimately, rather bland. On paper is looks good without a doubt, but for someone who has played these games many times over and already owns them, the set isn’t even vanilla. It could use more two-player games, though this leads me to the best thing about the package; the SNES controllers that came with it are diamond. Hell, this makes me wish Nintendo would put the real controllers in a new limited production, so collectors and whatnot could get a new set of pads for their consoles. I won’t be doing a review on it, because the machine is just a small Super Nintendo. I’d rather review the real deal.

As for what will be reviewed this month is anyone’s guess. I don’t have anything too interesting on the horizon when it comes to interesting gaming thingamajigs, but that can change any moment. I was considering reviewing Cuphead and break my own rule not to review anymore, but maybe that’s a silly rule, even when those are the least read posts. I should stick with the more obscure stuff people want more information on that is not expanded elsewhere. That’s the core idea with all these weird controller and homebrew reviews. Something like SNES Mini is reviewed everywhere else already.

Maybe reviewing mechas again like what I did with Metal Gears would do good for a change.

As for whatever else for this month, Inktober’s kicking around again. I recommend checking your favourite social media site what sort of images people are producing, and I too may take part in it… if time allows me to. The idea is to do a picture by using ink, and some of the works are absolutely beautiful to behold.

Whether or not I’ll manage to put a post on Mega Man‘s 30th anniversary is an open question, but some sort of post regarding the franchise is planned, but again, only if I can get the materials together. I’d like to this post to hit sometime this tear, not necessarily on the anniversary day itself. I had my old editor up for a music related post regarding the series, but that never went anywhere, so I might have to pick up that in the future, despite being tone deaf.

An addendum to Themes of Godzilla post is in the works too. This would be a more in-depth view on Shin Godzilla now that I don’t have to work with limitations, and who knows, maybe I’ll expand this into a monthly series on itself and rewatch all the movies while I’m at it. Doing it a production order of course would be the best thing, but I do think that taking Godzilla with least connection to others, like Shin Godzilla and the 1998 Godzilla, can be viewed in a vacuum-like state, where they can be weighted on their own merits. Some of the movies are rather connected to each other either through story, setting or the staff, and with that you have certain tones and themes repeating. I’d even go so far that I’d divide Godzilla eras based on the staff who worked on them.

I might actually review the Art of Shin Godzilla, a 559-page book. It has some reviews up on the ‘net, but none of them really go in-depth whats in it and how it’s built. You shouldn’t review a book based on its cover, but like with everything, first impressions go a long way.

As for the ARG podcast we had going on, I’ve removed the link on the side. This is because due to certain changes in situations I highly doubt we get the same people on the mic anymore, though continuing with fewer people would be a possibility. The uploaded episodes won’t go anywhere, neither will the Degica interview. I regret things going like this, but alas it takes two to tango. Well, maybe this’ll encourage me to start those voice blogs next year. The plan is to turn some of the older posts with more solid content into audio form. I see the Monthly Threes I did as the best choices for this, as they tend to hold content with a point. Hell, they might be best content in this blog, but that’s not saying much, isn’t it?

Speaking of the posts, this is the 803rd post this blog has. I need to get my act together and wrote a new Different take on customers.

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.