There has been some interesting development in regards of certain video game packaging as of late, if you’re someone who has a thing for package designs. Mainly that there has been a large movement to unify them under a generic design, especially if they’re from Limited Run Games or by a Japanese company. Two could be a coincidence or style chosen by a certain corporation. Three’s a company, but five starts to say there’s a standard going on. Game Paradise Cruisin’ Mix Special, Dariusburst Chronicles Saviours both JP and Limited Run Games release, Senko no Ronde 2, and now Darius Cozmic Collection all use the same kind semi-slim box design that can be used to house multiple types of objects by changing the inlays. With this basic design, the thickness of the box is easy to adjust as well to offer more room. People who like uniform shelves will like this direction quite a lot, as the boxes now are of same height and width, with some changes in thickness. Still, an evolution from the widely and stupidly different kind of collector’s editions boxes that just don’t really fit anywhere. I can’t help but feel that this homogenisation of boxes takes something special from these special editions.
As you’d expect from the front, Darius Cozmic Collection Special Edition looks rather spiffy. Sure, the logo’s taking a lot of room from the cover, but all the six main images try to come through in a good balance. The only bit that ruins the Switch logo on the top left, with it being the largest logo on the box. Taito’s and CERO logos at the bottom are perfectly sized in order not to mess with the layout, but the Switch logo just hits your face. It’s a box front, and the back’s as you’d expect it to be. The layout’s nice, uses some of the game graphics and rather than trying to sell the game with overtly just vomiting text, the graphics are there to sell the package. They do that nicely. The usual required legalese at the bottom doesn’t interfere with the rest, as it functions like a some sort pedestal for the rest of the back.
When you first open the package, you’re greeted with the miniature marquee plaques. This is an absolutely beautiful set, even if its just bunch of transparent plastic with layered printing on the back. The printing is sharp and of high quality. Nothing less would really suffice, if we’re honest here. Most often Japanese companies don’t sacrifice quality when it comes to limited editions, and know that the perceived value gained from putting the effort into stuff like this is enormous benefit. It works, and you could attach these to anything you’d wish. There’s a not much weight to them either, so just throwing some bluetac behind them would keep ’em in place, though they’d truly shine if you had something to light them from behind.
After lifting the plaques and two spacer sheets around out, the main book of the package reveals itself. Darius Odysseys have always been great source material books with some slight change in emphasize, with the previous Dariusburst collections emphasizing on listing enemies. This time we have emphasize on production, both the actual cabinets, prototype artwork to layout the screen scenes, packaging scans, preliminary sketches and all the that good stuff yours truly loves to see. Hell, even the scans for the game packaging are of great quality and highly appreciated in the wholesome box form they’re presented. It’s a nice and thick book with great production value to it. The only thing that could’ve made it better would have been hard covers. This is the kind of material we rarely see, and it’s a marvel to see production material like this.
Lifting the space the book is recessed in reveals the last bit at the bottom of the; the bog standard Switch game case and the soundtrack slot. Funnily enough, this game with two soundtracks, and only one fit inside the box. The other was just laying inside the box, but seeing that was more or less a seller’s special, it should impact on the value of the core box. It would’ve been better to use a different cover for the Limited Edition and standard edition cases, but I guess this sort of unifying look to the whole package has its benefits too.
A package like this really lives through prestige. Most of it is sturdy, can take a hit or two just fine, just like the rest of the boxes like it. Nothing’s flimsy here, not even with the spacers. It’s a bit weird that one of the two CDs, even if it was just a seller exclusive item, had not slot designed inside the box. Now it’s just floating around somewhere on my couch among all the other stuff. Still, a package design like this might be somewhat dull, but it’s extremely well thought out for multiple intended uses. If this has become the standard for limited editions in Japan, guess this is the golden standard we should compare the rest of the gaming packaging we come across in the future.
The very first thing your customer notices about a product, be it on the store shelves, online pictures or when receiving the item in mail, is the packaging. Ignore the quality of the packaging and you lose the customer. It’s extremely easy to make a terrible packaging by making few low-effort choices, like choosing weak cardboard because its cheaper, unfitting box size because that allows items to rattle and be damaged during transit (be it from the store or via mail) or have no support for the item within the box.
Package illustration and text are a whole another dimension that add to the mix. Cheap printing will automatically spell how much the producer cares about the producer cares about the product overall. Some fanzines have better printing that some mainline comics nowadays. The logos, the catchphrases, the descriptions, everything that reads of the package has to be both up to legal standards and to attract and convince the customer that this is the product worthy of their money.
A worthy packaging takes money, time and skill. A package designer is well worth the money he gets paid and is a field of design that nobody really thinks about. It’s a thankless job that you only remember exists when you face a terrible packaging.
Of course you could ignore most of that and just throw some discs in a sleeve and call it a day.
The reason why Cyan Inc (and Incorporated they are) did this is because the higher tier backers on Kickstarter get a custom build book that houses the games. This is all fine and dandy, until you realise that these poor bastards will get their games in the same cheap bargain bin sleeves. Let’s get to the root why this packaging is shit to the core and nobody should do this, unless they’re releasing cheap shit to the market at the lowest possible price.
First of all, there is no protective support. Sure, the sleeves themselves support from some of the damage that dust or such could do, but that goes out of the window the moment you realise that everything will get in from the open side. There’s no mechanism to keep any of that out.
While these sleeves are an age-old way to house a disc, it’s also one of the worst ways. Compact discs like these have a tendency to moving and spinning inside their sleeves, unlike LPs and LDs that have some weight in them to keep them in place during transit. This causes chafing that will cause smudges, and sometimes with low quality rough cardboard, leave a permanent mark on the disc’s surfaces.
Then you have the fact that the sleeves can’t take any physical damage. These were delivered as you see now, in a stack with no protective box around them in a vacuum sealed bag. You can see the first sleeve has already given in and creased itself against the disc inside. The sleeve is already damaged by sheer act of being shipped. If it’s put on the shelf, the pressure from whatever is around it will continue to press the sleeve against the disc, further creasing it. It’s unusable as a long-term storing device, necessitating the customer to come up something on their own, like buying jewel cases for the discs. You don’t see it on the photo, but all the sleeves are also scuffed up already from chafing against each other, especially on the back.
This photo is intentionally bad with that lamp light on the left, because it shows how scuffed and creased the the backs are already just from shipping and sitting on my desk untouched for a day. Every back is the same, with the nice . There are scratches that are directly from the production, handling and packaging.
Actually, some of the sleeves are already damaged from the production. Whatever company made these didn’t make sure that when the prints are separated, the cut would be clean. Instead you have those rip nubs, also slightly visible on the left of on the sleeve.
Let’s check the disc design and leave the sleeves for the time being.
The disc design in itself is nice, but far from what looks like what Myst should have. It’s effectively giant C and some low-effort text thrown in there. Apparently advertising Cyan Inc. was more important than creating a fitting look for each of the disc, or re-usingtheexistingdesigns. Ubisoft’s Myst Collection beats 25th Anniversary collection in design and sleeves 1 to zero. Plastic sleeves at least protect the discs properly. Notice also that the print is ever so hazy on the disc, meaning this is once more one of those points where money was pinched out. The Big C is sharp, the text not so much. It’s far from the worst, but with minimalist design like this you don’t have any room to screw up a single element. Also how the platform text, Windows in my case, has a terrible positioning. It would have looked far better midway down the black Myst text and the legal text down there. That C is just too governing and taking too much room.
To be fair, the sleeves have a nice artwork on them, which each one of them having its own frame texture with a window. It’s not much, but at least it goes with the theme
Cyan Inc. never stated how or in what sort of packaging their physical goods would be delivered in. This is something that any backer should make a note of in the future Kickstarters they may back and demand that the packaging must be up to standards. This isn’t. This is far from being what is expected from almost three million dollar Kickstarter. I might’ve given the Muv-Luv Kickstarter packaging some shit, but that’s a winner with platinum medal level of quality compared to to what Cyan has delivered with these.
This is the lowest and cheapest way to produce and pack their game collection, and if anyone wants any longevity from these, they are required to go out and purchase some kind of jewel case or one of those multi-disc packages, and then print their own sleeve to go with it.
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.
Be sure to check the first part of the review here.
I’ll just assume you’ve red the previous part or overall know the issues that Retro Fighters’ Brawler 64 controller had. Mostly, it was the left shoulder button issue, where rocking the stick to the top left would lift it and make it move. don’t expect major revisions on any other department.
Let’s spend any time on the front for now, let’s jump willy nilly into the insides of it and see what changes were made to the mould to fix issues.
First of all, their solution was the expected one; retooling. Retooling is to change mould just enough to use it further for with minimum costs. This in itself is nothing to scoff at, as it usually saves time and money from the consumers’ pockets. At first, the differences in the shell are apparent, mainly that the extrusions for the build-in vibrators have been removed. They added to nothing else but teeny tiny weight, but it would have been nice to have build-in rumbling that could have been toggled on or off via a switch. No unnecessary expansion pack uses. This really would have added to the value of the controller.
The second change is in the shoulder buttons, which actually use leaf-switch mechanic to spring back up. If you look at the bottom of the L-Button, the one at the top right corner of the photo, you can see that it has no hook on it. The R-Button has it and so does the old mould. This is part of the solution in order to fix the problem I mentioned in the first paragraph. Now that the button is not restricted to stay in its slot, it can freely move about. This of course raises the question if the button can raise itself from its resting place, and it can. You’d need to deliberately lift it off though, but accidents happen. This is a solution, but without a doubt not the most optimal one. This shows signs of hurry and stress, something all designers can relate to, but this solution, despite fixing the problem itself, does degrade from its overall value. It’s a hatchet job at best.
Let’s take a look at the back half of the shell then.
For better or worse, they are clearly labelled 1 and 2 for our pleasure. Similar to the front half, there are no brackets for a vibrator motor. More importantly, the extremely lacklustre expansion lock has been upgraded and fixed. On the original, on the right, you can see the lock mechanism being in an angle, making inserting and pulling expansion packs out rather tiresome and at best infuriating. Now that the lock sits straight, the whole ordeal is as smooth as you’d expect it to be. This is a definitive plus.
The main difference between the new and old halves seems to be that the controller’s front half seems to be slightly raised in order to keep the stick from bumping into the L-Button. This has necessitated to include new A, B and C Buttons. I first expected the A and B to stand more raised from the surface, but this was not the case. However, quality often showcases itself with the smallest details, and the C-Button’s new moulds were not up to standard.
The C-Buttons are completely uncleaned. All that junk, both at the base and on the notches that guide them into their proper place, had to be cleaned with a knife. While this wasn’t a major deal, backers who opted to change their shells themselves might’ve found themselves slightly puzzled why their C-Buttons were jamming. Granted, Retro Fighers did post a Youtube video how to change the parts, but a customer shouldn’t have to shave plastic off from their spanking new buttons they just received three weeks later than everyone else in the world. I build models, so this wasn’t a problem, but knowing people already asked about this tells you how backers weren’t happy with this.
When put together, the controller doesn’t look any different from the old one, outside a different sticker on the back, so I’ll just recycle a picture from the first part here.
With the new parts installed, there are no buttons or stick interacting with each other and remind you that you overpaid for the controller. Yes, considering Retro Fighters had to put out new parts to fix something like this and didn’t deliver on the promise of full N64 support due to something they never explicitly stated, the controller remains as second option at best despite being better than the stock N64 controller in almost every way. The stock N64’s controller might be a bit awkward even after all these years and its stick is pretty janky piece, but its construction and build quality leave no room for guesswork. The same can be said of some other peripheral controllers released for the N64, some of which I’d like to get for the sake of comparisons, though putting money into a system I don’t play on a regular basis would be unwise.
However, I must admit that despite all the issues it has, it does make a good backup or secondary controller. If you can find it on sale, change the Not Recommended status into Worth Considering and hope that Retro Fighters have put more second versions out there than the first ones, and that they’re willing to change parts if you end up with the first version somehow. Otherwise, I can’t recommend this controller, it’s just not up to par standards-wise.
Third party retro controllers are a dime in a dozen, and the current market is full of retro-styled USB controllers. Some range from decent to excellent, while others are just absolutely abysmal from the get go, not worth the plastic they’re built from. While this started a straight up review of a really, really terrible SNES-styled USB controller, I decided to make it a comparative review instead.
I’m going for a limb and assume most of my readers have used both SNES and GameCube controllers. The SNES controller is often claimed to be one of Nintendo’s best, if not the best. It certainly does great many things right, but it’s not the Saturn controller. It does so many things just right, like the placement of the shoulder buttons and the height the buttons sit in. D-Pad, while a bit loose, is nevertheless an excellent all around D-Pad, if not slightly inaccurate when it comes to the diagonals. It should also be said that the shoulder buttons are rather mushy and have no tactile feel to them. It’s not terrible by any means, but that’s perhaps something that can be extended to the whole controller; it feels slightly mushy. It’s not age either, this controller is pretty great condition, and my old-stock one bought few years back feels the exact same.
It must be mentioned that the mushy nature is by design. It allows some leeway movements and inaccuracies here and there, but also make the controller sturdier and able to take more physical trauma. It’s the same idea as with why you want laptops and some screens to flex rather than be rigid; it absorbs impact better. A rigid controller has higher chances to break down faster as well as last shorter amount of time. That’s why you can still rock original NES controllers, like the HORI Mini Commander, without much troubles.
The slight concave nature of the back also makes your fingers sit nicely and add slight grip to it. I feel a need to mention that the four-colour buttons are also a very nice sight, something the US version and the pictures USB controller didn’t do and it still looks terrible.
It’s no real wonder that SNES controller gets remade by other companies now and then, and one of the most sought after GameCube controllers is HORI’s SNES-styled controller for good reasons.
Perhaps the biggest pro and con at the same for HORI’s controller is that it opted to use the GC controller layout, but that’s hardly something that should be held against it. After all, it is a controller meant for GameCube. That said, if it had opted for the standard layout used in the original SNES controller (and thereafter in almost every other controller) it would have made a great all-around controller, starting from emulation to using adapters to different consoles like the Switch.
There really isn’t much to be said about it, outside that it’s probably one of the most faithful replication HORI does done of an official controller. Outside the layout, most of the mushy feeling you have in the official original is there. Even the slight mushiness of the GC original is in the buttons, but they’re no less responsive. Of course, the D-Pad crowns the controller, as standard GC controller had tiny ass D-Pad that was almost useless. This was the time when Nintendo’s D-Pads begun going downhill anyway and everybody moved their emphasize towards the controller sticks.
Despite all that speal about faithfulness, HORI did change the back of the controller. It still has that slight concave nature to it, but it also has raised sides for better grip. Coming straight from the original SNES controller this might feel weird, but once you begin playing with it, your hands find their natural spots and holding the controller becomes natural. However, it is an unorthodox solution to a degree, and you’ll be aware of them every time you pick it up. It’s a solid controller that I would recommend any GC owner to have for their D-Pad gaming, despite going for stupidly high prices.
So, if the HORI controller is a good example how to take and adapt SNES controller, how does Tomee’s USB SNES controller compare against it?
First impressions; it’s shit. While it weighs about the same as the real deal, there’s something you can deduce by just looking at it. Mostly that it is extremely cheap.
The cheapness really shows itself everywhere, but the sides are the worst. You can see that the mould has been re-used so many times that it has become faulty. It’s just not this one bit, but all around the controller. None of the plastic is really all that good, and corners have been cut wherever possible. Start and Select are now hard plastic instead of soft rubber too. Even the cord is the cheapest USB lead you can find, the kinds that just snap in two if you look at them long enough.
While the overall form fits the hand just like the SNES original, nothing else really matches the level of quality. All buttons have twice as much travel and require extra effort to press the contacts down. It’s like first pressing the buttons down, and doing a second level press to make them activate. It’s extremely easy just to press a button and have nothing happening.
There’s nothing good to say about this controller, but what do you expect from a cheap Chinese piece of shit? This controller cost around five to ten bucks, depending on where you buy it, but it’s not worth even for a project controller because none of the parts of any worth and the PCB is terrible. I didn’t take any pictures in my hurry, but there was corrosion there. This is a terrible waste of natural resources, but seeing there are tons of Tomee products out there, these things still sell. Thank God this one was donated for review.
This entry doesn’t really have a rhyme or reason to it, does it? Mainly to showcase two extremes of third party controllers, where build quality is directly tied to the price range. However, if you consider my other controller reviews, especially the HORIPAD3 Mini for PS3, there is a sweet spot in the mid-budget range where you get high quality enough controllers. it would seem that any controller under twenty dollars in the current market will always be trash, waste f everybody’s time.
Two reviews, in the same month? That’s what I call Lack of proper topics but mainly because the Joycons themselves are rather interesting piece of hardware once you get around how they’re spun around.
The JoyCons are essentially Wiimote 2.0. When attached to the main unit/screen, it becomes the second most unwieldiest portable console after the Lynx. It’s general shapes follows Sony’s handhelds and the Wii U pad quote closely, but at this points its more a necessity of ergonomics than lack of ideas. After all, pretty much all controllers follow the same core design nowadays rather than having widely different takes.
Of course, the main gimmick the JoyCons have is the ability to detached them and use them in tandem or individually. This is very neat, but at the same time these controllers are small by necessity. While slightly wider than the Hori Commander Mini I reviewed on the Famicom, everything else is in smaller scale. When used as single controller, you have access to the stick, four face buttons, two “shoulder” buttons L and LZ, and “top” buttons SL and SR. You can see these on the railing. Depending on the controller, you have Home or Capture button, and Plus and Minus (essentially glorified Start buttons.) The button that exist as shoulder buttons when JoyCons are attached to the main unit or grip rest awkwardly near your palm. The ergonomics are also lacking, but that comes with the size.
The sticks aren’t exactly the best, and it could use some some of the clickiness NeoGeo Pocket has. They lack any sort of tactile feel, despite the cutouts on the rubber. You simply don’t feel it. It has very short travel distance, which means control with tension becomes a must with certain games that require extensive stick control.
As the controllers have to work both as single entities and in tandem, the placement for the action buttons are sacrificed. They’re very much in the middle of the controller, which works when in tandem, but in single mode they’re just too far from the left edge, though larger hands could probably find this comfortable distance. This is also the reason why there’s no D-Pad on the Switch; everything has to do dual task, and these facebuttons, that use N64 controller’s C-Stick directions, work as D-Pad when used in tandem. It’s awkward and lacks the same smooth use as with normal D-Pad, and sadly its serviceable by a hair. Their dimensions and placement has been worked to its optimum. The buttons themselves are of better Nintendo standard, where the travel is pretty spot on, perfectly raised above the level and have nice tactile feedback.
It must be said that accessing the SL and SR buttons are surprisingly accessible, as index fingers seem to naturally hit their place. On themselves, they’re a bit too flat to use properly, but that’s why Nintendo gave us the wrist attachment people seem to put the wrong way constantly.
Plus and Minus are tucked away in the corner nicely so you don’t hit them, but whatever mode of control you use, they’re awkward to use. Think of Xbox’s Duke’s black and white buttons and you get somewhat similar idea.
The wrist attachment slide the opposite way you slide the controller into the main unit, corner symbol meeting corner symbol. This adds some heft to a JoyCon and makes it somewhat nicer to hold in your hands, but its main use really is to make the SR and SL buttons more accessible with the larger pass-through buttons.
While you can use JoyCons in tandem separately like with the WiiMote and its nunchuck, Nintendo shipped the console with the grip attachment. It’s not exactly the best however. It’s like they wanted everything to stay straight and have the JoyCons sit like they sit on the main unit. This means whenever you use this, accessing the left face buttons for D-Pad use and the right stick requires either over-extending your thumb downwards or move the whole whole on the handles. Supposedly, the prototype was in an angle to give it more ergonomic shape, but for whatever reason this was dropped. There are many customattachments on eBay that fix this and make this the most viable option to use the JoyCons in tandem. It would seem that the JoyCons will see rather large amount of optional accessories and attachments down the line. Here’s hoping Hori will do some good ones in the future, like the upcoming D-Padded JoyCon.
So, bottom line? The JoyCons are not the best controllers out there. The whole thing of them working as a single unit or in tandem forces just enough compromises to make all of them feel somewhat awkward. As usual, once you get used to them, muscle memory handles moving your hand up and down as needed. If there had been some concessions for functionality over visual design, these would have been winners as first hybrid console controllers. As they are now, JoyCons do their job, but the alternatives are probably better.
I must admit that the JoyCons have one thing over all other controllers; Switch has the most satisfying feel of clicks and clacks whenever you are attaching them to anything.
The approach to this review will not be anything different from any other review I’ve done thus far. No special treatment, no kids gloves on; I will approach this as any product reviewed in this blog thus far. It’s only fair towards you, the readers, and the staff behind the Kickstarter. However, I won’t be reviewing all the KS goods. I’ll be concentrating on the main dish most people probably got through their backing; the Kickstarter physical package, the Codex and the Destroyer Class plush. This will strictly discuss the items themselves, not their translation or such.
Let’s start with the physical package.
This is also the image that was used on Alternative‘s original DVD release. It’s honestly the perfect choice for this
At first appearance, the package seems pretty on-par. Despite using thin cardboard, the appearance isn’t half bad. The decision to put the description and all copyright information to the bottom is an interesting take, as now its reversible to every other direction. This breaks how commercial boxes are designed, which some perfectionists might find jarring, as now the box doesn’t flow well with other software boxes.
However, visuals aren’t all. While the box still feel sturdy in hand, the contents inside are loose. The image above is just before I opened the box, and I could hear and feel the items inside rattling back and forth. This isn’t great to any extent. A box like this should have necessary support inside to keep items in their proper places during transit, as now no matter what sort of stuffing is used around it the items can be damaged. So, let’s open this one up and see what’s inside.
This is exactly what I didn’t want to see; items rattling around in an oversized box. Because the box is made thinner cardboard, the same some DVDs have around them, it loses most of its structural integrity when opened. I can feel the CDs being lose inside their jewel case, let’s open that one up to see if they’re damaged. The case’s cover is nice choice though, but the back cover should have been revised. Maybe drop the song titles here completely and have them inside in an insert.
Luckily, only one of the CDs were loose, but the discs’ printing is not up to quality. While the chosen images are good in themselves, for whatever reason the images are lower resolution than the text, which itself is sharp. The typeface and font chosen for the CDs ends making these look like something printed at home. Furthermore, these discs should have been labelled as numbers, e.g. Muv-Luv Alternative Original Soundtrack Disc 1, not Volume 1. The fact that OST is used on the discs like this, and the fact that there is no kind of information who composed the songs, makes all this feel like a homebrew compilation.
As for the games themselves, the front covers are what you’d expect and look good. Nothing to say about these, but the back covers are another thing. There’s too much text on them. Even when these VNs are long, the descriptions should have been cut in half and with heavier emphasize on images. To use Sweet Home as an example, the flavour text is two whole sentences, being straight to the point. The word homebrew creeps back to my head with this, as things like Minimum Requirements should be on the box. Actually, they’re not seen anywhere on the packaging.
The discs however are rather standard, overall speaking. There’s nothing to mention about them, though I would’ve expected more legal text on all of these. Perhaps printing a monochrome image on the disc similar to âge’s Japanese releases should have been brought on to the table, as its much easier to make them look sharp rather than what might end up looking like a sticker on a disc.
I must mention that the disc I have for Muv-Luv seems to have been damaged somewhere along the way, as it has a strange arc on the underside. Despite this, the disc seems to be readable. There’s also a weird discoloration, as if something had spilled all over it inside. This might be a quality control issue, and I’ll be sure testing this disc further down the line.
The shikishi, a drawn image signed by the author, that came with the box is pretty great. Sumika doing a Drill Milky Punch is nice, even when it’s just a print and not a real thing in itself. The artbook uses similar typeface and font as the CDs, and doesn’t exactly look the greatest. Everything’s printed on a thin, glossy paper that in itself isn’t terrible, but the cover should have been heavier duty. The feeling the book gives is flimsy, plus it creases extremely easily. Corners will get damaged fast in normal use with this paper too. Because of the thinness, the pages are slightly transparent and the images on the other side bleed through. The images and character descriptions are on-point, though the complete lack of illustrator credits anywhere in the codex is a bit disheartening. Seeing the second and last to last pages under the covers are completely blank, these would have been great places to put them on.
Here’s how I solved the rattling the contents: I added two pieces of cardboard on both sides, and a support structure to keep the CD jewel case in place. To be completely honest, the outer box does feel like something you should throw away, as the package overall lacks any sort of premium feel to it. The added cardboard makes it feel more rigid and gives some extra heft. There shouldn’t be any reason for me to do this addition, but as things stand now, I had to. For comparison, here’s how Senran Kagura Burst Re:Newal laid its contents. Notice the use of sturdier cardboard, how the items are laid and fit perfectly, and the use of supportive thinner cardboard at the bottom of the PS4 case.
Well, let’s move unto the second big thing, the long-time Holy Grail of Muv-Luv Alternative source of information translated and recompiled with Lunatic Dawn content; The Codex.
The first impression of the book is nothing short of impressive. I didn’t expect hardcover version of the book, especially considering the number of pages, but first looks can be deceiving. When you stop and look at the cover, it’s not pretty.
On the right, you see the scanned cover of the Muv-Luv Alternative CODEX. On its left you have the same illustration, scanned from Muv-Luv Alternative Integral Works. I recommend opening them in Full View to fully see how badly the covers have been fucked up. Either someone forgot to pit High Resolution mode on in In-Design, or something seriously went awry during data process. Both covers have been printed in low resolution, while the cover text nice and crisp. While a book shouldn’t be judged by its covers, this piece can never be called high quality or premier product. A way to remedy this situation would be to create a dust jacket for the book with high resolution print on the cover.
However, the meat of the piece is on the pages. With some few hours looking through, there appears to be no real concern how accurately things have transferred during translation. There are also welcome changes, like changing Melee Halberds into Close Quarters Combat Melee Blade. While a mouthful, melee blade in itself is more than enough. Back in 2016 I wrote a post concerning the topic, which was comped with a review of TSF’s close combat weapons. I strongly recommend you to read them both if you haven’t. There is one fib that has leaked through, where BWS-8 Flugelberte is described to resemble a halberd, when in reality it resembles an axe. Or a bardiche.
The information itself is great stuff, but it shows that this is a book that’s glued together from multiple sources. The Lunatic Dawn content that’s in the latter part of the book is just bolted on, rather than taken and included into the book proper. The word on the street originally was that the book would need to be completely revised, but in the end it follows Integral Works‘ looks and design with the occasional change in order accommodate English.
The paper used is similar glossy paper that’s in the artbook. It’s a level heavier, but creases still extremely easily. Despite being heavier and slightly thicker, it still isn’t near heavy matte paper in terms of preventing transparencies, as seen above. Fingerprints will be abound while reading this book. I’m rather surprised that this wasn’t a softcover book similar to Integral Works or Mega Man & Mega Man X Official Complete Works, to which I compared IW to back in the day as well. Codex‘s paper is nowhere as heavy and hefty as the two aforementioned, but the book is third thinner due to the new paper. It doesn’t allow the book to have any air to it either.
Because of the glossy surface and the sheer amount of text, people with poorer eyesight will have headaches while reading this. The typeface selected is just small enough to cause extra strain on the eye. As everything’s also packed very, very tightly in this small size, people who suffer from either vertical or horizontal dispersion in vision, meaning certain letters will lose lines, making reading a chore at best, extremely headache inducing at worst. This is easily alleviated with the use of different typeface or slightly larger font size.
The use of this sort of glossy paper can also be a double-edged sword. While Yakuza 6‘s artbook had the same paper, some copies were completely glued together, some were completely warped and some had ink smudges all over them. The feel of glossy paper works best for single leaflets and photos. When going for a book like this, its still best to consider heavy matter paper first and foremost, as it offers longer life and cuts down possible ink and paper problems down to mere percents.
All in all, the covers are just a damn travesty, sadly. Well, that and one of the pages, p. 353, get repeated on the following opening. While accidents like this sometimes happen, this does sting of lack of quality control.
While the plushie is clearly different from it CG original, this is due to difference in reality and fiction. The overall quality is damn nice, chosen materials feel sturdy enough to give this to a child to play with. Interestingly, the back end has a sack that’s filled with grains rather than fluff the plushie is filled with otherwise.
It’s just a joy to see and have, maybe even the best part of the package in terms of quality. This thing really should see mass production. Clearly, there is a market for BETA plushies.
I’m sure that at this point it’s rather clear what’s the end verdict is. The Kickstarter original products are largely a disappointment in terms of quality. I’m not going to mull over whys or hows, that doesn’t net anything. They are what they are, now’s too late to do anything about it. Other items, like the ones in Yuuko’s Gift bag, have higher quality. Stickers are hard to screw up as are postcards (though mine are rather warped, requiring me to straighten them down.) It must be also mentioned that Valkylies has been corrected into Valkyries with the patches.
Those patches were produced by Cospa, company that produces cosplay goods, including the jackets and shirts that were on the Kickstarter. The pilot jacket may be 100% polyester, but I can’t expect a cosplay clothes company to manufacture clothes like they were actual military wear. The Drill Milky Punch T-shirt is at 100% cotton and I’m wearing it while typing this review. This extends to the dakimakura, which is of standard Japanese productions for items like it, I expected no less.
The experience with the Kickstarter goods, delays and pretty much everything including the end results of the goods probably affected negatively both backers and staff. It would not be surprising if this was the first and last Kickstarter we see, and the rest are done away with less fanfare, which would also mean no physical products would be produced. However, in cases like this, I would always strongly recommend companies and people looking into Limited Run Games, a company that specialises in doing limited physical run on goods. At the time of Muv-Luv‘s Kickstarter, the company wasn’t relevant, but now it has managed to establish itself just fine. For example, they are delivering Shantae: ½ Genie Hero‘s Kickstarter goods. But all this is academic at best. I can only hope that lessons have been learned, but have not allowed to snuff the staff’s spirit.
I’ve got no good end for this review. Shit happens, we will probably never know what, but the end results are in our hands.