So there’s a new Mega Man collection coming out, this time adding the Mega Man ZX games into the Mega ManZero collection. I’m not sure how many remember, but the Zero games got a collection on the Nintendo DS, for better or worse, and they contained a mode that made the game easier across the board in order for the player to have an easier time so he’d see the story from start to finish. The original games were more or less intact, except with the connectivity thing with later Mega ManBattle Network games. Throw ZX games and you have a set of games people have been asking for some time.
What’s to write about this? Capcom has been collecting Mega Man games into bundles for a solid decade now, excluding the few earlier Anniversary collections that we got for PS2, GameCube and Xbawks. No, scrap that, let’s count them in. Ever since those collections, Capcom has been releasing old Mega Man games collected in each generation, except the Battle Network and Legends series. Legends is stuck with copyright hell thanks to Capcom using licensed drinks and labels in it, and due to Sony’s asinine Classics line rule, they can’t just remove these from the games and release as-in; they need to be as they were when they were first released on the PlayStation. Sure, we got the DASH games for the PSP, but only in Japan, hence the use of DASH instead of Legends. Without the two extra shoulder buttons, there’s some wonky controls about. We’ve never seen DASH since in a compilation, just as digital downloads, and Battle Network hasn’t been around at all. Maybe that series is stuck with license hell as well, considering the TV show and shitloads of other stuff regarding it were tightly wound together those (glorious) years. A compilation of sorts with online play would surely make many fans happy enough to blow their loads.
Capcom Test is a term used when people assume Capcom is throwing something cheap out to test waters. While this has some credibility, the fact is that Mega Man doesn’t need its waters tested. They already know that there is demand, at least towards collections. Mega Man 11 showed that a game with relatively low budget compared to their hard, big hitters can and will make its money back as longs as it is competently made. Capcom hasn’t come out with any news whether or not they’re even considering developing Mega Man X9 despite teasing it in that one remix soundtrack CD (that was a letdown.) While some would argue that Evil May Cry 4‘s re-release was to test waters, we know from the director that he had made an ultimatum; he was given DMC5 or he’d walk out. At that point there were no waters to test, but perhaps what Capcom was testing was if there was enough demand for a higher budget. Game itself would’ve been made anyway. RE:make2 on the other hand needed to testing, after all Resident Evil is pretty much second only to Monster Hunter and even that is debatable after World, which in itself was carefully testing waters by dropping numeric from the title and opted for a subtitle instead, just in case if the game would crash and burn, meaning they could do a “real” Monster Hunter 5.
Let’s pose the question; if Capcom Test is a real thing, what are they testing with Mega Man Zero/ ZX Collection? The first answer might be that they testing whether or not there is enough demand for a new ZX game, as some would argue that the story needs to be concluded somehow in order to tie it properly to Legends. That really doesn’t hold much water, as Legends itself was left unfinished, and Capcom never greenlit Legends 3 despite all the public shit that was going on about it a decade ago. Theoretical ZX3 or whatever bullshit they add to the end (ZXA is ZX2 by all means) and would let the developers almost complete free reign to take the whole non-linear format to new directions. After all, these Montezuma’s Revenge-clones are still very popular. This collection won’t test how much demand there is for the Zero series, I doubt any of the fans would like to see Zero revived again for a fifth entry.
No, if they’re testing anything it is how much fans are willing to dish out, testing out how much pain carrying that loaded wallet causes. For this particular release Capcom Japan online store is going all out and releasing the previous Collections again in a box that has a separate space for Z/ZX collection. Y’know, get all the games (except Legends, spin-offs and Battle Network) in one major box.
Capcom hasn’t really overstayed its welcome with these constant Collections yet, but they’re at the utmost limit now. If they were to publish a Legends Collections, they really should make it a complete package with all the missing titles, like Mega Man’s Soccer, Mega Man and Bass and its WonderSwan sequel, translated Rockboard and why the hell not throw that Chinese-only Rockman Strategy. I’m sure you can already tell that I’m not exactly looking for this particular release, but it does support the notion that Capcom is still riding on nostalgia wave instead of putting their goal to produce a new, high caliber Mega Man for whatever real reason. Inafune’s shadow can’t be that long, that there is nobody willing take the position and say We have a classic, long franchise with a ready install base we can easily expand by hitting some of the current trends all the while pushing the envelope on the franchise.
Mega Man innovated themselves from time to time. X, Legends, Battle Network, Z and ZX are all significantly different from the Classic series, and even then each sub-series changes the formats game-by-game basis. While I fully expect some kind of Mega Man game to be made based on the current cartoon, it seems Capcom is treating it like they treated Street Fighter The Movie in that it works as a promotional vessel rather than an adaptation. I would like to say that Capcom can’t coast on collections much longer, but the reality is that fans and consumers interested in the franchise will buy these collections every time a console generation shift hits around the corner, and if a special version like the above or the one with all the trinkets, there will be customers buying it. Fans find themselves in a vicious cycle of thinking that if they don’t show support, no more future entries in Mega Man will be made, but at the same time, you’ve already bought and played these games two or three times over and Capcom still isn’t putting out anything new. Damned if you do, damned if you don’t. The customer loyalty is still there and that probably is ultimately what will keep all these afloat for now. Special edition packages with craploads of stuff in them have always been a thing, slowly I have to question if that is becoming the only reason Mega Man collections are selling? Despite the franchise now lacking a face, the emotional contact is still there. Zero series has especially fanatic cult following, claiming it being the height of the franchise’s 2D game play design. They’ve been asking for ports of the series ever since the last collection on the DS came out, but apparently the originals and that port aren’t enough. Then again, maybe that goes to the other collections as well. Perhaps people really are just abandoning their old machines every single generation. Maybe Capcom should just start releasing collections every generation and never make a new game, as they seem to make a decent buck with each of them.
Capcom is coming out with Rockman X DiVE that’s making its rounds, but goddamn if people aren’t sick of beloved franchises getting a mobile game rather than a full-blown, big budget title. A proper entry, if you will. Just look at how happy Breath of Firefans were about BoF6. While mobile titles can be massive successes, thus far none of them have been considered as “true” installments into a franchise. Then again, we did get that social mobile game Rockman Xover, which was less than ideal entry in the series, and was largely lambasted people who didn’t end up sucking on Capcom’s dick. Only so many companies have managed to strike true with their mobile games, and the Big C is not one of them. X DiVE has budget behind it, it has good assets and lots of work put to make it the best kind of mobile Mega Man X game it could be, which kinda says to us that the hinted new entry in the series rather than X9.
Capcom really lost the ball by not announcing a new Classic or X series game. They didn’t even need to have it released yet, just have the info out, some concept art and nothing else. Keep the heat going on, but often fans will just take anything they can grab and roll with those, but only for so long.
Few years back I decided to pick up and reviewBattle Mania‘s Chinese knock-off/reproduction cart from eBay for cheap. Time hasn’t been all that kind to my views on the reproduction, and in hindsight it is just atrociously bad. Fast forward to 2019 and I’m sitting here with another new Mega Drive game cart in my hand. This time, a licensed re-realease of Advanced Busterhawk Gley Lancer. extreme has their hands on all of Masaya’s IPs, and apparently Columbus Circle saw it fit to license Gley Lancer and give it a quality rerun. This is review of the package and quality of the production, not a review of the game. The game’s 9/10 shooting game, go buy it. I would recommend reading the previously linked Battle Mania review for some comparison.
First impressions are important, and the packaging doesn’t falter. The box has the same feel as the original Mega Drive game boxes, that sort of somewhat cheap feel of plastic that could break anytime, but can still take a beating. The surface texture on the transparent plastic wrap is there and it gives the perfect kind of feel under your fingers. It looks and feels the part; a genuine Mega Drive game. The cover sleeve is thin matte paper, again just like the original MD games. The print quality is perfect without losing any details. Furthermore, if you don’t want to see two girls on a box of this game, you can always reverse the sleeve for the original boxart image.
This adds value, and collectors can have the original cover just fine. However, Columbus Circle did make certain that people would not be tricked, as they slapped their logo on the spine and contact information on the back. I should also point out the additional text at the bottom of the cover mentioning that this isn’t Sega Games endorsed product. This is sort of unofficialy official Mega Drive game, produced with the proper license from the IP holder, but without Sega’s involvement.
These first impressions on the outside of a product like this take a long way. Collectors who showcase their games want the appearance to be right. However, the insides need to be satisfying as well for those who will keep playing the game as normal, like yours truly.
Everything is, of course, new. While pretty much every and all MD carts out there are black, Columbus Circle used a semi-transparent smoke coloured one for Gley Lancer. While a personal preference says it looks like, it might’ve been better to go with the same solid black as standard MD cartridge. However, the texture around the label gives a nice grip. Again, this sort of tactile feedback takes a product a long way forward. Some Japanese cartridges did feel a bit cheap back in the day for whatever reason, Western carts just had better build overall. This one is somewhere in-between, having better plastic than the Japanese releases, but not as good as European or American. The mould used however has been excellent, as the shell halves fit together rather perfectly. The label print is top notch, nothing to bitch about here. It just has been applied too close to the bottom, meaning there’s a lot of empty space at the back, and that the on the lower left corner is taken some very minor damage. Not that this was all that rare back in the day, but whoever put these on probably didn’t really care.
At the back you see the main reason why this review won’t have PCB pictures; the screws are covered by a label. You can see the spot on the left where I’ve pressed the label is somewhat to expose the rims of the screw holes. Columbus Circle branded these carts with their own logo, which again makes it stand apart from original cartridges. Your mileage may vary whether or not you like this, but it nevertheless does give the whole deal a different feel. You won’t forget that this was produced in 2019. By that extension, you might not feel that this is “real” despite having licensed and all under its belt. Notice that the label is slightly peeled on the right there. This either means that the label is robust enough to start coming off by itself, or the applier just screwed this up as well. Heating the adhesive a bit and reapplying should remedy this well enough. In addition to this, there are some problems with the cartridge.
While original cartridges had the injection tabs in the same place, the quality assurance never left large, broken surfaces. This isn’t the case with this particular copy, and I don’t really think the manufacturer cared too much about the rest either. Rather than taking the time and effort to file or sand down the tabs completely, they’re largely left in their original state. The tabs rise some two millimeters off the inside surface, and while they don’t interfere with the game’s insertion into the console, they do look rather tacky. Taking a knife and cutting them even or otherwise leveling them isn’t a problem or a major task, but something that just degrades from the overall quality of the product. This probably is the largest gripe, which says a lot otherwise about the quality.
While I won’t be opening the cart for now, we can use the transparent plastic to our advantage. Here you can see how clean everything is, though just ignore the dust bit at the top. The PCB seems to be standard MD size, and there doesn’t seem to be anything extra, unlike 8Bit Music Power. Columbus Circle did improve their PCB design right after all the negative feedback after this. I’m betting they’re using flash memory to store the ROM, but unlike with the Chinese Battle Mania knock-off, this seems to utilise a full-sized PCB, similar to 8Bit Music Power FINAL. Columbus Circle has released a music title on the Mega Drive previously, one which I’ll probably pick up at a later date for comparison how this release compares to it. That smoke colour really comes to through nicely against light though.
The manual, however, does let you down a bit. Not much, but enough.
The manual’s printed on a good matte paper. This is seems to be clear cut difference between people who haven’t done project like this and those who have; experienced people use matte paper most of the time. If glossy paper is present, its used for an effect and even then the nature of the paper is selected carefully. Saying glossy and matte don’t really tell anything on themselves, but opening the can between paper qualities would take a whole blog in itself. That matter aside, the manual uses the new boxart slightly cropped, which is a good choice. You can reverse the cover sleeve to the original boxart while still keeping the new style look at hand. The rest though?
This one page really should tell it all. On one hand, the print quality is pretty good, nothing short of original Mega Drive runs. However, the characters on the left seem too dark. It is very likely that Columbus Circle had to resort to scanning the original manual rather than gain access to the original materials. This either means the original manual was this dark as well, the printing colours were off, or that something happened between scanning and printing. This seeming darker-than-intended issue of course is on every page, colours saturated and all. However, because most lines and text are sharp, I can’t help but this is was the original result. You can also see that the grid is not exactly straight, but if we’re completely honest, the grid like this is never completely straight. Neverthless, the manual feels off to drop a point off from the whole package.
Nevertheless, compared to the original Mega Drive games and packaging, this run of Gley Lancer is up to relative standards. There are some spots that should be improved, especially when an official license is in play, but this is far above any Chinese knock-off. Chinese can produce good stuff, as long as you put the money and skill in the production. Practically all repros and releases like this are made in China anyway, its just a question of picking the proper subcontractor to work with and all that. I would still recommend this release of Gley Lancer if you want to play games on your Mega Drive, as it is a complete, official package.
However, I would raise a question whether or not this should supersede the original release, if you had the possibility to choose one or the either. Perhaps it is because there is no license from Sega, or just to differentiate this release from the original, it is 2019 run of Gley Lancer and this will rub some people the wrong way.
Differences include the MD logo, genre classification icons, different Mega Drive text at the top, different cartridge materials and label. We can understand the lack of any Sega related logos and materials, but why change the cartridge label? Perhaps to unify the look of the packaging, to make the overall package look the same across the board. It an be argued that Columbus Circle should’ve stuck replicating the original release as much as possible, but at the same time this could’ve lead some people trying to sell the re-release as original release. An issue these releases always will have is the compatibility with original hardware. While I am a proponent of using modern PCBs and methods to deliver older games in more efficient manner, we’ve seen how haphazard it come become, like it did with 8bit Music Power. However, as said, these issues have been seemingly fixed, and the current method of making reproduction cartridges seems to be solid and without any real hitches. The game also lacks any reference to Sega when it boots up and has the updated Masaya logo alongside Columbus Circle’s own right after. Of course, because Nippon Computer System wasn’t involved in this release, extreme has replaced them in the credits. However, the game code and how it plays is still the same. Here’s a full playthrough of the game with a Mega Drive with sound modified for your enjoyment.
The image quality is much sharper than Columbus Circle’s own trailer, as Framemeister is still the best option to run old systems on modern televisions
Because of all the changes to the packaging and changes in credits, some will consider this as a good knock-off or a repro. Some will consider this release weaker for the same reason and the lower level of quality control. However, when put into context, a small independent circle re-releasing a cult-classic under official license from extreme and Masaya. While it is regrettable that few issues keep this from being an absolutely stellar release, the fact that this wasn’t their first MD release, and Columbus Circle is intending to publish more, they need to tighten up on quality control once more to achieve the same level of quality as original game releases. Neverthless, if you’d like to own a copy of Gley Lancer and can’t spot an original copy or don’t want to spend the money, I would recommend this re-release warmly despite its shortcomings.
Continuing from last week’s ex tempore Guilty Gear post, the concept of making something more accessible in video games should be looked at a bit closer. The myth is very clear cut; make a game’s play less demanding in order to attract consumers. For long running franchises, there already exists an installed consumer base, changing a series’ latest entry to be less whole than its predecessor usually isn’t met with the most positive reception. Fighting games are interesting in this regard, because they exhibit series-within-series mentality. All five mainline Street Fighter games series have their own unique approach to the core mechanics introduced in Street Fighter. Street Fighter II expanded on the cast and introduced combos by accident. Later Street Fighter II games would introduce speed modification, new input methods and the industry standard Super moves. Street Fighter III revamped the whole pace of the game and made Parrying an essential part of the game. Third Strike landed Ex Moves into the series, which have become more or less franchise standard. Street Fighter IV modified Super concept a bit more with Revenge Gauge as well as introducing Focus Attacks and Red Focus Attack would be introduced later. Street Fighter V is a platform for each and every update for the game. This sort of tweaking applies to Guilty Gear as well, where most of the sub-titled game outside the first game have iterative versions. X has X+, XX has its fair share of update to the point of some arguing Accent Core should be considered a sub-series on its own rights. Xrd of course had Sign first before Revelator, and then Rev.2 came around. With New Guilty Gear, we should expect them to take a step back toward the original game, as that’s the standard procedure with both Capcom and ArcSys, and build up from there. However, every time a developer announced they want their game to attract new customers, or that they want certain customer crowd, red flags are raised. However, not for the reason you’d think.
Games have always been complex and stupidly hard. Dark Souls is not any exception to the rule, but it the series is perhaps the best example of a game that mainstream has taken under its wing despite it being brutally difficult, requiring relatively high execution due to its relatively complex mechanics. Dark Souls is just modern equivalent of the NES era Castlevania anyhow. Both are based on Western horror and both are deemed brutally hard games. Both are very successful franchises. The NES era is very good example of games becoming more complex and the same time gaining more popularity and seeing increase sales. Castlevania is of course example of this, but so would Super Mario Bros. By modern standards the first game is archaic, extremely basic. When it first rolled out, it was one of the most technologically advanced game on consoles, the game to define cartridge games before Nintendo rolled out Disk System. We know how that went down. Super Mario Bros. 2 made more characters available with different properties, much longer stages with numerous tricks to them, and more demanding game overall. It may not be Lost Levels, but Lost Levels is just an update for the first game with new enemies and no mechanical changes. Super Mario Bros. 3 on the other hand wiped the slate clean with more demanding stages, more complexity with flying, more mechanics to play with new suits and options, stage gimmicks and so on. If complexity and difficulty would deter the customer, none of these aforementioned series would’ve been successful.
Modern video and computer game developers should look at the arcades’ success to learn a thing or two. Arcade games were often butt puckeringly difficult in order to make their earnings, but with that they also were required to deliver excellent burst of gameplay. Cabinets that didn’t were quickly empty, with customers slotting their quarters into something more worthwhile. The games needed to attract the customers first, and that’s why the cabinet design had to be excellent, eye-catching and sometimes extremely wild. The attract mode was integral to this, which either was pretty damn good or rather terrible. There was no real in-between. The standard was to start with some sort of video sequence that sets up the setting for the game, showcasing some of the characters before the title screen hits, often with a bang. After that it would move to gameplay, which would be either AI playing the game either via game’s own instructions or prerecorded inputs, or just have the player character being dumb and taking hits before dying. Show some scores from other players, maybe splash the title screen once more than then loop the whole thing, until a player throws a coin in. Later in the 1990’s, these attract modes would find themselves very sophisticated, like how Choukou Senki Kikaioh presented itself as an opening animation for a Saturday morning cartoon.
Presentation is all-important with games still. That is the first thing the consumer will see, from advertisement to in-game graphics. Graphical fidelity in itself is not as important as how those graphics are represented. ArcSys has always been able to pull this off, devising visual flavour that pulls in the audience. The main reason original Guilty Gear is a footnote in the series, and in fighting game history overall, is that it was just another game among others in a time when 2D fighting games were pushed away in favour of 3D. It didn’t make its mark because of being difficult or too complex, Tekken had more on it than Guilty Gear. Third Strike: Street Fighter III hit the scene years later, and you can guess which one of the two are is more complex and more played nowadays. Of course, SFIII wasn’t exactly a mass hit during that time either, but that was the era when arcades were dying. That, and SFIII a totally new cast that rubbed SFII fans the wrong way. Very few companies would be willing to completely replace their game’s cast nowadays, though SFIII‘s unique cast has been accepted retroactively as worthy successors and the initial reaction is seen rather overly drastic. Visuals is what the player will be looking at all the time, and if they’re up to par in terms of design and sheer quality of ’em, the game has to pull double duty on making the entry worthwhile.
That is only the start though, an ever-important one. Once you’ve gotten the customer’s attention, the best way is to engage the him to full possible extent with well designed and coded play. The answer to rope in new players is not in making game easier to play, that is the wrong way to make a game more accessible. Easy to learn, hard to master is the mantra of every great game out there, not just electronic. The best card games are easy to understand and learn, but stupidly hard to master due to other elements. Poker, for example, is simple enough to teach to a three-years old, but everything else calculating odds to reading other players takes time and effort. This isn’t an argument for people to get good at a game, but rather that by allowing the player to naturally learn what does what should be the priority rather than automate things. Automation and cutscenes take away control from the player, and though it helps early on and may give a cinematic effect, it should always be an option to remove automation once the player has learned enough. Autocombos as an element try to alleviate the execution barrier in fighting games, and while they do work as a first step helper, it should always be optional and the game should make an effort to encourage the player to abandon it rather than give them a safe tool they can roll with all the time. Its not a rare mindset to use the tool that’s the easiest and safest because it just works. Repeat it again and again until desired result is gained. The incentive of more damage with better combos doesn’t really sound appealing to general player if such tool exists.
Give a controller to a complete newcomer to fighting games and tell them what the buttons do, and then do things. They’ll be in complete awe what’s going on. There has been much discussion on mechanic complexity, but less so about inputs. Sure, methods of inputs is a big topic, pad vs stick and so on, but less so if there are too many single inputs. What I mean by this that, for example, Street Fighter has six buttons. Three for punches, three for kicks. King of Fighters has four, two punches and two kicks. Tekken has four, one for each limb. Melty Blood runs four as well, but with three attacks and a special. Virtua Fighter has three; punch, kick, guard. Which one of these would you say would make a newcomer most confident? Then consider which of these franchises has seen most revenue. Number of inputs is related to complex execution. More ways to input stuff, the more motor skills are required. Add the mechanics to this, and it becomes easy to see why some would argue lessening complexity is the way to go. Nothing keeps you from using all the buttons on the controller, but at the same time nothing says you should. All that said, the core fighting game design with the system starts with how many buttons there are. It might look intimidating to a complete novice who has never played a game, but this is something no game can really deal with. A player must start somewhere to work over the complex controllers, but a well designed game wins the player over with good design.
However, this design is hard to implement into a fighting game. The reason for this is that fighting games are pure one-screen games. There are no stages that the developer could design around for the player to intuitively learn controls and mechanics, like they can with Super Mario Bros. There are no attract modes anymore to show how the game flows. All you really can do is hit the Training mode and hope for the best. With the Internet, this shouldn’t be the case anymore. People learned how to play Street Fighter II by being there in the arcades, playing games with others and tradings tips and tricks. That wholesome interaction may be gone now, but online play could help. Have people play few matches against the CPU to measure how good they are and then throw them into online matches with equally ranked opponents. This doesn’t seem to be happening though. Often what seems to happen is that you just keep losing to people online and have to learn about things before you can match others.
The thing is that this happens with everything. You don’t get good at reading before you learn the alphabets and how language works. You don’t learn to drive right away. You don’t learn to draw a straight line until you’ve done it thousands of times. Playing soccer takes ages to get good. Building and painting model kits takes years to learn. Even something like Pokémon Go demands you to drag your ass out there to spin those stops and join the raids for the best Legendaries out there. This is not an issue of getting good at a game, though it does bloody sound like it. The issue is of genre. Fighting games, despite being one of the most readily accessible genre out there, is all about having that crazy shit happen on screen, but as always it should be the crazy shit the player is doing, not the game. Games are about user action, and the less user action there is, the less play a game has. While this post largely equates play with mechanics, the two are inseparable aspects. Fighting games are interesting in that everything is laid out right away in terms of mechanics and they’re easy to do. Making use of them, that’s something that can only come from repeated play. Call it a detriment of the genre or whatever else, but you can only really prepare for a match in a fighting game is to play the game. With RPGs you can get your noggin jogging and consider things in terms of elemental weaknesses and the like. While you can use this in fighting games with rock-paper-scissors elements, timing them right still takes some experience. With a game like Final Fantasy, the issue of getting good at the game is in understanding the mechanics, not really being able to execute them with some motor skill fidelity. Lowering the mechanics skill ceiling might sound attractive, yet it will lead with into more experienced players dominating over newcomers that much more. While Darkstalkers 3 is technically and mechanically very demanding game, it is an example of a game where you medium skill players are very rare. You’ll either be in less skilled floor, or someone who has spend years with the game and have broken through the ceiling. There really is no middle ground, and that probably will be the end result if a fighting game series decides to downgrade its play mechanics.
Holding on to your current consumer base is easier than making a new one. While as a creator it may seem dreadful to tweak an existing formula again and again, that is partially expected from a sequel. Street Fighter does break this mentality, but only if you go by number-by-number rather than iteration-by-iteration. Consumers expect a new numbered Street Fighter to mix things to some extend outside its core basics, but this is not the case with Guilty Gear. XX and Xrd set the expectation that while system tweaks and additions are to be expected, no major or drastic approach would be done in of themselves. The brand expectation for Guilty Gear is what it is, a high-speed fighting game with expansive and complex mechanics that support offensive play the most. Things like Burst, Instant Kills, Gatling Combos, Dust Attacks and the sheer way the games have played have become more or less as part of the core expectations because ArcSys has never given the series a significant system change after GGX. New Guilty Gear will most likely aim to cater with these ideas, but it as a game will have brand confusion. There have been different Guilty Gear experiences before, as Ishiwatari put it, with all the spin-off titles. It would serve the franchise better if the core fighting game line would continue as per standard, catering to both Red Ocean and shallow Blue Ocean customers, all the while the franchise would see a new spin-off that would give it a completely new spin. There is more room for Guilty Gear titles that do something different with the same core basics. From business perspective, you’d keep the interest of your current consumers with a new sub-title to the series all the while still catering to them with the core series, but also attracting newcomers with something they could get into.
Guilty Gear 2 is still a thing, and it changed the genre. ArcSys could do more things like this
It still bogs down to the content, not mechanics’ complexity. You have to have something to nab to consumer in with presentation, you have to have good play to keep the player interested and entertained so he is willing to spend more time, and what he spends his time on is content. When the player consumes a game’s content, he naturally learns the ropes. However, if the content is lacking doesn’t keep interest high. This is why Street Fighter V is a weird case study, as it discarded the idea of iteration in favour of constant content updates. Content for a fighting game would be characters and the various modes, though the main mean would always be the fighting itself. Xrd‘s movie story mode is an excellent example of utterly trash content for a game, whereas previous entries’ multiple paths storymode based on matches and player decisions in those matches is a great example. It keeps the player more engaged, and it gives him motivation to keep playing in order to see all the characters’ story paths. For 25 characters that would mean 50 different endings to unlock. Good online keeps all players along the ride too for some time, but there needs to be content. Marvel VS Capcom: Infinite failed at presentation the very moment trailers hit the scene. The mechanics were great and gameplay had autocombos too, but there was no content people were looking for. On the opposite, Marvel VS Capcom 3 had more complex controls than its predecessor, Tatsunoko Vs Capcom, but obviously had more content that interested general audiences more outside Japan. It should not surprise that it saw more play by all and higher sales.
Video games are stupidly large entertainment industry now, but the true and tested way to expand to the Blue Ocean market still applies; disrupt the market with a new quality product that hits the current paradigm. A revamped Guilty Gear might be this product for sure, but only if it truly is able to pull off everything right. In other words, it would need to be the same kind of title as Street Fighter II was to previous fighting games. Its branding alone drags it down. It would serve ArcSys better if they’d launch a new, high-caliber series with the same energy, with the same effort and the same enthusiasm. They are playing with a marketing grenade in their hands at the moment. ArcSys could pull it off, but chances are consumer expectations are against them harder than Ishiwatari thinks.
When the Epic Game Store came around the first time, I considered it an addition to the whole economy of digital games stores. There’s always more room to challenge Valve, GOG and the rest as long as the service is right, the price it tight and products stand out. The last bit Epic has been working on overtime, but not the way most consumers would want. Its not that Epic has put studios to work for unique games, but they’ve been doshing dough around like no other, picking up games off from developers from Patreon, Kickstarted products and such. Kickstarted products is the sore point, as many were promised either physical PC release or a Steam key, but with Epic bringing its bang to the table, these promises turn empty and they’re given Epic codes instead. While Kickstarter is not a store and changes are always going to happen, keeping tight on your delivered products. When things are like this, you need some good PR management skills to handle the situation. Ok, let’s be realistic; you need someone with excellent PR skill and background to manage the consumers and dampen all the possible damage. You never go in head first yourself, because you don’t have the skills or knowhow. You’d be an idiot to assume that consumers of any sort are a kind bunch. Outside already promised products e.g. via Kickstarter changing their form and direction, in principle there’s nothing wrong in Epic’s way of making exclusives. Personal opinion doesn’t exactly matter, when the majority has made their negative view on the platform rather vocal.
Consider why each and every successful corporation, company or individual businessman has a front while everything happens behind the curtains. That is to keep the consumer at an arm’s length away to keep some details behind the curtain while having proper discourse with the customer.
You probably already know ins and outs how Ben and his wife Rebecca have been working on a game titled Ooblets and how it became a timed-exclusive for Epic Store. I didn’t know about them two days ago, and apparently not many others had either. Still, Ben doesn’t mention his last name or sign with full title, so I’m going to call him just Ben, uncharacteristically. Sorry Benjamin, don’t mean to mix you with this Ben. After Ben announced the situation, he and his wife got some heavy backlash, which should have been completely expected considering how negative reception Epic has. Of course, being Ben he went on to Medium and wrote a long response. Archived version for your pleasure. We’re mostly going to concentrate on this, but you can jump on their Discord if you want to read how easily Ben is willing to take a shot at people for whatever reason. OneAngryGamer has some of them archived, just like his article is.
It really is largely trite to read through, as anyone who have followed any standard events regarding production of games from the start within the indie scene should know, especially the title has been Kickstarted. Most interaction with fans is positive, until you fuck up somehow. When you fuck up, that brings in the rest of your silent backers and other potential customers in like a lightning rod. Ben describes how their style has been jolly and non-serious all this time, which is the first error most of these independent creators do, because that means nobody can never really trust their info without analysing through the bullshit you’re spouting. Having a joke here or there to break the ice is great, but being tongue-in-cheek as your standard style of interaction is about as welcome as a rash on your ass. Sure its colourful and gives you attention, but in the end you want that clear and fresh feeling instead.
The Internet is nothing new when it comes to mad people. It is a misconception that the Internet brought us some sort of new era of hate messages or the like. No, hate mail has always existed. Before direct messaging and emails, people used letters published in news papers or sent directly to the provider, or simply calling by phone. The Internet just has democratised who and how they are able to voice their opinion. Ben listing some examples of people going over the board does show that there are people either genuinely mad, or that there are just people wanting to pitch in for good time’s sake. Neither really is constructive, but emotions tend to take over people very easily.
Ben makes clear that he doesn’t consider anyone a customer. He or his wife hasn’t sold anything to anyone, so there isn’t a provider-consumer relationship. He’d be wrong. The relationship that exists between the two and their audience is potential consumer base, which has effectively become their fanbase that they were nurturing. In the face of law this is the case, he can argue that. However, considering he team has a Patreon that is directly about funding the game. Still, they don’t offer any of the game there, just some merch when they begin to produce it. Maybe.
However, when you have a fanbase and interact with and constantly update them on your progress, you have a group of people you have cultivated as your main consumer base. There is a certain silent agreement between you and this group of people about a transaction and this has been going on for three years. If Ben thought for a moment that there wasn’t meta-transaction on an emotional level going on, he has been sorely mistaken. He can call people entitled all he wants or whatnot, but do remember that when you are promising a product to fans, and have given your word (despite this not being a binding contract), you’ve already made emotional connections and managed to tie the future consumer of your future product to your brand. That tongue-in-cheek nature nature of messages and updates is an element that backfires twice as worse in situation like these, as that tone is often seen as facetious and deceptive. At best it’ll be regarded as condescending, though often that’s the underlying tone. There has been implied promises going on for three years. Morally speaking, Ben and his wife do owe to these people. Furthermore, they owe their very current monetary situation and success to their fans and especially to their patrons.
Ben admits he has a PR disaster in his hands. Yet he blames this on a portion of gaming community rather than acknowledging his own fuck-up. His business sense overrode the work he had done with his PR, where Epic’s offer for a timed-exclusive seemed a better option over long-term positive feedback. Even my sorry ass has heard enough tales of consumers and fans getting riled up over developers and publishers being swayed by Epic’s bucks. Any and all devs at this very moment should ask themselves Is my fame more worth than the money I’m currently offered? Hell, I’ll even argue that if a dev now would make a bold announcement that they have rejected Epic’s offer for exclusivity in favour if fans’ and consumers’ preference in a proper way, they’d be hailed, in words of an Australian, as fucking heroes.
If you screw your PR like this and make widely unpopular move all the while taking a good shit on people who could have been customers, then still proceed to take numerous dumps on people, belittling people, don’t go cry over a massive backlash. While regrettable, it is also the harsh truth of business and maintaining your image. Ben’s and Rebecca’s first ride on the PR train and it getting off the tracks was, ultimately, their own doing. A reaction always requires something to start it going. Just to make sure, I didn’t say they deserve getting the worst of the rap that’s raining on them, but they are the source of this reaction, which could have been mostly avoided. Not the way Ben and his folks were maintaining their interactions though.
This whole deal shows basic lack of consumer research and expectations evaluation. Both PC and console consumers have been vocal about Epic’s misgivings and even more about how the developers and publishers seem to have lost all contact with the people who buy their stuff. I shouldn’t underline the bottom line with this repetition, but as a provider, albeit as one who has not yet delivered one product, everything hangs on the people who are willing give you money. Now, with their decision to handle things like this, not practicing good sense and proper manners when interacting with audience and not clowning around, they’ll probably see less success and a very tarnished reputation. That’ll take some polishing to fix.
Providers aren’t your friend. They’re in the field to get paid. Directly interacting with them won’t change this, no matter what sort of relationship and emotional connection you have with them.
Here’s a curious case for you to ponder; is it censorship, when you are contracted to fulfill a character design to an employer, and the employer changes after it is from your hands? If you answered Don’t be daft Aalt, if you’re employed and the contract says that the design needs to fill certain criteria, of course it isn’t then you don’t agree with Olivia Hill. Hill recently gave a small jab toward people who argue and are against censorship, in games and otherwise. She claimed that her vision of a character called Astrid was a bold anti-hero character, which was then changed into a generic fantasy anime lady. He calls the executives, who made the final decisions and changes to the character, douchebags and other unsavory names all the while claiming that they cut people out from the studio who didn’t want to work under their rule.
That’s given; if you don’t do your work, you get fired.
Hill’s claims are dubious at best, seeing there are only screenshots and ads given for Evertale, a game I’ve never heard of, but it seems to be your standard gacha mobage. Considering the game’s developing company, ZigZaGame, is a Japanese corporation and I can’t find any connections between Hill and her supposed past studio that worked on Evetale. Instead, it would appear that she did not exactly have to do anything with the game, and as a reply to her post points out, an artist named furuya. English provided jack shit information, as per usual in cases like this, but you can check Kazto Furuya’s Twitter for a post, where he mentions how he finalised and tweaked Astrid’s character a bit. He also has a promotional render on Pixiv. Considering how Furuya acts like most Japanese illustrators and designers working on a game like this, it is far more likely that Hill was blowing some air, taking credit for someone else’s work all the while accusing of Furuya, and by that extension people of ZigZaGame, of being pedophiles due to Astrid’s design, on or out of bikini. Astrid however does not look like your twelve years old warrior woman as Hill claims, might I add. She looks like any other generic teens-to-thirties Japanese cartoon character.
While I can’t disapprove Hill’s claims about her previous studio (unnamed) or what sort of work she ultimately did there and to whom it went to, Hill doesn’t offer any proof either. However, I’m going to trust what Japanese sources and especially what Kazto Furuya himself says with traceable sources and call her out on bullshit. However, she does claim to live and work in Japan and places herself in Tokyo, so maybe she was part of writing house that wrote the initial treatment for Astrid. Still, that alone doesn’t confirm anything really over Furuya’s case.
That out of the way, let’s reconsider her claim; if executives changes your character design to fit the marketing better, is that censorship? No, that’s just business.
To use a comparison, the censorship Sony is currently practicing is different. It is not one and the same company putting pressure on its own hired workers to finish on an agreed product. This is an outside company, from whom a developer and/or publisher has bought a license to publish a product on their platform. While some may justify Sony’s censorious practices by the fact that PlayStation is their platform and they have the full control over it, other may not agree with that notion fully. The guidelines are muddled at best, demanding developers to send their products to be vetted in English, damaging the relationship between Sony and third party developers. It should also be noted that some products, that already were on release schedule and ready, were veto’d afterward. Simply because Sony can does not mean they should, but their arbitrary rulings are always an outside force, not something that comes from inside the developers’ houses.
Let’s assume Astrid was an experienced warrior woman clad in black first. That’s the first bit I have problems with, as black is such a goddamn dull choice of armour colour in a fantasy setting. If Astrid was changed from this simple description to her much younger looking form, which still would appear to be a high-ranking warrior in a red armour on her own rights, there has been no censorship. It is no surprise to anyone that a work changes as it goes forwards. It didn’t meet up with the standards, it wasn’t what was needed or demanded of you, it does not fit the overall plan or the groundwork and so on. The reasons are numerous. A writer or an illustrator, artist even, are not hired for a company just because they can create something, but that they could create something for the corporation to market and make profit of. If you are employed in any way to produce content like a character design and background, you are expected to deliver by the books. Unless your contract has a miracle clause that says the corporation has to release whatever you do without them touching it, you are there to work for them and they are the ultimate beginning and end for your work.
It always seems like artists’ visions get trampled when someone changes it within a company. The fact is, often these visions are costly and/or not marketable. If an artist has that much faith in his given work, he can tweak it enough not to infringe on the corporation’s rights and publish something with that would be more along the lines of that original vision. Majority of the time, whatever character design work you do, that work is owned by the employer by default. In very few cases, the creator retains rights to the character or whatnot they have created. American comic’s industry is well known for this, and it has been a long time discussion who should own the rights to created characters; the writer/artist, or the company? As I’ve mentioned, if you’re happy to give your work to a corporation as per contract, there’s no reason to dilly dally and doubt.
It is not uncommon knowledge that games change according to what investors and executives want. Video and computer games are a business after all, their main goal and drive is to make money. Unless you’re a big dick on a company or its head, your vision means jack shit if it is in the way of making some dough. That’s why people who consider their vision utmost importance either work their way into this position or put up their own companies to realise their goals to the best extend they can. No one’s work is untouchable when they’re working for someone else. With ZigZaGames, they seem to put fun first and foremost. To quote their website, If a game ultimately fails to be entertaining, we will never release it, no matter the funds or the effort we have put into it. Taking everything at face value, it would seem that Hill’s initial treatment wasn’t fun enough, and more resources were expended to tweak the character to fit the game director’s and main illustrator’s vision. Again, that’s not censorship. That’s polishing aspects of a product before release.
Cloud gaming making some waves again, with Sony and Microsoft announcing collaboration with each other to explore solutions with their own streaming solutions. At least according to official statement from Microsoft. Despite being rivals within gaming market. We should always remind ourselves that out of the Big Three, only Nintendo deals exclusively with games. Both Microsoft and Sony have their fingers spread elsewhere, with Sony having movie and music studios, Microsoft with Windows and whatnot and so on. While Sony does rely heavily on the profits their gaming department is making (to the point of relying most of their profits coming from there seeing everything else has been going downhill for them), Microsoft doesn’t as much. I’m not even sure if Microsoft is still making any profit on their Xbox brand and products, considering neither the original box or the 360 saw any real profit throughout their lifespans. It’s like a prestige project for them, they gotta have their fingers in the biggest industry out there. The more competition, the better though. This does mean that neither Amazon or Google can partner with Sony for similar venture, but perhaps this was more or less a calculated move on both of their parts.
It does make sense that the two would collaborate to support each other in cloud and streaming venture though. Sony already has an infrastructure for streaming gaming content with their PlayStation Now while Microsoft has the whole Azure cloud centre set up. The MS Azure contains lots of features, from computing virtual machines and high density hosting of websites, to general and scalable data management all the way to media streaming and global content delivery. Safest bet would be that both MS and Sony are intending to share their know-how of content streaming, but it is doubtful if the two will actually share any content. Perhaps Sony’s music and films will be seen on Microsoft’s services, but don’t count on the games. However, I can’t help but guess if multiplatform games between the two could be specifically designed and developed for their combined streaming efforts. That’s a bit out there, as the collaboration is to find new solutions rather than build a common service the two would use. This is, like Satya Nadella said, about bringing MS Azure to further power Sony’s streaming services, and that’s completely different part of market from games at its core.
This does seem like Enemy-of-enemy like situation. Google’s Stadia is touted to be the next big hitter on the game market. It’s not unexpected for the two giants pull something that would weaken Stadia’s standing. This, despite Stadia already having boatloads of obstacles already, ranging from control latency to the quality of the streaming itself (end-user Internet connection still matters, especially if you live in the middle of nowhere surrounded by dense forests) to the very content itself probably being less than unique. Let’s not kid ourselves, cloud gaming is not for everyone despite what Google’s PR department wants you to think. Not everyone has the money or infrastructure to have a proper connection for cloud gaming. Anecdotes be damned, but there are lots of people living around here who have to rely on wireless Internet for everything, especially up North, because the population is so spread apart that putting data cables into the ground would not be worth it. Early 2000’s modem speeds are not unexpected, they’re a standard. If early reports on Stadia are to be believed, there’s some serious lag and latency on standard Internet connections. It’s not going to play well with someone who doesn’t put a whole lot money into their Internet connection, or just can’t. If we’re going to be completely open about this, only a fraction of the world can handle cloud gaming. 10.7 teraflop computing power and 4K resolutions for Stadia? A pipe dream at best.
Steaming interactive content like video and computer games is not easy. Music and video, that’s comparatively easy, just send that data to the consumer and you’re pretty much done. Gaming requires two-way communication at all times, and on top of that the service has to keep tabs on what’s going on at both ends within the game. No matter how robust the data centres are, no matter what sort of AI solutions are implemented, it all comes down to the whole thing about latency between the data centre and the end-user. Perhaps the best solution would be split the difference in a similar manner how mobile games have partial data on the phone whole syncing with the server side all the time. That, of course, would be pretty much against the whole core idea of cloud gaming, where the end-user would just hold an input device and a screen.
Cloud gaming has been tried for about a decade now. It’s still ways off, but it’s very understandable from the corporations’ perspective why they’d like it to become mainstream and successful. For one, it would remove one of the biggest hurdles from the consumer side; getting the hardware. You could just use your existing computer or smartypants phone to run things and you’re set. Maybe have a controller, but you can get those for twenty bucks. No need to pay several hundreds for a separate device just to run separate media software. Cloud gaming would be the next step in digital-only distribution, which would also offer better protection from piracy. Control is the major aspect of cloud gaming, where the end-user would have effectively none. You would have no saying in what games you have access to. One of the well marketed modern myths about streaming services is that everything is available 24/7, when in reality everything is determined by licenses. Star Trek vanished from Netflix for a time being, because the license ended, for example. This happens all the time. I’m sure there’s some list of lost media listing somewhere about digital-only films and shows that were lost due to publishing rights and licenses expiring. Lots of games having vanished from both Steam and GOG because of this, and if there are no physical copies floating around, pirating is your only option. For something like the Deadpool game, you can only get second-hand or newold stock, as the developer’s and publisher’s license expired few years back.
Will cloud gaming be the future? Probably at some point, but the infrastructure is way off still for it to become any sort of standard. It is, in the end, another take on the decentralised gaming Nintendo has going on with the Switch, moving away from the home media centre that the smartphones brought to us. Cloud gaming will take take firmer hold once they beat systems with local storage in value and performance. For now, enjoy the screen in your pocket.
I’ve talked about this topic to death on the blog, so this entry will be short. Omega Labyrinth got blocked by Sony in the Western market, and probably was one of the last Japanese games that didn’t have to go through the censorship police. Marvelous has been getting the shaft thanks to Senran Kagura to the point the series creator left them, and now they’re rather stuck with Rune Factory 5 and are telling to the public that they shouldn’t expect the game until April 2020. At this point, the Switch or Xbox One should be considered the best possible option for freedom of work, and leave hyper violence for Sony. I assume Sony would like keep things in check in a way that doesn’t pop like a sore thumb and slap you in the face.
Omega Labyrinth Life just got announced, and ‘lo and behold what in the fuck. There’s no reason for the game to have two different logos across platforms, that’s never been a thing in of itself outside versions. There is no other reason for this than Sony practicing their now overt becoming censorship. Omega Labyrinth‘s logo has been pretty great in that it has always played with the whole playish aspect with the sexuality, having a comedic and cute approach to the whole thing and not taking it too seriously. Here, have some bouncy boobs and enjoy it the show. Nothing harmful, nobody has gotten PTSD from seeing joyful tits. Unlike certain 3D modeller at Netherrealms, who can’t sleep due to the horrifying shit he had to watch and use as a reference when making latest Mortal Kombat 11’s visceral violence. Without the whole Omega bit, the PS4 version is just Labyrinth Life. Not even kidding, the PS4 version was cut short.
Best thing of all, the Switch version is basically advertised as This is the real version while the PS4 versions is hit with a slogan You can play this in front of your family! You thought I was kidding when I titled my last post about Sony’s censorship about them being family friendly, but this is really the way things are going with them. I’d laugh at the whole damn ordeal if it was just some bad parody, but it’s almost like some one at Sony took a joke seriously and ran with it. Gematsu has tl’d section what the further differences are between PS4 and Switch versions.
With two versions of the same game on two different platforms, the consumer has some freedom to choose, some agency has been given to them. While politic no little place in video games (one of the missteps Sony’s doing with their whole shtick here) deciding where to buy, what to buy and even how to buy a game can be used as a leverage to make a statement. While the money will ultimately end up with the developer and whoever’s in the middle, the choice given here can also be stated as follows; do you support a company for practicing censorship, or do you support the company that support creative freedom?
Aalt, you’re being facetious here. Of course I am, this is a hyperbolic statement, but no less valid when you consider how hard companies, especially Japanese companies, value raw data. This is probably D3 Publisher testing waters which direction to go in the future to some extent, but also probably just serving both sides of the console chasm all the while leaving something core goodness for the series’s fans. You’ve got some agency in your hands, if you’re interested in making a statement with your wallet here. I doubt many people reading this post has any interest in buying the game proper, but consider the following; would this have happened if the economy would be different, if there wasn’t room to pick and choose what’s on your platform for the sake of maximising profits?
Funny that, this is more solid stuff for Sony using almost racist depiction of American censorship standards; it’s A-OK to show someone, especially a man, being gutted, shot in the head, ripped apart, face smashed in and spine being ripped. R-18, s’all good, maybe even good for teen. A pair of boobs? X-rated and ban it.
While Sony of America confirmed to the Washington Street Journal that they have installed a standard policy on censorship for games that are allowed on Sony’s platforms, Sony of Japan has stepped and made a statement themselves that this isn’t the case. According to a source on Game*Spark (the asterisk is important), they evaluate games by case by case basis rather than a new overall policy. However, their source does state that how Sony now handles titles internally is independent of any rating system that exists, be it CERO or ESRB (or PEGI for the matter.) The source refers to a nebulous global standard they wish to adhere to.
I’ve discussed this topic far too much for this particular blog (maybe branching off to a new one that covers video game censorship solely might be worthy project), but Sony’s stances really tell two thing. First is that they’ve lost touch to their consumers, that they don’t seem to understand their own fame and status in the market. Theirs is a console that was free of regulations that marred Nintendo as the console for kids for years. Theirs is a console that could be picked up and have games that would be completely across the board all the while pushing the envelope to whatever direction the developers and publishers wanted. Not so much anymore. Secondly, there is no global standard. It’s rather clear that Sony and numerous other publishers and developers live in a social bubble, that they only listen and read certain publications. It’s like thinking Twitter reflects real life to any extent. US allows more violence than sexual content, while France and certain other European nations are the opposite. UK lacks balls on both violence and sex, and even for horror, especially if you remember the Video Nasties censorship. Hell, even outside that the British Board of Film Classification continued to cut and censor movies, e.g. requiring movies to cut certain moments like the moment of bullet impacts, twisting of necks and almost always lessening the sound effects added to punches and kicks. There’s a whole Youtube channel that concentrates on film censorship in US and UK. Russia has its own policies of course that are widely different from Western world. While the US and Japan might be comfortable in showing lesbians kissing in their games, Russia’s not exactly fan gay rights. Then again, neither is China, who have absolutely the heaviest demands on games released in their region. Australia’s somewhere down there, and thye’ve got bans left and right, mostly for violence. You couldn’t buy Mortal Kombat in Australia at one point. Sony of Japan seems to think outrage culture has somehow changed the global standards, or rather created them, and try to adhere to something that does not exist.
This gives birth to the warped perception that PlayStation will be the best playground to all consumers if they limit the amount of sex, sexual content or sexually suggestive themes. This would, of course, not be true. You can’t create a product for everyone. I’m a broken clock with this, always saying that you can’t please everyone and you shouldn’t. A platform like a game console can only wish to have everything across the board, from the most violent mess to most sexualised ecstasy to the most child friendly content possible. If you cut one part off from this triangle, you’ve effectively cutting off both developers’ interests in developing titles more freely and consumers possibility to purchase whatever violent smut they want. Violence, of course, seems not to be a problem. It’s the eternal discussion, especially in the US, how you can show someone getting shot and skull bashed in, but a sight of a breast raises an uproar. We could take this discussion even further and wonder why violence seems to be accepted when targeted one of the sexes, but not for the other. There is a very strong double standard going in the industry, but that’s nothing out of usual really.
You know the British term Nanny state? The term coined describes governmental policies that are overprotective or interfering in personal choice of freedom. This can be directly adopted for Sony as nanny corporation. Their paternalism has affected the market already. Developers and publishers have lost money because of Sony’s relatively newfound (and highly questionable) moral standards, money they won’t be making back. Omega Labyrinth Z will never see an English release because of Sony’s practices, despite the game was ready to hit the shelves. We could roughly estimate that these policies were installed later in 2017, as the game got a normal Japanese release in 2017, and then was blocked by Sony in 2018. PQube lost money in this venture. Localising game isn’t exactly cheap, and they have no way of making that money back with the game. It’s a dead product.
Whether or not Sony has a blanket standard or they go by case-by-case basis makes little difference. They’ve abandoned the actual global standards that are the local rating systems like PEGI and CERO, and are effectively self-censoring their platforms content even before anything gets to the rating boards. This is almost a repeat of Comics Code Authority, except this for PlayStation titles only. However, question how many developer will be willing to make changes in their multiplatform title, when it’d take more money to make a more censored version for Sony than with others. Just slapping some sort of beam of lights isn’t a solution to all games like Senran Kagura, where losing a game mode effectively removes ten, fifteen percent of the game’s content.
Can we just blame parents for not keeping an eye on the rating labels on games, or does the blame belong on outrage the Internet outrage culture? Probably both, with slight emphasize on outrage culture and media bubble Sony’s execs live in. We’re going through a moment in video game history, where a corporation known for freedom in content adopted censorious practices of their own outside pre-established rating systems, limiting both their library in content and options the consumer in the end has. The sad thing is, all this will be ridiculed and laughed at, pointing that it’s only for tits and ass with no value, while never considering that games like Omega Labyrinth Z are rather hardcore dungeon crawling games that give no quarter to the player, that Senran Kagura at its best requires the player to skillfully control their movement and attacks combined with the limited special resources they have. You could make these games without any of the fan service or titillation for sure, killing the unique natures of the titles. It’d be like removing all SF and fantasy stuff from Star Wars because they’re unrealistic, or setting The Lord of the Rings in a realistic middle-ages with no magic or hairy legged midgets in lead. Games are an audiovisual medium with rules to play with, not just core mechanics. A fighting game character is not just a set of moves and mechanics bolted to a visual frame, but a whole personality of its own.
I admit that it personally depresses me that any sort of censorship has been implemented. Games as entertainment, especially on consoles, had been making good progress towards freedom in content for such a long time, but now that’s been cut down and things won’t heal easily. It’s always easier to break something down, to hold something back or break rather than allow something to move onward, especially if your personal view or preferences are against it.
Sony came out to The Wall Street Journal about them cracking down sexual content on their platform. That’s a direct WSJ’s quote too. Supposedly, this reflects the concerns in the U.S. about how women are depicted in games, but in overall terms that’s rather weak excuse, especially when the spokeswoman (shouldn’t that be spokesperson if we want to be all neutral with these?) states that these new guildelines allow the creators can offer well-balanced content on the Sony’s platforms. This is largely bullshit though, as this would likely hint that they want all single elements of content they offer to be balanced rather than the content, as in the whole library of games, to a balance from left to right. Imagine having a selection of ice cream, but all of them are different kinds of vanilla. Because the store doesn’t like chocolate, you won’t see any of that. That’s a well-balanced offering in the store shelves and that’s what Sony’s doing. Excuse the hyperbole for now.
We know from the event hold Dies irae that Sony’s been practising these rules for some time now to the point of ready to be released games being completely shelved. Statement the spokesperson makes about the executives being worried about Sony’s brand being tarnished by titles with sexual content is weird at best, as the way the whole moderation is done happens to happen in English. It seems that this is mostly a big deal for the American side of Sony, and Japanese heads are just letting things slide. But all this is what I’ve covered already in previousposts, the Wall Street Journal is just an official confirmation for all this.
Sony’s image for numerous years in gaming has been all about the hard-hitting titles for mature and adults all the while offering a healthy selection for the kids. PlayStation 2’s library is a prime example of why a console needs any and all sorts of games, as this provides that well-balanced content that spokesperson speaks of. By all means, this image of Sony was well-deserved due to all the realistic games Sony’s systems have offered. However, thus far Sony has touched on their games only to a limited extent, and left most of them stuff to local rating systems like PEGI. On the other hand, Sony’s limitation has always been more about the games’ mechanics. A lot of Japanese titles didn’t get pass to the Overseas market, as Sony of America was pushing the 3D more, the same thing Sega of America did with Saturn. Only very few overtly sexually explicit content was censored or removed, in the West. That was twenty years ago, and now the age is different. Whatever you do, you insult someone, and rage sells. Companies being afraid and aware of the outrage culture is making them bend in unnatural ways in order to showcase themselves as pure and progressive.These actions are directed at a small, outraged part of the population, and it is sadly affecting the whole world. Whoever at Sony pushed these through probably wanted to showcased their tribal colours and how true they were.
This is rather American of Sony though. The view of the United State’s censorship that has been in the rest of the world is that Violence is OK, sexual content is not. No matter who or what are behind the rules, be it the puritan church or politically active movement, this always seems to be the end result. Personally, I find dark comedy in here, where two opposing sides often end up in the same result through different means. It’s not very often a corporation like Sony enacts censorious practices just in afraid of getting pissed at by a sect, but image is what companies need to be concerned. Playing the whole family friendly side of things is their best cover, and that’s what the spokesperson also alluded to. Apparently, having titles with sexual content on your platform would have an adverse effect on children’s growth. One platform can do only so much. As always, the Internet offers more than enough of content to twist a child’s growth, and even then that’s somewhat dubious.
What Sony is using as a cover is really simple and traditional; Think of the children. We can discuss modern parenting however much we want, its pros and cons, but in the end a company shouldn’t take this sort of load unto their shoulders. Part of parenting, perhaps an extremely large part in the modern era, is to look over what sort of media is your child consuming. However, this also requires to know your child and how mature he is at any point and whether or not he is ready to consume the product. This isn’t as clear cut as its usually made out to be. A sheltered child in a good family probably can’t hold much violence or sexual content, but consider a child who comes from a family with alcoholic parentage and violence. We assume that all parents are good and children live a pure life, but the reality often is harsher, sometimes even gruesome. Children can take reality, and even if it seems harsh, reality have to be explicit and explained to them. Simply covering them from hard matters will twist them more. As an anecdote, the time I worked with children, I saw some cases that clearly couldn’t handle anything sexual related when they hit puberty, as I know first hand their parents were, to put it mildly, extremely with the subject to an unhealthy degree. This person is now a bee attracted to a lamp-post rather to flowers.
On the surface Sony’s movements might seem sensible, but on the long run it’ll do more damage than good. The fact that they didn’t come out with their new practice for solid two years since the initial waves of censorship (and let’s be completely honest; this is censorship rather than just moderation) tells a lot. If Sony had made a public statement about this to the developers and to the public, it would’ve cause harsh negative PR. Companies demanding to parent children is nothing new, and sometimes companies just do that for numerous reasons, most often for PR points. Television is a classic example, where channels still are told to lessen the violence and sexual content they showcase, despite programmes containing what is considered harmful content for children are relegated to late-night slots or after midnight. Yet, these shows get lambasted, instead of questioning why are these parents allowing their kids to stay up so late to watch these shows. As usual, it is very easy to put the blame on someone else.
Sony’ gone family friendly (outside violence and other sexual tendencies that are not female nudity) but the common consumer in the West won’t probably notice it too much. Japanese titles of course have already been impacted, and it has already caused some titles to have more visible content on the Switch, with Steam versions being more open than any. Maybe this would be a chance for sites like DMM and DL Site to push their lack of censorship towards Western users as well and diversify their libraries. If you’re a Muv-Luv fan, you probably already have a DMM account for all the stuff they have on the site. This is also why we should have more than just three consoles in the race; there needs to be more competition and platforms that offer choices that are not available on others. If one platform decides to go censorious, another should do the opposite.
The whole thing Sekiro and discussion about difficulty and accessibility still seems to be a thing, and this post is not about that. Rather, it’s how we perceive electronic games in our daily lives. This blog has numerous posts about electronic gaming’s history and culture, some of which cover stuff from the late 1800’s to modern day between the time when kinetoscope was the hottest thing to see people box or lady showcasing her knees (a type of erotica is always relevant and present with any form of entertainment and will always stay as long as human is a sexual being) to the pinball scare in the middle of the 1900’s and how people rebelled by simply becoming pinball wizards all the way to the modern era of video and computer games. Looking back at the history we have, electronic games have become part of our cultural landscape in rather record time, spreading across the globe in matter of few centuries, covering all continents and places. Even the poorest places on Earth have seen their electronic games in a form of another, sometimes first with piracy, then maybe even build something on it. Playing overall is such a significant part of our anyone’s past time and cultural original, it’s not hard to see that a new way of playing would seep right in, especially when it is playing that broke the previously established barriers what play can convey and showcase. The closest we can get to what electronic games give is, specifically computer and video (and arcade) games, comes from the tabletop games, be it pen & paper like Dungeons and Dragons or your childhood favourite board games, and the playing we did when were as kids. Cops and Robbers, knights in shining armour, forest adventuring, playing house/family, playing you were a racer and so on. Electronic gaming is a true extension of these elements given, for the lack of a better word, reality and a way to accomplish those plays in actuality. No longer you’re moving down leaves that represent the enemy hordes of the evil wizard Red Eye, when you have a controller in your hand and playing your given action title. At the core, the play is the same, but the means have changed widely. It’s also become more acceptable for an adult to realise these sort of plays at their adult age.
The technology isn’t there to allow us a completely unique and dynamic kind of play. We probably will always be tied to the core tenant of games instead of playing; the existence of rules. Perhaps this is why gamer has become the term for people who play electronic games as a hobby and passion. It makes a difference between a play and a game. A play doesn’t necessarily need rules, but a game does. It’s perhaps a bit arbitrary and the term doesn’t really come off in all that positive manner. None other hobby has the kind of lead off towards its hobbyists, at least it wasn’t the case before gamer as a term solidifed itself. Readers are readers, film watchers are film buffs or viewers, runners run and so on. A gamer is not the same thing as a player. Maybe because a sport like soccer has players, not soccerers. The electronic game culture had to find its own term to describe its most enthusiast consumers. Outside some journalist trying to shake things up few years back by attacking their consumers, there really hasn’t been any significant attempts to change the term in itself, and has effectively stuck. For better or worse.
The above argues that electronic games have two sources, which don’t exclude each other and perhaps are even needed for playing games. If we take for granted that playing is a natural state for animals on Earth, anything from an insect to a lion cub seems to play in some kind of way, then playing seems to be stuck to our genes. No wonder electronic gaming was taken in as a natural evolution. It met the usual resistance that all new media and hobbies go through, and one could even make a comparison to movies with the current scare towards sexual content electronic games have, even to the point of Sony applying their censorship world wide. It might affect us now, but this shall pass in time. How or to which direction I couldn’t wager a guess. Even then, corporations often follow the money. Though they only have the luxury of practicing something like Sony’s standards now is because we are enjoying good macro-economics and everything seems to sell, people have money to burn.
It is not a surprise that electronic games have eclipsed Hollywood in terms of money then.
The nature of electronic games is not simply a video game or a computer game. While computer and video game have become effectively synonymous with each other, the distinction between an adventure game on a console and an adventure game on a PC is still made, despite the whole cross-pollination that exists between the platforms to an extremely large degree. An adventure game on a console is something akin to Metroid and that’s what it is; direct action is always representative. An action game on a PC might get that additional moniker of point-and-click at some point, or expanded into point-and-click-adventure, and is nevertheless nothing less than a certain structure intended for certain kind of input device intended for certain kind of type of game. Genres are perhaps best representation how we take things as self-evident, and often mix and match whatever together without much rhyme or reason. Metrdoidvania is still the best example of a nonsense word that doesn’t describe anything, but we just assume anyone knows what it means. On the other hand, perhaps that’s a mark of a completely formed sub-culture, when it is bringing forth new terms that are not applicable outside its own circles. Nobody who is into any other form of entertainment but has no knowledge of video game history and genre changes would have an inkling that metroidvania means action-adventure game, often non-linear to boot. Is it approachable? No, but very few sub-culture and its infinite branches are.
Which really brings this to the point. We recognise the historical and cultural aspects of so many of our other forms of media and entertainment, because they’ve been with us far longer. Modern electronic games are less than a century old. The perception that has been driven through is that it is a form of entertainment that is for all, which is widely inaccurate. It’s not exactly the first form of entertainment that requires the consumer to act on their own behalf, but at the same time you hear people complaining about some aspect of the game they bought. We take for granted that whatever we buy we can consume willy nilly straight up, but that has never been take case for any game. You have a set of rules, but in their electronic form, you can’t break those rules. Even mechanical games like pinball allowed nudging the machine, which has been implemented as a separate element and skill in some video pinball titles, but the rules are far more strict. You can not cheat an electronic game, unless it allows you to, or you force upon it. You can’t create your own rules within the game’s own set. Modding certainly exists and could be argued to showcase this, but it’s far from being something completely open, and largely restricted to PC gaming culture as a niche. Just like plays and games we play outside electronic games, there are those we don’t want to take part in, individually depending. This hasn’t changed. We may lack the skill, the enthusiasm, the physical fitness even for some of these activities, but all electronic games in the end require two things; time and effort on the game itself. Your physical fitness doesn’t really matter, as long as you have a functioning input device. Your team mates don’t really matter, unless you play online in a team. Many aspects that kept or keeps you from enjoying a game or a play are absent from electronic gaming, and the rest is really up to the consumer himself. It is, as an acquaintance said about reading, about priorities.
I doubt we culturally are aware what electronic games are to us. We can come up a thing or two about them and tell they’re nice way to spend an afternoon or release some pent up stress by beating a Dutch guy in King of Fighters, but do we actually recognise that video games are, first and foremost, a play. We’re homo ludens, culturally bend to play. Perhaps the whole holabaloo of games needing to be more accessible and the like stems from play being about freedom and control, whereas games like Sekiro are all about strict rules and demanding you to have and approach in a controlled manner. The illusion of freedom is shattered, but that’s not clearly accurate. Tetris is after all a game which allows no freedom of approach and is a game that simply can not exist without its digital medium. However, it is a game of strict yet simple rules. Would that then signify that when an electronic game is clearly a game we approach and consider it as such, and when it introduces larger elements of play in form of role play? Not RPG elements, but playing a role like kids play a role of a knight or an adventurer in the forest with their friends. This clearly isn’t universal, human mind has too many variables how each of us approaches this. Perhaps the core of accessibility doesn’t lie in Easy mode or such, but in allowing the player to ‘play’ more freely. Maybe these games weren’t the first form of ‘interactive entertainment.’ That’s the stick in your hand as a sword, and that tree is the form of a massive, large behemoth you to defeat.
Perhaps this is all backwards. Perhaps he subconsciously recnognise the whole shebang of electronic games being continuation of our past play and game culture, but fail to notice that they have been, since the beginning, something new altogether and have yet to change our cultural mind on them, taking cues from other media and forcing pre-set conditions from unfitting cultural standards. Have video games themselves been too stuck on our play and game culture to the point of them being unable to truly spin off to be their unique kind of set of entertainment and games, with very few examples of truly unique electronic game being present in these fifty odd years? Best not take the next game I buy at its face value, or there might be something odd about this tea.