This Week’s Releases (May 15-19, 2006)

  • Reading time:5 mins read

by [name redacted]

Episode forty of my ongoing, irreverent news column; originally posted at Next Generation

Game of the Week:

New Super Mario Bros.
Nintendo
Nintendo DS
Monday

Out of all the pre-release devisiveness, in my experience New SMB takes the ribbon. Every time the game’s brought up, the Internet melts just a little. There’s no pleasing anybody! Maybe that has something to do with the game’s own conflicts: it wants to both revisit the style of Super Marios 1 and 3 for the NES and to “update” it with all the advances since Super Mario World. It wants to both play on nostalgia and to attract all the new and disillusioned eyes who have gravitated toward the DS. It wants to both be the successor to the Super Mario Bros. mantle and to come off as something altogether new.

So what we’ve got is a forward-pressing 2D platformer (as with the NES games) that calls upon the moves introduced in Super Mario 64 to help Mario more precisely explore a 3D world, flashy gimmicks introduced in Smash Bros. as a kind of a joke, and a whole lot of silly scripted events and mechanic-wanking intended to impress the pants off of anyone who thinks he knows how Super Mario Bros. works. And yet, it’s kind of fun. Maybe it’s a little too concerned with the past instead of with doing its own thing – and maybe it’s too concerned with making the past appealing to people who weren’t there at the time – yet maybe the gamers are a little too concerned about Mario.

In its overkill, its mix of old and new, the game clearly isn’t taking itself very seriously. The game gives off an air of exuberance; it knows it’s just screwing around, and it doesn’t care. Within those constraints, New SMB is pretty neat. The past has had its time; if you’re going to bring it up again, you’d better either take it somewhere new and inspirational or have shameless fun with what’s there. Ikaruga and Jonathan Blow’s Braid do the former; New SMB does the latter. Fair enough.

This Week’s Releases (April 17-21, 2006)

  • Reading time:6 mins read

by [name redacted]

Week thirty-six of my ongoing, irreverent news column; originally posted at Next Generation

Game of the Week:

Brain Age: Train Your Brain in Minutes a Day
Nintendo
Nintendo DS
Monday

Times sure are a-changin’. Even given that this game is the biggest sleeper hit in perhaps all of Japanese history (or at least since Godzilla), I dare you to imagine it getting released over here even five years ago. No, wait; Seaman came out in 2000. Let’s say seven years ago, then.

Not so much a game as a utility for daily life and health, Brain Age is essentially a set of mental exercises – math, especially – that you’re meant to run through once a day to keep your brain limber. Even for math dumbos like me, it’s nothing hard or frustrating; that would go against the whole point. The idea is just to see how quickly and how well you process information – then to flex that, gently, over an extended period. The “younger” your brain is, by the game’s measurement, the further you are from senior onset dementia.

With a population aging as rapidly as Japan, you can see where the appeal lies. Over here, the trick is in unconventional marketing. Nintendo’s trying to play up how much fun the product’s quizzes are. They’re… kind of not, for their own sake. Sure, the overall package is charming as hell. It’s not really a videogame, though. Try to get it on Oprah, guys. That’s the real test.

Buttoning Down

  • Reading time:8 mins read

What if the GBA had had two more buttons, as people kept asking for at the time? What difference would that have made?

You know, aside from fighting games, I don’t see what use the extra two buttons would be. Few games really use more than that for anything significant, and if they do they’re often rather clumsily designed. The GBA has two shoulder buttons that rarely get used for anything much.

Even now, how many DS games use the extra buttons to any particular effect?

As much as I enjoy certain fighting games, I find it kind of stupid that they’re always used as an excuse for a million buttons and a standard layout for controllers. If people want to play fighting games, they can go buy a fighting pad — which most people who are serious about the genre, which includes most people who bother with it, do anyway.

Of course, you can’t easily do that with a handheld. Still, what are fighting games on a handheld besides a novelty? NeoGeo Pocket aside. Which has… two buttons.

But the shoulder buttons are awkward to use, so perhaps that’s why. Anyway, games don’t have to use every button on a controller. Don’t more buttons just increase the available options?

Shoulder buttons aren’t really meant to be action buttons. They’re basically useful for state issues. For changing the nuance of the face buttons — much as with holding up to use the secondary items in Castlevania, versus simply mapping it to a third button.

The more you can abstract the actions, the better. If you’ve got an attack button, try to put all direct attacks on that button. If you’ve got a jump/propel bodily button, try to put everything jumping or flying or swimming or whatever-related on that button. Context (including the context of state-shifting buttons like triggers) narrows down the verb, so the player doesn’t have to think about it.

That’s kind of the idea behind Ocarina, with its context-sensitive jumping and junk. It just wasn’t implemented too well there. RE4 does basically the same thing, except it gets it basically right. In that case, “A” is basically the “DO SOMETHING” button — and what you do is determined entirely by circumstance and what other buttons you’re holding down.

In this light, the point about few GBA games using the shoulder buttons still holds. Between the two shoulder buttons, that basically gives you six face button functions — and yet how many games take advantage of this?

But using the shoulder buttons for state shifting isn’t practical. And besides, a diamond layout lets you pretend the buttons are a second D-pad, for all that implies. And again, isn’t it simply better to have more available options, even if those options are rarely used? Having fewer buttons limits the types of games you can create.

Let’s not be silly. State-shifting is not only practical; it’s one of the only significant concepts in control design to be introduced in the last fifteen years. I’d love to hear what makes it impractical.

Though I guess it’s nice, using the face buttons as a second D-pad is an incredibly specific and imperfect use, that is almost never implemented. Though I might adore Bangai-O, this argument is just as silly as saying every system needs six face buttons so people can play Street Fighter properly.

Of course having fewer buttons limits the possible variety of games. Which is why the PS2 has so many more kinds of games on it than the NES does.

As for the “more choice = inherently good” argument: not really. Arguably so at best. See older relatives, who get confused when there’s more than one button on a controller. See the Brain Training game for the DS, that asks people to ignore all of those strange, extra buttons on the system. The most important element in any videogame is an intuitive interface — something that anyone can pick up and quickly understand. An ideal default interface will also offer flexibility on a game-to-game basis, meaning it can’t be too specialized.

The other benefit here is that the fewer input options there are, and the more intuitively they are designed, the more care and consideration developers have to put into control design. Sure, some people will always screw up their work no matter what help they’re given. Might as well rein in the margin for confusion as well as practicable, however — if just for the sake of the end user.

Of course, the question is one of balance. How little functionality is too little to be functional, and how much functionality can you include before you generate clutter — therefore distraction and confusion — in the name of very specific implementations?

State-shifting address this issue elegantly by providing few options then tiering them to accomodate extra depth, for those circumstances where it is desired or required. Think of it in terms of a reference tool. Is it more ideal to have every possible item you might want to read about all on one page, or do you want to break it down into categories, then subcategories? The more you want to know, the more specific the knowledge you desire, the deeper you delve. No clutter. No noise. No distraction. Or a significant reduction in all of this, anyway.

Here are a bunch of games that (arguably) require two joysticks, so ha! And see, I didn’t even mention a FPS yet! And I’ll pretend not to mention fighting games either because you clearly hate them so much!

Yes, exactly. So what?

Mind that I like just about every game you’ve mentioned. Almost.

But you said there were barely any games like that! So there’s a bunch, and I can keep on going! What else are you going to dismiss just because it doesn’t fit into your ideal scheme, huh?!

Look, it’s the same fighting game argument again: Street Fighter uses six buttons, so every controller must have six buttons or else you can’t play street fighter! Except weaker. I’m not dismissing the existence of fighting games or first-person shooters or these random and rare double-joystick games you seem so fixated on; I’m dismissing their import in dictating an idealized default input method, specifically because of their specialized nature.

Again, if you want to play fighting games it’s easy to buy a fighting game controller that’s more suited to the genre than a standard pad ever could be. If you want to play FPS games, a standard pad will never be ideal for them anyway, conceived as they are for a completely different control scheme, so there might as well be a specialized controller to better facilitate them.

I mean, hell. Ikari Warriors wasn’t even designed with two joysticks in mind; it had a rotary stick, the purpose of which was to allow strafing. A more accurate compromise there is using a shoulder button for strafe-lock. Chu-Chu Rocket’s control scheme was a compromise to start with; the game would be better suited to something like a stylus or a mouse interface.

Beyond the stylus, the DS also has the internet thing going — making for an even more ideal Chu-Chu platform.

Which kind of illustrates the point that not every game is suitable for every platform, and no single input device can account for every special demand. There will always be a compromise, and the question is as to where to draw that line.

What you’re asking for is an all-in-one device that accounts poorly for every possible variable, and not only will that never be entirely satisfactory on its own right; it’s also the wrong approach to a deeper problem. By this logic, what else should the average controller include? Should it rattle when you shake it, to make Samba De Amigo more feasible? I’m sure if the feature were included, Kojima would find something to do with it. And then of course it would have to be included in every future controller, or else if Kojima’s game were ported to that system it wouldn’t play exactly right!

Just, come on already.

The question is perhaps both easier and more difficult for handhelds. It’s easier if other platforms are available, that offer different potential. It’s harder in that you can’t just switch controllers so easily. Although, actually, I can think of some ways around that as well.

In the case of the GBA, the question is whether two or four buttons are more ideal. In the long run, given how few games even used the triggers for anything of note, having only two face buttons certainly didn’t seem to hurt it too much, or to constrain too many developers. Would the extra two buttons have done any harm? Well, from what we’ve seen it doesn’t look like they’d have done much good. And, you know, omit needless buttons. Complication for the sake of complication does little save muddy the water.

The four buttons work as a concession on the DS because the main focus is on the touchscreen. The oversupply of buttons helps to balance that off and encourage pedantic gamer-types just as the touchscreen draws in non-gamers. The GBA doesn’t have a mitigating factor, so there the buttons would just be buttons.

Right, like anyone would get confused or put off by two extra buttons.

See, the problem here is that you’re a gamer.

Touch Survival Kids

  • Reading time:3 mins read

Lost in Blue feels a lot like Zelda 1. Same sense of constant danger, being stranded somewhere to fend for yourself. In Zelda the danger is mostly from monsters and things. Can’t explore too far or they’ll kill you. Have to work your way up. In Lost in Blue, the dangers are hunger, thirst, and exhaustion. I’m just gradually building myself up to explore further and further inland. I keep finding miraculous things like an empty glass bottle, washed up on shore, that lets me carry water with me. And long sticks, that I can fashion into spears. And logs, that I might be able to build something with eventually.

It’s a lot like the treasures in Zelda, which you just sort of find, and which mostly seem special because they’re something you found, that might help you, rather than because they’re the key that unlocks the next door that lets you go forward (as in the later games). Though they might have that effect, It’s not that direct.

I’m surprised the game doesn’t make more use of the touchscreen — even in the menus. Strange to have to actually press the start button when it says “PRESS START”. And it’s weird that you can’t just dump stuff on the floor of your cave. It’s not like the twigs would go anywhere. I can see a certain limit, like after a certain point the girl complaining that, what with her unable to see (you step on her glasses near the beginning), she’s liable to trip if you clutter the place any more.

I found raspberries!

Castlevania is… there. It is what it is. It’s another Castlevania. A pretty good one. I think my save file getting corrupted just soured me on everything. It was my own fault. I think I turned the system off while it was saving.

The first part of the game is wonderful. Then it gets boring. Then more boring. Then more boring. Then it gets better, then better, then more boring, then a little better. You actually aren’t ever in The Castle, as such. Though when you’re on the fringes of this mess of a hideout, things are much more well-defined. The level design is just really good in the first two sections of the game. And it looks interesting and has great music. The two towers are great. The best clocktower ever. And there are some great touches. In between, though…

The whole middle section is just monsters on shelves, that you cut through to get to the next room. It’s weird, because there are such good parts on either end. It’s like the level designers fell asleep for half the game. Maybe they just left the whole middle section open, figuring “we’ve got the outlines; we’ll fill the rest in later.” Then deadline approached, and they just went and scribbled in every middle square as quickly as they could. That the map is so well-conceived overall seems to support this impression.

I got disenchanted somewhere around the ballroom, and I don’t think I ever quite recovered. A shame, considering how much good there is here.

Detailing Simply

  • Reading time:1 mins read
  • Meteos: Columns channeled through Rez and Super Smash Bros. Melee. Good self-image. Lots of heart. Lots of modes. Lots of fun. A very giving game, and doesn’t ever treat you like an idiot. Great store.
  • Touch Kirby: Decent idea, conceived and executed as well as it might be. Spread too thin. Cloying. Beginning to bore me, after two worlds. Too Nintendoey. Don’t like the store.
  • Trace Memory: Some interface and design issues; linear; very, very short. Beautiful game, refreshing character design. Often clever. Greatly underestimates its welcome. My favorite of the batch.
  • Lost in Blue: Doesn’t even pretend to hold your hand. You will die. Terrifying. Also seems good so far. Scared to go back to it.
  • Trauma Center: Under the Knife: Basically a dating sim where you cut people up. Tense and exhilirating, even though there’s not much to do in it. Scary too, kind of.
  • Castlevania: Dawn of Sorrow: Very pretty. Best main theme since Circle of the Moon. The rest of the music’s well-done, too. Kind of hard. Level design only interesting in the first part. IGA’s random use of monsters is starting to annoy me.

I want Goonies III for this system.

Still waiting for red

  • Reading time:5 mins read

aderack: Just because it’s right in front of me as I type this. I… the DS thing. The Sony guy. The DS outselling the PSP by FOUR TIMES, and furthermore selling more than every other console PUT TOGETHER. Gimmick. Limited appeal.

… Yeah. Don’t need to talk about it really. Just observing.

I’m kind of surprised, on a level, that people have started to notice the obvious. It doesn’t often happen. I mean. With the DS being the only interesting system out there now and certainly the most interesting thing since the Dreamcast, with Sony completely missing the point with the PSP, with the DS bringing in people who’d never been interested in videogames before…

I just wonder why it’s not available in more colors here.
ajutla: It’s funny as hell.
aderack: It’s… weird. They’re figuring it out on their own, and with only about half a year of lag. Maybe that says something. Like people are getting fed up.
ajutla: You can only play videogames because they are videogames for so long.
aderack: I mean. A couple of years ago, I don’t think I’d see people mocking the Sony guy the way they are now. You’d see Sony claiming the PS2 was the first Internet-compatible home console, and no one would call them on it. Even though, say, Sega had just launched Seganet. And PSO was only a few months away. And the Dreamcast wasn’t even the first, either.
ajutla: The big thing that characterized this generation for me was people noticing the rot starting to set in. Just–nothing really happened. And people realize this.
aderack: Maybe the stage is getting ripe for the Revolution. Especially since it’s supposed to be priced under $200 at launch (last I heard), compared to the 360 and PS3 — which, if you’ve not noticed, are selling in bundles that go past $1,000. And it’ll have the same DS thing going for it, it looks like, versus the PSP of the otther two systems. Also, the other two are almost indistinguishable, while the Revolution should stand out.
ajutla: To be fair, I’m pretty sure that $1,000-plus 360 bundle assumes you’re buying every launch game that will be available, even the ones no one is sure will be available yet. Still.
aderack: Yes. Still, the standard bundles are around $700.00. That’s the only way to buy the system from some retailers. It’s just — holy shit. Who wants to invest that much in a fucking game console?
ajutla: IT’S BECAUSE IT’S AN ENTERTAINMENT SYSTEM NOW.

…except they’ve already done that before.
aderack: But no one will use it for anything other than playing videogames and maybe watching DVDs if they don’t have any better player.
ajutla: The psp/DS thing suddenly becomes very ironic with that idea in mind.
aderack: Oh. Yeah.

I guess Kutaragi got the wrong message when, for, like, a YEAR after the PS2 was released in Japan, the best-selling application for it was The Matrix. And people used it mostly as a DVD player until around the time the other two systems came out. It’s not because that’s what people want from a game console; it’s because there weren’t any cheap DVD players in Japan at the time.
ajutla: Right.
aderack: And the PS2 filled that gap.
ajutla: The thing is. Kutagari / Allard / et al have the idea that videogames are over. In a sense. And that you can build this big box. That you put your videogames in. And your other entertainment, too, while you’re at it.
aderack: Because the market’s stagnating, so they need to lean on other things until it magically recovers.
ajutla: And the market is stagnating because they’re leaning on other things.
aderack: Or more simply because they don’t know what the fuck they’re doing.
ajutla: That too.
aderack: They’re not really interested in videogames; just in being in the videogame business. And so fair weather friends and all…

Compared to people who are doing this for a business because, well, it’s what they do. So they have a vested interest. Not that Nintendo doesn’t have its own problems to address…
ajutla: It’s kind of telling that the most interesting feature about the Revolution, right now, is that you can play old games on it. Nintendo is looking forwards by looking backwards.
aderack: Making all of history current. That strikes me as important. The way that all of cinema is “current”, in a sense. Especially thanks to things like DVD and the recent restoration trends.
ajutla: Yeah. Videogames fade away. So you forget that you’ve FUCKING played most games before.
aderack: It’s a step toward, really, finally establishing just what the fuck videogames are and what they have to say.
ajutla: It solidifies things; it’s creating a critical mass–like, here, this is Videogame (1984-2005). It’s pointing that way.
aderack: Right. The first real state of the industry address.
ajutla: The design philosophy behind the psp is…sort of entirely the opposite of this. Right down to the UMD thing. The thing could have taken mini DVDs, you know. But. You should buy everything again. Always.

This Week’s Releases (Aug 22-26, 2005)

  • Reading time:21 mins read

by [name redacted]

Week seven of my ongoing, irreverent news column; originally posted at Next Generation

Today (Monday, August 22nd)

Advance Wars: Dual Strike (DS)
Intelligent Systems/Nintendo

Now, there’s nothing wrong with the Wars series. This is, what, the fourth Wars game announced in the West, after the two GBA iterations and the endlessly-delayed and frequently-renamed GameCube iteration. And it looks every bit as good as previous games. I understand it’s to make some decent use of the touchscreen with a real-time mode where you move things around with the stylus. Good and well; this is something the DS should excel at. I’m surprised we haven’t seen more strategy games and RPGs for the system.

The name, though – why is it still Advance Wars? The answer is the same as why Retro’s second Metroid game is called Metroid Prime 2, instead of just “Metroid: Echoes” and why Metal Gear Ghost Babel became simply “Metal Gear Solid”; it’s an issue of branding. The assumption, from a Western marketing perspective, is that you need “brand unity”. If you’ve got a successful product, you need to cash in on its name as far as you can. So if you’ve got a new cereal, you’re better off introducing it as, say, Cinna-Crunch Pebbles and putting Fred Flintsone in it, rather then letting it fend for itself, on its own merits.

The thing about the Wars series – well. It’s been around for a long time. Going on twenty years, actually. It began on the Famicom as Famicom Wars, then moved to the Super Famicom and Gameboy as Super Famicom Wars and Gameboy Wars. Thus we have Advance Wars. And since the GBA games were the first we were introduced to over here, every future game in the series must have the word “Advance” in it.

Well, to be fair, we’re to receive the GameCube one (called, inexplicably, “Famicom Wars”) as (even more inexplicably) “Battalion Wars”. I guess that complicates the theory right there. And the Western title for the DS game is no less arbitrary than the Japanese one (again, simply “Famicom Wars DS”). That doesn’t make this trend any less irritating.