The Playlist / Those Tenuous Twos

  • Reading time:23 mins read

by [name redacted]

You may have read the first part of this column in the December 2009 Play Magazine. It was intended as a single article, and the start of a whole series of such lists. In the event, I was asked (due to my incorrigible verbosity) to break the article into three pieces; only the first found its way to print. Here is the column in full.

Used to be, when a game was successful enough to demand a sequel, the design team would do its best to avoid repeating itself. Though I’m sure they mostly wanted to keep their job interesting, the practical effect was that if the games were different, they would both remain relevant. In an arcade, Donkey Kong Jr. could stand handsomely by its father, each shilling for its own share of the coin. You might call them companion pieces, rather than updates or replacements.

When home consoles hit, design teams were even more modest, and were generally left to do their own thing. So starting on the NES, you will see a certain trend: successful game spawns weird, only tenuously related sequel; fans of the original scratch their heads; a greatly expanded dev team releases a third game, which is basically just the first again, on steroids; fans think it’s the best thing ever, because it’s exactly the same, except better! And to hell with that weird second chapter.

Thing is… usually the second game is the most interesting you’ll ever see.

R9

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There’s a bonkersly thoroughly contemplated recombobulation of R-Type on Xbox Live. It’s two-player co-op; it’s got an instant-respawn option, and a million redone graphics options. Hitting the “Y” button flicks between original 2D and remade 3D (with various graphics filters) at will. It’s an instant fade. Crazy!

This game seriously has some of the best music ever. Hearing that theme reappear and develop as the game progresses is weirdly poignant — I get a chill in the back of my neck, as I do whenever some permutation of “Esaka Forever” pops up. It’s just one of those soundtracks.

And the game is now more playable than ever! You can do the proper survival horror experience, or you can just have fun with it in full Life Force mode.

BE A PATRIOT – BE AN INFORMER!

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So a week ago I got my hard copy of The Slip. Almost pointless, except for posterity, yet it is nice to have on the shelf. And it’s a limited edition. (I’m #48,960/250,000.)

With that in hand, I ordered the rest of the recent NIN stuff I hadn’t bought — Year Zero, Y34RZ3R0REM1X3D, Ghosts I-IV. I did pay for the download of Ghosts, back when; again, though, hard copy. That all arrived today, and I notice he’s using the same packaging for everything now. Which is interesting. He must have gotten the digipaks in bulk.

Furthermore… well, his latest three halos, in order:

  • Halo 25: Two discs. Left disc, music; right disc, Garageband files. (This was just before remix.nin.com.)
  • Halo 26: Two discs, both music.
  • Halo 27: Two discs. Left disc, music; right disc, DVD of rehearsals.

I see a pattern forming. Will his next album come with an Xbox game?

Something else hilarious. Up until With Teeth — maybe and probably starting with the leading single, The Hand That Feeds; I don’t have a copy, because none of the singles after The Perfect Drug have been worth it — you have Trent’s standard, hugely elaborate packaging, plus the standard parental warnings and publisher copyright info and vague threats about unauthorized reproduction and whatever.

With Teeth era: really simple packaging, and huge, fugly, obnoxious FBI warnings all over the back cover, that imply anyone who buys the album is a potential criminal.

That’s not from a NIN album; the With Teeth ones are far uglier. They’re just a painfully incompetent piece of graphic design. On Year Zero, that’s still there, if a bit more polished (so it looks like a negative image of the above) — and so is an even bigger parody warning, right next to it, in the same style.

And the disc uses heat-sensitive paint, so your fingerprints are clearly left behind.

After R3M1X3D, Trent is free from his contract, and the album backs… well, here’s what they say:

©2008 NIN
Manufactured and Distributed
in The United States by
RED Distribution, LLC.
79 Fifth Ave, 15th Fl
NYC10003

And there’s a bar code. Then in the back of the booklet, there’s a note that everything is Creative Commons Attribution-Noncommercial Share Alike. There’s a link to explain what that means. And again, “©2008 NIN”. And that’s it.

NORMAL GAME NORMAL MODE

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Hey, the Xbox version of Ikaruga has the poetry in it — translated, even! Mind, it flashes by too quickly to read. Still, hey! It’s complete!

Except for the neat slow-mo walking dude menus in the Dreamcast version. Those are gone.

Crime of a Mâché Nation: The Condescension of Viva Piñata

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by [name redacted]

Viva Piñata was supposed to be Microsoft’s mainstream breakthrough and Rare’s return to form after years of… well, Star Fox Adventures. More than that, it was supposed to be the game that showed why Microsoft paid so much money for Rare, almost five years ago now. The problem is, the game wasn’t really meant to carry all this weight. At its core, this is a modest, intimate, and difficult game – difficult in the sense that, despite its charm, it’s more exclusive than it is inclusive.

( Continue reading at Game Career Guide )

Dead Rising: A Trope Down Memory Lane

  • Reading time:1 mins read

by [name redacted]

In 1985, Shigeru Miyamoto came to down with a truckload of tropes, and they were so wonderful, they did such a great job at filling the creative vacuum of the time, that it took two decades for people to notice the limits to their application. Now, step by step, we’re kind of getting back our perspective. Under Satoru Iwata’s oversight, Nintendo – so long, so much to blame for the entrenchment – has painted a huge “EXIT?” sign in the air, with a wave and a sketch. Valve has suggested new ways to design and distribute software. Microsoft and Nintendo have tinkered with how videogames might fit into our busy, important lives. Blog culture is helping aging gamers to explore their need for games to enrich their lives, rather than just wile them away. And perhaps most importantly, the breach between the Japanese and Western schools of design is finally, rapidly closing.

( Continue reading at Game Career Guide )

Defining the Next Generation

  • Reading time:28 mins read

by [name redacted]

This article was originally intended as a conclusion to NextGen’s 2006 TGS coverage. Then it got held back for two months as an event piece. By the time it saw publication its window had sort of expired, so a significantly edited version went up under the title “What The New Consoles Really Mean”.

So we’re practically there. TGS is well over, the pre-orders have begun; Microsoft’s system has already been out for a year (and is now graced with a few excellent or important games). The generation is right on the verge of turning, and all those expensive electronics you’ve been monitoring for the last few years, half dreading out of thriftiness and secret knowledge that there won’t be anything good on them for a year anyway, will become the new status quo. Immediately the needle will jump and point at a new horizon, set around 2011, and everyone will start twiddling his thumbs again. By the time the drama and dreams resume, I’ll be in my early thirties, another American president will have served nearly a full term – and for the first time in my life I really can’t predict what videogames will be like.

A Cosmetic Conundrum

  • Reading time:13 mins read

by [name redacted]

Part seven of my ongoing culture column; originally published by Next Generation, under a different title; something like “The Problem With Game Consoles”. People seemed to take this article more seriously than I intended.

In May I finally saw a PlayStation 3 up-close – and dear lord. Whereas the Xbox 360 at least puts on a pretense of tenability, sucking in its gut like a real man, Sony’s system sets a new standard for girth. Maybe it was the rotating display, walled behind likely-bulletproof Plexiglass – yet I swear it must be the most outrageously massive game console that’s ever been designed. And that’s on top of looking like a space ship based on the template of a waffle iron. Whereas the Sega Genesis looked like you could top-load a CD into it, the PS3 looks like you could top-load a side of bacon.

This Week’s Releases (May 22-26, 2006)

  • Reading time:9 mins read

by [name redacted]

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

Game of the Week:

Steambot Chronicles
Irem/Atlus
PlayStation 2
Tuesday

You have likely read, if you like to read, of a game called Bumpy Trot; this site in particular, in the hands of Japan columnist William Rogers, has taken every possible opportunity to name-check the game – resulting in a blurb on the its Atlus USA site. Here’s where I remind you of its Western name – the Haruki Murakami-esque Steambot Chronicles – and mention that it really is nifty, for what it is. For a more elaborate description you can turn to NextGen’s “Ten Best Games in Japan” column for last year; for here, suffice that it’s sort of like a Zelda game done right, thrown into a post-GTA sandbox, and produced on a shoestring budget by a sincere bunch of underdogs who aren’t used to making this kind of game. So it’s a little wonky, and a little glitchy, and it doesn’t know what it’s not supposed to do, which results in as many weird decisions as inspired ones. It’s not really made for prime time, and yet it’s got so much heart and it’s got such good ideas that it’s got the workings for a real sleeper hit. Give it some hype and some word-of-mouth, and this game will surpass expectations.

Atlus has done a pretty good job on the localization; the voices are… solid enough, and the writing is appropriately stark. Though something tells me the game might have made more of an impression with its original Japanese name, the new one maybe fits the game a little better. This is only one of maybe a half-dozen impressive new acquisitions Atlus USA had to show at E3; if Atlus can just get the word out the way it did with Trauma Center, this could be one of the company’s best years yet.

This Week’s Releases (April 10-14, 2006)

  • Reading time:11 mins read

by [name redacted]

Week thirty-five of my ongoing, irreverent news column; originally posted at Next Generation. Two of the sections are expanded into full articles, posted later in the week.

Game of the Week:

Tomb Raider: Legend
Crystal Dynamics/Eidos Interactive
Xbox/Xbox 360/PlayStation 2/PC
Tuesday

Something that people keep bringing up, yet probably don’t bring up enough, is that the first Tomb Raider was a damned good game. And what it seems Crystal Dynamics has done is go back to the framework of Tomb Raider 2 and to break it down, analytically. What they chose to do is bring the focus back to exploration – in part by introducing some new gizmos, in part by making the environments more fun to navigate. Reviews nitpick a few fair issues; still, the overall response seems to be a huge sigh of relief. Maybe it’s not the best game in the world, or all it ever could be. Still – it’s not terrible! The theme that keeps coming up is one of nostalgia – that, for the first time, someone has managed to recapture what makes Tomb Raider interesting. And that sentiment is itself interesting.

Xbox 360 Launch Analysis

  • Reading time:9 mins read

by [name redacted]

Originally published in some form by Next Generation. Doesn’t seem to be up anymore, and I don’t remember if anything was changed.

Xbox marketing chief Peter Moore has done his job well enough, declaring the 360 launch catalog the “best lineup in history”. Of course, most people see through at least this level of hubris. Just for fun, though, let’s take a stroll through the lineup and see just how it adds together.

A quick glance will show four main categories of software: new games actually developed with the hardware in mind; pared-down PC ports; spruced-up console ports; and the prettiest versions of this year’s disposable sports games.

Manos: The Hands of Fate

  • Reading time:9 mins read

by [name redacted]

Originally published by Next Generation, under a title that I no longer remember.

Generally speaking, the controller sold with a console can be read as a microcosm of the console itself. (You might call it a rule of thumb – though I would not advise this.) That the Odyssey2 came with a right-handed stick and a single button for the left hand tells you that its games are simple, that movement is the central mechanism, and that if there is any secondary function its importance is minimal. That the NES replaces this template with a cross-shaped D-pad for the left thumb and two buttons for the right, labeled from the outside of the controller in the order that your hand meets them, says mountains of Nintendo’s idea of videogames, circa 1985.

Fingers

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Despite the propoganda you may have read, the Xbox 360 has one of the least comfortable controllers I’ve held. It tries to be ergonomic, and is molded to hands that aren’t my shape. My knuckles bang. My fingers are cramped. Of course, my hands are irregular. And I hate every ergonomic input device I’ve ever encountered. This is like the split keyboard of game controllers.

For those unfamiliar with the changes, the 360 controller is basically a remolded Controller-S with the “white” and “black” buttons moved to the shoulders and turned into triggers, with a big “ON” button in the center, and (usually) without a cord. I’m not even going to get into the cordless issue, as far as typical controllers go; this is just about the corded version.

Now. Controllers are probably one of the major things holding back videogames. I hate them, as a whole. You’d think, with controllers being the most direct interface people have with videogames, people would put more thought into their design. There aren’t any good standard controllers right now; the GameCube one is clever, though it has too many compromises to do what it really wants to. And I can’t even think of many positive examples, historically. The only “good” ones I come up with are simply practical and competent, like the Genesis six-button and the (Japanese/version 2) Saturn pad. The S more or less falls into this category. Unambitious, but solid and distinctive.

As for the next generation, well. The Revolution should be interesting, at least. Other than that, ick. You can trace the mentality behind the systems by looking at their interfaces. Sony’s desperately trying to make the PS3 seem different, but not too different, by making the controller exactly the same except shaped like a batarang.

Similarly, Microsoft has decided to take the Controller-S and mangle it without any particular direction. The “on” button is… sort of interesting, I guess. It feels misplaced on a traditional controller. The thing that distinctly bothers me, though, if it’s possible to get over the ergonomic issues, is the button arrangement.

The white and black buttons (and indeed the start and select ones) get a lot of flack for their uncommon placement on the S. People aren’t really thinking this through, though. They do work, and work well, because they’re used for uncommon functions and because they’re placed in an out-of-the-way corner of the pad. If you need to access them, they’re at hand; yet otherwise there’s no confusing them.*

Anyway. Shoulder buttons are primarily useful for state changes; things you need to hold down while you access the face buttons. Four shoulder buttons is overkill in this regard. I see no purpose for them, especially since I have yet to encounter a person who is not constantly pressing the wrong shoulder button in PS2 games. (Notice this! Did a bell not ring?) They’re hidden, too similar, and secondary in your attention, and therefore easy to confuse.

Iif those extra two triggers are used at all, they’re usually for toggle functions or other things more suited to an out-of-the-way face button, like “select” in NES and SNES games. So, you know. In most cases, that’s the wrong place for them. Leave the shoulders uncluttered for things that actually need the placement.

Since removing the face buttons unbalances the start and select (OOPS, I MEAN “BACK”) buttons, they’ve been moved to the center where, whoops, suddenly they’re ripe to be hit accidentally again — never a problem on the S. Yes indeed.

The other thing that bothers me is, the original Xbox isn’t that bad a system. Yes, it’s big, not too imaginative, and it’s too firmly positioned as the tits-and-beer console. It’s really well-made, though, and there are some good ideas in its device and execution. And for a while, Microsoft was doing a good job patching the holes (fixing the controller, starting up Live). There was real potential for the 360 to be its own beast, and use past success as a foundation for something neat, as far as mainstream consoles go. Something with personality, and with balls (to go with its testosterone).

What we’re ending up with is a timid, sterile system designed by focus testing. And the pad’s an example of that.

I don’t think I need to explain how much Sony’s controllers now and have always sucked. And yet the PlayStation line is one of the biggest commercial successes in the history of videogames — so clearly Sony must know what’s going on! They’ve got four shoulder buttons on their pad, so let’s put four on ours! We didn’t really know what to do with those face buttons anyway.

Again, nobody’s thinking. The only reason there are four triggers on the PS2 pad is because the PS2 pad is the same as the Dual Shock, which is the same as the original PlayStation pad except with two analog sticks. Why two sticks? Because the N64 only had one. Likewse, the original PlayStation pad is the same as the SNES pad except with four shoulder buttons. Why four? Because the SNES pad only had two!

And now Microsoft has crawled up and inherited this idiocy, just showing how desperate they are. They’ve lost whatever vision they had; all of the creative people behind the original Xbox are long gone, leaving Microsoft with a body and no brain. All they have to go on now is high-definition displays and removable faceplates. Just — fuck you, you know. If you’re going to waste our time, then go away. Leave videogames to the professionals.

*: I understand some people hit the one on the left accidentally. This puzzles me a little. Perhaps again it’s just my hand shape; it’s never been an issue for me. However, even should my thumb somehow stray, that they are a different size, feel different, and are sunken into the pad should send me a signal. Fundamentally, I just see no reason why my thum should stray down and to the right from its “home position” on the bottom point of the diamond.

Holy Moley.

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From what I can tell, that ridiculous NextGen column of mine yesterday got the most hits of anything on the site. The piece with the second-most hits seems to be the J.Allard interview, where he drones on the thought process that led to the two variations of the Xbox 360 hardware. Not a bad topic; the kind of thing you’d expect on the top of the heap.

In comparison, my column got… let’s check again… something like every news piece on the site combined, times three.

So. Maybe that explains something?

Whithervania

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GAR RAR

In a sudden hurry, although I just woke.

I acquired Castlevania: Lament of Innocence the other day, for… almost nothing, along with the Xbox version of Silent Hill 2: Restless Dreams, for a similar price. I have not yet played past the introductory area of the former. It still controls as well as I remember. I enjoy the campy voice acting. The plot is… well, there’s something wrong with it so far — even if it is sort of clever in how it intertwines the Castlevania mythology with history.

The thing which most bothers me, though: I spent an hour wandering around, before I managed to find my way out of the first three or four rooms. All I had to do was double-jump off a block (which I knew was suspicious, and I had double-jumped off any number of times), and not move, and Leon would automatically pull himself up to a ledge which was imperceptible from what the camera had to show me.

And… right after I found a way up, I had to do something else. I will say more later.

I will say more on other things later.

I will, for instance, comment on whether this trend toward showing me level geometry then putting up invisible walls so I can’t interact with it will continue.

Later later!