E3 2016 Predictions!

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Publishers may be spoiling all of the fun of E3 with early announcements and “leaks,” but I get the feeling there is a bunch of stuff we don’t yet know about. Recent trends that are taking the games industry by storm aren’t going to go untouched.

There is a lot of speculation surrounding companies like Nintendo and Capcom, but I’m here to lay those worries to rest (hopefully). There is my list of predictions for stuff we’ll see at E3 2016!

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NX isn’t a console…it is Zelda!

While Nintendo initially stated their only title at E3 would be the new Zelda, they soon clarified that other games would be present during their Treehouse presentation. Most people are looking for new details on the upcoming NX console, but I have a theory.

What if the NX is just Zelda. I’m serious, too. What if the NX isn’t a separate console, but an entire machine dedicated to one game. The Wii U isn’t powerful to allow the creative vision Nintendo wants for the next Zelda game, but they also don’t want to divide their user base with another console that will (most likely) fail.

So the NX is unleashed as being another box, but it only has one game. That game will be Zelda: The Something of Whatever! It will have Demon’s Souls like multiplayer features, a never ending supply of quests like an MMO and will feature constantly expanding and growing characters in a world that changes based on your actions.

Then again, maybe the NX is just a codename for Nintendo XTreme!

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What’s Old is New Again…Again

Hot on the heels of Battlefield 1’s announcement to take place in the past, EA will begin to restructure their focus on “retro” themed games. This will lead to things like Plants Vs Zombies: Mendelian Conflict, Medal of Honor: Gettysburg and SSX 95.

Activision will take notice and announce a spin-off Call of Duty set during the rise of the Greek Empire, Call of Duty: Thermopylae. Seeing as how their only other franchise is Guitar Hero, they will announce a classic rock compilation of 50’s tunes dubbed Guitar Hero Live: All Shook Up.

A deluge of not modern military shooters will follow in the coming years. We’ll all have the EA presentation of 2016 to thank for our inevitable hatred of the “past” and our desire to head back to the “future”.

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VR Man

Since VR is becoming a hot trend, I predict that all of the major console manufacturers are going to show off their own version of VR. I know this one is mostly confirmed (and Sony has already been demoing their VR headset), but there are still a lot of details that haven’t been made public.

Microsoft will announce that they’ve teamed with Oculus for a simple VR solution on the Xbox Two! That’s right; the revision model of the Xbox One will be labeled Xbox Two, completely sidestepping the fact that the second console in the Xbox family was titled the 360.

Along with Oculus Rift support, Microsoft HoloLens will be required to utilize any VR technology of the new console. With a headset and controller in tow, you’ll be able to literally interact with everything in the game, as long as you have a 24x15x8 room available for setup.

Nintendo will reveal that the NX (which I said will be a Zelda only machine) allows VR to let players get truly “immersed” in the world of Hyrule. Players will be able to punch pots and crates with their own fists and can then put rupees into their pockets as if they were truly there.

Sony will finally come out and proclaim that the Playstation VR will only ever support one game and will then be discontinued by the company. They’ll mention it next to their deceased handheld, the PSV or whatever, and begin a whole new line of “legacy” Sony hardware.

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Xbox Live as an ISP

Now, I want to preface this entry with my own opinion; I think this would be an incredibly smart move. People have seemed to drift away from Microsoft’s service over to Sony’s this generation. Both offer virtually the same stuff, at present, but Microsoft’s console hasn’t won any favors since its original announcement.

Years ago, I proposed the idea that Microsoft should just turn Xbox Live into an ISP. Along with monthly fees that are competitive with cable companies, anyone who signs up would be given access to Xbox Live Gold and all the features that entails.

Microsoft will finally realize that their system isn’t going to topple Sony. After having ceased development of Windows Phone and focusing on Xbox as a brand, Microsoft will announce that Xbox Live will now be offered as an internet service.

Gamers who sign up will be given access to Xbox Live Gold and some subscriber benefits that non-ISP users won’t have access to. While the service will be platform agnostic, there will be some speed benefits for Xbox users to give Microsoft a leg up over cable providers.

Sony and Nintendo will be stunned, but unable to fund their own comparable networks. Both will announce a greater emphasis on digital sales and subscriber benefits, though neither will be able to cut out the middleman required for internet service.

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Other than these predictions, I don’t see much else happening at E3. The past few years have been pretty lousy in terms of announcements and reveals. The widespread adoption of the internet has allowed many users to track down hints of games well before publishers are even ready to talk about them.

There has also been some pretty harsh backlash against companies using fake trailers to promote their games. Gearbox and Ubisoft have come under fire for the way they lied about Aliens: Colonial Marines and Watch_Dogs, respectively. I get the feeling that most companies are going to shy away from pre-rendered trailers in favor of showing live gameplay on stage.

Either way, I don’t have much interest in E3. I just wanted to write a sort of jokey blog about what I see in the industry. Maybe I’ll get lucky and have a few of these predictions come true. I’m not much of a prophet, however.

 

 

Re-Release: Definitive Edition

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This isn’t a blog about the influx of re-releases we’ve been seeing this generation. This isn’t even a blog about how I dislike GOTY/Definitive releases of games that I spent too much money on. No, I’m more concerned with the titles that publishers see fit to attach to their games.

In what world is Tomb Raider on PS4 or Xbox One the “definitive” release of the game? Does it have support for 4k resolutions? Can I use my mind to control everything? Does it include everything the sequel did better?

This kind of problem is something I noticed at the beginning of the current gaming generation. Nintendo stated that the philosophy for the Wii U was centered around the individual. That is what gave the moniker of “U” to the console, as in “you”.

At the same time, Microsoft dubbed their next console the Xbox One. Since it was going to be the sole box underneath your television (or at least the main attraction), they named the console after being a one stop destination for entertainment.

While that’s all fine and dandy, what does it tell consumers? When you use ridiculous superlatives or descriptors for your products, it confuses people. Xbox One sounds like someone referring to the OG Xbox. “Definitive” Edition implies that there will not be another release of the game or that it cannot become better.

As I stated above, you can do better. You can always do better. It’s the reason why a film like Blade Runner has 5 different versions; Ridley Scott wasn’t satisfied with the end result until nearly 30 years later (granted the studio kind of fucked his movie, initially).

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Stop fucking with my movie!

As stupid as it may be to re-release a game with little to no extras, at least Nintendo hasn’t tried to disguise the fact. Both of their HD Zelda ports have simply been named “HD Edition”. That isn’t even entirely true, as facets of the game have been tweaked for better playability.

Still, one can know exactly what they are getting with that. If you don’t care to have an HD version of a game you enjoy, then you don’t need to get it. You won’t feel cheated out of missing something or sad that you spent money on downloadable content that is now included with the base game.

Sleeping Dogs happens to be the worst of them. Not only is the original PC version better looking, but the original console releases were pretty bad. They certainly ran decently enough, but they looked awful. Textures were flat, load times were horrendous and the game felt too slow.

Now there is a “Definitive Edition” for PS4 and Xbox One and it feels much closer to the PC original. This just sucks for console gamers who spent $60 for the base (unacceptable) game and $30 for the (completely useless) season pass. Why not just delay the game for another year to launch on next-gen consoles?

Capcom seems to be going with a more archival approach, but how many times can someone willfully buy Resident Evil 4? Not only did you just come out with an HD version of it, but there is literally nothing you can add over the final PC release.

For that matter, next-gen consoles cannot output at 4k resolution, so when are we going to get 4k remasters of these games? Are those going to be “Ultra HD Remasters”? Will there be any sense in selling the same product across multiple generations?

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Leon looks so much better!………………..

Not to come off as a PC Elitist, but that format never had a problem with re-releases or “enhanced” versions. Games on PC were essentially required to support multiple resolutions and eventually came with HD support out of the box.

1600×1200 might not sound like an HD resolution, but it actually has more pixels than 720p (and, vertically, 1080p). The picture format may be relegated to 4:3 (or a square), but it produces a crisp, clear picture that consoles still struggle with rendering.

Consoles will always be locked to the hardware they were created with. That may allow a developer to push their technology to the max, but it clearly doesn’t produce an end result that is “definitive”. A newer console will be able to run that same game with better clarity.

On PC, you never have to rebuy an older game just to experience it with smoother gameplay (there are some exceptions). Just upgrading your hardware a little tends to increase fluidity in controller response. It goes a long way to making less graphically demanding games feel beautiful.

Yet consoles are stuck with their fixed hardware and games that end up falling short of the mark. Then the next generation begins and we’re saddled with an “Ultimate Edition” or “Remaster”, etc. It’s pointless; just stop calling your games that.

Mojang has it best with Minecraft. This is the PS4 Edition. This is the Xbox 360 Edition. You aren’t getting more or less stuff (disregarding the console exclusive packs), you’re just getting it for your platform of choice. It’s title is clear, concise and free of bullshit lies.

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No shit here.

So developers, just stop lying to us. I don’t care if you’re compiling all your DLC into a new package. I don’t give a shit if this is a “better” version of a previously released game. Just stop claiming it’s “definitive”; we all know that is horse shit.

Series I Love – Super Mario Bros

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One cold, snowy day in 1992, my father decided to let me and my sister try out his NES. My mother had gotten the console as a first Christmas gift for my father and he liked to hide it away so we kids wouldn’t break it. Little did I realize, but his choice to let us touch that console would change my future.

I remember him going behind the television and fiddling with the coaxial cable. We had the RF/switch for our NES, so connecting it was as easy as pulling teeth (almost literally). After that, he switched the television to channel 4, dialed the nob and we were set.

Well, not just yet. The console didn’t display properly, so he had to remove the cartridge and blow into it. I never thought to question why at such a young age. I just took all of these steps as gospel. After “cleaning” the cartridge, my father put it back into the NES and we were golden.

He gave me the controller and tried to explain how Super Mario Bros. worked. I was 4 years old at the time, so needless to say, his words went completely over me. I saw the bright colors and a funny looking guy and proceeded to press some buttons. He walked to the right and the screen moved, so I just assumed that was it.

I walked into the first thing I saw. I can’t tell you what I was thinking, but I clearly had no perception of what an enemy was. My father then took the controller away from me, assuming I was an idiot (not in reality, I just got sad). I cried a bit, but I didn’t give up. I was entranced with this game.

24 years later, I’m still fond of Super Mario Bros. The fat, little, Italian plumber and I have basically grown up together. I’ve played all of the main Mario titles and a majority of the spin-offs. Seeing his face and hearing his voice is like comfort food to me.

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Some of the happiest memories I have are from Super Mario Bros. 3.My sister and I would trade turns for hours on end. The game seemed so incredibly massive and creative. Each world had something different about its design and the ability to store power-ups made challenging areas less painful.

Not only was the design more refined than previous entries, but having Luigi tag along and help progress just felt right. The original game basically mimicked an arcade machine by having each player make individual progress. Super Mario Bros. 3 felt like the first time cooperation was put into a game.

A few years after first picking up a controller, the Nintendo 64 was unleashed on the world. Being 8 years old at the time, I was completely floored. I couldn’t believe that we were moving into the third dimension so fast.

Nintendo was always the king of promo videos (their adds for Donkey Kong Country and StarFox 64 are ingrained in my mind), so I remember watching the Toys’R’Us video for Super Mario 64 about 100 times. I hung on every word the developers were mentioning. Mario was becoming more like a stuntman and a fighter. His moveset was expanding.

Not only his repertoire of attacks, but the world he was traversing was growing. Levels were becoming more vertically inclined. Mario could wall jump, ground pound and long jump; he felt like the crazy kid that I was. I was always loaded with energy, so I used to pretend I was Mario and jump around my backyard.

The wait for Christmas in 1996 was excruciating. Since I already figured out Santa wasn’t real, I knew my mother had the console in her bedroom. She hid that thing better than a drug lord dumps a corpse. I never even caught a glimpse of the box, despite her concealing it for 3 months.

When I did eventually get my hands on Super Mario 64, I felt like my life had changed. I was mesmerized by what I was playing. I couldn’t get my head around how such a game was made, let alone conceived. It felt like my world and video games were becoming one.

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The last time I felt such a way about Mario was with the release of Super Mario Galaxy. I wasn’t too big on Sunshine, but I played it and New Super Mario Bros. I had begun to gravitate more towards the spin-off games like Paper Mario and Mario Tennis, yet I had a feeling that Nintendo was slowly running out of ideas.

Super Mario Galaxy came out during my sophomore year of college. I went to school in Florida, away from my home in Connecticut and my Nintendo Wii, so I felt the sting of disappointment. I had to wait months to even try out the game, so I felt a bit empty. It didn’t help that my friends at school were jerks; I couldn’t seek comfort in the guy who had been with me my whole life.

There was a glimmer of hope, though! An online friend of mine who lived in Florida had just bought the game. He was willing to pick me up and have me stay the weekend. I was ecstatic. Not only did I get to hang out with one of my best friends, but I would finally get my hands on Super Mario Galaxy.

The opening cutscene that set up the story of Rosalina and the Lumas brought me to tears. It felt like Nintendo realized how cherished and special their mascot was. It was like they recognized the power this juggernaut of gaming had over the imagination.

The game was also thoroughly in love with Super Mario Bros. 3, something I attribute to Galaxy being the third 3D Mario game. I was sold; this felt like what I had been missing all those years. Platformers never really died down, but no one had made as creative and joyful a game as Nintendo did with Super Mario 64.

Galaxy pushed the limits of what could be done with 3D level design. It even utilized the Wii Remote in a method that didn’t feel so gimmicky. It had some challenge, an unlockable character (in the form of rising star, Luigi) and a truly incredible soundtrack.

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Since that day, Mario has been in some mediocre games and a few truly amazing ones. Nintendo just loves banking on nostalgia, a design philosophy that may potentially hold them back. When Nintendo EAD Tokyo is given the reigns, Mario is unlike anything else. The other teams kind of phone it in.

If the Mario series truly were to end, I wouldn’t mind capping it off with Super Mario Maker. Having the tools to create a brand new Mario adventure in my hands is something my younger self would have killed for. To have the kind of vibrancy and joy that my 8 year old self had would be overwhelming.

I’ve grown a bit cynical over the years, but Mario has always been there to bring the happiness back. He still has a zest for jumping and bouncing, even if his “love”, Princess Peach, is an airhead. How many times can one person really be captured?

Regardless, Nintendo isn’t going to let their mascot bow out. I won’t turn away from him, either. Until I can no longer physically hold a controller, Mario will always be a part of my life. To remove him would be like asking me to kill my childhood.

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Here’s to another 30 years!

Series I Love – The Legend of Zelda

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When I was younger, picking which games I wanted to play was simple. I was a pretty damn spoiled kid, so I usually saw something in the store and my mother bought it. While she objected to some things, she typically got me anything my heart desired.

Walking into our local Toys’R’Us one evening in 1998, I happened upon a flyer for an upcoming game called Zelda. My reading comprehension wasn’t as astute as now, so I didn’t even catch the subtitle underneath. To me, the golden sheen and shield crest were enough to hook my interest.

Over the next few months, I played my N64 as usual and kept my obsession with Goldeneye 007 going. At such a tender age, nearly any game would get its hooks into me and engulf my imagination. I kept thinking back to that sword and shield and wondering what dangers awaited me.

As the release date drew closer, Nintendo began their marketing campaign on TV and in movie theaters. I distinctly remember sitting in the theaters and seeing the “WHILST THOU SUCK?” advertisement. It put a fire in my eyes and made me determined to prove those ads wrong.

A night or two before the games release, I heard from a GameStop employee that the cartridge for Ocarina of Time was going to be gold. My little mind was blown. I couldn’t let this thing escape me. I needed to have this game in my collection. It felt like a rite of passage.

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After getting home with the game, I couldn’t wait to play it. I nearly ripped the box apart with excitement, but I saved my enthusiasm for the journey. I didn’t want to sully the experience by destroying its case.

As soon as the first chords of the theme played, I was in love. The game felt legendary even without its namesake. For 10 year old me, this was the most important game of my life. It was almost as if I became an adult as I stepped in Link’s boots and set off to save the land of Hyrule.

I had never played anything like it at that point in my life. My childhood was full of video games, but the 90’s were dominated by platformers and beat-em-ups. Fighting games were a big deal after Street Fighter, but not many besides that and Mortal Kombat stuck around.

Something like Zelda encompassed all of the exploration I loved from Mario with puzzle solving and dungeon diving. It was literally being placed into darkness with some tools and being told to figure it out. You had no guide and your worth was measured in accomplishing the mind benders in front of you.

I don’t remember how long it took my younger self to finish the N64 classic; I do know that I nearly missed the bus ride to school one morning since I was nearing the end and refused to skip the cutscene. My mother also nearly fell asleep listening to Zelda’s lullaby after a long night at work.

That same year, Nintendo had a double whammy for young me. A colorized version of the first portable Zelda title, Link’s Awakening, was released for the Gameboy Color. I always brought the device with me to school for recess and the bus rides, so clearly I had to have this other Zelda title.

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When I’d leave home for the bus stop, I’d pack Link’s Awakening with me. From one to the other, my adventures with Link never ended. I’d sketch doodles of Link tackling foes, exploring ruins and finding treasure. I would fantasize about being in those dank caverns and surmounting the colossal beasts.

Since those games, The Legend of Zelda has become my favorite series. I’ve beaten each game in the series more than once (save for a couple of them) and I even get excited hearing about re-releases of past games. It’s strange to be excited for an HD version of a game you’ve finished 3 times and still own.

Even the dreaded Zelda 2 I’ve managed to complete twice. When playing it, I find the game amazing. For that matter, during any of the Zelda games, I’m awestruck. How Nintendo manages to craft such a varied world with intricate puzzles and hidden treasures is just awesome to me.

The mixture of thought provoking puzzle design and grandiose combat scenarios with a classic tale of good versus evil just keeps me coming back. I dig all of the variations the series has seen. Wind Waker is my favorite and I love bringing a friend along in Four Swords Adventures. The more recent Triforce Heroes is a solid co-op puzzle game and Skyward Sword made me a believer of motion controls.

Honestly, there isn’t a title in the series I truly dislike. I may complain about the issues that Twilight Princess has wit pacing or how superfluous most of Skyward Sword is, but I can’t get enough of those worlds. They are filled to the brim with interesting content.

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More importantly, they make me feel like my actions matter. I know that gaming has always placed your character as a hero, but those exploits weren’t as personal until The Legend of Zelda came along. With Zelda 2, Link was now directly helping people with their requests.

Running menial tasks shouldn’t be that gratifying, but I’ve always been drawn to the side quests in Zelda. Fishing for hours to get a stupid scale or holding onto a chicken and floating down to Earth is utterly captivating to me. That each activity rewards the player with something useful also makes those tasks feel less tedious.

I also just plain love exploring. Hyrule has had such a rich landscape, but even the extra worlds of Termina and Koholint are filled with nooks and crannies to delve into. As much as I may associate puzzles with Zelda, spelunking is a big part of the formula.

I’m not opposed to change and I do wish that some of the tropes would be put to rest, but I’m always eager and ready for a new Zelda title. Each one is like stepping into an actual legend. That I get to be the hero who overcomes adverse odds is just icing on the cake.

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Here’s to the future of Zelda.

Paystation 4

Going into the 8th generation of console gaming, it seemed like Sony finally understood their fans. All their mistakes with pricing and vague marketing with the PS3 were a thing of the past. Microsoft became money grubbing and lost their focus on gaming. Nintendo was being Nintendo, but promising a stronger drive to make new games.

A few years into this generation, Nintendo is the only one that remained consistent. Microsoft made a dramatic reveal of backwards compatibility on the Xbox One at E3 this year and Sony is now following suit.

Wait, let me rephrase that; Sony is now charging us a 3rd (4th or possibly 5th) time to play our old games on new hardware. I think I’ve had enough of this lunacy. Despite me strongly preferring the PS4 interface over Xbox One, I can’t believe that my older games are being resold to me.

It’s not the largest deal to me as my PS3 is still functional and plays PS2 games. Many people are not in that same boat. Backwards compatibility should be a required on all consoles, regardless of architectural differences. All those legacy consoles are not going to last forever and I’ll be damned if I’m going to keep feeding money to a company bent on making me bankrupt.

Sony has gleefully taken to the trend of re-releasing “HD Remaster” ports of PS3 games on PS4 and now the PS2 is falling in line. Instead of selling a more expensive version of the current console with backwards compatibility support (which would make sense!!!), we’re being asked to fork over $10-15 for our favorite older games.

That doesn’t seem too dramatic, but the implication is that this will be a trend. Down the line on the PS6, we’re going to be rebuying our PS4 games. Hell, it may not even take that long as we’re currently rebuying PS3 games!

Because we all asked for this shit…

What makes this so shocking is that Sony was such a stalwart for PS1 support on the PS2. It was one of the defining features of the console when Nintendo switched formats and Sega basically forgot about the Saturn. With a PS2, you didn’t need to kiss your old library goodbye.

When the PS3 launched, Sony figured that not giving gamers an option was best and decided on jam packing the system with a bunch of extraneous features. Most people didn’t need media streaming, SACD support, wireless networking and video playback; for some, just playing a video game was all they wanted.

If you wanted the prestige of owning a Sony product, you had to deal with the price and extra nonsense. You were getting a Blu-Ray player, whether you liked it or not. You were dealing with internal storage and install times despite older consoles not having that. You were making due with WiFi even if your network didn’t support it.

Granted, the PS2 forced DVD support, but Sony managed to keep the price down by including expansion ports on the system. This let Sony develop a hard drive and network port for later use and for people to decide if they wanted.  Now that philosophy is lost.

With Microsoft granting you access to your games simply by owning the 360 disc, Sony has no reason to expect gamers to jump on these PS2 remasters. What is more baffling is that Sony launched a “PS2 Classics” line on PS3 that let gamers purchase things digitally.

They also started an initiative called “Cross-buy” that allowed you to make one purchase of software and get it on every Sony console. Like that cute little game on your Vita? That’s cool; you can have it on PS3 and PS4 for no extra cost! Why is this not a feature with PS2 on PS4?

It’s hard not to immediately jump to the conclusion of, “MONEY, MONEY, MONEY!!!” It’s doubly hard when Eurogamer took an in-depth look at the first PS2 remasters (Star Wars: Bounty Hunter, Racer Revenge and Jedi Starfighter) and found that they truly are emulation. This isn’t even some new code being written for different hardware; it’s the same damn thing!

Yeah! I’ll rebuy that!!!!

I could maybe understand not allowing discs to be used as there were a tremendous amount of PS2 games, but previous digital purchases not being supported is just unacceptable. It’s downright criminal, if you ask me. For a company so prided on their dedication to their fans, this just reeks of greed.

I will not stand for it. I may not be able to speak with Sony directly, but I’m not going to buy a single one of these “PS2 remasters”. There is no point. If I give in, what’s to say that I won’t be buying a PS2 Re-Remaster on the PS5? In some cases (San Andreas), you may already be doing so.

Unless you really cannot find a functional PS2, don’t give in to Sony. Let them know that you demand to have your games back. Owning a disc should mean that I can use it; the PC format has been like that forever. Enough is enough with this remaster trend.

Indifference Be Thy Name!

Something seems off with me lately. Whether it’s because of age or general apathy towards the vacant release schedule near the end of the year, I’ve been pretty indifferent to a lot of new things happening.

Fallout 4 launched last week and I don’t care. Spectre just came out in theaters and I thought it was pretty mediocre. Guitar Hero Live has been getting good press, but I found the game is simply the same old thing. Indifference Be Thy Name!

At least with James Bond, you can tell it’s a bit of brand fatigue for Daniel Craig. Some recent interviews have shown that he has grown tired of the character, but I’m still unsure why he would put out another movie with that attitude (I’m guessing the extra 0’s at the end of his paycheck helped).

It can’t just be my cynical attitude towards Hollywood, because I also saw The Peanutsand thought it was pretty good. I believe MGM is constantly battling with whether to reinvent Bond or stick to the same old formula. Sadly, Spectre just feels like a continuation of Roger Moore’s films.

I was never big on Fallout 3. I loved the introductory sequence and was blown away by the scale of things, but none of the missions really added up. The ending felt rushed and even your choices were stuck in a binary process. You couldn’t do a moral grey, just black and white.

My favorite memory from the game was running with your dad and getting hit by a god damned fatboy. That was intense. Otherwise, I just remember the game looking average and being a stripped down shooter and RPG. It was a cool combo, but the game was basically Oblivion with guns.

I also used to be a gigantic rhythm gaming nut. I played all the Guitar Hero games up to 5 (as well as Aerosmith and Metallica) and played each Rock Band game (including the preposterously stupid Lego one). I even still own DJ Hero. I just feel nothing with GHLive.

Yeah, I want to play this instead of some classic rock…

The addition of the lower fret is kind of neat, but I can’t wrap my head around the icons for Black and White buttons. For some reason, I keep reading White as if it’s on top. I know that is more of my problem then the game, but what isn’t my issue is the lackluster presentation.

The FMV sequences are pretty stupid. It’s funny to watch someone else play, but they are completely pointless in the midst of you grabbing the controller. Not only that, but those transitions are not seamless; the damn screen flashes blue between “Awesome” and “Poor” performances. It’s really distracting.

Rating a setlist is always going to be subjective, but I’m just tired of these games front loading all the horrible songs to make you work for your favorite tunes. I like the idea of GHTV, but the menu system loves explaining every detail with excruciating clarity. I just want to play the damn game.

In all fairness, it isn’t a bad game. In the intervening years, I’ve managed to pick up an actual instrument and learn to play. I’m a decent bassist and going back to Guitar Hero, I just want to play my bass. The controller is so light weight and flimsy that I don’t feel like a musician; I just feel like some tool with a toy.

Even with this blog, I haven’t had much to really say. I’ve been playing some neat games (and fucking WWE 2k15 for asinine reasons) and everything is cool. I have a Mega Yarn Yoshi and La-Mulana is kicking my ass. There really isn’t much I can write about.

Yeah?! Well, fuck you!

As fun as a game like La-Mulana is, there really isn’t any deeper meaning to it. I like the design and the philosophy behind it’s difficulty, but it’s just a really well made retro throwback with some punishing moments. It’s great for people like me, but not the general public.

I’m mainly worried that my lack of motivation is a sign of something deeper. I’ve been out of the loop with major game releases for awhile now. Metal Gear Solid V was a fluke for me, in that regard. It was a series I had fallen in love with, where Fallout and Call of Duty are just games that are in my past.

Even Xenoblade Chronicles X doesn’t appeal to me. That is insane, as the firstXenoblade Chronicles is one of my favorite RPGs and Wii games. I should be excited, but I just don’t care. If I get it, it won’t be for some time and I think I’ll manage without.

Oh well; I suppose one cannot always have some topic to bring up. I didn’t feel like leaving this blog empty in November, so this is what I came up with. I promise my next blog will have more of a focus to it.

In the meantime, have a picture of Yoshi with Hogan.

Yearning For The Past

Nintendo has made a habit of banking on nostalgia. For the past few years, nearly every single one of their games is firmly rooted in the past. Mario has been refining Super Mario Bros 3 since the New series launched on Wii and Super Smash Bros. is basically a celebration of everything old.

Yoshi’s Woolly World is, essentially, a touched up version of the classic Yoshi’s Island on SNES. Instead of falling head over heals, though, I find myself indifferent. Every chance I get to play the game, I end up bored after 8 levels.

That isn’t to say the game is bad; far from it, actually. It’s a well crafted and hyper polished adventure, but it lacks creativity. It lacks soul; there is no passion and the game coasts along at a lethargic pace.

Is that a bad thing? Honestly, I cannot answer that. For some, the deliberate speed of the game is what makes it enjoyable. My sister finds the game very captivating, despite being easy for her. She loves that nothing is thrown at the player that requires dexterity or mastery of the game mechanics.

As for me, I only seem to find entertainment in the graphics. The game is a sight to behold. Nintendo have truly gotten a grasp on HD graphics and I’m curious to see what the NX might bring to the table. That doesn’t dismiss how humdrum Woolly World is.

It sure is nice looking, though.

All of the cool concepts you remember from Island are in this game, minus Baby Mario. While a lot of people would call that a plus, it’s a huge detractor in my book. Baby Mario was annoying, sure, but he served a purpose; it gave you a goal.

You didn’t want Baby Mario crying because it would drive you up the wall. With him not being a factor, you tend to recklessly fly through the game with no concern for death. Yoshi changes from cautious guardian to senseless traveler.

It really doesn’t help that each boss encounter is phoned in. I haven’t seen a collection of enemies so meaningless in some time, but not a single boss battle in Woolly World is even remotely interesting. They all follow the well established 3-hit formula to a tee. Even the bosses with a cool theme (a shy guy frozen in ice) end up being boring slogs.

Mostly, I end up feeling sad. If I don’t like a game, I tend to get angry and a little rash, but Woolly World just makes me depressed. I want to enjoy it’s cute exterior and finely tuned mechanics, but I can’t sustain interest.

Level 5-6, titled “Up Shuttlethread Pass“, is what really brought this full circle. It’s theme song is immediately nostalgic and evocative while being entirely new. It sounds almost like it is being played on an old phonograph player; I basically picture the entire scene in black and white.

It makes me yearn for my youth. I remember powering up Yoshi’s Island for the first time in 1st grade, sitting in front of my 27-inch RCA CRT and being blown away at how different the game was from Super Mario World.

What was with SNES and sports themed enemies?

There once was a time when Nintendo was willing to take risks with their franchises. Nintendo EAD could have easily churned out another average Mario game and called it a day, but they decided to focus on his new sidekick.

In turn, the entire dynamic of the game changed. No longer was everything based on physicality and secrets; Yoshi had the ability to stock ammo and explore his world without a time limit.

Not wanting to entirely ditch power-ups, Nintendo created a whole new way to experience Mario’s various abilities; transformations. Yoshi was able to become a helicopter and a mole and see a completely unique aspect of the levels.

In addition to that, there were also puzzles involving rolling blocks, hidden coins, soft dirt platforms and fuzzy seeds that intoxicated Yoshi (somehow). It was unlike any game ever released at that point. It’s art style was also wonderfully realized and brought to life with imaginative music.

For a child 7 years old, it was fundamentally like looking into a new world. It grabbed me with it’s cartoony style and kept me hooked with it’s innovation. It expanded my mind to different gameplay; I now didn’t expect the same thing from Mario with each iteration.

Sadly, it seems Nintendo never fully realized what made Yoshi’s Island so special. Each new game has tried mixing up the visual style instead of expanding the mechanics. The closest we’ve ever gotten to a truly progressive sequel was Yoshi’s Island DS. That game worked because it kept the original foundation and tinkered with some changes.

The game feels weird on Wii U. I can’t understand the screens side by side.

Every other title, from the disappointing Yoshi’s Story right up to Yoshi’s New Island, have gone backwards in terms of progression. Instead of trying to find a new way for Yoshi to interact with his surroundings, Nintendo has relied on gimmicks. In New Island, Yoshi has giant eggs; in Woolly World, everything is made of yarn, etc.

Maybe the whole problem with the Yoshi series is that our youth keeps reminding us of how great the idea can be. When given something so different and so well done, it’s hard to ever repeat that success.

Mario has maintained popularity over the years for being so boldly different with each game, up until the New series started coming along. Now, Nintendo could only inject new life into the franchise by handing it over to the players (Super Mario Maker is awesome).

Could Yoshi be saved by the same gamble? I don’t believe so. Yoshi’s Island felt handcrafted and thought-out; not a single level repeats a mechanic to the same extent. Each new element may come out of nowhere, but doesn’t appear out of place stacked next to Yoshi’s repertoire of moves. Level design wasn’t the only aspect that made Yoshi’s Island, unlike how a Mario game can function solely from it’s arenas.

Whatever the cause, I just cannot enjoy Yoshi’s Woolly World. I may love my amiibos to death, but the game doesn’t do anything for me. Well, it does make me sad, but that’s not the best thing to say about a game.

It’s a Fashion Statement!

For all the progress gaming has made in becoming more open to different demographics, the industry still has a silly trend of objectifying female characters. Be it from skimpy outfits, games made purely to sell off sex appeal or women being treated as literal rewards, it’s safe to say we have a long way to go before being accepting of the opposite gender.

While I understand that, in real life, some women enjoy the attention that their bodies grant them, a lot of women don’t derive that same feeling. For some, they wish that their thoughts and personalities would be the attention grabbers instead of their “assets.”

When it was recently revealed that Nintendo had “censored” costumes in the recently released Fatal Frame: Maiden of Black Water and the upcoming Xenoblade Chronicles X,, people were upset. How could Nintendo of America be so ignorant of artistic intent? Why don’t they just let us Westerners have the same content?

While I get that choice is a big part of freedom and freedom is important in fostering creativity, I just don’t see the purpose of the original “uncensored” costumes. For starters, why would you ever wear skimpy clothes into battle? Second, why do the women look like whores when the men look like they are doing a load of laundry?

There isn’t the same kind of representation going on between the two genders. This may come down to me being heterosexual, but I don’t see any of the male costumes inXenoblade Chronicles X as being particularly sexual. The female ones, on the other hand, make the characters look like high class hookers.

The changes in Fatal Frame make more sense as the replacement costumes actually represent some of Nintendo’s franchises. The original costumes are wildly out of place in a horror game, but being able to play a game on a Nintendo console as a Nintendo character fits pretty well. Samus even explores areas similar in tone to Fatal Frame, so that is a double win.

It just plain makes more sense.

The biggest thing we need to look at is whether or not this constitutes censoring. If the developers of the original content have no problem with the change, then no one else should be complaining. I’m fairly certain that Nintendo of America is checking with the respective developers before giving the okay to dramatic changes, but I could be wrong.

There is also the discussion of what is being changed. Having a 13 year old parading around in a thong and bra is a bit strange, regardless of what culture you exist in. Even in Japan, which everyone mistakenly believes is pro-sex, that kind of imagery is looked down on.

There exists a sub-culture of people in Japan called otakus. I don’t believe I need to explain what that is to anyone on this site, but regular citizens don’t accept otakus. They are seen as socially awkward, gross and repulsive. A lot of “artists” manufacture content to manipulate these otakus.

It’s similar to the English term, “trainspotting.” It also blends with “hikikomori,” which is a Japanese term for a social recluse. These people retreat from society for an extended period of time, often living with their parents and taking an extreme obsession with a hobby. That hobby usually ends up being anime and gaming.

Why go outside when my life is all in this room?

The types of costumes that are being “censored” are targeted at these people. It’s preying on the weak to make a quick buck. It’s pretty despicable, if you ask me. It also doesn’t have anything to do with creative freedom or expression.

Another reason for such sexualized costumes deals with Japan’s birth rate. For years now, Japanese citizens have been shunning marriage and dating. Their lifestyles place perfection and job performance above all else. Not being affluent and not attaining the best possible life earn you disappointment and condemnation from your elders.

Japanese citizens don’t have time for silly concepts like marriage and children. As such, the birth rate has been falling. Just last year, the mortality rate in Japan surpassed the birth rate. If the trend continues, the Japanese will become a nation of only adults.

Anime artists and game developers include hypersexualized content to spur arousal in their consumers. While it may inadvertently reinforce negative stereotypes of body image, it’s being done in the hope of boosting birth rates. I’m pretty sure most nations don’t look forward to the day of their extinction.

That’s what we’ll call it!

So the debate about this censorship isn’t black and white. I feel strongly that such costumes should be removed from games like Xenoblade Chronicles X as they serve no narrative intent. If it were Xenoblade Swimsuit Chronicles X(XX), then we’d have a different story.

The same goes for Fatal Frame; those costumes have no purpose being in a horror game. When you go to investigate a scary mansion in the cold wilderness, you tend to dress in layers. I would imagine donning a bikini and frilly skirt wouldn’t retain heat.

Is there ever going to be a correct answer to this question? Not really. Many people hold different values on what constitutes negative or damaging imagery versus playful extras, but we need to get our facts straight. Japan isn’t a sex loving, orgy induced frenzy of a nation.

There is also some reason behind a lot of the content in anime and gaming. Along with that, the hobbies that a lot of us love aren’t necessarily seen in a positive light by a majority of the Japanese.

Whether or not you agree with me in my thought that the removal of these costumes is good, you shouldn’t walk into a discussion without knowing all the details. It’s time to stop spreading false information and getting down to the real core of this topic.

Meaningful Content

In the last generation, we saw games getting bigger and bigger and budgets ballooning out of control. As publishers were looking to get as much return as possible, games became bloated with side-quests that had little to no relevance to the main story mode.

Just this year, we have been given three games that do away with such fluff. Bloodborne, The Witcher 3 and Metal Gear Solid V. In each game, every bit of content feels just. You never waste your time in areas that plaster up invisible walls or grant absolutely no benefit; if you undertake a side-quest, the reward is readily apparent.

Take MGS V for example. At the very beginning of the game, you are unable to understand the soldiers in Afghanistan. This pretty much makes getting information a pointless endeavor. After finishing the first mission, you are informed of translators in the area that can be rescued. Doing so grants you the ability to understand the language in that area.

It’s an immediate payoff that gives the player a sense of accomplishment. Instead of including an activity because it’s cool, the developers thought to award some palpable sense of achievement within the game itself.

The Witcher basically has stronger plot points in the side missions then the main quest itself. One very early side quest has you tackling the mystery of a man’s wife who has gone disappearing. You get to be a detective and figure out what occurred and the impact this has had on the man’s life.

Did you take her?

It is supremely rewarding to dig into such a rich story. Most side quests can be boiled down to a few simple points; the game needs to be longer and the player can skip these. Since developers don’t want the player to “miss” any important content, one can reasonably skip the side stuff and still get the entire story.

Even before Wild Hunt, The Witcher 2 had an entirely different second act based on some decisions you made at the end of the first. It was a radical departure from what mainstream, triple A gaming was doing. That is getting a bit side tracked from my point, though.

With Bloodborne, while the world may not be entirely open as in Witcher and MGS, you can tackle most of the boss creatures in an order of your choosing. There are even a great few that you can entirely skip. A lot of the work in getting to them is shrouded in obscurity and requires one to think outside the box.

This leads to optional areas that are just as thrilling, frightening and meticulously detailed as the main game. More so, with the narrative being ambiguous and vague, the game encourages you to seek out as much information as possible. Without being told to, you are actively pushed to see the full picture.

This subtlety to approaching story in a game makes Bloodborne utterly captivating. Coupled with the brutal combat mechanics and steep difficulty and Bloodborne becomes a game that can consume your life for a good month or two.

Ah, yes, a good month or two….where is my cranberry juice?

I do remember games being like this in my heyday. Games on the NES, SNES and even PS1 were more about creating experiences that rewarded player skill and investment. Not every game was supremely long, but every bit of content was worthwhile.

I can’t think of a Mario game where I would want to skip levels (other then 8-3 in the original being a bitch). Shooters like Quake were so morbid, dark and terrifying that I was compelled to press on to see the corridors that lie ahead.

Then you look back at the last few years of gaming and you see pointless padding. Watch_Dogs, Assassin’s Creed, Grand Theft Auto, Tomb Raider; newer entries in these series had so much pointless content that gamers gave up caring. Why do I want to climb towers in every city just to spot “important” locations? What benefit does collecting feathers or journals or hidden packages have for me?

I was amazed when playing Sleeping Dogs and found out that a lot of the side quests have a tangible benefit to the player. Finding the hidden shrines would increase your maximum health. Getting all of the statues in the story missions unlocked extra finishing moves for your combos. It was wild to think that side content could actually mean something in the modern era.

Then you look at inFamous: Second Son and all of the side stuff does basically nothing. Sure, you can level up your skills, but the game is so easy that nothing else over your starting arsenal is really required.

It seems that for as big as we can make game worlds, there is some nagging need to include as much stuff as possible. It’s as if the game isn’t engaging enough, so developers have a desire to distract you from how mediocre it is.

“You’re right! I don’t even care!”

There are some complaints that MGS V is devoid of life (something lobbied at Ocarina of Time as well), but that doesn’t even hold water. When I actively want to explore the game world, I don’t care if hundreds of things are crawling around. I like exploring landscapes and seeing nature in a natural state.

Taking a hike through a forest doesn’t bring you to a lost tribe or hidden tomb (unless you happen to be lucky); one takes a walk through nature to escape the fast paced nature of their lives. It’s a form of escapism that brings you back to reality and the purity of nature.

It’s also not a waste of time. Even though you aren’t technically accomplishing anything, you are freeing your mind of the bullshit from your daily life. Your problems disappear for a few hours in a safe, fun and refreshing manner.

Where are all the damn side quests?

When a video game so perfectly encapsulates that (such as MGS V), why am I going to complain about a lack of visible life? I don’t want more stuff in my games, I want my games to feel more complete.

I just wonder why it took so long for developers to finally get around to making completely worthwhile experiences. I think that, in the years coming up, we’ll see more and more games that cut out all of the trappings and stick to gameplay and extra missions that actually matter.

That, or we can just look at Super Mario Maker and make our own stuff. I wish Project Spark were as open-ended as Mario Maker, because I would love to get in on manipulating my childhood memories.

Perceived Value

A strange trend seems to be emerging within the review process for games. If something lacks a large quantity of content, the score goes down regardless of the quality. For example, Dirt: Showdown was given a lukewarm reception because it’s career mode is short.

I completely disagree with that assessment. I found the game to be extremely enjoyable and a decent attempt at a Burnout style game from a company known for realism. The physics felt wonderful and the damage modeling looked amazing.

For $60 though, I could maybe see the point. There isn’t a tremendous amount of stuff to do, but the included modes and cars are furiously entertaining. Then again, I got the game in a Steam sale for $5, so maybe my acceptance of it’s “lack of content” comes down to perceived value.

Gamers exist in a world where the generally accepted $60 price point is not the only way to buy a game. That may have never been the case, but every game launches at $60 at retail whether it should or not.

I know during the PS2/Xbox/GCN era, we saw a bunch of B-games come out at reduced rates. Those titles clearly knew they weren’t going to set the world ablaze and kept their MSRP low to garner more sales.

This led to titles like The Suffering and GUN becoming hits despite not being of the best quality. One of my favorite games from the era, Psi-Ops: The Mindgate Conspiracy, was a huge failure due to launching at a full retail price point.

And possibly that “To Be Continued…” ending.

Without the expectation of “$60 thrills,” games like those are allowed to be rated fairly and given a chance to entertain. If Aliens: Colonial Marines didn’t have the audacity to launch at full price, it may have not been as negatively received.

A person’s own perception may shift that idea. Games like Dead Space and Max Payne are fairly short, but have been showered with praise from gamers and critics alike. Everyone seems to think that the general polish and feel of the games is worth their higher launch prices, even if you could get extensive experiences for less.

Bethesda had started talks about this when Skyrim was nearing launch. The director of Elder Scrolls 5, Todd Howard, stated, “I do think industry-wide we would benefit from more games out at $19 or $29. I would try more games. Because I’m not going to try a game for $60. It’s a tough decision.”

That does make sense. Without having a wide range of titles to enjoy, you begin to fall into a rut and give-up on gaming entirely. Without those fresh, different, unique games, one gets jaded to the whole practice.

Valve has done their best to remedy that situation. While Steam sales may not be the best answer, they show that any title can become popular and lucrative if given a better price.

I can even attest to it. While I wouldn’t recommend Dirt: Showdown to serious simulation racer enthusiasts, anyone looking for a rambunctious time slamming cars together will not find a better title.

Yeah, $60 is a bit much, but getting the game for $5 will give you weeks of enjoyment. That lower price lets you feel out whether the game is for you and how the online mode functions. FYI, smashing others online is a blast.

The year is 2015 and we’re still dealing with full retail price. $60 is not going to cut it anymore, especially not when disasters like Batman: Arkham Knight launch on PC and just assume $60 is correct.

I think reviewers should be looking beyond the dollar value when evaluating games. It may be easy to write in that something isn’t worth full price, but don’t let that negatively effect your perception of the game.

A lot of deserving titles will get slammed because their prices are insane. Just because the games market is a broken mess doesn’t mean the title is, too. And to developers; it doesn’t speak negatively of your game to price it at $40.