10 Best Intros of the 4th Generation

It would seem that concocting an introduction to a video game is no easy task: You have to grab the viewer's attention immediately or else they won't give you the time of day. Indeed, with the lack of restriction that modern consoles offer in processing power, many games have bowled people over with a ferocious rush of an intro - and suck enough people in only to realise that less effort went into the game design itself.

Not for me though: The best intros for me came from the 16-bit era: 1990-1995. You know, a time when games knew they were games as opposed to movies. A time when developers embraced their limitations and acted smart in order to get their point across. You may bitch about me being old but for me, intros of the 16-bit era offered more atmosphere, more grabbing of the attention and more establishment of drama than many of their more recent contemporaries.

So for today, I present my list of the 10 best intros of the 16-bit era. These may be old games but they are memorable for a reason: They all worked in some way that they managed to grab my attention and urged me to take up the game controller in hand.

So here we go:

10 - Shining Force 2 (Megadrive)

And the list commences with a burglary that goes horribly wrong.
The key purpose of an introductory sequence in any game is to set up a setting and introduce both important characters and key elements. And Shining Force 2 pulls this off with flair: some key characters are established (not least of which Slade), drama and a sense of quest are both set up and a general mood of spookiness is maintained throughout - in the form of the lightening flashes, the weird music and the eventual appearance of the demonic figure. Indeed, the strongest element at work here is the suspense and the gradual sense of approaching calamity.
In this list, this introduction is the longest - and could very well be the longest introduction ever of the 16-bit era. It may seem nothing special to someone from the current area where ultra-long introductory sequences are commonplace but less has been said in eight minutes. In Shining Force 2, we see something so simple that eventually triggers a massive adventure. Every quest has to start somewhere.....


9 - Darkstalkers (Arcade)

Erm..... Morrigan.....
Seriously though, Attract Modes are integral to Arcade games: You need a decent intro to make yourself stand out from the other arcades alongside and make sure it is the gamer's money going into you - not the others. So what does Darkstalkers do? Offer up a topless chick. Well, as they say, sex does indeed sell: One can only how many people would've been sold over seeing Morrigan's curves.
Other than that, there are some nuggets of interest that maintain attention throughout the intro: I like the title appearing over the thunder effects, the panning shot of the genuine freak-show of fighters, the title's eventual appearance with the descending text, the movements of Morrigan's gaze and, of course, the silhouetted Dimitri.
So in the end, this intro won me over with some rather subtle use of imagery. And Morrigan.


8 - Castlevania: Rondo of Blood (TurboGraphix)

The Castlevania games have a reputation for building a degree of spookiness onto the player - you are, after all, traversing through a haunted castle so anything less simply would not have done at all. And the intro to Rondo of Blood establishes this spookiness right from the word go: We see a bunch of knights sacrificing a maiden which subsequently resurrects Dracula. I downloaded Rondo of Blood for the Virtual Console and I was surprised to see such a macabre intro - I never knew one such existed in the 16-bit era.
Indeed, a sense of unease is established with the toiling bell and the narration making it clear that people are rejecting peace and prosperity in favor of chaos - even to a point of going to an effort to end the peaceful age.
Of course, as made clear in the translated video above, the translation is peculiar and the German narration sounds ridiculous in it's sternness. But in the terms of spookiness, unease, drama and general macabre, you can't go past this.


7 - Chaos Engine (Amiga)

Sometimes, simplicity works best. Through text and minimal imagery, this intro introduces the characters who make up the game: Thus we meet a monster and learn just how big a threat it poses. We also meet six gun-totting mercenaries, all geared up to take on the titular baddie. And...that's pretty much it.
The reason why this intro works is that it establishes the six selectable with a portrait and passage of text. And within the confines of these two elements, the mercenaries certainly show plenty of character - we may not be presented with much more in the way of information about these dudes but what there is, is indeed enough. Perhaps maybe modern game developers should take note? Indeed, I for one would like to see how these six mercenaries would last in a current-generation game where fully-realised scripts and voice acting are the norm....
So yes, I like this intro for the way it introduces it's cast - the accompanying music, provided by the late great Richard Joseph, is a treat too.


6 - Jungle Strike (Megadrive)

Intros need to establish a sense of drama in order to grab the player's attention and to provide them with a sense of purpose for the action ahead. And this is shining example of that principle.
Two dudes blow up an island in the Pacific and immediately afterwards state their intent for revenge on the US: one for his father's death and the other for interference on their drug trading. Thus we meet the bad guys and learn their motivations - who are, of course, pissed off enough to use nuclear weapons upon Uncle Sam. Further drama is established through then cutting to a news broadcast and finally settling on the player character swinging into action. Thus, we see a chain of events which explains everything - all held together with some great music which furthers the sense of urgency. I however like the imagery which are made to resemble that of a comic book. I also like the laid-back attitude of the player character responding to things as they unfold before him.
See? This is how it's done: In a few short minutes we meet the bad guys, we see what they are capable of, we see what has inspired them to do what they are doing, we see the effects and then we meet the player character and see just what type of character he is. No in medias res, no unnecessary padding, no complexity and nothing coming all out at once. See? Simplicity works for a reason!


5 - Alien vs Predator (Arcade)

Again, an arcade game providing an attract sequence that demands attention - and again, provided by Capcom no less. Immediately, the first thing that grabs attention is the music: A theme that suggests the mood of the game without a single image: Impending doom, invasion from an unstoppable foe and unexpected help from what could be the lesser of two evils. Indeed, I remember being a kid and hanging around the cabinet just for the music itself.
The images also work great: I like the changes of perspective going from lunar orbit, to a computer screen before ending to a battlefield. I also like seeing the hordes of Aliens, the sense that the two marines are the only opposition left standing and the sudden arrival of the Predators.
Indeed, what makes this intro work is the drama of encountering an unstoppable foe who outnumbers you a hundred times over and, generally, being part of a battlefield where the main combatants are two intruders to your planet leaving you, the human cyborgs, caught in the middle. In fact the use of the sentence 'A Living Hell' on it's own, says a lot.
And the fact that I was willing to use so much coinage on this game in my teen years suggests the mission of the attract mode, a well and truly successful one.


4 - Super Metroid (SNES)

Whilst the pre-game set up of Super Metroid with Samus' narration is an impressive sequence by itself, the part I will forever remember is the title screen. In such a short space of time, we see three corpses - one clearly being a child - and the Metroid linked up to a machine, being the only light source in an otherwise darkened room. As a result, a sense of drama is established in the most subtle of ways: we the audience are left wondering who are (or were) these people? What happened to them? What is the Metroid doing there? Throw in some extremely creepy music and we have a degree of interest triggered within the player and just what awaits them ahead. Its a triumph of subtlety - and the best bit of all is the pay off: In the first location, Samus encounters the machine but this time, the Metroid is missing.
Super Metroid may be best remembered as a game of subtle moments and a sense of unease - but the most memorable moment of all is when all of these are established masterfully at the very beginning. No wonder many modern game developers keep looking to Super Metroid for inspiration.


3 - Final Fantasy 6 (SNES)

The first five Final Fantasy games (hurrah for alliteration!) had a deceptive undercurrent: It all looked bright and cheerful ate first glance but underneath there lurked some sinister elements: Somber musical pieces, as many sad endings as happy endings and permanent deaths of party characters. Thus, the sixth Final Fantasy immediately announces it's intentions from the start: Through a dramatic organ and a drab colour palette, it becomes clear that the seriousness has come to the front and the colourful back-drops of the past have been placed aside. It is interesting how such a change in mood can be pulled off so well - indeed, one can only wonder the sense of surprise on one who'd been weened on FF4. Indeed, seeing as FF is a game series that provides variations on a theme, when they do something completely different it is worth sitting up and taking notice.
And that's not the only FF convention turned on it's head: In the expository text that follows, we see magic, one of the FF hallmarks, has been discarded and technology has taken it's place. Further drama is established with certain people wanting recover the forgotten art of magic and the potential threat of repeating a previous calamity. No doubt about it, FF6 certainly adds a lot of conflict right off the bat.
However, the most memorable aspect is the credits sequence, where we see a trio of mechs advancing through the snow, accompanied by a haunting rendition of Terra's theme. This is indeed, one of most memorable images of the 16-bit era and, I for one, certainly had it burned into my mind the first time I saw it. I guess it must be one of those videos where everything clicks together to produce a solid whole - I can't really describe why it's so memorable: I guess it's one of those perfect moments that everyone has to see it for themselves.
All in all, the march sequence is truly a shining example of how music and imagery can join forces to produce something that could only be described as unforgettable.


2 - Terranigma (SNES)

Whilst the US got Chrono Trigger, the UK, Europe and Australia had to settle for Terranigma. A forgotten gem yes but what an introductory sequence! In terms of presentation, this one leaps ahead of the rest. It utilizes some stunning graphics and a great choice of music, ranging from the heartbeat at the beginning to the restrained music throughout. Everything is handled in a subtle manner (an alien concept to many JRPGs) and the effort gone into it shows. The text is also compelling describing a planet from birth and the trials and tribulations of the people on it, accompanied by the brilliant use of time passing on a pocket watch. Also of particular interest is the use of Biblical motifs - which of course leads to my favourite moment: The watch ticks to twelve o'clock, the hands fall off and a numbers shift to make way for a Thirteenth hour.
Some say JRPG's are all bombast and lack subtlety but then they decide to do things differently, it succeeds with flying colours.
Terranigma may be disregarded as some to be a poor cousin to Chrono Trigger - but it sure has a lot going for it with it's use of history, it's glorious music and it's ideas. All of these are brought together to bring the finest introduction ever on the SNES.


And my favourite intro of the 16-bit era is....

1 - Moonstone (Amiga)

So what makes a memorable intro? Awesome visuals? Unforgettable music? The establishment of what must be done in the game itself? The setting being built up? Or the creation of unease towards the viewer? How about a combination of all of them?
Ladies and gentlemen we have a winner: May I introduce Moonstone. A game from the Commodore Amiga that never went any further. Maybe it was the blood and gore that predated the sensation caused by Mortal Kombat. Maybe it was made in a place that wasn't the US or Japan. Or maybe the game wasn't that remarkable. Whatever: The intro itself was enough to make the game. Indeed, I remember being twelve years old and thinking this was actually quite a freaky intro - In fact at the time, I never thought it possible that someone was actually doing this type of thing. Moonstone is a game that has a sense of dread lurking throughout and this intro encapsulates it perfectly. Throw in a perfect mix of graphics, unsettling music (again provided by Richard Joseph)and impending doom and you've got a winner.
So many memorable moments, I don't know where to start: the music that comes creeping in, the pan down from the moon to the forest floor, the sudden clash of multiple drums, the druid's chanting, the knight's hand moving with nervousness and the concluding piece of text where the target in spelled in a single, capitalized word. It's amazing to think the developers accomplished so much with such, by today's standards, limited hardware. I don't know how many times I've seen this intro but it still works everytime.
I recall the first time I played Moonstone: I was blown away by the intro but never got any further due to my A1200 frowning upon A500 technology. It was only many years later that I managed to play the game but, with high expectations brought by the intro, I came away disappointed. Still, at least there's always the above video.....

So that's my list of best 16-bit intros - artifacts from an era where people know what they wanted to get across and did it using the tools at their disposal.
So what I do think of modern game intros? Not much I'm afraid: If the serial Unskippable is anything to go by, they just keep growing increasingly ridiculous: It's all about the spectacle, where generating gamer interest is through flashy graphics and creating confusion - interest that ultimately leads to mockery.
Some people got it right the first time - now it's a matter of time before we suddenly remember how it's done properly.

The Zelda fanart to end all Zelda fanarts

This came across my way recently and I simply couldn't go past it.
There have been but a few things that have made my jaw drop in this life. This is one of them.

Ico head

I heard today that Johnny Greenwood, guitarist of Radiohead, thinks very highly of Ico.

It made my day :)

Showing one's age

I use my Wii almost exclusively for the Virtual Console (and I swear I'm not the only one who does so). For me, it is the means of catching up on stuff that I missed out on the first time around - Indeed adulthood certainly makes way for a whole lot more freedom than one's teen years.

However, it is interesting to note that looking back, some games that may have seemed ace at the time haven't really aged well. The greatest offender here is Super Mario 64. Now, I've played Super Mario 64 many times and actually find it quite enjoyable. I recall when it was released it was universally praised and many people crediting it (and even now) as being the game that took the then new technology of 3d environments and made it fun. HOWEVER! Looking back at it now, the problem of the crummy camera functions are glaringly obvious - Indeed, this has been such a problem you have to wonder how Nintendo, who have prided themselves in game design, could have gotten away with it. And how many people can overlook this problem to, then and now, dub Super Mario 64, the Greatest Game EVAH.



Indeed, it is interesting to consider how many games can be loved on their initial release only to be condemned (with venom) years later. The backlash is interesting indeed, exhibit the kind of betrayal one would think they are dealing with Marcus Brutus, Benedict Arnold or Judas. Sure nostalgia may play it's part but I don't buy that: Nostalgia only provides a positive experience that people are trying to find every since but as such an experience is a unique one, such a quest is a doomed mission. And if the first few games one plays had such an important part in one's perspective I'd be playing the Commodore 64 version of Double Dragon over Beatles Rock Band but this is not the case.

It is interesting to note how many games have staying power within an industry where everything moves so quickly: Technological advancements get developed quickly and, as such, gamer's attention is quite limited and fickle. I still enjoy games from obsolete consoles (give me Secret of Mana over any recent JRPG any day) and for good reason: They work. They have great ideas, attention to detail, efficient design and a technical spark that makes the game enjoy a lifespan far longer than it's parent console.

It makes me wonder what people ten or fifteen years from now are going to think of the games going around at the present time. Compare Super Mario Galaxy to Super Mario World: they may look like they've come from different planets (pun most certainly intended) but that's fifteen years of technological advancement right there. So when you consider Gears of War 2 you have to wonder what things are going to look like in in 2025.....

Go you good thing go

Those who follow my blog will note I have been a champion for the Virtual Console for, if anything, providing me the opportunity to try out substantial games that I missed out on the first time around. But the thing is I've recently been disappointed with releases for the VC.

To me, there are a lot of great games available on the VC, but they share space with a lot of other games that are just rubbish - thus leaving a lot of more deserving games out in the cold. If the VC is offering gamers like myself a second chance why doesn't this prospect extend to the other side of the console? If the VC is built on the promise of gaming preservation, why have a lot of good games been overlooked?

What bothers me is that Nintendo have a lot of great games on the VC but an equal amount of crap games - that and the N64 games conspicuously the only console of it's generation available. It begs the question: If Nintendo have a wide access to games on obsolete consoles, why not take it further? I for one would like to see some of the Sega Saturn games released for the VC, namely DragonForce, Nights into Dreams and Panzer Dragoon Saga (sure demand will never end for a re-release of PDS but if it can be done, even if it is a straight up emulation, THEN DO IT). Sure the Saturn was a disaster in it's day but, as time tends to heal old wounds, maybe it is time to look at what did work with new eyes.
Granted the video game industry is driven by profit (like any other form of entertainment) but why not take some risks? Sure the original Final Fantasy can't compete on a technical level to it's successors, but the fact that it's appeared on the VC bestseller list says something. As the saying goes, fortune favors the brave. And the worst thing a gaming company can do is shut itself off from it's fanbase.

All in all, Nintendo have got something great going with the Virtual Console, in gaming preservation and offering second chances. It would be shame to have such potential squandered with decisions not being seen through out of timidness.

Blah Blah XBLA Blah

Still playing Dragon Age Origins (twenty days to go!)

Incidentally if anyone's interested in adding me as a friend on XBLA, you may want to look up a guy called Death Jester558

Valentine's Day

Still playing Dragon Age - this time however, I successfully completed one of the romantic sidequests. In this case, I seduced Leliana.

I've previously stated my thoughts on the romantic sidequests that seem to be a staple of Bioware RPGs so what I do I think of Dragon Age's effort? Well, I don't find it a very convincing one. If anything, I found it kinda short and my opinion on the outcome (the cinematic of the two characters getting it on) hasn't really changed from being a) rather pointless, b) lame pretensions to maturity and c) pandering to the many virgins who no doubt make up the gaming demographic. This is disappointing becuase I've played many Bioware RPGs and the romantic sidequests that proliferate in them and I know Bioware can do better.

Personally, I feel Bioware's romantic subquests worked best the first time around: In Baldur's Gate 2. They worked in the terms of length and complexity, showing a depth in the character being seduced and presenting a lot of conversations that gradually built up the romance with each step - just like in real life. But becuase gamers these days tend to have attention spans of caffeine-addled hummingbirds, nothing has come close to replicating the success of these quests. They have been instead cut down and placed more emphasis on the sex. Ironically, the only gaming romance I can think that could match Baldur's Gate 2 was Final Fantasy X - ironic considering a) it's a JRPG, b) It's not a game made by Bioware and c) it's game which offers less choices to the player.

Still I'm not willing to say that Bioware has entirely forgotten how to make a great romantic subquest. As mentioned in this blog, I've beaten Mass Effect 2 twice. Both times I was using a different Shepard, which presented an opportunity to do two completely different romances. Thus my first Shepard (male) made the effort to hit on Miranda whilst the second Shepard (female) worked to get into Thane's pants.



Ironically, I found the latter romance to be the far more compelling one. With the first romance, I felt the acting was bland - Now I wish no offense to Mark Meer but whilst his voice sounds great for an action hero type, trying to be a Rudolph Valentino just plain doesn't work. And the outcome of the romance is seeing the act of intercourse - even if some parts are left unseen. Although Miranda wearing a bra just looks more weird than enticing.....
Conversely, in the Thane romance, it's completely different. Firstly, nothing is shown - and is all the better for it. It is all conveyed through the words uttered and the actors playing them. Indeed, there is no denying the emotion involved with Thane, however accepting of his eventual fate, is now afraid of the idea of losing a loved one. Indeed, the line 'Stay alive with me' may sound corny on paper but here it is conveyed to a point where it becomes kinda touching.
Okay granted it didn't take many conversations to get to that point but this indeed offers an outcome that places subtly over flesh and puts forth an inevitably tragic angle to it. This makes this romance, in my mind, much more satisfying.
So to summarize, romancing Miranda yielded something from a bad porno whilst romancing Thane resulted in something much more successful in triggering an emotional response. Hmmm, perhaps the female Shepard did indeed get the better deal....

Ultimately though, winning over Leliana is just one of four romances offered in Dragon Age Origins. Maybe the others could offer something different? Guess it may be worth a look....

Mass Effect Will Eat Itself

I've received word that the composer of the music to the Mass Effect series has stood down. Mr. Jack Wall has now moved to pastures new and, in his place, steps Clint Mansell, a film composer noted for Requiem for a Dream, Back Swan and The Fountain.

My reaction to this change? HELL YES!
True, I enjoyed the Fountain OST (Death is the Road to Awe = awesome) but for me Clint Mansell working on ME3 represents a full circle: After all, this is the same guy who was in the late eighties/early-to-mid nineties band Pop Will Eat Itself - a band who gave us THE GREATEST GAMING ANTHEM EVER WRITTEN:

1000 Words

Still playing Dragon Age....

And since, we're talking Bioware games, a lot is resting on Mass Effect 3 with Bioware's promise that it will be effected by 1000 variables brought up from the previous games. It's ambitious but not without potential.
When I completed my recent ME binge, I played through the Paragon path, with a character imported from the previous game who went through the Paragon path there as well. BUT! At the end, I made the drastic decision and kept the Collector information for the Illusive Man. This, in spite of the 'good' decisions I made earned me the 'bad' ending. So this may make for an interesting outcome for the third game to build upon.

Also, as this is the third game in the series, there raises the issue whether it may be too late for any newcomers to appear, and accompany Shepard. Personally, I feel the loyalty missions were a masterstroke and really enabled me to become attached with all twelve of my dudes. Indeed, it would be shame for someone to hit the reset button (as the opening of ME2 more or less did) and build a new team from scratch. Personally I went to the effort of making sure all twelve of my dudes survived the suicide mission and to have them taken away from me will indeed be a slap in the face.

In particular there are two things I'd like to see:
- How just the anti-social Jack feels about saving the galaxy
- Whether or not Zaeed will succeed in his mission of revenge. Of course, I played through that particular mission with the Paragon route but it did leave the particular plot point unresolved. Sure Zaeed may be DLC but that line "You just cost me twenty years of my life Shepard!" is too potent to be abandoned

This is your story now!

Still trucking on through Dragon Age. Not a lot else to say….

Of particular note, I’m intrigued by the expansions and how they can be played through using a completely new character. I must admit I was sceptical at first but, after a bit of a tinker, it seemed that a new character will be whacked up to level 18 and can utilise the specialisations unlocked from previous games. Thus an idea that may seem odd on paper comes across, through being handled properly, a great opportunity to see the world of Dragon Age from a new perspective.

Somehow, I’m reminded of the Dragonlance novels: How a trilogy of books (the Chronicles) have had an entire universe of additional stories subsequently built around them. Thus, through short stories and novels, key characters have had background material established and have gone on additional adventures. Also, there even have been entirely new characters come forward and make an impact on this fictional universe long before the original characters strode through.
I like the idea of a fictional universe being large enough to incorporate stories of other characters who, however subtly, make a difference to the scheme of things. Indeed, I'm keen on playing Dragon Age 2 just on the promise of playing through the eyes of a guy of Hawke, seeing the world having been shaped by the decisions of the protagonist in the first game.
That being said, kudos to Bioware and Dragon Age for attempting such a feat. It may have been done many times in books but never in a game.

Which makes the franchise all the better for it.

Dragon Age of Reason

Well, my Mass Effect 2 binge has ended so I may was well swap one Bioware RPG for another. I've decided to give Dragon Age another shot. Call it a combination at annoyance with myself for leaving another game to go ignored within the confines of my Hall of Shame, an eagerness to finish a game I was very keen on and the intent of having something work from when Dragon Age 2 hits (which, at time of writing, is in 34 days time).

I think the time away has actually done me some good. sure it may not sit well seeing as I have a whole list of games in My Hall of Shame, but now DAO is actually enjoyable. I thought some of the Blight/Main Quest were long and dull, but I have recently tackled some of the minor quests and the DLC and am much happy for it (incidentally, is it just me or does Shale sound remarkably like David Bowie?).

In addition, I, most likely out of frustration, toned down the difficulty from Normal to Casual. In theory that may sound like a cowardly move but I care little for it: Dragon Age is indeed a tough game (even Bioware employees have admitted so) and I got tired of some many frustrating moments. In making the change I have instead made a lot of progress and have now covered a lot of ground. I guess having a deadline to beat a game can actually work for someone with an over-sized Hall of Shame.

Mind you, I am disappointed that I, at the point I am with my current character, seem to have missed the boat with hitting on Morrigan. It is annoying that I went to all the effort to get her approval but nothing further has come of it. I defeated Flemeth but it seems Morrigan is indeed a tough nut to crack.
Still, perhaps that's the point: The character who demands the greatest amount of effort to win over is also the one who bares the most cleavage...

Binge it On

Just got through my Mass Effect 2 binge. It's been fun, and indeed different, to play through the whole game with the inclusion of the DLC so here are some of my thoughts that cropped up during play:

- I've heard a lot of people don't like Kasumi Goto - reason being (as is my understanding) is that whereas everyone else comes out of their respective loyalty mission significantly changed by the whole experience, she doesn't.
Strangely, I'm not sure that was the point: If her conversations on the Normandy are anything to go by, Kasumi is an observer - and, speculatively, a key source for Shepard to spot any dissension in the ranks. Indeed, a spy seems to be the ideal role for Kasumi with her being sassy, her limited range of emotions and her face being concealed under her hood.
Okay, so I will concede that Kasumi doesn't evolve much as a character, and what I've mentioned above is me finding my one excuses, but playing the role of a spy is good reason to belong on the Normandy. And I for one would like to see more of her in ME3.
Besides, that part where Kasumi blows up the gunship is frigging hilarious:


- Of the DLC, the moments that stood out for me the most were the wreck of the Normandy and the Prometheus Station (Overlord). What I like best about these two is that they're really effective in creating a sense of atmospheric unease - the type of which is usually found in a Silent Hill game. If I'm eager to leave the damn place in question then Bioware must've done something right.

- I did enjoy the Shadow Broker mission (although I found beating it on Hardcore difficulty wasn't as difficult as I thought it would be). Great to see Liara go from boring to, in a remarkably turnaround, kinda cool.

- In the final mission, man did I get sick of Harbinger constantly reappearing. It got to the point where he started to remind me of one of those High School drama queens - you know, the type that go :"Lookatme! Lookatme! Lookatme! Lookatme!"

- Gaming on a HDTV is sweet as.