This week I have been looking back at past issues of CVG and having a major nostalgia trip. It is fun to see gaming of the early nineties being documented in such manner, especially when one considers how many games of that era still hold up today.
Funny thing however is that I can't help but notice that many games of that era are overlooked. This is fascinating when one considers the games that have entered history in the years since: Final Fantasy 2 and 3 (4 and 6) never get a mention; the undisputed classic Super Metroid gets a score of 91%, 1993 goes by without any indication of something called Doom and the Lunar series, one of the highpoints on the Mega CD, are nowhere to be found.
I suppose much of CVG is through a British perspective as it was the magazine's country of origin. And it is likely that many of the console games were handled in it's sister magazine Mean Machines (which I never read and therefore have no attachment to). But it is fascinating to see a) a history that has since proven to show a narrow view of the story and b) a perception that isn't from Japan or the US.
How does the saying go: That history is written by the winners?
I find a fascination with gaming in the Eighties. History will declare that the decade was defined by the Great Gaming Crash that took Atari under and created an opening for Nintendo to storm in with the NES. Nintendo becomes a big deal and Mario, Link, Samus, Mega Man and Simon Belmont all become icons beyond reproach.
But this scenario, which has been told many times before, is viewed from the perspective of the U.S. - and as they say, history is only told by the winners. Coming from the perspective of someone outside the U.S., a different story is told and the contrast between within the U.S. and without the U.S. is astonishing to say the least.
To begin with, being in Australia, places one riding off the coattails of what was happening in the U.K. and Europe (as is often the case in Australia). If there was anything happening in the U.S. it had little to do with us - which is surprising considering the geographical location of Australia places in between U.S. and Europe. But I digress.
So yes, the choices of we Australians made was a replication of what was happening half a world away. Thus, whilst having a NES was commonplace in the U.S., that wasn't the case in Australia. Indeed, at the time, I remember more people I knew at school had a Master System than a NES and I noticed at the local toy store that the Master System had a more prominent place than the NES (indeed, that's a funny thing to look back on when one considers how things turned out for both Nintendo and Sega). So when the SNES finally showed it's face, there was indeed a sensation comparable to descending down from atop Mount Sinai and a sign that Nintendo suddenly was a big deal. Hard to imagine I know, right?
But the true victor in the Eighties gaming arms race in Australia was neither Sega or Nintendo. Nope: It was Commodore. I've lost count on how many people had a Commodore 64 when they were young and/or knew what one was. They were more commonplace than a NES or a Master System and many people point to it as being a starting point towards their interest in computers. And, much like the U.K., the Commodore 64 had a long and fruitful life in Australia that lasted well into the 16bit era.
This, in turn, would seem strange to the those in the U.S. as we in Australia (and the U.K.) had our own gaming culture develop separately. Whereas they had a rivalry between Sega and Nintendo, we Commodore 64 users had our own mortal enemies with the Spectrum users. When they were exchanging password codes, we were applying cheat codes. When they had Mario, Link and Samus, we had Armakuni, Turrican and Rockford.
Funny thing how cultures develop independent of each other. Naturally you wouldn't have that now when everyone and everything is linked online but looking at the same era from two different perspectives is an eye-opener to say the least.
Earlier this week, I posted some musings about a vague game called Sorcery. This in turn triggered memories of another vague game I played during the C64 era.
Behold: Quo Vadis!
Original video located here. Accessed 24th August 2016
This game is interesting on a technical stand point. As is my understanding, it was the first game in history to boast over 1000 screens! It was so enormous it took some sizable effort to squeeze it into the C64's memory! And it even was doing the Metroid shtick before Metroid was a thing!
And I will admit, from someone with an interest in traditional dark fantasy, there's something appealing in seeing a Crusader knight (as evidenced by the Christian cross on his shield) descending into an underground cavern to fight a horde of monsters.
But I didn't make much progress in the game itself - mostly because I had no idea what i was supposed to do. This may have been my first exposure to free-roaming gameplay but my young mind didn't realize it at the time. As such I was baffled as to where I supposed to be going and what I was supposed to be doing. And even now I admit this game was vague: Why, that ending message that appeared at the end of the game is indeed unclear whether the player had successfully completed the game or not.
But what was particularly frustrating with this game was the stiff controls: If the PC slipped and fell, he would plunge straight down with the player being unable to do a thing about it. The worst part of it was when the player slipped up on the rope and fell a long way down to the lava pit below. It was a long fall and the player was helpless to prevent seeing the PC plummeting to his doom. It was agonizing to watch and very punishing to the player's mindset (like the computer was saying: "Look what you've done you jackass!")/ Needless to say, I eventually gave up on this game and never looked back - until now of course.
Some good ideas but in the end, vague and frustrating.
Lately I've been playing a lot of Castlevania: Symphony of the Night. It's a classic game I played to death back in 2006 during the glory days of my PS2 era but now I'm enjoying it on the XBLA and in full HD.
So how does the game look from the distance of ten years since I first played it?
To begin with, let's establish what Castlevania: Symphony of the Night meant for me: As you may have guessed from the years listed, I came to Castlevania: Symphony of the Night nearly a full decade after it was released. My reasoning was simple: I finally got a PS2, it could play PS1 games so why shouldn't I indulge in games that passed me by the first time around?
But really what I can say about Symphony of the Night that hasn't been said already? It completely revamped the series, it took steals from Metroid, it was a definitely 2D platformer when everyone was heading into the realms of 3D, and it boasts, without question, one of the finest game soundtracks ever conceived.
But what I will say is that game has aged remarkably well - and that's a statement I do not give out lightly when discussing the fifth generation. Symphony of the Night's 2D nature has served it very well: Whereas many 3D models of the fifth generation look blocky and hideous nowadays, the 2D graphics of Symphony of the Night look simply beautiful. And that certainly was a HD revamp highlights: Why, thanks to the HD graphics, I'm now picking up I never noticed before: I'm noticing just how detailed the animation for the Swordmaster power (Iron shield+Shield rod) is. And to apply such detail in a 'blink and you'll miss it' animation is something to be commended.
Other than that, the game is still as fun as ever and the soundtrack is still fantastic. Not much else i can add expect to say I guess this would be a textbook example of how to make a game that lasts.
And yet another game has been given the boot from the Hall of Shame. Clean up your desk Leisure Suit Larry 6, you're outta here!
Original image located here. Accessed 28th August 2015
Compare to the other Larry games, this represents unfamiliar territory for me: I'd seen the other games whether being played or witnessing the box art. This however completely escaped my notice at the time. Why, I wasn't aware there was a Leisure Suit Larry 6 until I saw Leisure Suit Larry 7 in a game store! (and considering that this is a series that lacks a fourth entrant, that's saying something).
Anywho, having played Leisure Suit Larry 2 and 3, I can safely say that this game is a definite improvement. The character designs are superb, the locales are interesting and the voice acting is superb. Maybe it was case of the technology having advanced enough to make a decent game. Or maybe it was a simple case of having better writing then the preceding games.
I did call out Larry 3 for being ambitious but in Larry 6, the general goal is more scaled back (ie, attempt to sleep with as many women as possible). And that in turn provides a sense of focus. As a result, the jokes are great, the problems are solved through logical means and there is a clear beginning, middle and end. Leisure Suit Larry 2 and 3 may have been meandering but that doesn't seem to be the case here - and Leisure Suit Larry 6 is all the better for it.
And it's good to see that the unwinnable situations are less in number. True, I fell foul of two of them when playing this game and had to start over, but it's good to see that Sierra at this stage were starting to realize this flaw and were taking steps to correct it. True one could suggest that the games LucasArts were churning out may have made Sierra nervous but 'A' for Effort.
In addition, special mention must go the voice acting. Larry sounds pathetic and the ladies certainly have plenty of character that stretches beyond a character portrait. But the real star is the narrator, sounding smug, snarky and taking great delight in commenting on Larry's pathetic existence. Indeed, seeing as so many voices are spot on, it makes a fascinating contrast to the likes of Metroid Other M and the outrage it inspired when the previously silent character of Samus Aran was given a voice.
All in all, Leisure Suit Larry 6 may have completely escaped my interest first time around - so it;s funny to see it turn out to be a such a superb game. And then, from Leisure Suit Larry 6 comes Leisure Suit Larry 7....
Well the big news of the past week is that Netflix is working with Nintendo to produce a TV series based on Legend of Zelda.
This is a surprise to say the least seeing as Nintendo are notoriously protective of their trademarks - especially when one considers the last major media translation of their IP, the Super Mario bros movie, wasn't too good.
Whilst there is a lot in the Legend of Zelda franchise that would make an adaptation work, or at least difficult to mess up, there still lies a big problem: Should Link remain a silent character?
Yes Link exists as an avatar for the player but just because it works in a game environment doesn't mean it will work for a TV series. Having him as a silent character would be baffling and strange.
But at the same time, Link is the hero to countless people - and no one could possibly fulfill everyone's expectations as to what Link should sound like (Metroid Other M anyone?). Furthermore, we all know what happened the last time someone tried to inject some personality into an otherwise silent character:
Original video located here. Accessed 16th February 2016
Still, at least the new Legend of Zelda TV series can't do worse than this.
So with a new Nintendo console comes the announcement that a new iteration of the Super Smash Brothers is on it's way.
The Super Smash Bros series and I have something of a weird history. I became aware of the series through the first title on the N64 - but the first game I played in the series is Melee. But I could not get into it: I've played many fighting games and enjoyed them - even if I've been relying on the time and tested tactic of button mashing. But the Super Smash bros is a series that will have none of that: As such I was both flattened time and time again and puzzled by how the game works (how many hits can this asshole take?! Oh so being knocked out is instant death....). As such it's kind of embarrassing for me to see people who have every character worked out and mop the floor with me.
Still I did end up obtaining Brawl for my Wii and whilst I did have a hard time getting into the swing of things, I did enjoy it (even if I'm no more wiser as to what the hell I'm doing). In addition I also acquired the original Super Smash Bros from the Virtual Console but somehow it didn't really make an impression on me.
Yet somehow it is kind of telling that Brawl, the maligned of the series, is the one that did indeed make a connection with me....
Anywho, with the latest Super Smash Bros, more and more cast members are being teased out as 2014 draws nearer. Yet this is coming in the wake of Brawl which featured a large character roster and reports are indicting that said roster will be trimmed of the less unique characters for the new game. Reports also indicate that deciding which characters get the flick is not a decision made easily.
Personally I'm in two minds over this: On one hand the shortened roster will be easier to keep track of certain faces and remove any duplicate characters. But on the other hand I've used each and every character in Brawl and I don't mind them (except maybe Wario) so somehow having a familiar face been given the boot would be disarming to say the least.
So far we have mainstays Mario, Link, Donkey Kong, Samus, Kirby, Fox and Pikachu. Bowser, Pit and Olimar are also making a return. But in the terms of newcomers we have Mega Man, Villager and Wii Fit Trainer - the latter of course being an odd choice.
Still this is but the early stage - what more will eventuate between now and the release date would be interesting to say the least...
I find the idea of silent game characters a rather strange choice in gaming. Why build a world where everyone can talk and interact with other bar one? Why give character a face and a name but refuse to make the final jump in giving them a voice? I just find it odd that worlds get built with so much detail but one detail is missing with the player's entry point into said world not saying single damn thing.
In fact to have a Player Character silent when everyone else isn't does portray them in a rather puzzling manner. Do they have poor social skills? Do they have trouble interacting with the people around them? Are they shut-ins who spent many years of their life cut off from the rest of the world that they missed out on some vital communication skills?
If anything, the lack of voice in a Player Character doesn't really suggest anything about them: What they think, how they view the world around them and how they perceptive being repeatedly handed tasks to complete for the populace. The last point is of particular note: We know the scenario: The Player Character is given tasks by the populace in order to advance further in the game - but the PC accepts this without a second thought. But really how does he/she really feel about this? Would they get irate that no one can do things for themselves? Would he/she get annoyed that he/she's continually getting sidetracked from their main quest? I think Lenny Bruce said it best when he declared that: 'Take away the right to say "fuck" and you take away the right to say "fuck the government."'
Yet many gamers think otherwise - and as result, the likes of Link, Samus Aran and Gordon Freeman are continually thought highly of in gaming circles. The reason being is that because the character is silent, the gamer is free as they please to build their own opinion about them. I guess that argument has weight with one's personality being built up through one's actions rather than the words spoken - and previous attempts to make a personality (ie Legend of Zelda cartoon and Metroid Other M), have been pathetic to say the least. That may be the case but I refuse to accept the idea that the silent character is meant to be the eyes of the gamer in the game world. They aren't me: Why? Because they have an appearance and a name that I don't really have a say in. The characters I've played in both Baldurs Gate and World of Warcraft are mine because I made them and guided them through their
respective game worlds - whereas Link is....... well.... everyone's Link.
So yeah, for me playing a character who already has a name and face but no voice doesn't mean they are me in the game itself. If anything, the games that want to involve the player themselves are those that a) address them directly, b) make the player feel like they're making some kind of difference and c) remove any visual representation of the PC.
That being said I think the games that have done this best are Starcraft and Bioshock. Starcraft did so by having a well-written script with characters address the player directly - helped considerably by some solid voice acting - and really created the impression the player was making a difference. Bioshock also took a brave step by refusing to make any visual reference to the PC (apart from hands and a bit of arm) and through placing the player in situations that challenged linear gameplay.
So, if anything, building a character a face, a name but no voice strikes me as a little odd - like a runner that jumps numerous hurdles but then chooses to not clear the last one. If this is a character that's meant to represent me, the player, then why do I have a set name and appearance?
Here's something I've been pondering recently: There have been numerous games where the player character has to rescue a princess but has there been a game where a lass rescues a prince?
I don't about the rest of you but since the first Legend of Zelda games and Super Mario bros. 1, the idea of rescuing princess as the game goal has some how been ingrained into the gamer consciousness. Sure it may a tried and tested trope but somehow we're keen to go with it. We're becoming used to control some guy rescuing a love interest and/or some gal using her wits to escape some sort of imprisonment. So why no gal-rescuing-prince? Well, the way I see it, this is such a familiar scenario then any attempt to mess with it is going to be challenged on multiple accounts. Therefore:
1) As the saying goes, 'if it ain't broke don't fix it'. Sure the 'rescue princess' scenario may have worked a gazillion times before but there's no reason why additions can be made to the formula and have sime suitable characterization. Hence, in the case of Princess Zelda, we see her assisting Link in various forms, embodying the Triforce of wisdom and even taking up the mantle of Shiek. It also helps that the player character and princess (both Link and Zelda) are made to look beautiful, thus ensuring the attention of both male and female gamers alike.
2) Speaking of looking beautiful, it seems to be a defining element of 'rescuing princess' formula. I mean, the word princess is practicality synonymous with being young and beautiful - thus, it becomes clear that the rescue attempt must undertaken on the strength that it'll be worth it. Thus, conversely, the thought of rescuing a princess seems to establish the notion that if he was hopeless enough to get captured then he isn't worth jack.
3) Female player characters are indeed prevalent but they're always characterized as tough and independently minded - hardly the type that would go rescuing some prince. I mean can anyone think of Samus Aran or Lara Croft going out of there way to rescue some significant other? Of course not.
And besides, if the princess was cunning/fighter, she would rescue herself and there'd be no game to play!
4) In fact the only princely character I can think of in gaming would have to be Alister from Dragon Age Origins. But it would seem that to be a video game prince carries for too much stigmata - as a result, Alister is far from royal material - He's a bastard, uninterested in royal responsibilities, and a dope. Still there is the thought that if he didn't receive such necessary characterization, Alister would come across as a lot less interesting.
But now that I think about it, Dragon Age Origins had the option of being a female player character and romancing Alister - and thus the option of ending the game as King and Queen of Ferelden. So maybe there is some value in developing an attachment to a video game prince....
As the rest of the world awaits the arrival of Mass Effect 3 with bated breath, I however am not. It's not because my attention has been directed elsewhere over the past few weeks but really I'm trying hard not to get excited. Because if experience taught me anything, getting excited over something will mean, more often than not, the end result won't be worth the effort. Besides, going into a new game not knowing what to expect makes for a completely different, not to mention rewarding gaming experience.
In this Internet age where everything can be found easily, spoilers run rampant and nothing can be kept secret, I'm still surprised by how the Mass Effect series managed to slip past my radar. In 2007, ME1 was released an became a big hit - whereas I was busy with my PS2 and wasn't really paying attention to the Xbox camp. Then ME2 came along, by which I had spent some time playing the Xbox, but I somehow never noticed. It was only through watching a friend play ME2 that I got hooked line and sinker. I did get there in the end but it's so bizarre that ME was a huge hit and I slept through the whole thing.
Having said that this time I ma aware of ME3 but I'm not excited. Firstly I've heard ME 1+2 being compared to Star Wars and Empire Strikes Back respectively - saying that seems to tempt fate in the third installment being........not as good.
Secondly, there's the reduced cast: Some people hated the larger cast of party members in ME2 but I didn't: I thought there were all well written, via the loyalty missions, and certainly added colour. But Bioware have since admitted that they may have backed themselves into a corner: By increasing the stakes in ME2 - permanent party character deaths! Shepard may die! - they didn't think of the possibility that each character could be saved (I know I did). Thus there is the possibility that any returning characters would be reduced to cameo status. I mean, does anyone want to see a fav character from ME2 enter, greet Shepard, talk about a new job, reminisce and then disappear forever? Of course not. I know Bioware have benefited from some great writing in the past so seeing such a move would be sloppy on their part.
Thirdly, I'm still not sure how I managed to escape finding out stuff about ME when spoilers are only but a mouse click away. But if it's because I put the effort in, then there's no reason to stop.
Finally, a personal experience: I was excited by Dragon Age 2- so much so I put my name down for an advance order. It cost me $109 but I didn't care: I loved the original so it must be worth it right? Well the game arrived and......... well I would be lying if I said I wasn't disappointed. In any case that story made me more cautious and wiser about sending money on gaming not getting sucked into the hype machine. Funny how this was inspired by a ME stablemate....
I suppose I will get around to playing Mass Effect 3 eventually - hopefully by then the price will drop and a special edition will come out. But I'm a patient man - I mean it took me twelve/thirteen years for me to have a cartridge of Super Metroid I could call my own....
Don't have much to say for today's post. As has been the case for millions before me, I've been so much WoW to the expense of a whole lotta other games. So for today I'd like to take the time to talk about a game that I played many moons ago and remember quite fondly.
As established earlier, there was a time, late nineties to mid-2000s, when I wasn't really that interested in gaming. That's not to say however that the interest had completely died off - I still got some use out of an Atari Lynx and I was still playing DOS games on my PC. One such game was one I remember playing extensively and enjoying: Inner Worlds.
Like many DOS games of it's era, Inner Worlds was made up of three installments. The first one was freeware, available for free distribution, but in order to get the rest of the game, players had to pay for the other two installments. I however managed to get my claws on all three and play through them. Although not well known as other DOS games of the early to mid nineties, the development of Inner Worlds is well-documented: It was made a group called Sleepless Software - a team of three people which, through the magic of the Internet, grew into twenty seven people from nine different countries. In addition, the music was provided through an Internet contest where musicians from separate corners of the globe could submit their work for a place in the game.
But onto the game itself: It was a platform game where the player controls a werewolf by the name of Nikita. She is able to change between a wolf and a human at will and she goes on a quest (at least in the first installment) to defeat an evil demon....thingy within a castle. Throughout the quest Nikita gradually grows stronger, obtaining spells, status upgrades and weapons to use. And in the next two installments, Nikita goes outside and beyond the castle to face more demonic forces before eventually heading into a volcano for the final showdown with the imaginatively named baddie Claws.
The first level!
When I first played this game I was unimpressed: It looked like a relic from the by then obsolete 16 bit era, there were a lot of goofiness about it (like the text that randomly appears), the exposition seemed somehow forced in and it didn't really seem to be that interesting. But for some reason I still don't understand I decided to stick with it (maybe because there was little else to play at the time) and somehow the game won me over. Whilst there were some slow parts of the game I did find myself enjoying the music and finding the bad guys to have some really inventive designs. The game however really kicked into high gear when Nikita leaves the castle. The music got even better , the bad guys got scary, the settings show a diversity and the goofiness takes a back seat for a more serious tone. As such, it was enough to keep me hooked right until the end of the game - alas I was unable to beat Claws in the final confrontation (damn!)
A location from the second world (I love this level's theme)
Looking back over a decade later, there certainly was a lot going for this game. Having learned about the diversity involved in the development phase, one would expect this game to be something of a Frankenstein's Monster with a lot of elements held together with a lack of cohesion - and it does show. I made mention of the change between the first and second installments and it really shows: it was as if the developers had some really good ideas but they put them all in the second and third parts, thus leaving the first part lacking in comparison. It does seem an odd move seeing as the first part was freeware and was, essentially, a hook to get players interested in the rest of the game. Aside from that, there are some miss fitting graphics that looked like they'd stepped out of an entirely different game, ideas that appear only once & never after and exposition that seems merely dumped into the game as if it was there through obligation - most of it comes via a wall of text at the beginning and seems forced and trying it's hardest to be something epic and grandiose. Particular elements are also reused to underwhelming effect: By way of example there is a the huge spider in the third installment. It comes after the end of a huge build up to it and is definitely a tough boss character. But in the next level, that intimidation factor is undermined through Nikita having to defeat some clones of the spider! Take about running a well-executed idea into the ground.
And here's what the third world looks like
But what I find particularly engaging about Inner Worlds is that the gameplay seems to be the most compelling element. Whilst the graphics lack cohesion and the exposition seems laughable in it's attempts to make the player care, the gameplay alone is enough to carry the game. The platforming is great fun and the werewolf idea is a strong one indeed. In addition, the RPG elements is well integrated - I always found it great to get a new spell and how it changed my perception of the the game and how to beat it. In retrospect this combination of platforming and RPG was something of a new idea: Yes it was still following Super Metroid's lead but it was before Castlevania Symphony of the Night which is at least worth something. Indeed, I can imagine PC owners would've been delighted to have something like the great Super Metroid to call their own. But what strikes me most about the gameplay is that there are times when it seems the development team put more thought into it than the rest of the game. It does make for a fascinating oddity in this day and age when gameplay is often shafted aside for telling gripping stories and having mind-blowing visuals. Thus it does feel that Inner Worlds has done the exact opposite - it's like a visitor from a parallel dimension where game technology went the other direction from what did happen in this world.
In addition, the music was great. It may have come from diverse sources but never once does it get dull. Okay sure the first part had some limp moments but the rest of the music was both moody and atmospheric and even, at times, hectic. It does seem a shame a CD was never released because damn I'd buy it!
One of the many enjoyable themes in this game
Alas, the game wasn't really that big a hit: The development took three years to complete (instead of the intended one) and as a result, it came out looking dated to the games of the, by then, fifth generation. As such, Sleepless Software never made another game. Still, Inner Worlds was a fun game and truly a lost gem in the history of gaming. Sure it may not work in some places but when it does it works a treat. It a great game to me and that is indeed enough.
Welcome to part two of this series and thanks for joining us. Well let's not dither around, let's dive straight in.
Last week I talked about the gaming themes I listened to, and enjoyed, as a kid. And seeing as nearly all of them came from games on the Commodore 64, let's head into the next generation of gaming history. That's right, lets talk the fourth generation - it's round about here that many recognizable themes begin to show their faces. So which have I enjoyed and which still hold up years later? Let's find out...
Cannon Fodder - War has Never Been So Much Fun
Let's kick things off with a game that wasn't on the Megadrive or SNES! Okay so maybe this game got converted onto the afore-mentioned systems but honestly? In retrospect, the Amiga definitely comes across as being the true version.
I’ve made mention of Cannon Fodder previously where I pointed out how the game was devised as an anti-war game masquerading as strategy game. And no better is this idea exemplified than with this rather cheerful sounding, but still quite morbid, title theme. Handled by the late great Richard Joseph, this one of those rare computer game themes that invite a singalong – and how can one not? The song is built around a repetitive chorus that’s quite catchy – but go beneath the surface and it’s clear the song is a condemnation as opposed to a glorification. But it’s only after the listener has been sucked in by the lyrics that the realisation becomes crystal clear. For any song to pull that off is feat in itself but for a videogame theme? Absolute genius. Interestingly enough I can’t think of any other games that feature a singalong opening theme (except Sonic CD) – maybe they needn’t bother as Cannon Fodder did it right the first time around.
Interestingly enough this song didn’t survive the conversions to the Megadrive or SNES – as such the point of was lost in mass of blips. So listen to this in all it’s original glory and chalk one up for the underdog.
(and yes I am well aware of the irony of me mentioning this song on Remembrance Day so please don't point that out)
Final Fantasy 6 - Terra's Theme
Yeah well we all knew this was going to happen: It seems to be some sort of law that you can't talk video game music without mentioning the Final Fantasy series.
In last week’s post, I was praising the composers of the C64 era in how they managed to come up with material so memorable and evocative through the limited of technology. And the same could be said for Final Fantasy 6. Now whilst the SNES had some great soundtracks in it’s own right (some of which are mentioned later on in this post), I personally feel that Final Fantasy 6 has a soundtrack that could be truly considered epic. Now whilst many video games of soundtracks may strive for an epic feel in their soundtrack, I think Final Fantasy 6 may have been the first to do so - and hey, a game soundtrack boasting the only opera ever written for game is something not to be sniffed at.
So this is a theme that’s repeated many times throughout the game in different forms (leitmotifs one would call them) yet one never gets tied of it. It consists of a sweeping, epic feel that one would expect from the likes of Richard Wagner or John Williams yet it never once feels out of place in a videogame. It evokes many emotions from the sombre to the inspiring. And seeing this theme matched up to three mechs traveling through the snow truly makes for an unforgettable sight. And for a theme to accomplish all of this is indeed impressive.
But then again what would I know? In the end, it’s one of the finest pieces of music to emerge from the entire series and perhaps one of the real signature pieces of Final Fantasy (One Winged Angel be damned!). It’s also a damn good tune too.
Golden Axe 2 - Ravaged Village
I must admit - whilst I may have sworn my fourth generation allegiances to Sonic and the Megadrive, a lot of games on the Megadrive look different from an adult perspective - they have not aged at all that well. And such is the case of the music: Many Megadrive game music sound ghastly and irritating now but Golden Axe 2 is an exception.
I love the Golden Axe games for the action, the artwork, setting and obvious steals from the Conan the Barbarian mythos. And I really enjoyed the music with Golden Axe 2: Listening to it now really encapsulates the feel of traveling from one end to the other of a ravaged land that is being torn apart by some evil forces of insurmountable odds. Pounding drums are featured throughout and the soundtrack still sounds great. In fact, I think the music in Golden Axe 2 is better than that of the original Megadrive Golden Axe.
That being said, there's not much I can add to Ravaged Village - It's the best theme in the entire game and it encapsulates the feel of the rest of the soundtrack in general. It’s just the type of thing one could do with listening to when assaulting a village filled with Orcs…
Legend of Zelda: Link to the Past – Light World Dungeon theme
Strange as this may seem but I don’t think that the music from subsequent Zelda games aren’t as good as Link to the Past. That’s not to say that the music to Twilight Princess and Ocarina of Time have been crummy – far from it – but it is only in Link to the Past that the soundtrack has made the greatest impression on me.
Now whilst there have been some superb themes from Link to the Past that may have been worthy of consideration, the one I will always remember is the Light World Dungeon theme. It starts off nasty and foreboding before it gives way to a hypnotic synthesizer riff – and the inclusion of the (imitation) trumpet is the icing on the cake. There may not be much going on in this theme but it works wonders. It’s a triumph of minimalism evoking danger, darkened corridors and stepping into the unknown. Many RPGs have tried to replicate similar feelings but this is the one, I feel, that does it the best. And who would’ve guessed that a trumpet could work for a dungeon theme?
Phantasy Star 4 - Air Castle
As mentioned above whereas many Megadrive game music sounds dated today there are however three exceptions I'm willing to make. Golden Axe 2 is one and Phantasy Star 4 is another (and the third? Keep reading...)
As PS4 was pretty much the last hurrah for the original series, it seems the creators went all out with this one: Everything from the gameplay, graphics and storyline is top-notch and made with obvious care and love as one could muster for a last hurrah. And indeed, the soundtrack sounds great throughout - even to the point where I never thought it possible for the Megadrive.
And then there's this: the Air Castle theme. The Air Castle may be one of, if not the, toughest dungeon in the game so what music accompanies this area? The loudest and most scariest theme in the entire game. This seems the ultimate throwing down of the gauntlet: A dungeon theme that's taunting the player is if to say: "You want to step in here? You must be crazy!" I like the pulsating bass line throughout, the freaky synthesizer effects and, how the theme fades in once a battle's been fought and the dungeon resumes. This definitely seems the theme of a warlord's fortress, challenging anyone foolish enough to enter.
Interestingly enough, when I was doing research for this post, I found out this theme is actually a remix of the original dungeon theme for Phantasy Star 1. Comparing the two, the original seems more stiff and bland - whilst with this remix, one felt the theme was given the bite it so originally deserved.
Secret of Mana - Fear of Heavens
Yeah it’s another no-brainer but dammit if I could include the entire soundtrack to this game to this list then I would. Every damn song on there is a gem and exhibits a lot of variety and creativity on the composer’s part (one Hiroki Kikuta). I’ve said that many Megadrive soundtracks have dated horribly in the years since but that does not seem to be the case with the soundtracks from the SNES. The system may be long gone but Secret of Mana possesses that rare trait of having a soundtrack that never once sounds outdated – indeed many more modern games don’t come close. Wonderment, adventure, and mood emphasis – the Secret of Mana OST does all this and more – And special mention must go to the haunting-like-no-other game over theme Close Your Eyelids.
That being said, choosing one of this list isn’t easy (A Curious Tale, Into the Thick of It, The Dark Star are all beauties) but I settled with the opening theme. In my Degeneration serial, I noted I disappeared from gaming for a number of years – But that turned around when I decided to hunt down Secret of Mana and give it a shot. Thus hearing the opening piano chords to Fear of Heavens for the first time and I knew the exile was over. Now I could to continue to gush over how good the soundtrack to Secret of Mana is but I would rather leave that to the many critics the internet has to offer. Instead, I’ll say that Secret of Mana, and Fear of Heavens, represents a place in time – a point in my life where things changed completely. Everyone has pieces of music that do that type of thing (and if you don’t then you’re a liar) but for a theme to a videogame to do just that is indeed an accomplishment in itself.
Sonic the Hedgehog - Green Hill Zone
And it’s a hat trick for the Megadrive - although admittedly, the inclusion of this shouldn’t really come to as a surprise. Now whilst the original Sonic the Hedgehog game had many exceptional themes, many of which still sound great twenty years later, I’ve decided to go with the original Green Hill Zone theme. True the themes to the Marble Zone, Spring yard Zone and Star Light Zones are all superb, but this for me was pretty much the beginning of an adoration of Sonic – and I’m certain I’m not the only one.
If anything, the themes of Sonic the Hedgehog represent a time and place better than any game soundtrack I've ever heard. And hey, if they left an impression on me as a nine-year old that has lasted twenty years since, then something must've worked. And for a game soundtrack to do that is an impressive feat indeed.
Super Metroid - Brinstar
One thing I like about SNES music is how good it is replicating the sounds of bass guitar. And this is a shining example of that principle (the Filmore theme from Actraiser and certain themes from Tetris Attack are also good examples). Indeed, the bass line dominates the song and is pretty much the focal point throughout the song. Also pleasing are the many colors built around the bass with the percussion effects and the weird keyboard effects.
But enough with the technical talk: Whilst much of the music to Super Metroid is minimalist, often used to haunting effect, this theme sounds more like a fully-formed theme. But it is no less freaky. It’s a bizarre amalgam of natural sounds combined with a sci-fi/technological theme – much like Brinstar itself. Such a combination seems a recipe for disaster – but that’s not the case with this theme. It does what it sets out to do and does so with flying colours – much like Super Metroid itself.
In fact let’s just drop the pretenses altogether: I think finding the words as to why I like this theme is doing this theme a disservice. Just listen to the damn theme yourself and draw your own conclusions.
Terranigma - Underworld
One of the lesser known titles in the SNES canon, Terranigma still has managed to garner some recognition in the years since the 16-bit era. Aside from being a forgotten treasure (if you were in the US at least) it has been praised for being a solid RPG, the philosophical themes the game addresses and being somewhat ahead of it’s time. But it’s in the music that Terranigma comes into it’s own, standing proudly as one of the finest in the SNES library. And again, there are many masterful pieces in the soundtrack that it makes selecting one a tough task. However I decided to go with this: The Underworld theme. This is the first thing the player hears when Ark steps beyond his village, the only world he was ever known, and ventures into the real world. And what does he find? A dead, lifeless world that’s waiting to be brought to life.
In any RPG, a lot rests on the shoulders of the music – it can establish a mood and convey an idea that gets the player thinking. Whilst there have been themes in RPGs that have been used for exploring and adventure, this theme sounds different. Whereas other themes have been inspiring and stepping out into a weird and wonderful world, this theme sounds far more sombre and cautious, suggesting that maybe the outside world isn’t really that great. Of course, this isn’t the way it’s meant to be done but to me, that makes the theme work so well.
And that's it for the fourth generation! Tune in next week when we head into the age of fifth generation where Playstation takes the field and many more memorable themes come into play. Which of them made an impression on me? I think you might be surprised....
Last year I posted a love letter to Tidus and Yuna of Final Fantasy X. Surprisingly, this has become the most visited post to this blog (or at least that's what my stats say). I'm not sure why though - perhaps I'm not the only hopeless romantic gamer in this world....
...But I'd be a fool to believe such bollocks. Seeing as games these days seem to rely on escapism, the kind involving killing dudes and doing the type of thing that would unattainable in real life mind you, it seems that actual romance seems rather quaint, reserved for the likes of Bioware RPGs and the games of a previous era (Final Fantasy 8 anyone?). Are there any hopeless romantics in the gaming community? Has the idea of rescuing a princess been cast aside? Has gaming grown up up to the point where fairy-tale idealism has been ditched completely? Did strong independent women like Lara Croft, Samus Aran and Jill Valentine make the damsel in distress obsolete? Or have many gamers realised that real women are in fact, more fun than pretend ones?
No matter, I'm a hopeless romantic and I feel no shame in saying so. And if there other people who share the same mindset then so much the better. So, in the hope that such people exists and are reading this I want to talk about another of the great gaming couples. It’s one of the longest running romances in the history of gaming and hands down one of the most recognisable. The faces may change but all in all, it still has the power to entice the interest of gamers everywhere. That’s right, I’m talking about Link and Zelda
This is a strange couple to say the least: They see little of each other as the game(s) progresses and the worlds & persona they inhabit keep changing with each new addition to the series. Yet, in spite of it all, this is one relationship that keeps standing strong no matter the changing perceptions of the two involved.
When I look at the Zelda series, the more it becomes clear that it is a throwback to the fairy tales we are read to when we're kids: Those which involve a princess in some sort of danger and a prince/heroic figure stepping in to save the day. Also, like a fairy tale, Link, abides to the tried and tested formula of undertaking an adventure that begins at a humble level before achieving extraordinary success and recognition at the end of it. The only difference is that this isn’t a fairy tale that one is being read to – this is one where one is actually an active participant! They say people find comfort in familiarity and it’s the tried and tested formula that hooked a lot of young people in with the very first Legend of Zelda and still maintain their attention many years later (also, the exploration element and excellent gameplay didn’t hurt either).
So in a way it’s not hearing about rescuing a princess – no it’s actually actively doing things that result in the rescue of the princess. And a princess who, unlike Princess Peach, doesn’t send the player on a seemingly never-ending wild goose chase into the wrong castle. Indeed, it is that notion of fairy tales that makes Link and Zelda compelling. Much like fellow Nintendo stable-mate Mario, Link is an everyman, coming from a humble background only to, as the game progresses, grow stronger with experience and the acquisition of a range of helpful items and power-ups. Indeed, it is that everyman quality that endears him to the player and builds a connection that makes the quests one that demands to be seen through to completion. Zelda, meanwhile is shrouded in mystique. As stated before, we may not know much about her but it is that tantalizing sense of mystery that holds the attention and urges the player onward to, if anything, find more about this enigmatic princess. The sense of mystery that surrounds Zelda may have come across in different manifestations but ultimately, her beauty and her status make the quest of rescuing her from Ganon/dorf truly a battle worth fighting for. And, unlike her Nintendo stable mate Princess Peach, Zelda is shown to be a wise and capable ruler who is shown to be able to make major decisions and being deeply concerned with the welfare of her subjects.
Ultimately, I think the appeal of Link and Zelda lies in the fact they are both blank slates. Link may not utter a word but through his actions and his body language, he shows admirable virtues such as determination, intelligence and courage. As for Princess Zelda she, as stated before, maintains a degree of allure due to her long-standing sense of mystique: She may not be the player character but it is consistently her name in the title. In addition, Zelda may be a damsel in distress but she assists in Link in many, mostly subtle, ways. And, in a strange way, that’s enough. Because of such little information been provided to the player, it is enough to propel the appeal of this relationship forward. True much of it is left up to player speculation but through the subtlest of indications, in the form of facial expressions and body language, we can see something come to the forefront. Thus, Link rescues Zelda, Link protects Zelda, Link blushes upon hearing Zelda’s name, Zelda protects Link in her many disguises, Zelda shows concern for Link’s safety and assists him in the final confrontation with Ganon/dorf. And that for me is the appeal of Link and Zelda: The romance is presented within a real subtle manner. Indeed, its little moments like those I’ve described above that ultimately count for so much. It may not be obvious but the fact that it can capture the mind of the player, without them realising it, is a feat indeed. Sure the Zelda games may put forward some complications like Midna or Marin but honestly, the Hero of Time being without the Princess will just be unthinkable.
So that’s why I like the pairing of Link and Princess Zelda: It is practically a gaming take on the tried and tested fairy tale concept and it is furthered by subtle moments that really count for so much.
And now we reach what could be the conclusion of this series. And where else could we go to but the current generation?
Nintendo Wii Whilst I got my PS2 when the sixth generation was shuffling to an end, I was aware of the arrival of the next generation. Although I was far more concerned with my PS2, I did however become aware of the developments within the new generation: The hardware failures that plagued the 360 and the PS3 snubbing off backward compatibility. With such foolish moves, neither option seemed appealing to me. And then came along the old warhorse Nintendo: They came forward with their new console and the promise of having their old games from their previous consoles available for download. And from that moment on, it was all over for me. Of course there was some nonsense about motion controls but what did I care?
In fact that pretty much says it all for my experiences with my Wii: All the games I got for it were all for the Virtual Console (as well as a few Gamecube titles too). Sure I have a few Wii games sitting on the shelf but the number of games, and the hours spent playing them, is far outpaced by the ratio of games/hours invested in the Virtual Console. It may sound peculiar to have my eyes focused on the past but what do I care? Many of the games I downloaded for the Virtual Console are all games I enjoyed before or some that I missed out on the first time around. My goal to hunt down the IGN 100 best games got a shot in the arm and to have those games preserved and readily available is a coup to Nintendo. In fact I swear I’m not the only one who got their Wii just for the sole purpose of playing Virtual Console games (even if Nintendo seem reluctant to admit it).
But I’ve said plenty about the Virtual Console before in this blog so what about the actual Wii console itself? Well, take away the Virtual Console and all that’s left is an abundance of mixed feelings: Sure Super Mario Galaxy and Legend of Zelda Twilight Princess have held up well but beyond those two one would be hard-pressed to think up a game that defined the console. Indeed much of the Wii games were either shovelware, total tripe or split opinion (ie Metroid Other M, Super Smash Bros Brawl and Super Mario Galaxy 2). Were the developers even trying?
As for the motion controls, I’m not sure I see the point. Whilst it may have worked, Wii Sports being one such example, it does take away one of the fundamental connections between player and game. Jumping around to play games can be fun but it’s still no substitute for lounging on the couch with controller in hand. I heard Nintendo aren’t interested in competing with Sony and Microsoft in the hardware stakes so instead they’re looking to try new ways to play games. An admirable intention yes but I’m far from calling it a successful one. So in the end, the Nintendo Wii, for me, is pretty much the thing that played Virtual Console games. So I guess this is where the long term affair with Nintendo ultimately led to: Eyes on the past glories with little concern to anything new on offer. So whilst the Wii may have kept Nintendo afloat it would be interesting to see what they come up with next. Sure I don’t have high hopes of the Wii-U but Nintendo have proven there is still life in the old dog yet. So what will do they do now?
Xbox 360 So with the Nintendo Wii being used for anything but Wii games how did I feel about the rivals? Well my long-time love with Playstation came to an abrupt end with Sony fiercely decreeing the PS3 to be non-backward compatible. And, like any spurned lover I packed up shop and moved away, never looking back once. So where to then? Well, to the third contender.
I still had my games I got to use on Kathleen’s Xbox so the gravitation towards the 360 seemed somewhat natural. Due to fracas over the hardware failures and the Red Ring of Death, I was skeptical at first but then along came a little came called Dragon Age Origins – and in an instant, whatever reservations I may have had, were immediately cast aside.
So yes, the 360 was my console of the seventh generation. As well as Dragon Age Origins, other games I enjoyed on the 260 included Rock Band 3, Red Dead Redemption and Mass Effect 1+2. All great games in their own right but one thing I truly loved were the online capabilities of the 360. Sure the Wii had Virtual Console games ready for download but the 360 had the possibility to befriend other 360 users, dashboard decorations, lists to compare achievements and a wealth of DLC/expansions for games. And there were the achievements: An opportunity to provide evidence of doing something cool. I was skeptical at first as the achievements meant nothing beyond bragging rights but damn, it never gets dull comparing achievements with friends and gloating over the ones they haven’t got.
Conclusion And that’s pretty much my lot on the seventh generation. True there isn’t a really lot to say about it as we’re still in the middle of it (for however much longer) but it is interesting to see that this is the conclusion (for the time being at least) of a journey that began over two decades ago.
I have grown up with gaming and it’s been interesting to see points of my life occur alongside the history of this medium. It’s is also interesting to see how gaming has evolved and which gaming technology has endured the test of time – more so when one considers that this is a field where things grow obsolete at such a breathless, and indeed alarming, rate.
True I may have been flexible in my loyalties but what do I care? Yes it can’t be denied that gaming loyalties are something you’re stuck with for life and must be defended to the end, but I disagree. You see, my gaming loyalties are to the games themselves – no better exemplified than my constant jumping from Sega to Nintendo to Sony and Microsoft. If a game looks good and shows promise then I will play it – why should I miss out? I don’t recall it being a law that you must like one or the other. So do I like Sega, Nintendo, Sony or Microsoft? Answer: Yes.
Anyway, to wrap this up it’s been fun writing out this little recollection. I hope you enjoyed reading it. Until next time….
Here's a little something I contributed to this site
With the announcement of the successor to the Wii, in the form of the Wii-U, many minds will begin to consider that now is the time for the seventh generation of consoles to stand aside and make way for the eighth generation. Hardly surprising since we gamers need a constant stream of technological prowess to keep our fleeting attention spans held – lest we find something else to blow our money on. I guess this is the end result of sixth previous generations of building powerful technology and mind-blowing graphics: Each successive console generation is ultimately a cycle that we’ve somehow become unflinchingly accustomed to.
But I digress. With the announcement of the Wii-U, all eyes now turn to Nintendo. The old war horse; the company that gave us icons like Mario, Link, Donkey Kong and Samus; The organisation that has pretty much become synonymous with video gaming; the survivor who beat off the upstart that was Sega and the company that wrote the rules of the game and before changing them all. The question now is what can Nintendo do now?
In recent years, Nintendo have attracted disgust from many gamers – The Gamecube has never been able to escape the stigmata of being a ‘kiddie’ console having built a fanbase around Nintendo fans and younger gamers (whereas everyone else fled to the bosom of the Playstation and Xbox). The Wii hasn’t fared much better either: Being outclassed by it’s rivals, having games exclusively marketed at the casual fanbase and, well, not making games for the Wii. This, along with some baffling decisions (the response to Project Rainfall being one such example) has now placed Nintendo in a position where many of it’s fans are responding with either anger or defection to the PS3 and the 360). It’s indeed surprising that this disgust has come about considering that this was a company who everyone adored with unquestionable passion – even when a potential usurper arrived in the form of Sega. So whilst the Wii may have made Nintendo enough money to stay float the question still remains: what can they do now?
One problem – and perhaps the most obvious one – is that Nintendo have been basing much of their strategy on familiarity (I refuse to use the N-word in this article). Sure the NES may have given us Super Mario Bros, legend of Zelda and Metroid but these franchises have turned up with each successive console (well maybe not Metroid for the N64 but whatever). The idea of using familiarity to sell something new is good in theory but now Nintendo have been reusing established franchises to the point where it is now expected. Sure some people may be a bit tired of Nintendo reusing their well-established franchises but to build new franchises isn’t that simple: The old guard have taken root and there’s no shifting them. Can anyone now imagine buying a Nintendo console without a Mario or a Zelda game? Of course not. People like familiarity and the comfort they bring so to introduce new faces would most likely send ripples of panic into the prospective buyers. Granted the roster in Super Smash Bros Brawl was a brave attempt by Nintendo to give new light to some forgotten franchises but I doubt anyone would’ve recognised half of them. Get past Mario, Luigi, Bowser, Peach, Yoshi, Wario, Zelda, Link, Ganondorf, Donkey Kong, Diddy Kong, Fox, Falco, Captain Falcon, Samus, the Pokemon, Kirby, Snake and even Sonic and you’re left with a bunch of faces so unrecognizable you’d wonder why they bothered to show up.
And then there’s the Virtual Console. I thought this was a great idea as I thought it great opportunity for veteran gamers (like myself) to pick up great games they may have missed out on the first time around. Indeed, it can be argued that having games available for download may have inspired both the XBLA and the PSN. And I’m certain that I’m not the only one who picked up a Wii just for the Virtual Console. But that’s just it: The presence of these games and indeed the Virtual Console are nothing new and ultimately solidifying the perception that Nintendo are getting by on their established IP. Sure I may have spent more than few dollars on Virtual Console games but I can’t help thinking that I, if maybe, have contributed to the furthering of Nintendo’s current (and unwelcome) position of furthering familiarity and rehashing stuff that worked before.
Talk about shooting one’s self in the foot.
Also, whilst the Wii may have saved Nintendo and keep them in the game (so to speak) for a little while longer but it seems to have also made them too comfortable. I mean, are Nintendo actually putting out games with actual content? Sure Goldeneye 007, Smash Bros Brawl and Twilight Princess, may have been big titles but of those three, one’s remake, one’s a rehash made to fulfill fan desires and one was looking at Ocarina of Time’s blueprint. Again, it is this reuse of old ideas. Are Nintendo even trying any more? Sure the Wii may have been a big seller but there is not enough games for it to justify the big sales or its potential as a game console. Sure making games may be a job like any another but that’s no reason to stop caring and be half-arsed about it.
Indeed, it is telling that nowadays, Nintendo seem to be lavishing far more attention to the 3DS – perhaps far more than what is necessary. Indeed, the negative response to Project Rainfall may have been the final straw for most people and they’ve subsequently given up on Nintendo completely – many who’ve been unbending in nearly two decades of devotion. Why plug the Wii-U as ‘hardcore’ friendly when the snubbing of Project Rainfall says otherwise?
But this is what bothers me: A video game company that makes bad decisions? One that ignores it’s fanbase and makes games that is more or less shovelware? One that relies on past glories and makes almost exclusively first party games? One that introduces a new technology but is unable to make good use of it? One that is subsequently out classed by it’s rivals?
Didn’t all these things happen to Sega?
Whilst Sega’s days of a console developer have long gone, the memory of the once great console giant lingers – not to mention it’s ultimate downfall (one being even greater than that of Atari). As history has a nasty habit of repeating itself, it would be interesting to see whether or not Nintendo can avoid a similar fate.
So what can Nintendo do now? That’s a very good question….
Now those who’ve been following this series will note that my recollections seem somewhat hazy. This is due to things being experienced out of order and exact moments in my gaming history are difficult to pinpoint. But now all that is changed. Because I can recall one particular moment that sold me over: It remains burned in my memory as a turning point and, in retrospect, marks my true beginning as a gamer. And that moment was this:
Megadrive (or as some of you call it Genesis)
I recall reading through my brother’s video game magazine and was hit by a full page ad for Sonic the Hedgehog. And, like hundreds of other people, it was all over. I had know idea who this blue guy was but I was sold with his big eyes, cocky grin and a general ‘bring it on’ disposition. Naturally, this led me gravitating towards the Megadrive.
Needless to say, when I finally saw one in action, I wasn’t disappointed. It seemed a world apart form the eight bit games I had seen before. Of course this was all 16-bit but it seemed beefier: Anything seemed possible within this new gaming technology, with colourful graphics, large worlds to explore and character that would be impossible to replicate on the Master System, NES or Commodore 64. As luck would have it, my cousin had one so many times were spent talking about games and playing them to death. Many memories were built up and some I still recall: Playing two player games of Golden Axe 2, the theme to the first level of Truxton, the character of Rocket Knight Adventures, being floored by the rotoscoped graphics to Flashback, playing an ace conversion of the Mortal Kombat arcade, being impressed by the tactical pace of Jungle Strike, being blown away by both Sonic and being excited about the arrival of Tails in Sonic 2 (and subsequently laughing by how many times he died through following Sonic).
However looking back through an adult perspective, there is a lot that hasn’t aged well in the world of the Megadrive. A lot of games have aged horribly (most of them being part of the pre-Sonic era when this new technology was being figured out) through lousy graphics, crummy sounds and being dull to play. Many game soundtracks now sound dreadful given the limited sound prowess of the console (ie Shining Force 2) and many games were really overshadowed by Sonic. True sport games had a field day on the Megadrive, the Shining series had some gems and the Phantasy Star’s importance as a pioneering RPG series can never be overlooked but beyond Sonic, one would struggle to come up with an equally important IP – whereas Nintendo had how many? Three? Five?
But in the terms of building a lasting impression, the Megadrive is in a class of it’s own. It’s arrival opened my eyes to the world of gaming: I discovered there was a world waiting for me and I charged right in: I read the CVG magazines my brother collected. I sought out the NES and the Master System. I became aware of Sonic’s intent to usurp the throne of some guy called Mario. I talked games with my classmates and built up bonds through common interests. I began to grow excited of the game that resided in the arcade machine. I built up an ear to the ground and grew excited about the hype machine (the arrival of Streetfighter 2 to home computers and the afore-mentioned arrival of Tails being two such examples). The wall may have been chipped previously, but this was a breakthrough. And it all came in the form of Sega’ s little black box.
SNES Having spent the previous paragraphs gushing about the Megadrive it’s fair to say that I spent the fourth console generation as a Sega fanboy. So is there anything I can say about the other camp? Why yes there is.
I recall the SNES being really popular in it’s day: Even to the point when the Nintendo fans recovered ground lost by the Megadrive and, as before, outnumbering us Sega fans. But it was not without good reason. Now whilst I had a lot of focus towards the Megadrive, I will admit there some instances of the some Nintendo games slipping through the cracks. Through visiting friends at the time, I remember quite a bit: Getting my claws on Super Mario World and being impressed by how the familiar can be revamped quite dramatically, Playing Yoshi’s Island and thinking how the bizarre can actually come across as something very enjoyable, plunging headlong into the world that was Super Metroid and being very impressed with Donkey Kong Country.
But my own experiences with the SNES really come in two halves: With my childhood years and with my adult years. As described in the previous paragraph the childhood years were nothing more than flirtations but come my adult years, it was something completely different. You see, it’s only in past few years that I started playing SNES games again – thus heralding the end of many years of wandering in the wilderness. In that period, I set about rediscovering the type of stuff that my comrades were doing years before. I hunted down many games that escaped my notice the first time and, needless to say, I found them very enjoyable. Even now it does indeed blow my mind that a game I noticed when I was a child could still work for me as an adult.
In fact, this perception of the SNES is an interesting counterpoint to the Megadrive: Whereas I can easily find a lot of things with Megadrive games that have been dated in the years since, this does not to be the case with the SNES library. I have played and enjoyed the likes of Super Mario World, Legend of Zelda Link to the Past, Secret of Mana, Actraiser, Terranigma, Super Metroid, Final Fantasy 4 & 6 and, of course, Chrono Trigger. All of which hold up remarkably well in this age of hi-def graphics. An obvious point would be the high quality game play the game is built around has outlasted many of trends that has come since the game’s initial release but the same could be said at an aesthetic level: Many of the SNES game are still as beautiful to look at now as the day they were released. I’m still impressed by how much detail can be squeezed out of such graphical limitations. And many of the music in games still hold up – and it seems that, through the presence of orchestral arrangements and remixes, many will agree with me. I love the Final Fantasy music (who doesn’t?), I rate the Secret of Mana very highly, and I think some of Link to the Past music outdoes many of the successive Legend of Zelda games. Indeed, it’s fair to say that many games on the SNES have withstood the test of time very well – in fact, it makes one wonder whether the games we’re playing now will have similarly staying power ten years from now… But one must take the good with the bad and in the SNES’ case I can see a problem: If the NES was something of a franchise starter, then the SNES is where the franchises took root. And to does raise the problem in that everyone was playing the same damn thing – even to the expense of the other titles. Granted it’s because the games were great but even now, you ask someone which was the best game on the SNES and they reply with the usual suspects: Super Mario World, Link to the Past, Super Metroid, Secret of Mana, Chrono Trigger and Final Fantasy 6 (even as I type this I can see myself repeating myself and it’s damn depressing). Indeed, if you challenge anyone to name the best game on the SNES without mentioning those made by Nintendo or Square and they’ll struggle to say the least. Indeed, it’s this sense of entrenchment that may be costing Nintendo even now….
But criticism aside, the SNES was indeed one of the finest consoles ever made, blessed with superb titles and technological prowess. It represents for me staying power in games and a shining example of how something can last, and keep calling me back, years later. It’s a bastion still standing no matter what time, age and technological developments can throw against it.
Phew, what a mammoth post. No matter: I had a lot to say and I'm glad to have it said. See you this time next time next week for a shock to the system....
And here we are with the second instalment of this series. So let’s not dilly-dally. Here we go with the 3rd generation!
Master System They say that when you always remember when you discover something new for the first time: It’s the one that leaves the greatest impression and influences your line of thinking from that point on. Which brings me to the Sega Master System.
Whilst this wasn’t that big a deal in the US or Japan (ie the places the matter), the plucky MS was actually quite popular in Europe and here in Australia. I first became aware of Sega during Primary school where many people had a Master System. In fact, in retrospect, I think I knew more people with a Master System than people with a NES. So what did the Master System do to win me over? I guess many of the reasons can only be attributed a childlike wonder of discovering something new: Colourful graphics, irritatingly catchy tunes and finding something that appeared to be world apart from what I was familiar with (which was the Commodore 64). Some particular favourites in this era included The Ninja, Alex Kidd in Miracle World and Wonderboy. I was also impressed by how Sonic made the transition from the Megadrive and still came out great. And special mention must also go to Mortal Kombat – how they managed to replicate those graphics in an 8-bit system still blows my mind today. Looking back however, there are more than few things wrong with the damn thing. Sure many of the games looked nice but they were plagued with wonky controls that sent your guy running in all directions, playing areas where everything therein could kill you and situations that insisted you memorise a pattern that had to be obeyed to the letter in order to get anywhere! With such poor designing in the games, it is little wonder that the NES outpaced the Master System with games and developers. Still, in spite of my criticisms, the Master System played it’s part in furthering my interest in games. And that’s a worthy achievement in my book.
NES Now you’re talking. Again, this wasn’t a console I owned – but I still got to play it through a friend of my brother. Indeed, this is of particular interest: Whilst the Atari 2600 was confined to school and the Master System was owned by friends (and thus even further out of reach), the NES represented something of a breakthrough. Finally those fabled boxes had arrived in my house. They were hooked up to my TV and infiltrated their way into familiarity. And finally I had the chance to try these videogame consoles for real (or whatever you want to call it).
Whilst the memories of the Master System may be hazy and somewhat confused with youthful excitement, the games I played on the NES are far more ingrained in my mind. Compared to the Master System I can proudly point out the games I played: Super Mario Bros, Super Mario 3, Captain Skyhawk, Star Wars and TMNT. Whilst the Master System got to me first, the NES however had a substantial selection of games – and the funny thing is I still play of some of them today. I guess most of it comes down to smart design – and now that I think about it, that’s most likely what I got the most out of the NES. True the Master System may have won me over on a stylish level but the NES proved what can be achieved with a little bit of substance. Indeed, if I’m still playing 8-bit games today then that says a lot about the staying power of them. In fact it makes me wonder if any games made today will still be played twenty five years from now…. Another of the more lasting impressions of the NES was being something of a franchise starter: Super Mario, Legend of Zelda, Metroid, Final Fantasy and Metal Gear Solid all had their humble beginnings here. Looking back I didn’t think much of serials: I was happy to enjoy games on both the Master System and NES, caring little of actual names. I didn't think that Mario and Zelda were big deals (like they were in the US or Japan) I just figured they were there and there were Nintendo - although being in a truly awful cartoon didn't really help their cause at all. Funny thing was, many of the titles I mentioned above went on to become legends whilst many of the Master System games now look largely (and painfully) generic. In any case, the foundation stones were set for a survival of the fittest that even Darwin couldn’t comprehend. True the NES may have had it’s fair share of ‘generic’ games but I guess they’re easy to ignore on a system that became the birthplace for Mario/Link/Samus/Snake. Can’t really think of much else to say. Much has been written about the NES and its importance to video game history so my own recollections and experiences may just well be enough.
That’s it for this week. Stay tuned for the next generation and a breakthrough of massive proportions….
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.
