A young man named Apurba Kumar Roy – or Apu – has recently graduated from school. Apu is encouraged by his teacher to attend university, but he cannot afford it. After having lost his entire family due to tragic circumstances, he tries to find a job. Though unemployed, he manages to get by providing private tutoring lessons. He seeks to write a novel based off of his own life with the intent to publish it one day. Things take a turn for the interesting when an old friend, Pulu, invites Apu to attend the wedding of his cousin.
Having been released within a month of the Super Famicom’s domestic launch, Pilotwings went on to become one of the console’s most beloved titles. Very rarely did one ever see anyone make a serious attempt at three-dimensional gameplay in 1990. Although Pilotwings lacked a true sense of depth, that the team led by producer Shigeru Miyamoto was willing to experiment allowed it to have a rightful place in history. Because it was such a widespread, mainstream success, many developers began to see 3D as the way of the future.
Strangely, despite the fact that it proved successful, it didn’t inspire any sequels immediately. Because of its simplistic gameplay, Pilotwings is thought of as an elaborate technical demonstration for the Super NES. It wasn’t that the developers weren’t interested in creating a sequel – they simply explored what Pilotwings accomplished using different properties. Whether it was using the console’s Mode 7 feature to supplement their presentation or adding action elements to the general gameplay and calling it Star Fox, the influence Pilotwings had on the medium could be felt for the duration of the console generation despite not being as prolific as Nintendo’s other successes. Therefore, with Pilotwings having demonstrated what the Super NES was capable of, it seemed only natural that Nintendo would wait until they were ready to make another strong impression to finally create a sequel.
In the mid-1990s, Nintendo was working on their newest console: the Nintendo 64. While the Super NES merely faked the perception of depth by creatively rotating and scaling scanlines, the Nintendo 64 was going to be the genuine article. With one of the most advanced graphics processers of its day, they would redefine the rules of the medium once more in the form of the launch title Super Mario 64. As Shigeru Miyamoto, Takashi Tezuka, and Yoshiaki Koizumi directed its creation, Nintendo turned their attention to a company based in Addison, Texas called Paradigm Entertainment.
Founded in 1990, the company primarily focused on creating products specifically for graphics developers. This included military training simulations for pilots and ship captains. Their diverse clientele included the United States Department of Defense, NASA, Lockheed Martin Boeing, and the Walt Disney Company. With their endorsement of 3D graphics and virtual reality, Nintendo couldn’t have picked a better company to help co-develop the Nintendo 64’s iteration of Pilotwings. Led by Genyo Takeda and Makoto Wada of Nintendo, the two companies began developing the game in earnest in 1995. As Mr. Miyamoto was co-directing Super Mario 64 at the time, his role ended up being far more removed than his production work for the original Pilotwings, though he still oversaw the project from Japan.
Paradigm had developed simulators for military vehicles and aircraft, yet never created a video game. As such, the first hurdle the company had to overcome involved combating old habits. From the beginning, they had to choose between creating what amounted to an arcade game on a home console or a simulation. Rather than placing an emphasis on physics during development, they opted to create something that had a balance between realism and fun. While Paradigm worked on its graphical presentation, Nintendo was in charge of the game design. Using a naming convention that would become typical for the platform, the game was entitled Pilotwings 64. It would be one of the thirteen Nintendo 64 games showcased during the Shoshinkai event in November of 1995 – during which time, the console was dubbed the Ultra 64. The game debuted domestically alongside the retitled Nintendo 64 in June of 1996. It would launch with the console as it made its international debut the following September and March as well. Was Pilotwings 64 able to truly demonstrate the Nintendo 64’s potential?
In the year 1920, a young boy named Apurba Roy – or Apu – has left his home in rural Bengal with his parents, Harihar and Sarbajaya, settling into an apartment in the bustling city of Varanasi. Working as a priest, Harihar has been making a decent amount of money, and with the tragic death his first child weighing on his mind, he is determined to make as good of a life as possible for Apu. The family couldn’t possibly have known at the time exactly what plans fate had in store for them.
Kayla is an eighth grade student attending Miles Grove Middle School. She often posts motivational videos on YouTube to help those with little self-esteem, though they receive little attention. Her advice is quite ironic, for she herself is quite the shy person, having few friends at school. It is to the point where she is voted “Most Quiet” by her classmates. She also has difficulties connecting with her father, who tries, and largely fails, to ween her off of social media. In spite of her emotional baggage, Kayla spends her last week as a middle school student determined to leave her comfort zone.
Kirby’s Dream Land was one of HAL Laboratory’s greatest successes when it launched on the Game Boy in 1992. It proceeded to sell over one-million copies over the next few years. Despite this, the game drew a fair bit of criticism. Veteran gamers in particular were critical of its short length and lack of difficulty. Even gamers of a middling skill level could blaze through the experience in the course of an afternoon. Nonetheless, its stellar commercial performance all but ensured a sequel would be made. Series creator Masahiro Sakurai found himself in the director’s chair once more, and his team was determined to expand upon the gameplay established by his inaugural title.
In order to successfully implement the myriad ideas they had for this new game, HAL Laboratory turned their attention to Nintendo’s home console. However, despite the Super Famicom, or Super NES as it was known internationally, having been released two years prior to the debut of Kirby’s Dream Land, the team decided the next game would debut on its predecessor – the Famicom. The game was named Kirby of the Stars: The Story of the Fountain of Dreams and saw its domestic release in March of 1993. It then debuted internationally in North America and Europe later in the same year retitled Kirby’s Adventure. By 1993, the fourth console generation was in full swing. It was a period of console gaming defined by the fierce rivalry between Nintendo and Sega. This did not prevent Kirby’s Adventure from becoming a bestseller. Unlike Kirby’s Dream Land, the game was a hit with critics as well. Retrospectives have since deemed it the NES’s swansong. In the midst of a battle that placed a great emphasis on presentation and technical prowess, how, exactly, did Kirby’s Adventure win over its predecessor’s detractors?
When you consider what an incredibly basic feature it is, it’s difficult to believe there was once an era in gaming in which the ability to save was a novelty. Because of the technical limitations at the time, developers sought to make simple experiences that weren’t really meant to be completed in the traditional sense, but rather played like a game of pinball wherein you kept going until you expended all of your lives. When console gaming truly took off, however, the idea of playing a game in multiple sessions became mainstream after being pioneered in the PC gaming scene for a number of years.
Considering how long the ability to save has been around, one might think there’s nothing to the process anymore, but you would be surprised how easy it is to mess up.
This story takes place in the year 1969. An aging actor named Rick Dalton has been stuck playing the role of antagonists in various films for several years. He was once the star of a Western television series called Bounty Law in the 1950s, but his time in the sun has long passed. He often confides to his best friend and stunt double Cliff Booth that his career is effectively over. Despite his dire situation, Rick lives in a comfortable house on Cielo Drive. He realizes he may have a second chance on his hands when two rising talents, Sharon Tate and her husband, Roman Polanski, move into the large house next door to him.
With their Family Computer (Famicom), Nintendo proceeded to dominate the market throughout the entirety of the third console generation. The console proved to be such a success, it managed to revitalize the North American gaming industry after it crashed in 1983. Dubbed the Nintendo Entertainment System (NES) aboard, the console was responsible for injecting gaming into the mainstream. However, during the life of the Famicom, Nintendo gained two new rivals. First, NEC Corporation launched the PC Engine – internationally known as the TurboGrafx-16 – in 1987. Shortly thereafter in 1988, Sega launched the Mega Drive – rebranded the Genesis in North America. Although its launch titles had difficulties standing out from the competition, it was clearly a piece of technology superior to the Famicom with a graphical presentation that emulated arcade games in the latter half of the 1980s.
Masayuki Uemura, the Famicom’s designer, realized he needed to come up with something to surpass his lauded invention to ensure his company remained relevant, and thus made it so. In 1990, the Famicom’s successor, the Super Famicom, was launched. Nintendo realized it wouldn’t be enough to just continue their big-name franchises on this new platform. If consumers were under the impression the Super Famicom offered only a superior graphical presentation, they likely wouldn’t have been interested in purchasing it. They needed something to prove that the console was to offer experiences simply not possible on the aging Famicom software.
To this end, Nintendo formed a team consisting of various members of the Research and Development divisions. The team was named Nintendo Entertainment Analysis and Development (Nintendo EAD). Under the leadership of producer Shigeru Miyamoto, the team created three games within fifteen months of the Super Famicom’s inception. One was Super Mario World – the official sequel to the universally praised Super Mario Bros. 3. The second was F-Zero, a fast-paced racing game. The last of these games, however, would be something the medium had seen only a few times by 1990: a flight simulator. Named Pilotwings, this game was released one month after the Super Famicom’s launch. The console then proceeded to debut in North America the following year where it was renamed the Super Nintendo Entertainment System (Super NES). Pilotwings was highly regarded upon release and is still considered one of the console’s premier titles in retrospectives. How was it able to grab the attention of consumers and critics alike back in 1990?
July is usually my favorite month of the year, though these past two ones have been unusually difficult for some reason. I apologize for the sudden lack of content, though some decidedly strange circumstances ended up interfering with my writing process. For instance, my internet went down at the end of this month, resulting in this update post being delayed. I didn’t even get to see any films at home, though I personally blame that on Stranger Things.
Although Pokémon as a cultural phenomenon was over by the third generation’s debut in 2002, the Ruby and Sapphire versions of Game Freak’s popular franchise managed to move sixteen-million units, making them the best-selling titles on its platform. The successor to the Game Boy Color was a highly praised piece of technology for allowing players to have portable gaming experiences comparable to ones provided by the Super Nintendo Entertainment System. However, just like the Game Boy Color, the Game Boy Advance wouldn’t last for long before its own successor saw the light of day.
Just before the debut of Ruby and Sapphire, the president of Nintendo at the time, Hiroshi Yamauchi, proposed the idea of a handheld console with two screens. The product from Mr. Yamauchi’s imagination would be announced in 2003. However, they claimed it would succeed neither the Game Boy Advance nor the Nintendo GameCube. In early 2004, the console was formally unveiled with the codename “Nintendo DS”. The acronym stood for “Developers’ System” or “Dual Screen”. The system’s specifications were highly advanced for its time, having two three-inch screens and one gigabit of semiconductor memory. The most notable aspect of this console was that the bottom screen would respond to touch commands. It wasn’t entirely unprecedented, for Tiger Electronics released a console in 1997 dubbed the Game.com. Its poor sales ensured the innovative idea died with it – or at least until Nintendo realized its potential. Mr. Yamauchi’s successor, Satoru Iwata, was enthusiastic about the DS, believing it would bring Nintendo into the forefront in terms of innovation. Released in 2004, its most notable launch title was a remake of Nintendo’s own game-changing Super Mario 64.
Although the Nintendo DS wasn’t created with the intent to succeed the Game Boy Advance, this scenario is precisely what came to pass. With many franchises such as Tetris and Super Mario Bros. gaining original entries on this system, it was only a matter of time before fans of Pokémon began speculating on the next generation. The year 2004 saw the debut of Pokémon Dash – a racing game that exclusively used the touch screen. Much like Yoshi’s Touch and Go, Pokémon Dash received fairly negative reviews. Critics believed developer Ambrella relied entirely on the touch screen to ferry an otherwise entry-level experience.
Even so, fans wouldn’t have to wait long before an official announcement was made. In 2004, the development of the fourth set of mainline games, Diamond and Pearl, was made known to the public. They would be the first set of games not developed by series co-creator Satoshi Tajiri with Junichi Masuda instead helming the project alone. With the tough experiences of developing Ruby and Sapphire still fresh in his mind, Mr. Masuda was nonetheless determined to create the ultimate version of Pokémon. Diamond and Pearl were initially slated for a 2005 release, but the team needed more time to implement the new ideas they had. As such, their domestic release was delayed until September of 2006. They reached the West in 2007 and Korea in 2008, marking the series’ official debut in the latter region.
Both games fared well critically with many people praising the new ideas Ms. Masuda and his team brought to the table. Even better, by the time of its release, the series had begun to make a comeback. The children who played Red and Blue in the late 1990s were either in high school or moving on to college, allowing them to wax nostalgia about the series without fear of ridicule. Because of these factors, it is no coincidence that Diamond and Pearl ended up selling eighteen-million copies – two-million more than their predecessors. Were Diamond and Pearl emblematic of the series’ resurgence in popularity?