[GAME REVIEW] Pokémon Diamond and Pearl

Introduction

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?

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Pokémon Ruby and Sapphire

Introduction

When the Game Boy Color was released in 1998, Nintendo’s competitors seemed to lack any kind of recourse. Companies such as Sega and Atari released portable consoles that featured color, yet Nintendo’s monochrome Game Boy had dominated the handheld market. When color was implemented for Nintendo’s Game Boy line, one of the few advantages their competitors had dissipated instantly. In fact, with the Sega Game Gear having been discontinued in 1997, the Game Boy Color’s sole competition upon release was provided by its direct predecessor. SNK and Bandai attempted to enter the market with the Neo Geo Pocket and the Wonderswan Color respectively, but neither console came close to dethroning the Game Boy Color.

Although the Game Boy Color sold very well, rumors had been spreading that Nintendo was in the process of creating a successor as early as the Nintendo Space World trade show in August of 1999. These rumors turned out to be entirely correct. Nintendo was attempting to create an improved version of the Game Boy Color codenamed the Advanced Game Boy (AGB) along with a brand-new 32-bit system slated for a release the following year. Renamed the Game Boy Advance, the system was officially announced in September of 1999. Nintendo initially aimed for a 2000 release, though it wouldn’t make its debut until 2001. Like its two predecessors, the Game Boy Advance was a commercial success with fans and journalists alike praising its significant technical leap from the Game Boy Color.

Within the short lifespan of the Game Boy Color, Game Freak had released Pokémon Gold and Silver. It wasn’t easy for Satoshi Tajiri and his team to follow up a set of games as monumental as Pokémon Red and Blue, but with the second generation, they proved they were more than up for the task. Featuring many novel concepts such as a real-time clock and the ability to pass down moves through breeding, Pokémon Gold and Silver would prove to be the Game Boy Color’s premier role-playing experience. Given the immense popularity of these games, it was only natural for them to create a third set, and the Game Boy Advance would seem to be the ideal platform upon which Game Freak’s flagship series could make a triumphant debut in the sixth console generation.

Unfortunately, this proved easier said than done. The Game Boy Advance was a large technological leap from the Game Boy Color. As Game Freak had been accustomed to developing games on simplistic hardware, they encountered problems almost immediately. Even the fact that the screen was slightly larger meant they had to develop with a different aspect ratio. On top of that, they had far more colors and sound channels to work with. Though the newfound freedom intrigued the team, accomplishing certain tasks became much more difficult and the entire process became highly resource-intensive.

They also had to deal with a factor they couldn’t possibly control: what their audience felt of the series. When Pokémon Red and Blue debuted internationally in the late nineties, it became a true worldwide phenomenon. Sometime after the release of Pokémon Gold and Silver, however, the novelty died down. Fans had dismissed these games’ popularity as a fad, declaring it dead. Junichi Masuda, the man who co-directed the franchise’s third-generation entries alongside creator Satoshi Tajiri, would describe the adverse atmosphere in an interview, believing there was an immense pressure to prove dissenters wrong. Combined with their unfamiliarity with the new hardware, these games proved to be the most difficult to develop out of any generation in the series thus far. Such was the extent of the stress Mr. Masuda felt creating these games that he found himself hospitalized at one point as a result of severe stomach issues. Despite these setbacks, he and his team persevered and saw the project through to the end. The night before games were released, the co-director had a dream in which it was a complete failure.

Deviating from the color themes of the preceding generations, the third set of mainline games were dubbed Pokémon Ruby and Sapphire. They saw their domestic release in November of 2002 before debuting aboard in 2003. How these games were received isn’t exactly straightforward. On one hand, Mr. Masuda’s fears were ultimately misplaced, for Pokémon Ruby and Sapphire moved sixteen-million units between the two versions, making them the greatest selling Game Boy Advance titles. Interestingly, the third most successful title on that console was Pokémon Emerald – an updated version of these two games in a similar vein to Pokémon Yellow and Pokémon Crystal. There’s no questioning that, from a financial standpoint, these games were complete successes. However, the fans themselves were divided on these games for various reasons. While fans accepted the changes Gold and Silver brought to the table, they weren’t as unanimously receptive of Ruby and Sapphire. What is it about these games that inspired such mixed feelings?

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Pokémon Stadium 2

Introduction

With the international success of Pokémon Stadium for the Nintendo 64, Game Freak’s bestselling franchise had presence on both the handheld and console markets. The latter game was especially novel for its time, having introduced the Transfer Pak. With it, players could insert their own copies of Pokémon Red, Blue, or Yellow into these devices and have the creatures they raised battle it out in 3D. Naturally, Nintendo EAD was compelled to make a sequel following the release of the mainline series’ second-generation games: Pokémon Gold and Pokémon Silver. This sequel was showcased at the Nintendo Space World festival in 2000. It was originally going to be entitled Pokémon Stadium 3 domestically before being changed to Pokémon Stadium Gold/Silver, seeing a release in December of that year. Western fans wouldn’t have to wait too much longer for the game to be released internationally, seeing the light of day in March of 2001 in North America and October of the same year in Europe. As only the second of the two games in the series left their native homeland, it was dubbed Pokémon Stadium 2 abroad. Does this game successfully keep up with the core series’ evolution?

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Super Mario Galaxy

Introduction

Originally codenamed the Revolution, the Wii was to be Nintendo’s entry in the seventh console generation. While Microsoft’s Xbox 360 and Sony’s PlayStation 3 console focused on providing players with high-definition experiences, Nintendo opted to go in a different direction. Rather than appealing to the existing gaming fanbase, they sought to make their console for everyone, hence why the name sounds like the English first-person, plural pronoun “we”. One of the Wii’s touted features lied in its unique control scheme. In lieu of fashioning a classic controller, the Wii was to employ motion controls, which would be executed by a remote outfitted with an infrared sensor. Though met with a degree of skepticism within the gaming community, the Wii became the best-selling console of its generation. Despite its successful launch, many gamers were wondering why a mainline Mario installment was not among its launch titles. Even the GameCube had the spinoff Luigi’s Mansion, yet when the Wii launched, Nintendo’s mascot was nowhere to be found.

After the release and overwhelming success of Super Mario 64, Nintendo began working on a sequel. One of the first names for this hypothetical game was Super Mario 64-2. It was slated to launch on the 64DD (Dynamic Drive), a peripheral for the Nintendo 64 that would afford players new freedoms such as the ability to create their own content. However, the commercial failure of the 64DD ensured it would never leave its homeland. In response, many 64DD projects were reformatted for the Nintendo 64, saved for future consoles, or cancelled outright. Super Mario 64-2 was one of the projects to suffer the last fate. Despite this, Nintendo wasn’t ready to throw in the towel. With the impending launch of the Nintendo GameCube, they needed something with which to demonstrate its processing power. In 2000, a proposed game entitled Super Mario 128 was showcased at Nintendo Space World. The game was heavily retooled and outfitted with a tropical island theme, hence the 2002 release Super Mario Sunshine. Though stuck in the shadow of its more popular predecessor, Super Mario Sunshine was highly acclaimed in its own right, and became one of the console’s premier titles.

Though many ideas from the Super Mario 128 demonstration were excised by the time it became Super Mario Sunshine, one person continued to see potential in them. That person was none other than the demonstration’s director, Yoshiaki Koizumi. Super Mario Sunshine marked the first instance in which he found himself as the lead director, and though he was satisfied with his work, he wanted to set his sights higher for the inevitable follow-up. One part of the demonstration featured Mario moving freely around a spherical platform. This concept did not make it into Super Mario Sunshine due to it overtaxing the machine’s technical capabilities. Nonetheless, series creator Shigeru Miyamoto remained interested in the concept, and he decided to form a team who would help bring it into reality.

The year 2002 marked the founding of the Nintendo EAD Tokyo Software Development Department. The purpose of this branch was to recruit fresh, new talent from Japan’s capital and most populated city. Their inaugural game was released in 2004 under the name Donkey Kong Jungle Beat. It was among the first titles to star Donkey Kong in the lead role after the revered Rare entered a partnership with Microsoft. The game was praised for the most part, though many critics deemed it inferior to Rare’s Donkey Kong Country trilogy due to its lack of returning characters. Nonetheless, the game stood out from its competition in how characters were controlled with a set of bongos – an aspect that captured the attention of various non-gaming publications. Impressed with their work, Mr. Miyamoto asked EAD Tokyo if they wanted to make a high-profile game starring one of the company’s mainstays. This prompted one member of the staff to suggest they possessed the skills to make a new Mario title. Mr. Koizumi, taking note of the experience the staff developed creating Donkey Kong Jungle Beat, felt they could make the idea involving spherical platforms work and recruited them into this new project. In a bit of a twist, Mr. Koizumi set his attention to the Wii.

With a basic concept in mind, all Mr. Koizumi needed was a central theme, necessitating his team to draft several ideas and find ways to implement them. Co-designer Koichi Hayashida and producer Takeo Shimizu were skeptical about the idea of incorporating a spherical playing field into a 3D platforming game. The latter in particular felt a sense of danger when the plan was approved. Only when he began debugging the game did he realize how fresh the experience felt. Once the team was convinced of the concept’s viability, they quickly settled on setting the game in outer space, believing most players would see the spherical shapes as planets. As an entire region separated EAD Tokyo from Nintendo, a system was put in place so both offices could playtest the game. The development team was pressured to finish their work at or close to the Wii’s launch. However, keeping true to the ethos of Mr. Miyamoto, they deemed a polished Mario game was more important than a rushed one.

The efforts of EAD Tokyo saw their completion in November of 2007 under the name Super Mario Galaxy. It is nearly impossible to overstate just how much praise this game received upon release. Mere days afterwards, Super Mario Galaxy was considered one of the greatest games ever made. Fans declared it the first truly worthy sequel to Super Mario 64, and even those who didn’t care for the Wii were thoroughly impressed. With Super Mario 64 having one of the most profound impacts of any game in history, was Super Mario Galaxy truly able to surpass it?

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Jumper Two

Introduction

Fledging independent game developer Matt Thorson made his first significant mark on the medium in February of 2004 with Jumper. Though not quite his debut effort, it was the first one he felt worth mentioning in retrospect. This minimalization of the platforming games he grew up with was highly praised in the independent circuit. Shortly after the release of Jumper, he teamed up with another Game Maker-user who went by the name Dex. The game that resulted from their collaboration, Dim, drew a lot of inspiration from Jumper while also giving its protagonist the ability to hop between dimensions in a manner reminiscent of The Legend of Zelda: A Link to the Past. This game also found an audience and would be referenced in later editions of the Jumper level editor. As Mr. Thorson gained more experience programming, he used what he learned to fine tune the physics in Jumper and create a sequel. This game, simply entitled Jumper Two, was released in June of 2004 – a mere four months after the release of the original. Being his third game in the span of a year, what does Jumper Two bring to the table?

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Super Mario Sunshine

Introduction

Several attempts at three-dimensional gaming had been attempted since the medium’s inception. Many games from the eighties would place players in a maze of flat, two-dimensional building blocks to create the illusion of depth. Though this was serviceable for its time, that the player character could only ever turn at 90 degree angles betrayed the strict technical limitations the developers were saddled with. In the nineties, id Software would light up the PC gaming scene when they released Wolfenstein 3D in 1992. Though not terribly different from its spiritual predecessors in how it used clever programming techniques to project the illusion of 3D, id’s effort compelled other development teams to begin seriously consider where the medium should go from there. This sentiment was punctuated with id’s release of Doom the following year.

Though many companies would try their hand at 3D gaming with varying degrees of success, it was Shigeru Miyamoto, Takashi Tezuka, and Yoshiaki Koizumi of Nintendo who were the first to successfully explore this uncharted territory in the form of Super Mario 64 in 1996. The sheer amount of critical acclaim it received forever changed the face of the gaming industry. Suddenly, 3D gaming went from being considered a pie-in-the-sky scenario to the industry standard in less than a year’s time. Such was the extent of its impact that many subtle techniques from Nintendo’s groundbreaking effort are still being employed today. Becoming the Nintendo 64’s bestselling game with eleven million copies sold, a sequel seemed inevitable.

As early as January of 1997, Shigeru Miyamoto talked about a sequel to Super Mario 64, tentatively entitling it Super Mario 128. As Nintendo put the finishing touches on the Nintendo 64, they included a slot at the bottom of the console that would allow the use of peripherals. The most prominent one they were in the process of developing was the 64DD (Dynamic Drive). In a manner similar to the Famicom Disk System, the 64DD would allow the Nintendo 64 to utilize a new form of storage media. It was to feature a real-time clock for persistent game world design and afford players many new freedoms. They could rewrite data and create movies, animations, and even their own characters. Nearing the end of 1997, Super Mario 128 was renamed Super Mario 64-2. Much like how Super Mario 64 before it generated interest in the Nintendo 64, Super Mario 64-2 was to be the 64DD’s premier title. However, the 64DD was a commercial failure when it launched in December of 1999, only selling 15,000 units in total. By the end of its short run in February of 2001, only ten original titles had been released for the unit. Any other proposed title for the unit was reformatted into a Nintendo 64 cartridge, ported to future consoles, or cancelled outright. Among the titles to suffer the last fate was Super Mario 64-2.

Despite this setback, Nintendo wasn’t ready to give up on a potential follow-up to Super Mario 64. During their SpaceWorld event in August of 2000, they unveiled a technology demo to showcase their then-upcoming GameCube console. The project they elected to demonstrate was a Mario game – once again under the working title Super Mario 128. Taking its proposed name literally, the GameCube’s technical capabilities were demonstrated when it rendered multiple Mario models at once, eventually reaching 128 of them.

One year later, at the following SpaceWorld event, fans learned that Super Mario 128 had undergone a complete reinterpretation. Gone was Princess Peach’s iconic castle. Instead, a tropical paradise awaited players. To reflect this change, the game was now titled Super Mario Sunshine. It was notably the first time Yoshiaki Koizumi found himself in the lead director’s chair. The first great impression he made on his superiors was when he wrote the memorable scenario for The Legend of Zelda: Link’s Awakening. He worked his way up from there, and his ten-year-long apprenticeship culminated in him getting to lead in the creation of the newest Mario installment. The game saw its release in 2002. Though not as impactful as Super Mario 64, Super Mario Sunshine was a well-respected game in its own right, having little trouble amassing critical acclaim and becoming one the console’s bestselling titles. Did Mr. Koizumi’s first shot as the lead director result in a classic experience?

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Jumper

Introduction

On November 15, 1999, Dutch computer scientist Mark Overmars released a piece of software named Animo. It was a graphics tool that featured limited visual scripting capabilities. Within the next few years, the tool was renamed GameMaker to reflect its specific purpose. Before the internet age, creation tools such as Mr. Overmars’s were difficult to get ahold of. You either had to specifically go out and buy them or work for a big-name developer. However, with advent of the internet, people could distribute such software far more easily. Therefore, it was no coincidence that when the internet became commonplace, gaming began cultivating an independent scene.

One of the people who utilized Mr. Overmars’s GameMaker program was one Matt Thorson. Going by the e-handle YoMamasMama, he began making games as early as 2002. After finishing his first game, The Encryption, in 2003, he moved onto a new project: Jumper. He completed the game in February of 2004 at the age of sixteen. Though not a viral success like Cave Story, which was released in the same year, Jumper managed to find an audience and is considered an admirable freeware title. Speaking retrospectively on his website, Mr. Thorson would consider Jumper the first game he was truly satisfied with. Was Jumper a strong debut for a budding indie developer?

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Luigi’s Mansion

Introduction

The Nintendo 64 marked Nintendo’s official entry in the fifth generation of consoles. The success of one of its launch titles, Super Mario 64, helped jumpstart the medium’s 3D revolution. Though countless developers from id Software to PF Magic had dabbled in 3D for quite some time, Super Mario 64 ended up being ground zero for the leap. What made it such a remarkable effort was that there were no signs of growing pains. The camera could be controlled by the player, yet was incapable of phasing through walls due to being operated by a real character. Mario’s shadow could always be seen underneath him because it helped players gauge where he was on a platform. Levels were made far less linear because players would be naturally inclined to explore the space in which they found themselves. Though these design choices sound prototypical when summed up on paper, future development teams attempting to create three-dimensional experiences would take cues from Super Mario 64 and many of Nintendo’s other pioneering 3D efforts such as The Legend of Zelda: Ocarina of Time in the coming decades.

Despite the acclaim these games received, Nintendo’s success did come at something of a price. Thanks to a combination of Nintendo sticking with ROM cartridges in lieu of adopting the increasingly popular optical disc format and third-party developers having to adhere to their strict policies, they soon found themselves face-to-face against Sony and their PlayStation console. The juggernaut electronics company had entered the console race as a result of the failed partnership between themselves and Nintendo to create a CD-based peripheral to compete with the Sega CD. Because many prominent developers such as Capcom, Konami, and Square began making games exclusively for the PlayStation, Nintendo began rapidly losing their dominance. Even the overwhelming critical success of games such as Super Mario 64 and Ocarina of Time did little to make up for their loss in market share. At that point, they needed to innovate quickly in order to remain in in the business.

The year 1997 marked the launch of a graphic hardware design company named ArtX. It was staffed by twenty engineers who previously worked at Silicon Graphics, Inc. (SGI) – the company that helped develop the Nintendo 64’s hardware. They were led by Dr. Wei Yen, who had been SGI’s head of Nintendo Operations and outlined the console’s architectural design. ArtX partnered with Nintendo in 1998 in order to craft Nintendo’s entry in the rapidly approaching sixth console generation. Initially codenamed “Flipper”, the project was first announced to the public at a press conference in May of 1999 as “Project Dolphin”. Shortly after this announcement, the company began providing development kits to second-party companies such as Rare and the newly formed Retro Studios.

ArtX was then acquired by ATI in 2000, though the Flipper graphics processor design had been mostly completed. A spokesperson claimed ATI was to become a major supplier to the game console market and that the Dolphin platform would be the “king of the hill in terms of graphics and video performance with 128-bit architecture”. The console was formally announced as the Nintendo GameCube at a Japanese press conference in August of 2000. It was at the Electronic Entertainment Expo of 2001 that the GameCube’s fifteen launch titles were unveiled. Curiously, there appeared not to be a single Mario game in the lineup. However, a closer examination revealed that a game set in the Mario universe would be among the launch titles, but with his brother Luigi in the lead role.

During the Nintendo Space World exposition of 2000, many technological demonstrations were designed to showcase the GameCube’s capabilities. These took the form of full motion video clips – one of which depicted Luigi running from ghosts. After creating the footage, Nintendo decided to turn the demo into a fully realized game. It was shown again at the 2001 Electronic Entertainment Expo alongside the other launch titles and the console itself. This game, Luigi’s Mansion, was to offer an experience the likes of which had never been seen in a Mario title. Though the idea for the game had been conceived as early as 2000, once it became a GameCube project, Luigi was chosen as the protagonist to keep the experience new and original.

The GameCube launched domestically on September 14, 2001 and in North America the following November before receiving European and Australian releases in May of 2002. From a commercial standpoint, Luigi’s Mansion was the most successful GameCube launch title, being the single best-selling game in November of 2001. Nintendo attributed Luigi’s Mansion as the driving force behind the GameCube’s launch sales, for it sold more copies in its opening week than even Super Mario 64 in its own. Critically, Luigi’s Mansion was mostly positive, with critics especially taken aback by its stellar presentation. Despite this, the reception wasn’t quite as warm as that of Super Mario 64. Was Luigi’s first true adventure precisely what the GameCube needed for a successful launch?

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Eversion

Introduction

Following in the trail blazed by the word-of-mouth success of Cave Story in 2004, an entire scene for independent games began to grow. Many independently produced games had existed before 2004, but Cave Story showed the world that they need not settle for being lesser than studio-backed efforts. In the following years when digital distribution platforms became more commonplace, it wasn’t uncommon for these games to appear alongside AAA efforts on popular consoles. The year 2008 is considered something of a watershed moment for the independent scene. It was the year that saw the release of Braid and World of Goo – both of which were critically acclaimed even when held to the same standards as AAA titles.

Nearing the end of 2008, Zaratustra Productions, the alias of Brazil-born British developer Guilherme Töws, released a freeware game named Eversion. Thanks to two prominent internet personalities at the time, one a Let’s Player and the other a webcomic artist, Eversion began spreading over the internet like wildfire. Owing to how it made its way to hard drives around the world, Eversion could be seen as one of the earliest instances of a game being exclusively spread through the use of memes. What, exactly, about Eversion allowed it to enjoy this unexpected popularity?

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Anubis II

Introduction

In the 2000s, British developer Data Design Interactive had the idea to remake the classic Amiga game Zool: Ninja of the Nth Dimision for the then-current console generation. This plan fell through when Zoo Digital Publishing, unimpressed with DDI’s efforts, canceled the project. Not to be deterred, DDI continued with the assets they created. Changing the theme and the protagonist, the end result was Ninjabread Man. The game was universally panned upon its 2005 release, becoming even more notorious in 2007 when DDI ported it to the Nintendo Wii under their Popcorn Arcade branding. Around the same time, DDI released another game utilizing the same engine as Ninjabread Man dubbed Anubis II. Does this game fare any better than Ninjabread Man, which is considered the textbook definition of shovelware?

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