The year is 1981. Arthur Fleck is a party clown and a social outsider who aspires to become a stand-up comedian. He lives with his mother, Penny, in an apartment in Gotham City. The rigid class system in this society has resulted in large segments of the population unemployed, disenfranchised, and impoverished. Arthur himself has it worse than most due to his crippling mental disorders. Things reach their absolute nadir when a group of delinquents steal Arthur’s sign, attacking him as he catches up to them. Still, he holds out hope that one day, it will all work out.
WARNING: The very premise of this film contains spoilers for the series thus far.
The members of the Resistance have escaped from Planet Crait and are now mounting a counterattack against the First Order. However, as they regroup, a shocking, new development occurs. A mysterious broadcast resonates throughout the galaxy, promising a threat of revenge. The voice belongs to none other than the deceased Emperor Palpatine – the despot ruler of the Galactic Empire. In response, General Leia Organa has dispatched her agents to gather intelligence as Rey prepares for the final battle. As the new Supreme Leader of the First Order, Kylo Ren attempts to solve the mystery of this phantom emperor, hoping to eliminate any threat to his own reign.
WARNING: The very premise of this film contains spoilers for the series thus far.
Starkiller Base has been destroyed, but the First Order continues their campaign undaunted. Having disposed of the Republic, Supreme Leader Snoke has deployed his forces in order to subjugate the galaxy. The only thing standing in their way is General Leia Organa’s Resistance fighters. Although certain that her brother will rejoin the fight and light a spark of hope in the Resistance, their existence has been exposed. It is only a matter of time before Snoke’s forces overwhelms the Resistance.
WARNING: The very premise of this film contains spoilers for the series thus far.
After the fall of the Galactic Empire, the exploits of Luke Skywalker, Leia Organa, Han Solo, and the rebel forces that brought down the oppressive regime became the talk of legends. Thirty years have passed since then, and a new crisis has emerged. Luke Skywalker has vanished without a trace. In his absence, a faction known as the First Order has risen from the ashes of the Empire. General Leia Organa now leads a resistance movement against the First Order backed by the Republic. Desperate to find her brother, she sends her best pilot on a mission to Planet Jakku. An old ally may have found a clue to Luke’s whereabouts.
The year 1987 marked the debut of Mega Man. The brainchild of Capcom members Akira Kitamura and Keiji Inafune, Mega Man was to be among the developer’s first original games for Nintendo’s highly popular Famicom console – known as the Nintendo Entertainment System (NES) abroad. The game, made in a few months by a group consisting of six people, proved to be fairly popular. It sold well enough domestically to have been considered a sleeper hit, yet flopped in the West partially as a result of a hasty, borderline nonexistent marketing campaign. Despite its mixed reception, Mr. Kitamura wanted to make a sequel, seeing further potential in what they created. These aspirations came to a stop when he was overruled by producer Tokuro Fujiwara. In response, the director then went to Capcom’s Vice President to get permission to make the game. The executives permitted Mr. Kitamura and his team to work on a sequel under one condition: they had to work concurrently on other projects as well.
Shortly thereafter, the project supervisor invited Mr. Inafune back to the new project. The artist had been working on a separate game at the time, but agreed to help. According to him, the development team willingly worked twenty-hour days to see this project through. He and his fellow staff members would spend their own time on the project to improve the gameplay established in their original effort. His second year working at Capcom, in his own words, “opened up a whole new world of stress for [him]” as he became far more involved with the sequel’s production and even got to mentor a new employee. Despite this, he would later describe it as his best time with Capcom because they were working towards a common goal and made something they truly cared about.
A few months later, Mr. Kitamura’s team completed the project. In Japan, the end product was released in December of 1988 under the name Rockman 2: The Mystery of Dr. Wily. While the original game was, at best, a modest hit, the sequel proved to be an overwhelming success. Still deciding to give the Western market a chance, Capcom had the game localized and released in the United States in June of 1989 retitled and abridged to Mega Man 2. To their surprise, the game was a hit abroad as well. Its international success and critical acclaim allowed Mega Man to become Capcom’s flagship series overnight. Even to this day, Mega Man 2 is considered one of the greatest games ever made as well as the standard to which a sequel should strive to achieve. How exactly was a sequel to a game many considered middle-of-the-road able to give its title character a new lease on life?
In the year 1987, a graduate from the Osaka Designers’ College by the name of Keiji Inafune received a degree in graphic design. During this decade, a new form of entertainment was quickly gaining popularity. Known as TV games in Japan and video games in the West, this medium distinguished itself from others by allowing the audience to be a part of the experience. Twenty-two at the time, Mr. Inafune sought a job in this booming new field – hopefully as an illustrator. He originally wanted to join the prolific developer Konami, but there was another one much closer to his place of residence: Capcom. For one of his first assignments, Mr. Inafune was placed on a team led by Takashi Nishiyama. The result, released in the same year he graduated, was Street Fighter – one of the first fighting games to achieve mainstream success.
Capcom had a lot of success in the arcade scene throughout the 1980s. When Nintendo’s Family Computer (Famicom) was released in 1983, Capcom began porting their more well-known arcade games to the platform. Although the graphical capabilities of the Famicom – called the NES abroad – weren’t nearly as advanced as the most prominent arcade titles at the time, players found themselves drawn to the ports. The idea of being able to play even a downgraded version of an arcade game in the comfort of one’s home was highly enticing. Although the ports sold well, Capcom eventually wanted to develop something specifically for the Japanese home console market. To this end, they decided to recruit fresh, young talent for a new team.
Among the recruits was Keiji Inafune. He found himself on a team of five other people. Leading this team was Akira Kitamura, who mentored the newcomer throughout the development process. To design a protagonist for this game, Mr. Inafune drew inspiration from Astro Boy – the eponymous protagonist of Osamu Tezuka’s landmark manga series. In fact, the game was originally intended to be an adaptation of Astro Boy, but the team ended up with a creation of their own. Before Mr. Inafune had joined the project, Mr. Kitamura developed a basic character concept for this game’s protagonist. After a few illustrations, they ended up with a humanlike robot boy. This character went through several names, including Battle Kid, Mighty Kid, Knuckle Kid, Rainbow Warrior Miracle Kid, and The Battle Rainbow Rockman. Eventually, the team settled for cutting out a significant portion of the last of these names, ending up with Rockman. He was so named because the team went for a musical motif – Rockman’s sister being named Roll to complete the genre allusion. The game, named after the protagonist himself, was domestically released on December 17, 1987.
Capcom’s executives believed that Rockman wouldn’t sell. They were proven wrong when Japan’s limited quantities quickly began disappearing off of store shelves. The company had a sleeper hit on their hands, which prompted them to hastily commission a Western localization. Caught completely off-guard by this development, Capcom’s North American branch quickly began work. The Senior Vice President at the time, Joseph Marici changed the protagonist’s name, and by extension the game’s title, from Rockman to Mega Man. Why he imposed this change is straightforward enough; he did not like the character’s original name. As this was going on, the president of the North American branch told a marketing representative to have cover art for the box done in one day. In a panic, said marketing executive had a friend draw the cover in six hours. Working with only a single vague description of the game over the telephone, the results were memorably terrible.
It is said that this cover art contributed to the game having flopped abroad along with a general lack of press coverage overseas. Nonetheless, with strong domestic sales in spite of its tepid critical reception, Mega Man was a modest success. Did Mega Man allow Capcom to put their best foot forward in the console market?
Around the time director Junichi Masuda and his team were putting the finishing touches on Pokémon Black and White, they had already begun drafting ideas for the succeeding set of games. Mr. Masuda wanted the themes of the sixth generation to revolve around beauty, bonds, and evolution. Evolution had always played a key role in the series, being a power many of the title creatures possessed, though it would be more accurate to describe the process as a metamorphosis. Bonds had also been a running theme throughout the series with narratives emphasizing the teamwork between Pokémon and humans in their universe. This just left beauty as the sole theme the series hadn’t covered at length. It was therefore fitting that Mr. Masuda would base the setting of these games off of France – a country known for its beauty. To this end, he brought a team with his to France to study the countryside and architecture.
As they worked on the games, the DS’s successor, the 3DS, was about to be released. The console, which would be released in 2011 worldwide, boasted the same dual-screen gameplay of its predecessor in addition to a litany of new upgrades. This included built-in motion sensors, a larger screen, and true to its name, a true three-dimensional presentation. Although it didn’t initially sell as many units as its popular predecessor, it eventually gained momentum following the release of several high-profile, acclaimed games such as Super Mario 3D Land and Mario Kart 7. It would also be the console that finally allowed Intelligent Systems’ Fire Emblem series to get mainstream acclaim in the West when Fire Emblem Awakening was localized in 2013.
The Pokémon franchise had always been on handheld devices, so it was only natural for fans to eagerly await a new generation to debut on the 3DS. In defiance of the series’ naming conventions, which involved colors or gemstones, the team decided these new games would be called X and Y. These letters were chosen in order to represent different forms of thinking, bringing to mind an x-axis and a y-axis. It was also a subtle allusion to the simultaneous, worldwide release of the games in 2013. Mr. Masuda’s team even attempted to make the names of the Pokémon the same in every country whenever possible, though Mr. Masuda found this task exceptionally difficult.
The anticipation for these games was such that Brazilian stores attempted to sell them prior to their official release date. This prompted Nintendo to issue a warning stating they would penalize them if they continued to do that. However, the United Kingdom ended up following suit when a store in Bournemouth started selling the games on the eve of their release date. This created a domino effect, prompting other retailers across the nation began selling the games early as well. Like the preceding sets of games, X and Y were well-received critically. Commercially, they beat the records set by Black and White by selling four-million copies worldwide during the opening weekend. Being on the 3DS, X and Y would be the first games in the main series to leave spritework behind in favor of three-dimensional models for their characters. After this, there was no going back. Were X and Y able to successfully translate the series’ iconic gameplay into three dimensions?
For those who celebrate it, I hope you had a great Thanksgiving! November proved to be a little hectic, but it wasn’t too bad. I was kind of hoping to get five reviews finished, but that’s not how things panned out. Oh, well.
Call of Duty: Ghosts proved to be a success when it was released in 2013. However, particularly bad word-of-mouth ensured it was met with a poor fan response. Independent critics disliked it for the campaign’s litany of unfortunate implications whereas fans were unimpressed with its multiplayer capabilities – or lack thereof. Despite selling over nineteen-million copies, Call of Duty: Ghosts was considered by its creators to be a failure, thwarting any immediate attempts at creating a sequel. In order for the series to win back its wary fans, the creators realized they needed to shift gears.
Sledgehammer Games had co-developed the third and final entry in the Modern Warfare trilogy with Infinity Ward after much of the latter company’s key personnel was fired for what Activision CEO Bobby Kotick considered acts of insubordination. However, even before then, Sledgehammer had been working on an installment of their own entitled Call of Duty: Fog of War. Announced before the release of Modern Warfare 3, this game was to be set during the events of the Vietnam War. It would defy the series’ conventions by being an action-adventure game presented from a third-person perspective. The plans for this game were put on hold when Sledgehammer dedicated all of their efforts to seeing Modern Warfare 3 to completion.
Fog of War was then silently canceled when Sledgehammer began working on an entirely different project upon completing Modern Warfare 3. According to its director, Michael Condrey, the game’s engine had been built from scratch. On top of that, the game was to boast an advanced facial animation system using the same technology James Cameron sought to employ in his then-upcoming film Avatar 2. Even with a technological advancement other developers could only dream of possessing, Sledgehammer wasn’t done. In an attempt to capture the Hollywood sensibilities the AAA industry had been pursuing for some time, they recruited actor Kevin Spacey to portray a central character. With these enhancements, it seemed only natural that they would entitle the game Call of Duty: Advanced Warfare. All of the steps Activision and Sledgehammer took in order to get people talking about their game paid off when it received fairly positive reviews upon its 2014 release. Many critics called it the breath of fresh air the series desperately needed after the annual releases rendered it stale. With no shortage of hype surrounding this installment, was Advanced Warfare able to maintain the Call of Duty franchise’s relevance going into the eighth console generation?
The Second World War brought about one of the most significant advancements in technology in recorded history. Decades after the conflict ended, the world’s superpowers began working with advanced machines capable of expediently conducting calculations. These machines were eventually named computers. In the 1960s, the Advanced Research Projects Agency (ARPA), a branch within the United States Department of Defense invented a packet-switching network. Named the Advanced Research Projects Agency Network (ARPANET), it was the first network to implement the TCP/IP protocol suite. Government agencies would use this internetworking process to quickly share important information in a secure manner.
One of the programmers who helped develop ARPANET was Will Crowther. In his spare time, he and his wife Pat would frequently go spelunking. Mr. Crowther had previously helped create vector map surveys of the Mammoth Cave system in Kentucky for the Cave Research Foundation. He was also a fan of Dungeons & Dragons, a tabletop role-playing game that launched its first edition in 1974. These good times weren’t to last, for he ended up divorcing his wife in 1975. Striving to find some way to connect with his daughters following the separation, Mr. Crowther had an idea. Combining his fondness for cave exploration with his programming expertize, he decided to create a computerized simulation of his travels.
Development of this project began in 1975 and took a year to complete. It consisted of nearly 700 lines of FORTRAN code with another 700 written for BBN’s PDP-10 timesharing computer. The result was considered the first known instance of interactive fiction. The executable file for this program was called ADVENT, but the opening screen provided its more famous name: Colossal Cave Adventure. One person who discovered Mr. Crowther’s work was Don Woods – a recent graduate from Stanford University. Mr. Woods added his own ideas to the code, including a scoring system and high fantasy elements – the latter of which was inspired by his fondness of the writings of J.R.R. Tolkien.
Unlike Mr. Crowther’s original version, the source code of Mr. Woods’s was widely distributed. What started off as a way for a man to connect with his daughters became ground zero for a type of entertainment the public later dubbed adventure games. As computers became more commonplace in the average household, Colossal Cave Adventure became a great success. Even those with limited programming knowledge could enjoy playing this game, and its impact on the medium cannot be denied. In an era before people regularly used the term “video game”, how does Colossal Cave Adventure hold up?