With so many people getting vaccinated, things seem to be picking back up. Here’s hoping this momentum continues.
With so many people getting vaccinated, things seem to be picking back up. Here’s hoping this momentum continues.
AK of Everything Is Bad for You has recently hit a milestone, for he now has 500 followers. Congratulations! To celebrate, he did a Sunshine Blogger Tag, and, in turn, tagged me (among others). It’s been awhile since I last did one of these tags, and he asked some interesting questions this time, so let’s say we get right to it?Continue reading
Yeah, it’s been awhile since my last game review, huh? Sorry about that. At least I managed to talk about the first game in a series I’ve been meaning to tackle for awhile.
February of 1986 marked the release of the Famicom Disk System. A periphery unit for Nintendo’s highly successful Famicom console, the Famicom Disk System was capable of reading 3 ½-inch floppy disks. Not only did the disks boast superior storage capabilities to contemporary ROM cartridges, but the peripheral also added a new high-fidelity sound channel. These features allowed for the creation of games previously thought impossible. The Legend of Zelda and Metroid saw their debut on the Famicom Disk System. Between their open-ended design and the ability to save the player’s progress without the use of passwords, both games successfully broke the mold for console gaming.
Nintendo wished to release these games internationally following the console’s successful debut in North America in 1985, but plans to export the peripheral were eventually scrapped. It also wouldn’t be long before the pioneering periphery was rendered obsolete. In the years since the Famicom’s debut, Nintendo had vastly improved the semiconductor technology of their cartridges. Among other things, this allowed developers to embed a battery in the Famicom cartridges. Any cartridge with these batteries could record a player’s progress – a mainstay feature of Famicom Disk games. Because there was no reason to continue developing games on an increasingly outdated format, Nintendo deemed it necessary to convert many of the titles that originally debuted on the Famicom Disk System to cartridges. Needing a programmer to port the Famicom Disk System games to a standard ROM format, the company hired a man by the name of Toru Narihiro. He and his auxiliary program called themselves Intelligent Systems, working with Nintendo’s premier research and development branch led by Gunpei Yokoi to see these conversions through.
Using the experience he gained working alongside Mr. Yokoi’s team, Mr. Narihiro and his team switched gears, and began programming games of their own. The first title he programmed was Famicom Wars – a turn-based strategy game that proved to be a hit upon its 1988 release. The game’s development attracted the attention of one of Mr. Narihiro’s colleagues – one Shouzou Kaga. As a budding scenario writer, Mr. Kaga sought to take the strategic elements present in Famicom Wars and combine them with the story, characters, and world of a role-playing game. With this project, Mr. Kaga wished to create a scenario that allowed players to care about the characters. At the time, he observed that role-playing games had strong stories, but rather scant casts. Meanwhile, he felt tactical games had the exact opposite problem, having large casts, but weak stories. Therefore, he decided to provide a solution to this odd discrepancy with his game.
In its earliest advertisements, the game was dubbed Honō no Monshō (Emblem of Fire). By the time the game saw its release in April of 1990, Honō no Monshō was rendered in English – the full title being Fire Emblem: Shadow Dragon and the Blade of Light. When the game was released, Mr. Kaga noted that it received extensive criticism from Japanese publications. Despite the team’s efforts to avoid emphasizing stats and numerical data, critics found the gameplay too difficult to understand. Exacerbated by its simplistic presentation, and it would appear that Shadow Dragon and the Blade of Light was a failed experiment.
Mr. Kaga and his team saw Shadow Dragon and the Blade of Light not as a commercial product, but as a dōjin project made on a whim. A dōjin project is a work intended to attract a group of people sharing the same interests. As many such projects are self-published, they are typically below the quality one would expect from a professional company, although many such artists use them as a springboard to bigger and better things. Because of this, it seemed only fitting that Shadow Dragon and the Blade of Light would gain a new lease on life when one notable journalist devoted a column in Famitsu magazine to the game. Coupled with positive word of mouth, the game saw its sales increase significantly after two months’ worth of flat numbers. Shadow Dragon and the Blade of Light would thus not enter the annals of gaming history as a failed experiment, but rather a sleeper hit.
As a possible consequence of its experimental nature, the game was not released internationally. In fact, it wouldn’t be until 2001 with the release of Nintendo’s mascot fighting game Super Smash Bros. Melee that international fans even knew of the franchise’s existence. Shadow Dragon and the Blade of Light would be remade twice with the latter version being released internationally. However, it wouldn’t be until 2020 when the game in its original form finally saw an official release outside of Japan, being offered for a limited time on the Nintendo Switch. In the end, Shadow Dragon and the Blade of Light was a game that ran the risk of becoming an obscure footnote. What did those fans see in it that critics couldn’t?
If The Last of Us Part II is meant to be the game of my generation, we’re in big trouble.
When this game debuted on June 19, 2020, it quickly became one of the most controversial mainstream releases in the medium’s history. Director Neil Druckmann considered it his magnum opus, and critics, by and large, had nothing but praise for the game. The same, however, could not be said of fans – many of whom rejected it as an inferior follow-up to a beloved masterpiece. To critics, it was the greatest sequel in entertainment history since The Godfather Part II, but to fans, it may as well have been Exorcist II: The Heretic.
For the record, I was criticizing Naughty Dog way before it was cool. In fact, it was back in September of 2013 that my extreme disappointment in the first The Last of Us caused me to form strong opinions of the games I played, which, in turn, eventually resulted in the creation of this site, so don’t forget to thank Naughty Dog for making this all possible. And then, seven years later, the sequel managed to disappoint a much larger portion of the audience. The more things change, the more they stay the same.
Upon its 2013 release, Naughty Dog’s The Last of Us proved to be a tremendous hit with fans and critics alike. It proceeded to receive awards from nearly every conceivable outlet with one journalist considering it gaming’s Citizen Kane moment. Emboldened by the success of this game, series creator Neil Druckman and the rest of Naughty Dog began working on a sequel in 2014. As development proceeded, Naughty Dog also provided gamers with Uncharted 4: A Thief’s End and Uncharted: The Lost Legacy. The former provided a sendoff to series protagonist Nathan Drake whereas the latter continued the story with two prominent female characters. Both games were well-received and cemented Naughty Dog as one of the most beloved American developers in the process. With the sequel to The Last of Us announced in 2016, fans eagerly awaited what Mr. Druckmann and his team had to offer.
Unfortunately for Naughty Dog, the development process would prove to be less than uneventful. While Mr. Druckmann had previously encountered tremendous difficulties on his path to bringing his artistic visions into reality, it was nothing compared to what was about to occur. The troubles began brewing as early as the very year they began work on the game. In March of 2014, it came to light that the creative director of the first three Uncharted installments, Amy Henning, had left Naughty Dog alongside game director Justin Richmond. One article from IGN speculated that they had been forced out of the company, citing how it coincided with Neil Druckmann and Bruce Straley’s subsequent replacement of their respective positions. Naughty Dog’s co-presidents, Evan Wells and Christophe Balestra released statements, clarifying that neither of them had anything to do with the departure of Ms. Henning or Mr. Richmond.
The controversy eventually subsided, and the fans continued to await the sequel to The Last of Us. Shortly after the release of The Lost Legacy in 2017, the first trailers for this sequel surfaced. Fans were now more excited than ever – particularly after the game became slated for a release in September of 2019. However, history repeated itself – this time, in the worst way possible. Jason Schreier, writing for Kotaku, wrote a report that revealed Naughty Dog’s intensive crunch schedule wherein 12-hour workdays was the standard. Many people concluded that Naughty Dog had been exploiting their programmers’ passion, and soon enough, the company gained a bad reputation in Los Angeles County for up-and-coming programmers. With its staff unable to bear working such untenable hours, the company had a 70% turnover rate. Although several other sources claimed such a thing was not unheard of in the industry, this caused many of Naughty Dog’s fans to turn on them.
Because of these harsh working conditions, the game found itself delayed yet again – this time to 2020. Naughty Dog assured fans the game would be released by that year’s summer, but then a disaster the likes of which humankind hadn’t experienced in nearly a century occurred. In late 2019, a coronavirus dubbed COVID-19 had broken out in Wuhan, the capital of China’s Hubei province. Being highly infectious and capable of causing severe damage to one’s respiratory system, everyone on the planet not employed by an essential business soon found themselves under lockdown the following March. Unemployment skyrocketed and the ensuing stock market crash was likened to the Great Depression of the 1930s. By the end of the year, over one-million people had lost their lives to the virus. It would eventually be considered the single worst pandemic in recorded history since the influenza outbreak of 1918.
In response to logistical problems caused by the virus, Naughty Dog opted to delay the game once more – this time indefinitely. By this point, fans were beginning to lose patience with Naughty Dog. It would seem that the game was not to surface for quite some time. However, an undesirable development forced their hand. In April of 2020, key details of the game’s story were leaked onto the internet. Although it was initially dismissed as a hoax, the leaks were quickly confirmed as the genuine article. Under most circumstances, leaks spoiling major content would cause fans to despair. The emotion these leaks instead inspired was sheer, raw anger – directed at Mr. Druckmann himself. Due to the content of these leaks, many fans swore off buying the game entirely with some going as far as canceling their preordered copy.
A few days after these leaks occurred, Naughty Dog announced the game had gone gold. Discs could now be manufactured for a slated release date of June 19, 2020. Many fans were excited about getting their hands on the game sooner than expected, but it was clear the leaks had taken the wind out of Naughty Dog’s sails. Regardless, the game, simply titled The Last of Us Part II, quickly amassed a level of acclaim rivaling – and in some circles, surpassing – that of the original. Many of them considered it the first true masterpiece of the 2020s. Facing delays, internal problems, and a worldwide pandemic along the road to seeing the light of day, was The Last of Us Part II truly able to surpass the acclaim of the original game and truly tap into the medium’s storytelling potential?
Also known as the one where Red Metal actually does stuff. Hope you all are continuing to do well!
Although it managed to receive some accolades for setting out into uncharted territory, fans and critics alike would eventually dub Bubsy 3D one of the worst games ever made. Coupled with having to compete with Nintendo’s Super Mario 64 and Naughty Dog’s Crash Bandicoot, the latter of which debuted on the same console as Bubsy 3D, the game had no chance of retaining any kind of long-term appeal. If there was any chance for the series to recover its fleeting relevance, Accolade’s dissolution in September of 2000 completely ruined it.
For the longest time, the series was looked back upon as a curious novelty from the 1990s. It thus came as a surprise when, in June of 2017, a new Bubsy game was announced. Rights to the franchise had been acquired by the Hong Kong company Billionsoft. Developing the installment would be Black Forest Games – a company based in Offenburg, Germany that had previously revived the Giana Sisters series in 2012 to a generally favorable reception.
Although nostalgia for the 1990s arguably saw its peak during the 2010s, the announcement of a new Bubsy game was met with much derision. The creators leaned into the series’ bad reputation, creating a social media account for the character for the purpose of making self-deprecating jokes at his expense. Whatever goodwill this may have generated was lost when the game debuted in October of that year. Although it wasn’t as disliked as Bubsy 3D, critical reviews were almost universally negative. Fans were only slightly more kind to the game, but it clearly wasn’t a hit with them either. How, exactly, did this game manage to invoke so much ire in the press?
In 1987, a struggling game developer named Square released Final Fantasy. It was so named because the team wished for a name that could be shortened to FF. That way, it could be abbreviated in the Latin script and pronounced in four syllables in Japanese. It is also speculated that the name came about due to series creator Hironobu Sakaguchi being in dire straits at the time. Had the game failed, he would have quit the industry entirely and gone back to university. Mr. Sakaguchi himself later stated that these theories, despite having a ring of truth to them, were overblown and any two words beginning with the letter “F” would have worked. In either case, the game proceeded to ship 520,000 copies in Japan. When the company decided to localize the game for North American markets, the company managed to move an additional 700,000 copies. Suddenly, the company that had been struggling to find its voice could now stand tall with the artists from which they drew inspiration.
Two years after the release of Final Fantasy, Nintendo launched the Game Boy console. As it was considered a monochromatic, portable Nintendo Entertainment System (NES), units began flying off of the shelves. Square president Masafumi Miyamoto, seeing a prime opportunity to expand into another section of the market, requested his developers to turn their attention to the Game Boy. Employee Nobuyuki Hoshino came up with the central concepts for this hypothetical game while Akitoshi Kawazu was handed the reins. The success of Tetris and Super Mario Land demonstrated that there was an audience for the portable market, and Mr. Kawazu alongside Koichi Ishii sought to provide the platform with something a little more advanced: a role-playing game.
The project was completed in 1989, seeing its domestic release in December. The game was named Makai Toushi SaGa – or Warrior of the Spirit World Tower: SaGa. It was highly acclaimed by Japanese critics, and it became Square’s first game to sell over one-million copies. The following year would see Final Fantasy becoming a sleeper hit in North America, so to bank off its popularity, SaGa was renamed The Final Fantasy Legend. Although it wasn’t as acclaimed abroad as Final Fantasy, The Final Fantasy Legend did find an audience, and even today, it is considered one of the Game Boy’s hallmarks. As the first role-playing experience for a popular, portable console, how was The Final Fantasy Legend able to craft an identity distinct from that of Final Fantasy?