Enter your email address to subscribe to this blog and receive notifications of new posts by email.
Join 4 other subscribers
Some neat little tidbits I hadn’t seen or thought about before. Didn’t know that the Zelda timeline includes one where Link lost. Pretty crazy.
Did You Know Gaming? has also made a video about Pokemon that’s pretty cool too:
This is a French video game for sure. (Picture courtesy Giant Bomb)
Evangelion 1.11 – Min has never seen Evangelion all the way through, so I figured the movies would be the best/easiest way to watch them.
Ip Man – I ran into this movie as a “Watch It Again” recommendation on Netflix, so I thought I’d show Min the aggressively pro-Chinese/anti-Japanese parts because I find it funny how blatantly nationalistic this movie is. Also the kung fu is pretty great to watch.
Up All Night – For some reason the runner about Missy being mean to her incredibly good-looking British boyfriend she met off of J-Date is absolutely hilarious. This show is pretty solid. Not amazing, but solid. Good for a few guaranteed laughs.
The League – Finally caught the last three of the season. Allison Williams is hot. WOW! My favorite line, from Kevin to an ex-con: “How were the pick-up basketball games?” “Violent.”
Justified – Strong return. Holy cow that was awesome. The tension in the draw scene was awesome. Best line: “You didn’t have to do that, Ava.” “Of course I did. Otherwise I wouldn’t have done it.”
New Girl – “Frankie Munoz’s” was a great, silly joke. LIZZY CAPLAN! Why is she so skinny?! Too skinny. She punched the guy who played Todd in Community! Pretty good episode, but I wish Lizzy Caplan could stay for longer.
Childrens Hospital – Best line: “I would slit my wife’s throat to be with you”. For Malin Åkerman? I think I might too.
Sherlock – Min didn’t catch this when it was on PBS last year so I thought I’d share. Fantastic update of the Sherlock Holmes mythology.
Parks and Recreation – “Bobby Newport” “Bobby NEWport”. Anyway, Paul Rudd was fantastic in his role as a stupid opponent to Leslie’s campaign. I liked the part where he was upset about them smiling after besting him. Great line. The Andy/April stuff was kind of dumb, but I still laughed a bunch at it.
Project Runway: All Stars – Yeah, yeah…Tiffany makes me watch these with her sometimes. They’re not as terrible as other reality shows, so I don’t complain that much. This one had Miss Piggy on it and all the contestants were talking about how awesome it would be to design a dress for her. Um…I’m pretty sure they were paid to say that because it was a pretty ridiculous show concept.
Archer – Burt Reynolds! Pretty good episode. Strong return to form for the show. I like the maintained continuity with Ray and the wheelchair.
Zelda Step – I got a fever. The only cure, more (Legend of Zelda) dubstep.
The Girl With the Dragon Tattoo – Still slowly reading it during lunch breaks. Still kind of dry.
The Old Republic – Making progress as my Bounty Hunter. He just stole a spaceship for himself! As my Sith Inquisitor I’m making good money playing the Global Trade Network and our guild downed Soa in Eternity Vault on Normal.
Rayman: Origins – Been waiting to have Min over before I played this. Super fun! It reminds me of the fun times playing New Super Mario Bros. Wii, but in HD. I hope I can get Eric and Danielle over (or go over to their place) to play it. It’s lots of fun and I think they’d like it.
Chrono Trigger DS – I don’t know why I keep forgetting to mention I’m playing this. Beat the bonus boss and got the “new” ending. I might NG+ it to get the other 9 or so…might not. We’ll see.
Ghost Trick – Finally dug this up to give it some more playtime. Still absolutely hilarious, even in Spanish! That’s right, guys, I’m playing this game in Spanish to practice my reading skills. Tons of character, fantastic animation, and great humor.
Bonus points for closing with a Ferris Bueller reference before the LONG linkfest.
I always knew something seemed suspicious about their kidnapping frequency.
There are many reasons I love baseball, but you know what my favorite little quirk is? It’s impossible for a pitcher’s performance on the mound to win a game by itself. In fact, the only active thing a pitcher can do on the mound is lose a game. Not to get too technical, but a win in baseball is determined by the pitcher on the mound when one team pulls ahead of the other. The rules are slightly more complicated than that, but that’s the general idea.
Every other popular sport in this country (e.g., football, basketball, ice hockey) has some way for the leading player to make an impact and win the game for his team. Even goaltenders can, technically, score points in these games. It seems to me that the pitcher is uniquely required to rely on his team to give him the win. Think about how often you hear about pitchers not getting enough run support or pitching gems that his teammates never properly supported. It’s bizarre.
The strangest part of this is that baseball, America’s game, is so very un-American because it’s being played this way. How often are we told in life that our destinies are our own to shape and form? Isn’t it drilled into all of us that we need to take responsibility and blame only ourselves when things go wrong?
With spring approaching and baseball season beginning, I think that this sends a fantastic message. “It’s dangerous to go alone!” says the old man at the beginning of The Legend of Zelda. You can only lose by yourself, but you can win it together.
(NOTE: If you comment that NL pitchers get to hit I will punch you in the throat. I know they do, but in the modern game a pitcher’s offensive contribution is near negligible, so I’m ignoring it. If it makes you feel better, I’m talking about AL pitchers)
It’s a tough world out there. The first person you meet in the beginning of The Legend of Zelda says, “It’s dangerous to go alone,” and he’s 100% right. I know this as well as anyone.
Childhood, and school in general, wasn’t that long ago for me. For a kid whose family was decidedly not in the military, we sure seemed to move around and swap schools plenty. It’s not a contest (protip: it is a contest), but I’d say I beat out most non-delinquent, non-military kids with seven school transfers in the thirteen years that I attended school.
The solid core I had at home with my brothers could only take me so far. Once the school bell rings, you’re on your own. When you switch schools roughly once every two years, you have to learn to adapt to new environments, find your niche, and fit into it as fast as you can. It’s tough to be a kid and constantly find the right crowd to fit in with. There were times where I had no crowd and I was a reject. Lucky me that I never found myself giving up who I was or falling in with “the wrong crowd”.
Whip It isn’t literally about this. Bliss Cavendar, played expertly by Ellen Paige, does have a best friend (marking the first time I’ve seen Alia Shawkat in a major role outside of Arrested Development) who supports her youthful yearnings for “something more”, but, for a movie about friendship and sisterhood, there is a distinct lack of sap, probably because roller derby is an intensely violent sport being played by women out to hurt each other.
Drew Barrymore is no stranger to girl power movies. She was a heavy influence on the direction that the abysmal Charlie’s Angels movies took and her roles tend to feature stronger female characters, so there’s nothing too unexpected about her directorial debut, except, maybe, that she doesn’t really star in it. Her cast focuses on Ellen Page, Alia Shawkat, and the ridiculously hilarious Kristen Wiig and the community that Bliss becomes a part of, much to the chagrin of her mother. The beauty of this movie comes from the empowering message it doles out. A lesser movie would have Bliss’ mother be a super-bitch who refused to understand that her daughter didn’t want to do the pageants. Sure, Bliss’ mother is trying to achieve the dreams she lost to an unplanned pregnancy through her, but she’s also looking to see her daughter succeed and have something good in her life in the only context she really knows. She comes around when she realizes that Bliss really does love roller derby and she lets go with almost zero fuss.
The most telling scene in the movie comes before the final, climactic round. Bliss’ rival on the opposing team, Iron Maven, learned earlier that she was underage and could be considered ineligible. She reveals that she knows this to Bliss, who then comes clean to everyone and gets proper authorization from her parents to compete. When she confronts Maven later on about her jealous ploy to remove her from contention, Maven surprises her by saying that she had no intentions of outing her; she just wanted to get in Bliss’ head. Whether or not this is a cop-out response, the intention is crystal clear. These women are competitive and hate losing to each other, but they are not catty, jealous, or manipulative, as you might expect.
Kristen Wiig also gets standout mention from me for her role as a responsible mother figure/mentor to Bliss. In fact, everyone in this movie is so supportive and grounded in making the right decisions that it borders on unbelievable. The only people who make dumb choices are Ellen Page and Alia Shawkat’s irresponsible teen characters. Their lack of experience and teen self-righteousness realistically gets them in trouble.
An interesting side effect to all the feminism is that every male character in the movie plays to some kind of stereotype. Bliss’ father is a yes-man to the wife who spends all his time watching football, going so far as to sneak away to sit in an abandoned parking lot in his van to watch football, far away from his wife’s judgmental eyes. Oliver, the love interest in the movie, is a pretty-boy member of a band who predictably cheats on Bliss the first chance he gets and is rejected by her when he returns to apologize. Birdman, the manager of the restaurant Bliss works at, is constantly manipulated by his female employees and, though he does “get the girl” at the end, he’s not exactly a strong male lead. Jimmy Fallon’s character is the announcer at the roller derby and a pathetic seeming man who makes lame jokes and repeatedly fails at coming on to the roller derby girls. The strongest male role comes in the coach of Bliss’ roller derby team, Razor, played to perfection by Andrew Wilson as a tactician, almost hippie lover of the sport who is so anemic at managing the team that he can’t even get them to execute any of the plays he concocts for most of the movie.
I’m not saying a movie needs strong male roles to counter the female parts at all. I think it’s kind of refreshing to see a movie that marginalizes men instead. It’s rare that you see a movie made by women, for women that’s not a sappy love story, a Lifetime movie, or a feminazi-type production, so this was refreshing.
The main beauty of Whip It is precisely that it’s a movie about being true to one’s self, one’s friends, and one’s dreams, without being all that sappy. It’s a coming-of-age tale that hides in violence and comedy, but couldn’t sing its message clearer. Sure, the message can get a little heavy-handed, I mean, Bliss’ mother the beauty queen trying to force Bliss into pageants that she doesn’t want to do, blah blah, the evils of the exploitation of women by the mainstream, yes, it’s a clear contrast being made to the world of roller derby. Then again, this movie is smarter than that. Roller derby isn’t exactly a feminist’s dream. The sport does trade on sexual exploitation, so the movie is more railing against not being able to choose for oneself.
I wasn’t planning on watching back-to-back feminist movies when I set up my netflix queue, but that’s kind of the way it happened when An Education made its way to my mailbox a few days later. Despite similar themes, we’re talking a complete tonal shift, as An Education takes place in 1960s England and revolves around a similarly-aged boarding school student named Jenny (Carey Mulligan).
As you might expect, Jenny’s troubles are more of the pre-feminist revolution type. Jenny’s got this “Why bother?” attitude toward the Oxford education that her father is pushing her toward, mostly because all it seems to mean is that Jenny will have a few more years of a fulfilling, educational life before she ends up back in the dead-end world of 1960s England where her prospects are teacher, secretary, or housewife. Jenny wants what many 16-year-olds want, a chance to see the world, become cultured, experience more than what her middle class life has destined for her and so she naturally falls for an much older man, David (played by Peter Sarsgaard (and his terrible faux-British accent)), who can provide those things
An Education is a little more blatant with its comparisons. Jenny is constantly sharing screen time with Helen, the beautiful girlfriend of David’s business associate Danny, who is far more interested in fashion, glamor, and not using her brain. The opposite path is the one that her teacher is on, but she’s ridiculed by Jenny for being somewhat homey and her appearance is far from beautiful (in the way that Hollywood goes and makes beautiful women look not beautiful).
The real crux of the movie comes from the futility of the decision that it seems like Jenny is making. As citizens of the 21st century, we know that Jenny would certainly find more opportunities for success in the England of the 70s and 80s, but the end of the movie does leave you feeling that the education that Jenny is receiving, both from David and from Oxford, are ultimately futile attempts at delaying the inevitable.
In any case, both movies are fine examples of pro-feminist film that actually promote healthy lifestyles and relationships for women. How rare is it in Hollywood to see that?
One of the first major features on this blog was a Villains of Final Fantasy series that ran for 13 weeks covering the main enemies of every numbered Final Fantasy game from I to XII including X-2. With Final Fantasy XIII launching in the states in just over a month, I figured it’s high time to give some recognition to the teams who are actually responsible for bringing those villains to justice and saving the world. I bring you the Heroes of Final Fantasy.
Not to kill the momentum of this first iteration of the series, but the first Final Fantasy was too traditional RPG to actually have any characters. Instead you just pick classes and name your four characters and that’s that. I’ll do something a little different (how can it be different when it’s the first time?) this week and just show all of the classes that comprise the Four Warriors of Light.
He looks so cute, but he's also scowling. Mixed messages there.
A generic, beefy tank class who relies on expensive equipment to be effective. The Warrior is not exciting, but it’s not his job to be. Surprisingly enough, this boring dude was selected as the representative for Dissidia. My guess: they had an unused 3D model of him floating around and decided to finally put it to use.
Kind of reminds me of Ryu
Known as Black Belt in the original translation to avoid religious connotations, the monk fights with his fists and wears light to no armor.
Really reminds me of Link. It's almost theft.
Surprisingly unable to steal anything in this first iteration of the series, the Thief’s main skill is being able to run away easily and reliably. He also has high agility.
The most famous of the bunch. I bet it's because he has no face.
With an iconic design that has held from Final Fantasy I all the way to throwbacks in modern iterations, the Black Mage casts black magic, AKA offensive spells.
Typically portrayed as a woman.
Another design that has remained relatively unchanged, the White Mage and his/her iconic white robe casts white magic, which is mostly curative, but also holy.
Looks more like a rogue-ish character than a mage.
A jack-of-all-mages class that can cast white and black magic spells, but specializes in neither. The top level spells are unavailable to him, but he is versatile.
Lame. These guys are all ciphers. No personality, no motivation, and no story. My pet rock has more personality.
Saving the world is kind of the status quo for these heroic parties, so they won’t be getting bonus points for that. Eliminating the guardians of all the elements and deciphering the nonsensical plot centered around a time paradox does earn them some bonus points in their score.
As a bonus, you can check out Brian Clevinger’s webcomic, 8-Bit Theater, to see the personalities that he feels these heroes should have.
“It used to be, if you found a key in a Zelda game and you didn’t know what a key did, you were either mentally handicapped or you reached for the instruction manual. I suppose, eventually, someone in Nintendo’s R&D did a big Powerpoint presentation, with the cooperation of a local psychiatrist, proving — quite logically — that people absent-minded enough to forget what a key does have probably also lost both the box and instruction manual of the game they’re playing. As an employee in a videogame company’s marketing division myself, I could put up a convincing presentation to explain that we should probably just explain once what a key does, and then leave it up to these instruction-manual misplacers to either remember that, or figure it out anew. If anyone attacked my views and said that we can’t shut out the morons and the idiots just because most people — not to mention most gamers — aren’t either, I would jump up onto the boardroom table and scream, what the fuck do you do if the person loses the fucking cartridge, huh? What the fuck do you do then! Would you give out a free game and console to a shaky kid who showed up at a game shop and said that first he lost the manual, then the box, then he forgot what keys did, then he lost his lunch money, then he lost the game cartridge, and then his DS? There’s a certain line, separating the place where enough is enough and the place where enough is more than enough, and incessant “You got a key!” messages, as a habit, is at least a couple steps into “more than enough” country.”
-Tim Rogers in his review of The Legend of Zelda: Phantom Hourglass
The time: Thanksgiving 2007
The place: My parent’s house out in Florida
The game: Super Mario Galaxy
I may have some of the details wrong, of course, but I distinctly remember the conversation. Shortly after receiving a new game and liberating it from its plastic prison, I immediately popped that sucker into my Wii and started playing the game, eager to see if this was as good as all the critics claimed. Eric saw this and then he asked me a question. “You’re not gonna read the instruction manual first like we always used to?”
I don’t remember if I told him my reasoning or not at that point, but it all boils down to the fact that, after the opening cutscenes have ended, the game explicitly tells me that I can jump by pushing the “A” button. Why should I bother trying to pick up and read the manual to a game when I’m gonna have to learn how to play the game in the opening zone anyway?
Video games weren’t always in such dire straits when it came to hand-holding (I addressed a similar topic, difficulty, not too long ago here). Blame it on the limitations of the medium, but the video games of the past had neither the time nor the desire to try and clue you into the mechanics of the game. Take Tim Rogers’ example of the key in Zelda. Graphics had evolved far enough from the Atari days that we could recognize that Link was picking up keys. They had also evolved enough that a door blocking our path had a keyhole in it, something that most people have the schema in place to understand requires a key to open. There was a counter in the bottom left of the screen and when you used a key on a door, the door permanently opened and the counter performed a little n– (although this may have predated C++…).
As games approach “photo-realism” you can be damn sure that keys look a hell of a lot more like keys. Zelda games are also not shy about the locks they put on their doors: behemoth masses of chains linked to a lock whose size is approximately 1/2 the height of Link himself. As far as I’m concerned, you don’t even need the game to tell you that you’ve picked up a key. Whenever you walk over one for the first time or you get one from a chest, you’re always treated to a scene where Link holds it high over his head. An explanation may be necessary to understand just what a bombchu or hookshot is, but a key? It’s trivial.
Back to game-starting tutorials: it’s not a mystery as to why they have superseded the instruction manual. You think gamers bitch enough about having to read in-game text? Imagine forcing them to :gasp: read a booklet to understand how to move around the map. I can also see the compelling argument that, as a kinetic medium, gameplay is best learned kinetically. It’s one thing to read that to aim in first-person in Metal Gear Solid 3 all I have to do is hold R1 to enter first-person mode, hold L1 (I think) to pull out your weapon in aim mode, and then push Square to fire, all while using L2 and R2 separately to lean left or right, respectively, or both simultaneously to move your first-person view up. It’s another thing entirely to do this properly in the game (I should know…I got my ass handed to me by Olga Gurlukovich the first time I fought her in MGS2). If you think about it, teaching you how to do it while the game is running is brilliant. You not only are learning how to play the game so you don’t throw down the controller and quit in frustration, you’re also getting some practice in.
So, as soon as they could start to fit them in the game, the (oftentimes mandatory) in-game tutorial was born. This was a real bummer for me for two entirely selfish reasons:
1. If I knew how to play a game already (I read the manual, for Christ’s sake, I know how to jump!) I was stuck playing something that counted as a level for the designers that was mega boring and unskippable. Final Fantasy games as early as FF VII mercifully allowed you to skip their materia tutorials and whatnot, but their modern day equivalents like FF X have fully scripted, unskippable tutorial battles! Ten games in and only now do they feel the need to teach me how I should be battling. Really?
2. I loved reading instruction manuals. I can still still remember the (asinine) story of Donkey Kong Country as told by its instruction manual. The epic tale featured a frightened Diddy Kong guarding a treasure trove of bananas before he is beaten up and stuffed in a barrel. That’s all without mentioning the hilarious asides that Cranky Kong tossed into the margins of the manual as he complained about the complexity of modern day games compared to games of his day.
The problem is that I’m in the majority for #1 and the minority for #2. I know too much about games and love stuff like Final Fantasy too much for them to care about annoying me with tutorial battles. They just don’t want to scare away that tiny market fragment that’s never played a Final Fantasy game. As for the second problem, well I like to read and that’s kind of rare in the video game audience. For every one of my friends who loves an epic storyline that you have to read or listen to, I can think of two or three other friends who shudder at the thought cutscenes in general (“Why am I not killing stuff yet?”). Even friends of mine who love reading in their spare time make the distinction that they don’t love to read when they’re playing a video game. Just try and get one of them to have to read an instruction manual before they understand what’s going on in a game and you’ll find yourself minus one game sale.
We mustn’t forget that the instruction manual quality has also been dropping, since no one reads them any more. Why spend extra bucks on a good writer for something that most people aren’t gonna even take out of the game case? Heck, many of them aren’t even in color anymore to cut costs.
I recognize that I’m a part of a dying breed of gamers who used to enjoy instruction manuals. Tim Rogers (boy I bet you’re sick of hearing that name in this blog by now?) is just about the only non-family member I know who loves them too, as evidenced by his spending a whopping three paragraphs and 561 words reminiscing (although some commentors would say droning on) about how much he loves and misses them in his review of Blue Dragon and that’s just the intro; I’m pretty sure he talks about them more in that review. Still, I can’t let go of them and I hope they one day return to their former glory.
Unfortunately, with the advent of digital distribution, I’m pretty sure we can kiss the instruction manual goodbye. When your game doesn’t even have to be physically put into a box, you can be damn sure that most won’t even bother with a .pdf to explain game mechanics when they can just do it in-game. Here’s to hoping that in-game tutorials stop sucking some day soon. Whether they’re just too damn long like GTA IV (5-10 hours in and STILL doing tutorial missions) or too damn boring like Super Mario Galaxy (“Press A to jump!”), they can still use some major tweaking.
Insert another credit, because it’s time for your weekly video game news and you’ve just hit the Game Overview screen.
Due to some poor life decisions, I find myself stranded for five weeks without any video games. What’s a guy to do, right? Well, rather than just giving you some of the headlines from the week’s video game news in lieu of what I was planning to be gameplay impressions, reviews, and the like, I’ve instead started a five week “All-Stars” feature. Each week we’re going to look at a video game era and spotlight my top three games from that era. Each of these games will also receive a place setting at the prestigious “Table of Honor” feature that I’m working on. Here’s the weekly plan:
Week 1: 8-bit Console Era
Week 2: 16-bit Console Era
Week 3: Post-16-bit Console Era, Pre-Current Generation
Week 4: Pre-Current Generation PC Games
Week 5: Current Generation
Yeah, the categories are broad, particularly weeks three and four, but it’s how I want to do them, so get off my back!
I like to think of the 16-bit era as the age when video games truly began to blossom into the glorious medium we enjoy consuming today. I suppose if i were to fully apply that metaphor, it would make the first and second generations the ugly infancy and childhood of gaming and the third generation rather like the puberty of gaming, also encompassing those difficult growing pains of the teen years. This, naturally, places the fourth generation in the sexy 18-24 demographic that, ironically, most video games are marketed to today.
Now that we’ve wrapped our minds around that rather interesting image, let’s talk about what was happening around this time in the industry. The big systems that I care about, the Super Nintendo and the Sega Genesis, were launched, along with their hand held counterparts, the Game Boy and the Game Gear. Although we reaped the massive benefits of the competition, we were unfortunately subjected a whole slew of marketing buzzword crap about “blast processing” on the Sega Genesis, not to mention those obnoxious “Genesis does what Nintendon’t” commercials (sensing a bias?).
Yeah, there’s a wee bit of a chip on my shoulder. You see, as a kid, I remember wanting the Super Nintendo for Christmas a lot. I don’t even know how I knew about it or anything, but I knew I wanted one. Instead, my aunt gave us a Sega Genesis, which my older brother wanted. It was indeed a bitter pill to swallow that Christmas, but we did have a breakthrough the next year when I got Super Mario Kart on Christmas Eve, but no SNES, signaling that I just might be getting a Super Nintendo from my parents the next morning on Christmas Day. Nintendo fanboyism aside, I did give a fair shake to both Sega and Nintendo games, but no Sega games made my top three.
In keeping with past conventions, you’ve just received your hint as to what my number three game is: The Legend of Zelda: A Link to the Past.
(If you didn’t get it, past was bolded and there was a link to a past post…yeah, I’m that clever)
#3 The Legend of Zelda: A Link to the Past
I’ll tell you what, I didn’t play the number three game nor did I play the game that lost (by a tiny sliver) to LttP during the lifetime of the SNES. I played the #4 game (to be revealed soon!) on a ROM once the Gamecube was already released and I played Zelda on a Player’s Choice (I think that’s what it was called?) cart I bought from the store once the N64 was already Nintendo’s dominant platform. I’m super saddened by the fact that I lost the cart (damn you Evan…you “already returned” it, did you?), but it truly was Shigeru Miyamoto’s masterpiece on the console.
Link to the Past did a few things right of the bat to re-endear Zelda fans to the update with its return to the overhead view and abandonment of the more RPG-centric gameplay that was central to Zelda II. The new overworld was beautiful with vibrant colors and amazingly detailed sprites. It seemed like Link could travel forever through the maps and that secrets were hidden at every corner. The quest was also an epic affair as Link collected three pendants to prove his worthiness to wield the Master Sword to confront the evil wizard Agahnim and save Zelda. Once I’d finally done all this and confronted Agahnim, I thought, surely this is the final boss, this game is almost over, that stinks. Then the most surprising thing happened, I was sucked into the Dark World. My goal was now to save the seven maidens descended from the seven sages. Holy crap! I had seven more plot coupons to collect, which meant seven more dungeons, and a whole new world to explore before I would be able to confront the real bad guy, Ganon.
It’s pretty old hat nowadays for Nintendo to have two worlds in a Zelda game. Ocarina of Time had present and future Hyrule, The Minish Cap had the normal-sized and minish worlds, and Twilight Princess had twilight and normal worlds. Back then though, this was a completely new concept to me that I had only seen done once before (see #2 on my list) and it just totally blew my mind. The puzzles that dealt with this gameplay mechanic were also superb, with changes in the dark world affecting the light world somehow. I remember feeling like I was totally at a loss for what to do to uncover the many secrets that would require me to cleverly swap between dark and light worlds.
Link’s expanded inventory was also pretty sweet. There were all sorts of little Easter eggs within the different enemy types dependent on what equipment you used to attack them with. I distinctly remember that some of the buggers could be completely emasculated with a dash of magic powder, for example. While boss fights still weren’t that challenging (an issue I’ve been having with Nintendo for quite some time now), I thought it was innovative back then how you had to figure out how to use the new equipment you found in the dungeon to attack the boss monster.
A Link to the Past was just a well put together game. The story was way more epic than any Zelda game that preceded it, there were countless secrets lying in wait for the diligent explorer (remember the guy who “curses” your magic bar?), and you had not just one, but two giant worlds to wander around, vanquishing evil. Some don’t think the game has aged very well, but I’d still recommend LttP for a Virtual Console purchase, it’s one of the best games from the era.
In keeping with the funny commercial kick I’m feeling, check out this Japanese Link to the Past commercial:
Makes me laugh how girls always make the best live-action Links…
The next game on the list actually was just edged out of the #1 spot, but I’m gonna blame number confusion during localization for that one. That’s a pretty obscure hint, so I’m just gonna come out and say it. #2 on my list of 16-bit All-Stars is Final Fantasy III…erm…Final Fantasy VI!
#2 Final Fantasy VI
I don’t remember precisely where I heard or read this, but very recently I digested some media regarding one guy’s initial reaction to playing Final Fantasy VI. What he said was “I remember renting this game and being about an hour or so in thinking ‘There’s no way I’m gonna be able to finish this in three days…’” The reason I put that quote in there is because the very same thing happened to my brothers and I. After re-renting the game a few times and finding our save files deleted each time, we decided that we would bite the bullet and just hold on to the game until we were done, effectively renting it multiple, consecutive times. At the end of the first three days, we were about halfway done. At the end of the second, we had reached 3/4 completion. Finally, in the third rental period, after about a days worth of grinding, we completed the greatest Final Fantasy game that has ever been made and, with the departure of Sakaguchi to form Mistwalker in 2001, possibly the greatest they will ever make.
I can already feel the FF VII fanboys chomping at the bit to tell me how wrong I am, but it is they who are wrong. You see, right before Final Fantasy was about androgynous emo-kids with big swords whose dialog consists of “…” more often than not, it was about an epic cast of characters fighting against an evil empire in what was, admittedly, a rip-off of the Star Wars story. Yet, it does just about EVERYTHING right and I the closest I’ve seen a Final Fantasy game come since would be a bastard child of the characters from XII and the superb storytelling elements of X.
One of the features of Final Fantasy VI I’ve most enjoyed is the mostly non-central character in the game. You start as Terra, but, halfway through the game, you’re mostly controlling Celes and Terra even refuses to join your party again until maybe halfway through the second half (that’s 3/4 of the way through the game for the math incapable). While some of the 14 (!) characters in the cast are mostly tangential and unrelated to the story or other characters (I’m looking at you Mog, Gogo, Umaro), only two really have no real emotional connection to the story (Mog and Umaro) with every other character getting a chance in the spotlight either directly or indirectly (Gogo is Daryll, I won’t accept any other conclusion). Most every character has touching and revealing sidequests that go beyond the typical “dodge lightning” or “chocobo racing” nonsense that modern-day Final Fantasy games have us do to get ultimate weapons or techniques. Some of the back stories are even so cleverly hidden that you can play the game through multiple times and never see the details (by cleverly, I mean annoyingly…why did I have to learn Shadow’s backstory through fanfics?), but when you learn about the characters, find out how they’re interrelated, find out what makes them tick, these guys all find a place in that warm, fuzzy little part of your brain. I can still feel Locke’s anguish as he tries and fails to revive Rachel, still understand Terra’s feelings of alienation, fear, and confusion as she learns what it is to be human from the first people to treat her like one, and I can still tear up a bit as I learn about Gau’s insane father throwing him out into the wild and rejecting his son as he comes back in a more “civilized” manner.
All of those memorable scenes and characters and I still haven’t even mentioned the masterful opera scene that I’m sure you’ve heard about. There are some things that get me positively salivating at the thought of a 3D remake of Final Fantasy VI like the remakes of III and IV, but few add up to how much I’d love to see and hear the opera scene unpixelated and processed with better sound tech.
I haven’t even gotten to the gameplay yet either. 14 characters, all with unique technique systems (something we wouldn’t really see again until FF IX), my favorite magic system, Espers, and a general non-reliance on summons that was negated with FF VII and ended, fortunately, with FF X (XI doesn’t count). Armor was still lovingly complex, with multiple equipment options beyond the oversimplified “Weapon, Armor, Accessory” systems of future Final Fantasy games and we had two “Accessory” slots with the awesome “Relic” system, which was used to not only give characters neat abilities, but accentuate their inborn character abilities.
I can’t believe I’ve gone this long without even mentioning the most evil and incredibly awesome antagonist in a Final Fantasy game, heck in just about any game: Kefka. Tapping into everyone’s already morbid fear of clowns (or is it just me who finds them vaguely unsettling?) Kefka brings a whole new level of insane to the job of final boss. The man starts off as comic relief. He’s got that funny processed laugh that the SNES chip throws out at you, he looks ridiculous, and he’s hilariously mean to his underlings. Any fight you ever get into with him, he runs away from or uses illiusions. How evil could he be? That’s when the shit starts to hit the fan. The first act of defiance that the player knows of against Kefka by an ally to the Emperor leads to an attempt to burn the entire castle down and destroy the monarchy. Another rebel nation has its entire water supply poisoned by the psychopath. At the insane encounter (that I thought to be the end of the game when I initially played it) on the Floating Continent, Kefka not only murders the Emperor and throws him off the continent, he shuffles around the statues that hold the world in balance, effectively ending the world as we all know it. With new godly powers at his command taken from murdering Espers and the statues, Kefka reshapes the world, smiting any town that refuses to obey him with the “Light of Judgement.” The mad clown even has a cult of followers devoted to his cause and is an absolute nihilist, claiming that life is meaningless and aiming to destroy everything. All this from a man who looks like a clown. It’s chilling and he’s never been matched since (don’t even mention Sephiroth in the same sentence, he’s an absolute tool compared to Kefka).
Let’s just end it with this, and this is a major spoiler, but how many other games have you ever played where halfway through the game, the world ends, you’re potentially the only survivor in the drastically modified desolate wasteland of the world map, and you’ve got the choice to either save or kill a man who looks like a hot dog before you leave the island? I thought so.
Since we’ve got a good thing going with these ridiculous commercials, let’s keep it up with a US FF III (IV) commercial that I actually never saw on TV:
The Japanese commercial was a lot more epic, I think:
Wow, that FF VI blurb was really long, I might be running out of time to tell you about the #1 game. If you still need another hint, according to the game, the world “ended” in September of 1999 at 1324. That’s right, the best game of the 16-bit era is the Squaresoft/Enix collaboration: Chrono Trigger
#1 Chrono Trigger
There’s a long, storied history between Chrono Trigger and myself. I’m pretty sure the year was 1996 or 1997. My family was living out in Oregon and our electronics store of choice was Incredible Universe. IU, as we liked to call it, had a nifty little area where you could leave the kids to play video games while you shopped for consumer electronics. My older brother was too old for it and I was just hitting the cusp, but my parents were still able to leave my younger brother and I in there to hang out. IU provided many a video gaming experience that we didn’t have at home, since we couldn’t just be out buying everything, plus we didn’t know about all the systems. It was at IU that I played the Sega Saturn the only two or three times I ever have in my life and the only place I’ve ever even seen a Philips CD-I and Mario Hotel (so awful…). It’s also the place that introduced me to the console RPG, forever changing my life.
It was an unassuming day out in the Pacific Northwest when I popped Chrono Trigger into one of the SNES consoles in the play area. I was attracted by the cool seeming box art featuring a red-haired dude with a sword, a blonde girl shooting fire, and a frog man fighting some giant lizard thing. Cool, right? So I boot up the game, select New Game, and then I get to name my character. This was nothing special, I’d done the same with Link in the original Legend of Zelda, but boy was I surprised when some character was telling me to wake up. I had named the main character. The red-haired guy was me! I was told to go to the fair and I don’t remember if I went straight there or not, but once I got there I ran around, watched some races and just marveled at how much was going on in this Millennial Fair. Then I ran into a new character, the blonde from the cover, and, holy cow, I could name her too! We fought Gato (Gonzalez in the Japanese version?) in my first ever RPG battle and I’m pretty sure we lost too, but it was so cool. I had to select these attacks from a menu. I’m pretty sure I only just got sent into the past at Lucca’s exhibit before my parents showed up to pick me up, but a already a change was brewing within me. As I told my older brother about the game and piqued some of his interest, I started my evolution as a gamer.
That night I dreamed of Chrono Trigger. I was in the game then too and we wandered around fighting bad guys. Shortly thereafter, my older brother (you’ll have to clarify what about this game attracted you to it and made you buy into my propaganda. did we rent it before this event happened?) spotted it at the video game rental place for a pricey (for us) $20. The three brothers banded together to fund the purchase of the game (try to find a SNES CT cartridge for that cheap on Ebay nowadays!) with each of us paying a little less than the older sibling and we brought our prize home.
Honestly, aside from action RPGs like Zelda or, randomly, the Illusion of Gaia, I’d never played an RPG before in any form. This first exposure would motivate a good chunk of our game rentals for the SNES (like FF VI and FF IV), cause mass disappointment when Square sided with the PSX after that tantalizing N64 FF VI demo, lead to me purchasing FF VII for the PC and basically forcing it to work on our piece of junk PC, and eventually lead to me buying a refurbished PS2 so that I could enjoy the PSX and PS2 JRPGs that I’d missed in my years of owning an N64 and Gamecube instead of the premier RPG systems. The JRPG remains my absolute favorite video game genre, if you couldn’t tell from all the Persona 3: FES and Persona 4 coverage in this blog. I even picked up a PS3 more or less in preparation for the continuation of the Final Fantasy and Kingdom Hearts series. On this front alone, Chrono Trigger holds a prime spot in my all-time video game shortlist, but this doesn’t even count the amazing gameplay to be experienced.
CT is just about perfect on all fronts. This is why it barely edged out my favorite FF game for the top spot on this list. When I sat down and thought carefully about it, I couldn’t think of any reason for FF VI to top CT or for CT to not be the number one game. It’s that good. For starters, it’s got one of the more innovative Active Time Battle systems present in any of the Final Fantasy games to date. Now, on top of the monsters and characters taking turns based on a time gauge, there was the added dimension of attack range and splash damage. Some of your attacks could damage multiple monsters depending on where they were placed on the screen. Also dependent on the monster and character placement were Technique combos. Your characters all had their own techniques, but they also had set attacks that could be used in unison with other members of your party, creating interesting party composition choices depending on the battle situation. The monsters were also viewable on the screen and, in some cases, avoidable. This has always been a hallmark of a good RPG for my older brother who’s not so much a fan of the random encounter. I’m a bit more tolerant of RPG grind, so I don’t mind it so much, but it was creative for the time for you to be able to see your enemies on screen, but for the game to not be an action RPG.
The story is truly where this game shines, with its epic trips spanning throughout time as you witness how your actions change the modern world and future for the better or worse. Sure, the good ‘ol future apocalypse switcheroo seems a bit clichéd given that all three games on this list have some sort of similar plot twist, but a well-crafted plot device still gets me every time. I still remember uncovering the video of the Day of Lavos on a seemingly benign quest to recover some food for some poor survivors in Arris Dome. The shock as I saw the world as they knew it destroyed in 1999 (a mere two or three years away for me) told me, if you’ll excuse the lame expression, that I wasn’t in Kansas any more. The plot is so expertly handled in this game, it really does achieve the lofty storytelling goals that I think the medium aspires to hit, all without being campy or lame in the very slightest. The disappearance of Marle when you get to the castle in AD 600, your trial and incarceration in AD 1000, the escape to post-apocalyptic AD 2300, discovery of the fate of the world as it slowly dies and mankind goes extinct, your epic foray to fight Magus and prevent the advent of Lavos in AD 600 only to discover that he was, in fact, working against the ancient evil, the discovery that Lavos had been around as early as 65,000,000 BC, and the amazing socially-divided kingdom of 12,000 BC that Magus himself hails from. It’s all so expertly crafted.
Just like FF VI, every character has a meaningful and worthwhile backstory/sidequest to complete. You can bring about the recovery of a forest and save Lucca’s mother from being handicapped, discover the secret about Robo’s line of robots, ensure the evolution of man by defeating sentient reptiles, and you can even choose to either forgive the warlock Magus for his sins or pass judgment upon him and rid the world of his influence. That last one was of particular importance, because Magus was a powerful ally, but his life ensured that Frog would remain forever cursed to remain, well, a frog.
A particularly powerful moment in the story, for me, I believe follows your second trip to 12,000 BC and the kingdom of Zeal. The group, intent on ending the threat of Lavos right then and there, confronts the beast with killing intent. It all goes sour (“Oh crap! When did I last save? This fight is so damn unfair, it had better be one you’re supposed to lose…”), but then the unthinkable happens. Lavos kills Crono. At this point, still new to RPGs (which still don’t feature all that much permanent death) I was floored. They truly did everything right with this story, as I was there with the characters as they mourned the death of Crono and soldiered on with their burden to destroy Lavos. His revival was also particularly awesome. I can still picture the cutscene of his revival. I can see him sitting against that scraggly old, leafless tree and I can remember Marle lunging at him, her embrace full of joy at his return to life atop Death’s Peak.
From then on, it was sidequest time as I truly connected with the denizens of the Chrono Trigger timeline, fixing the past, present, and future and making the world a better place. I then went on to fight Lavos himself to free the world of his taint and ensure a future for all the people of the world I had come to love. Once I had secured a future for Crono and Marle’s strongly implied inevitable progeny and I returned to the title screen, I was greeted with an interesting new feature, the New Game +. I could start the game all over again at the same levels, with the same equipment, and just have another go at the story. This was a time in my life when I didn’t have access to as many games as I do nowadays, so I had the leisure time available to beat Chrono Trigger the close to ten or so times that I did while I owned the cartridge. Admittedly, some of the later wins were due to wanting to see the multiple endings that I discovered existed. I had not known that there were thirteen whole endings, but once I did I tried to get as many as I had the patience for, including the super-difficult special ending that you can only get if you can take on Lavos 1-on-1 with Crono in the beginning of the game.
I don’t know what else there is to say about such an epic and truly amazing game. I hope that one day Square Enix finally decides to make a true sequel to what is arguably their magnum opus (I don’t count Chrono Cross). I guess it would be tough to come up with a reason for there to be a sequel in that world, but, in that case, a more loyal spiritual sequel would even suffice. So much about that game is perfect and I know that the talent isn’t totally gone from that company. Lightning can strike twice and here’s to hoping that it does some day.
By the way, if you don’t think my opinion is enough, check out Tim Rogers‘ review of this spectacular game. He does a much better job of analyzing why the story is awesome.
I can’t find a great commercial for this game, but here’s what I have found:
Here’s the opening of the PSX re-release, complete with animations by Toriyama’s studio to complement the already excellent Akira Toriyama designs in game:
“Hey Masa, I’m the wind…woosh!”
Nothing short of absolute excellence. I’m gonna have to get my hands on that soundtrack one of these days. It is incredible.
There you go, those are the top three games of the 16-bit era. Play those and you’re all set, you’ve got a taste for the best the period has to offer. Just like last week, keep on tuning in to see what other games I feel deserve mention from this era and feel free to let me know if I’ve missed something.
Due to some poor life decisions, I find myself stranded for five weeks without any video games. What’s a guy to do, right? Well, rather than just giving you some of the headlines from the week’s video game news in lieu of what I was planning to be gameplay impressions, reviews, and the like, I’m gonna start a five week “All-Stars” feature. Each week we’re going to look at a video game era and spotlight my top three games from that era. Each of these games will also receive a place setting at the prestigious “Table of Honor” feature that I’m working on. Here’s the weekly plan:
The 8-bit era. According to Wikipedia, this is the third generation of video games, and what a generation it was. You see, it technically began before my lifetime. The Nintendo Entertainment System was released in the US on 18 October 1985, just under four months before my actual date of birth. Wikipedia lists its official end at 1992, but the 16-bit systems debuted much sooner than that, with the Sega Genesis launching in the US in 1989 and the Super Nintendo hitting North American shores in 1991. It was a tumultuous time for video games, with the Video Game Crash of 1983 seemingly spelling the end for video games. Thankfully, Nintendo came along and decided to show everyone there was a new sheriff in town. Games couldn’t be officially published without the “Nintendo Seal of Quality,” limiting the crap that could just be shoveled onto the system, but that didn’t stop a huge flood of relatively crummy games from hitting the system anyway.
Of those games, I distinctly remember three stand-out games from the era, my personal top three:
Here’s a hint for the first of the three, it was damn near impossible to get anywhere in this game without: up, up, down, down, left, right, left, right, b, a. That’s right, #3 on my list is the original Contra
While my family didn’t technically own Contra, I still have fond memories of visits to our friend Angel’s house where we either got our collective asses handed to us by aliens (apparently? I had to look it up) in their family room or wobbling around on Angel’s super rad water bed (DISCLAIMER: I no longer find water beds super rad). There was something about Contra that other games we’d rented or played just didn’t have. The controls were tight, we had co-op two player mode to help with the levels, the guns were wicked cool, and the levels were way varied. You started side-scrolling, but then you were in quasi-3-D and, before you knew it, you were now fighting from an almost top-down perspective. It all just clicked together so seamlessly. You want proof that this game is good? I don’t think I ever made it to the third level and I still think it’s great.
I’m not even going to comment on how long I’m sure this took this dude to do, but check out this AMAZING no-death run of Contra split into two parts. It’s sure to knock your socks off.
Man, it would sure be cool to be able to destroy that guy and then steal his video game prowess…If that wasn’t as blatant a hint as to the number two game on my list, I’ll just come out and say it: Mega Man 2
#2 Mega Man 2
Take a look at that box art in the above link. Does that make any sense at all to you? It sure as heck didn’t to me as a kid. Mega Man didn’t look like a real dude and he sure as hell didn’t hold a pistol. I guess I can understand the marketing boys not wanting to put what the actual Mega Man looks like on the box, but they did it with Mario, right? I’m sure it doesn’t help that real life Mario looks way scary…
Anyway, let’s talk about the gameplay a bit. Mega Man was one of my first encounters with a non-linear game. I’m pretty sure we owned a golden Legend of Zelda cartridge, but the gameplay baffled me and I can’t remember if we had it before or after we got Mega Man 2. That’s all beside the point anyway, which is: How cool is it that you get to pick which Robot Master you fight first? My personal favorite first start was to hit up Metal Man, since he was easiest to beat (Wood Man was another popular choice of mine) without any of the other powers. After that, it was kind of a crap shoot of trial and error for the non-web-enabled gamer of the late 1980s/early 1990s to know where to head next. At some point, my brother somehow found out what order you were supposed to fight them in, possibly through a strategy guide, and we were actually able to see the final sections of the game against Dr. Wily. Those were definitely a challenge and way tough, but also lots of fun to play since you had Mega Man’s full repertoire of weapons at your disposal. Here’s another game that I don’t remember ever beating, although I do remember fighting a dragon for some odd reason or another. All in all though, a tight gaming experience with a creative mechanic to me at the time. Stealing powers and knowing that they were strong against another guy, just brilliant. I do have one thing to say though, I’ll be god damned if ever beat Quick Man. Those beams of energy were way cheap…
Below is some dude’s tribute to Mega Man 2
Man oh man, what could possibly be the best of 3 on a system like the NES. Which game could be first on my list, but 3rd at the same time? Ok, ok, enough lame hints, you probably already know I’m talking about Super Mario Bros. 3.
#1 Super Mario Bros. 3
SMB3 is, and always will be, as close as you can get to perfection embodied in 2-D platformer. Just about the only criticism I can come up with, and only after wracking my brain, is that the myriad of suits are sometimes very situational and there aren’t enough opportunities to get the cool ones like the Tanooki, Hammer Bros., or Frog Suit. Other than that, Shigeru Miyamoto proved not only that lightning can strike the same place twice, but that it can strike the same place twice more awesomely than the last two times it did. The innovative map screen was incredible, the tiny details, like sliding down hills, were intricately placed, you could fly, you could store power-ups, and you still retained some of the most vital Mario abilities, like warping from world to world.
My vivid memories of Mario 3, again at Angel’s house or rented, really just highlight how absolutely incredible the game was. I still, to this day, think of those days as a kid playing SMB3 when I see that opening red curtain. I still remember those days when I play the Mario Brothers mini-game. I still remember that time in my life when I see the opening to the first level. Having never actually owned the game and due to the lack of a battery backup system in the original cartridge, I never did beat the game way back in the day. I did, however, get a chance to come back to it with the release of the Game Boy Advance SP. The Christmas of my junior year of high school, there was a bundle available for Christmas: Buy the Game Boy Advance SP, get Super Mario Advance 4: Super Mario Bros. 3 bundled in and a rebate for headphones. I’d been wanting to pick up a GBA SP for a while at that point, since it featured a backlight, which all original GBA owners know the system DESPERATELY needed, and bundling in SMB3 made it a no-brainer. I resolved to never use a warp whistle and to play every single level available, regardless of whether or not I had to in order to reach the castle. It was beyond rewarding to finally finish it about 10 years after I started it.
This game is definitely tough, but I guarantee you that if you play through the entire thing, you will know what it is to have fun playing a video game. There’s no complicated camera, no objective set other than reach the end and basically almost no plot at all, and no maneuvers more complicated than maybe holding a direction and another button down, but in this way we see what it is to truly have fun with a game. Playing SMB3 I feel like I really do understand what Miyamoto talks about when he goes off about how games are too complicated nowadays and how we should refocus on what makes a game fun.
For more video game video fun, check out this speed clear of SMB3:
There you have it, my top three games of the 8-bit era. Many of you might be complaining about the lack of Sega Master System games (or anything outside of NES games), but, truth be told, I’ve never even touched a Sega Master System, much less played or even seen one in real life. I can’t have a favorite game I’ve never played, can I? Tune in next week to see my favorites of the 16-bit era. This time I’ll be able to include Sega games (will any make it?) and we’ll see games that are far more complex in almost every respect than their ancestors.
A few words on what will become my “Table of Honor” page. Basically, it’s a Hall of Fame page for the best examples of just about any category I talk about on this blog, including video games, music, movies, technology, and books. Once I finally debut this feature, I’ll be sure to post something about it.