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Why are there Console Wars?

Console wars are still running and here is why.

If you spent any amount of timing around the gaming community, especially while young, you would have no doubt experienced some degree of combativeness over which gaming device was the superior choice. This has been the case since choice first became a factor, in fact, I remember disputes as far back as the Sega Master System versus the NES. While this was the first generation in which I was engaged, this was not the first battlefield, with each new generation bringing forth a new wave of world warriors.

Since the advent and proliferation of the internet, this culture of competition between the different consoles/PC has seen an entirely new way to fight. Rather than arguments and name-calling between friends, console and PC warrioring has risen to a much more visible level of sarcastic aggression and memory. How did we get to this point, why are such a large quantity of people so engaged in a fight that many regard as ridiculous, and what can we expect from this war in the future?

The Obvious

Before we look at the more individualist aspects of the console wars, we need to look at the gaming environment as a whole. In the most simple of terms, these consoles are competing against each other in a direct matter, in what can manifest as a zero-sum game. What this means is that, since many families only have the money to purchase one of the major consoles, a purchase of one will mean a lack of purchase of another. In this sense, today’s likes of Microsoft, Sony, and Nintendo are directly competitive within the capitalist marketplace. Given this competition, it is only natural that they would occasionally throw shade at their opponents, and while this has generally decreased in severity over the years, this direct form of competition still exists.

(Genesis is the American name for the Mega Drive)

Yes, this is an actual advertisement that used to run, and yes that is how terrible old-school video quality could be. We might not have efforts as openly ridiculous in the modern years, but clips like this from the most recent generation show this element on the developer’s side is still very much in play:

For those wondering, this clip references the early days of the Xbox One (the third Xbox) announcement, where the console was crippled by overtly terrible DRM practices.

In the most modern of environments, as of mid-2018, this competition still exists, but the general atmosphere is far less life-or-death. The early console wars could often result in the losers lacking the financial support to continue console production, with the most recent mainstream example being the failure of Sega’s hardware following the Dreamcast, however today these risks are not as extreme. Each console has exclusives and fans enough to ensure their continued existence, at least as long as nothing too anti-consumer is attempted, so the competition tends to be a bit less vicious.

Kids will be Adults, also: Kids

Kids can be competitive, and this is especially common when vying for social standing or popularity. The cool and the not cool. Yes, by using the term cool I have solidified myself in the latter. As we touched on above, it tends to be the case where each family could only tend to afford one console. This created a gulf between young people for whom video games had often become the most dominant of hobbies.

The best console? It happens to be the only one which I have access to, and here is why –

No, you are wrong. Your console sucks, the one I own is better, and here is why –

Of course, taste in video games is just like taste in other media – largely subjective. While consoles have often done so much for us in terms of enjoyment and community, the devices themselves are inherently luxury goods, and in this, the aggressive defense of these products often amounts to little more than conspicuous consumption. Console manufacturers aren’t your friend, they have never been your friend, and cloying attempts at public relations aside, they will never be your friend. At least this is the viewpoint of so many of us who do our best to avoid tying our personal worth with a commercial product.

This, on a base level, is why the console wars have continued to play such a visible part in online gaming discourse. This childish mindset always has fresh youth from which to draw, and aging adults whose delicate egos are inextricably tied to their device of choice. Combine these groups in popular places where the quality of conversation is of no concern, the Reddits, and Chans of the world, and you have a self-perpetuating machine of infinite warfare.

So Everyone Sucks?

Well, no, not at all. While gaming today is notorious for occasional huge collective voices which are often an ignorant force of hatred (Gamergate anyone?), we can’t dismiss the entirety of voices due to the loudest few. As we said, taste is subjective, and in this, there are choices which cannot, by their very nature, be considered incorrect.

Preferring PlayStation because of their controller, for example, is not something which we could ever dismiss, because this is not objective. The same comes with a wide range of factors, whether the console-exclusives, online infrastructure, or form of game communities. You prefer your device because of any of these? Cool, great, just don’t pretend the subjective is anything but.

Now we have to go a step further, in a further attempt to dig myself out of this centrist hole I appear to have created. We have a problem with the subjective being called objective, but on the other hand, we can also have a difficult time telling when the objective becomes subjective. The most common example of this can be seen with the console/PC debate, with the 30/60 FPS difference being objectively unacceptable to some, and only a minor annoyance to others. While we would argue that 60 FPS is almost always objectively better feeling, and for most people, this is not a sentiment shared by all.

Otherwise, let’s use a couple of more modern examples, the original Xbox One DRM, and the current Sony lack of cross-platform online play.

While there were ardent defenders for the original Xbox One DRM, the general response was predominantly negative. So negative, in fact, that Microsoft had to abandon the practice, despite prior claims that it was simply not that simple. This was an anti-consumer practice, and thus we respect measured backlash. Similarly, Sony has been making waves in their recent refusal to open multiplayer games up to cross-platform play. Not content to settle in their iron-fisted approach, their other amazing moves include locking Fortnite accounts first created on PS4 out of other systems. Anti-consumer, and just a real bad-dude move in an age where increased console cooperation is finally becoming a thing.

Be Cool, or Not

In short –where you measure the line of objective versus subjective depends entirely on the person, but there are certain aspects more objective than others. Some people will have their view colored by a dedication of free-market economics, whereas others will place the consumer above all else. Some will be dedicated to the consoles and exclusive series they grew up with, whereas others will view each new generation with fresh eyes more free from bias.

To hold a torch for that which has meant so much for us is only natural. These games and consoles have often helped us in certain parts of our lives, and so they mean far more to us than mere ‘games’. Community, joy, cooperation, and competition, these can all be positive aspects of gaming which we would not dream of seeing gone.

The competition, the warrioring which can result from this is, in many ways, an evitable part of human nature, but this doesn’t mean we can’t strive to be better, both for ourselves and our communities. As for whether you label yourself as a gamer or not, we can all agree that gaming can be an intensely positive force in our lives and wellbeing. The key is not base our egos around it, and not to use it as a gateway for attacking others. Despite what some of the alarmists may claim, there is enough room in this industry for everyone.

 

Monolink presents ‘Swallow’

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Steffen Linck, also known by his alias Monolink, has released his dynamic and emotively-driven single ‘Swallow.’

In the latest single ‘Swallow’ Monolink delivers a deep house driven track with elements of experimental music that emerge throughout the progression of the track with authenticity and melancholy-driven touches. Monolink sculpts his song with ear-pleasing vocals, and carefully pointed synths, that cosset the beat of the song with a contrast that enable us to love the song more and more with each listen. Luckily for us, this song is also accompanied by a music video that is itself worthy of a Palme d’Or with its cinematic style that takes this song into another dimension.

‘Swallow’ is available to be streamed via Spotify.

Interview: Stello

After the release of their song ‘Megalith’, New York’s upcoming rock band, Stello joined us to talk about music and culture. Here is our interview with Kit from Stello.

Hi, how are you?

Good! It’s a hot day, and I just got a haircut, so I did something right today.

So, how did Stello form?

I picked up the guitar again in 2014 after a few years focusing on electronic music. It really stemmed from this tune called “Pretty Thing”, which was our first single. Originally, “Pretty Thing” was an entirely electronic track, written for a different project altogether. I stripped it down a bit and repurposed it for the guitar, and I found this different energy and vibe I really liked.

So Stello essentially emerged from that change up. I’ve been writing and playing throughout New York City (and a little outside) ever since. In the past year, I fell into a crew of amazing guys, and the band all came together so serendipitously. It’s a great feeling to dig into these songs and explore every little nook with some really talented people who share the same passion.

‘Megalith’ is a stunning song, who came up with the idea for it?

“Megalith” is a reflection on a real relationship I have with an older person in my family. I stopped by her house to wish her a happy 89th birthday, and after a little while of small-talk in her kitchen, she unloaded some really deep, paralysing feelings she was having that felt so intensely foreign to me as a young guy in my twenties. She felt like she had outlived her time, and was losing patience waiting to pass on into heaven. And part of me wanted to say “No no! Don’t say that. There’s so much to live for!” and all that but honestly, I kind of understood what she was saying. At that age, death is really a natural progression – who am I at 23 to discourage her wanting time to be up?

That’s very deep. What challenges did you face when you made the song?

It’s an extremely sensitive subject, obviously. I wanted to instil that somber weight of looking out into the dark, but without toppling over into melodrama. And while I’m not directly quoting, the choruses are sung from her perspective. I wanted to keep the words close to her sentiment and do justice to the person behind the lyrics.

How would you describe the style of your music? Who or what inspires you to make your music?

I think I’m usually making music to score those fuzzy, rose-tinted images you see when you close your eyes and think back to a different point in your life. Very often when I’m writing about a particular situation I’ve been in or feeling I’ve had, that image comes along with a collection of music to draw from as well. So, the end result is often a collage of the music I’ve loved, put through whichever the dreamiest Instagram filter is.

What are your plans for the rest of 2018?

We’re so excited to see where Stello goes in the rest of 2018 and beyond. While we originally released Pretty Thing way back in 2015, the band really didn’t take true shape until this year. We had this idea that, instead of an album, we’re going to release a series of three-song… I don’t know, EPs, I suppose – we’re calling them “triplets” – over the course of the year as a way to keep the momentum high. And then alongside each triplet, we’d throw a celebratory ‘prom’ night in New York City, headlined by Stello and a couple of other acts we really enjoy.

Well, Triplet No. 1: Apollo and Triplet No. 2: Desire landed better than we ever could have imagined, and we have so much content and music that we’re actually releasing singles on the side (“Versions” featuring our friend Scott James a few months ago, as well as “Megalith”). They’ve been so generously picked up by incredible influencers in the industry, from mags like yours to Spotify’s Fresh Finds playlists, so we’re seeing some really cool buzz. We’re at the point where folks are showing up to our shows who we’ve never met, and they’re singing all the lyrics, which is just the wildest turning point.

Keep an eye out for announcements on the next triplet, which is due out later in the summer. And I know you have mostly a UK crowd, but if anyone finds themselves in NYC, we have a ton of really fun shows and ‘proms’ right around the corner.

Our last question, what is your definition of culture?

I think culture stems from shared love. The rest just blossoms from there. I’ve noticed this online recently – there’s no cooler feeling than falling in love with an album or TV show or something, then recognising a hyper-specific meme catch on among fellow fans. It’s the same thing with siblings’ inside jokes from childhood, or with the solidarity of global communities. It’s all love, just on different scales.

To find out more about Stello follow them here. You can stream ‘Megalith’ here.

Best Quality of Life Changes to Video Games

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While there are a lot of purists and dedicated old-school video games who would disagree, gaming is an industry which has evolved in an enormous amount of positive ways. Far from the processing and other technological limitations of the media’s first few years, modern gaming has made great strides in addressing issues which were originally born out of necessity or outdated design. In this article, we want to go over a few of the biggest changes which we feel have had a considerably positive effect on gaming as a whole, and what makes these changes special.

Quicksave and Autosave

This one is can be a little bit of a double-edged sword, but in this case, we’re talking about when it works well. Saving on older systems, at least on consoles, used to require passwords or separately purchased memory cards. Not only would this make saving your game a constant pain, it was made even more frustrating though how limited older save systems were. Sure, save points have a place in some games as a means of gameplay expression, but being able to save anywhere you want was just the best thing for those prone to interruption.

While we are generally a big fan of autosave when it works well, we still get a lot of games where it can royally screw your progress if you quit in the wrong area, and the game does not offer quicksaves. Alternatively, quitting and have to redo long patches because of a terrible autosave system does not make for an especially enjoyable experience. A little more effort here, devs, would go a long way to eliminating these problems from gaming’s future.

Gamepad Support on PC

Drivers are almost always a colossal pain to deal with. When you have dozens of different forms and brands of gamepads vying for mainstream success then you have a lot of potential crap to deal with, and early device drivers were often even more frustrating than the ones which we deal with today. A lot of this simplicity comes down to how standardized modern Xbox and PlayStation controllers have become with PC gaming. Windows itself has offered official out-of-the-box support of Xbox controllers for years, with Steam and simple to use programs like DS4 mean the equally great PS4 controller is not far behind.

Really, though, we just glad we don’t have to put up with button prompts in games telling us to do things like ‘Hold button 2 and press button 6″.

Automatic Updates

We know, we know, automatic updates are not a faultless system, like pretty much everything else on this list, but properly applied they can save such a ridiculous amount of time over the old manually patching systems that we have to include these. GoG, Steam, Origin, and a whole host of other systems manage all this for you, let you schedule when you want to download, set data limits, and generally automate everything possible, as the name suggests.

Back in ye-olde days, we could have systems which were just ridiculously and frustratingly specific. In many games there were systems where updates could not be done in a single block, that is to say that a user could sometimes not simply download the most recent patch and be done with it. We remember a lot of cases where patching would require you to know the exact version number of your game, and what region it was designated, and from there download the very next patch in a long line. You would work your way through, each painful step, and hoping that no downloads were missing and that nothing went wrong along the way. We don’t miss it.

The Optical Mouse

The ball mouse, the best tool we had at the time for both precision cursor control, and collecting cat hair, even if you didn’t own a cat. Prone to missed movements and breakages at just the worst possible time, these are a peripheral which we are glad to see die out. Modern mice are not only just as cheap or cheaper than these earlier beasts, they come with vastly superior tracking which, it turns out, can be pretty important. We’re a big fan of wireless mice in many situations as well, though for gaming our personal experiences have been a little less than stellar.

Online Ownership

A problem which remains for many console gamers, and one which used to be a huge issue for PC gamers as well. By online ownership we’re talking about the ability to purchase games online, and have those tied to an online account. We can see this in systems like Steam, as the most obvious example, but others like the console online stores, GoG, and Origin also come with similar offerings.

The joy here comes in being able to so easily store your library of games online, eliminating the risk of game loss which so often happens with physical media. We’ve lost or accidentally broken a few disks in our time, which really sucks if you get that sudden hankering for a replay. With these new online systems, these games can be found instantly, downloaded infinite times, and don’t run the risk of scratches or damage. While they still have some painful issues, especially if we’re talking about Steam, the overall convenience is nothing short of game-changing. Yes, terrible, I know.

More Buttons, Standardized Controls

My first console was the Sega Master System II, here is a picture of its controller.

Sega Master System 2 Controller

One awful direction pad, two buttons. Of course, as the SMS2 was not a powerful system the limitations of these controls made sense. Most controllable objects in the oldest of games could only do one or two things, so two buttons made sense. While these slowly evolved over the years, the biggest leap, in our opinion, was that which brought twin-stick controllers into the mainstream. While we could regard the N64 controller as the precursor here, we prefer the simplicity of early PlayStation DualShock devices. Not only did this let controllers keep up with the expanded possibilities of evolving and more powerful hardware, it made great strides in opening console systems up to PC ports like never before.

Then there is the aspect of standardized controls in games. While we see this in many genres and subgenres (more Arkham style combat please), it has to be the first person shooter controls which really opened up a new world. Funnily enough, playing an FPS on one of these –

Base PS1 Controller

Was a lot more difficult than playing on one of these –

PS1 DualShock Controller

This basic stick and shoulder layout would make the games not only feasible but enjoyable. This would further be aided by the advent and popularization of various aiming-assist systems, which further mitigate the limitations of these controller inputs. Funnily enough, the game which first brought the most common of these control schemes to console was once massively derided by Steve Garret of Gamespot, whom we can only assume is kicking himself in hindsight. At least he had the insight to recommend players wait for a better Aliens game, the ostensibly PS2 bound Colonial Marines. Oh dear.

So what do you think? What have we missed, or development is it that has left the biggest impact on you as a gamer? Gamer-targeted Doritos? Probably not, but we’re sure you guys have something we missed.

Sound Selection 035

The 35th edition of Sound Selection is back and rolling.

Low Fem ‘Videodrome’

The first song to enter this edition of Sound Selection is by the wonderfully-experimental Low Fem who showcase a dynamic production with emotionally driven vocals in their latest single ‘Videodrome.’ This one is for the playlists.

Plastic Messiah ‘Lose Yourself’

Cover of Eminem’s ‘Lose Yourself’ by Plastic Messiah might be an unexpected entry on Sound Selection, but with lovely intricate vocal dynamics we could not resist but to feature this well-performed cover that becomes more addicting with each play.

Nightseason ‘Strangers’

Another great song to enter our Sound Selection is by Nightseason named ‘Strangers’. In their latest song, the highly-exciting Nightseason present us with a wave of raw vocals and vibe that will keep you asking for more.

Rondo Mo ‘Arp Chime’

Shifting our frequencies, we have ‘Arp Chime’ by the exciting Rondo Mo who delivers a vibrant and lively song that will stay on your mind for a long time with its ear-pleasing vocals and contrasting production. This one is for the playlists and one that we recommend.

Starling ‘Pink Wallpaper’

Hitting us with emotional vocals is Starling, who brings out pleasant-sounding and pulsating atmosphere in her song ‘Pink Wallpaper.’ With this song released, we are sure to hear more great things from Starling in the months to come, as she looks to rise to the top with her tremendously enjoyable voice.

Bad Wave ‘Good Son’

Our final song, ‘Good Son’, by the two-friend act Bad Wave is a true thunder of a journey into an emotionally focused world that grows by each beat and word. ‘Good Son’ is a delightful song that is a must for any playlist that thrives on quality music.

Nominees for Leading Culture Destination Awards 2018

The awards that celebrate the finest cultural experiences around the world has announced its nominees shortlist for 2018.

It is now the fifth year that the prestigious Leading Culture Destination Awards are running. The awards which have been labelled as the “The Oscars for Museums” are looking for another successful year, as they have once again chosen a range of great cultural destinations for everyone from all around the globe.

The nominees for the Leading Culture Destinations Awards 2018 are:

Leading Culture Destinations of the Year – Exhibition

  • Keith Haring at Stedelijk Museum Amsterdam (Amsterdam, Netherlands)
  • Philippe Parreno at Martin Gropius Bau (Berlin, Germany)
  • Robert Rauschenberg: Among Friends at MOMA (New York, USA)

Leading Culture Destinations of the Year – Architecture

  • Paracas Museum (Barclay & Crousse) (Paracas, Peru)
  • YSL Museum (KO studio) (Marrakech, Morocco)
  • Zeitz MOCAA (Heatherwick) (Cape Town, South Africa)

Leading Culture Destinations of the Year – Restaurant

  • The Garden Café at Garden Museum (London, UK)
  • Otium at Broad (Los Angeles, USA)
  • Aura at National Gallery Singapore (Singapore)

Leading Culture Destinations of the Year – Shop

  • Gallery & Co. at National Gallery Singapore (Singapore)
  • V&A (London, UK)
  • MUMOK (Vienna, Austria)

Leading Culture Destinations of the Year – Digital Experience

  • Pepper programme at Smithsonian (Washington DC, USA)
  • TeamLab Tokyo (Tokyo, Japan)
  • Cooper Hewitt – Immersion Room (New York, USA)

New Culture Destinations of the Year – Europe

  • The Marshall House (Reykjavik, Iceland)
  • National Museum of Contemporary Art (Athens, Greece)
  • Foundation Carmignac (Porquerolle Island, France)

New Culture Destinations of the Year – North America

  • ICA at VCU (Richmond, USA)
  • Remai Modern (Saskatoon, Canada)
  • Museum of Contemporary Art (Toronto, Canada)

New Culture Destinations of the Year – Latin America

  • Museum of Underwater Archaeology (Campeche, Mexico)
  • Paracas Museum (Lima, Peru)

New Culture Destinations of the Year – Africa / Middle East

  • Louvre Abu Dhabi (Abu Dhabi, UAE)
  • YSL Museum (Marrakech, Morocco)
  • Zeitz MOCAA (Cape Town, South Africa)

New Culture Destinations of the Year – Asia Pacific

  • Yayoi Kusama Museum (Tokyo, Japan)
  • Tai Kwun (Hong Kong)
  • Design Society, Shekou (Shenzhen, China)

Soft Power Destinations of the Year – Best Activation

  • Bursting at the Seams: Philippine Detention Centers, Ayala Museum – (Makati, Philippines)
  • Susan Philipz – Who by Fire (Valletta, Malta)
  • Deaccessioning to Diversify, Baltimore Museum of Art (Baltimore, USA)

Soft Power Destinations of the Year – Best Cultural Organisation

  • Museum of Vancouver (Vancouver, Canada)
  • Museum of Tomorrow (Rio de Janeiro, Brazil)
  • Louvre Abu Dhabi (Abu Dhabi, UAE)

Soft Power Destinations of the Year – Best Cultural District

  • Knowledge Quarter (London, UK)
  • Fogo Island (Newfoundland, Canada)
  • Maboneng Precinct (Johannesburg, South Africa)

The ‘Climate Smart Award’, presented by SunX

  • The Climate Museum (New York, USA)
  • The Hangzhou Low Carbon Science & Technology Museum (Hangzhou, China)
  • The Science Express (India)

Emerging Culture City of the Year, presented by Avis

  • Lisbon (Portugal)
  • Medellin (Colombia)
  • Abu Dhabi (UAE)

Art Hotel of the Year, presented by Avis

  • Le Royal Monceau (Paris, France)
  • Chateau La Coste (Le Puy-Sainte-Reparade, France)
  • Detroit Foundation Hotel (Detroit, USA)

Best Cultural Nomad of the Year, presented by Avis

The 2018 Jury

  • Touria El Glaoui: Director of 1-54 Contemporary African Art Fair.
  • Joe La Placa: Director of The Cardi Gallery, Mayfair.
  • Carlo Brandelli: Designer and sculptor.
  • Helena Egan: Tourism and place-making specialist.
  • Arik Levy: Contemporary Artist.
  • Maximiliano Arrocet: Director at Amanda Levete Architects.
  • Lutz Henke: Cultural scientist and curator.
  • Lisa Hilton: Art Historian and writer.

Let’s Talk: Remasters, Remakes, and Ripoffs

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Aging games media is an interesting thing, rather unlike any traditional media counterparts. Apart from the obvious interactive nature, gaming is overwhelmingly informed by strict limitations of the host hardware, and the world and gameplay which developers are able to fit within these constraints. The simplicity of younger games was born out of necessity, rather than being the chosen direction as it manifests today. Limited playing area, fewer polygons on screen, more basic input options, all of these and infinitely more smaller restrictions combined to create the templates of the games of yesteryear. All of this, in an age coming around more and more to the idea of remakes and remasters.

So what does this tell us about the current state of gaming, what do these remakes and remasters bring to the table, and are the prices for updates of older games still worth the price? Well, let’s talk about it.

Give Them More

Remakes and remasters make sense, in many ways. For a start, they give newer or younger players a chance to experience the games which they might have missed. This not only gives developers and publishers a way to draw more attention into a long-running series, they also tend to be far less expensive than creating a new game from scratch. In this way, developers are not only able to gauge interest in a specific property, they can apply an actual monetary value to this interest, to determine if this path or property is worthy of further pursuit. In simple terms – this means they can test the water, to see if a specific market might still exist.

For longtime fans of these games, it gives them another chance to jump back into the action. Nostalgia is a hell of a drug, and revisiting games from our youth, maybe even sharing them with a new generation in the process, is an experience many of us won’t pass up. This is aided by the fact that many of these new remakes or remasters offer improved performance, better controls, and quality-of-life upgrades which can smooth off the old and jagged edges. The thing is though, like anything involving the video game industry, there are those work for the players, and there are those who work for the money.

To get a good look at what can and has been accomplished, as wells as the positives and negatives, let’s use some of the biggest modern examples.

Run the Gambit

Final Fantasy 6

You might know it as Final Fantasy 3, so for simplicities sake, we’ll point out it was the game before 7. Widely regarded by both RPG and Final Fantasy fans as one of the best RPGs of all time, this SNES game has been ported to a wide range of devices, including the PS1, GBA, iOS, Android, and Windows. Some of these, most notably the GBA port, are generally praised and seen as upgrades. Here, the game has had various potentially game-breaking bugs patched and even has additional end-game content added, in addition to an improved localization effort.

On the other hand, we have the Windows Steam version. Already known for their shoddy Steam port jobs on older Final Fantasy games, Square Enix really outdid themselves with what is widely considered a charmless port job. Far from the pixelated and highly expressive original Super Nintendo art, Square Enix instead decided to change these graphics into a rip of the already horrible iOS port. Instead of offering something like the originals, what we have looks about as good as a low-quality RPG Maker fan-job. Yes, this is smoother looking, and yes the fundamentals are still intact, but it disregards so much of what made the original so outstanding. We hate to use the term soulless when it comes to video games design, but there is no word apter.

Fortressofdoors has a great analysis here.

Abe’s Odyssey – New n’ Tasty

A big hit back on the original PlayStation, and with some success on the PS2, the Oddworld series of games were once some of the more popular in gaming. As a personal enormous fan of the original game, I was extremely excited to see a remake in the form of Oddworld: New n’ Tasty. High definition graphics to what was already a beautifully atmospheric game? Sign me up. An hour and a half into the remake of one of my favourite games of all time and I found myself wishing Sony had a better online refund policy.

It could look good when the frame rate wasn’t unacceptably jumpy, and it could sound great too. The controls, however, and the failure in creating a similar atmosphere to the original, would ultimately mark this as one of my greatest ever gaming disappointments. What used to be heavy but extremely precise controls turned into a mess, and the changing from a screen based system to a largely scroll based system had unintended side-effects which caused chaos with the game’s overall flow. We understand that this game was still a commercial success, but for many of us, it represented failed potential. It also leaves us with major doubts for future Oddworld remakes.

YouTuber Matthewmatosis takes a look at what went wrong.

Crash Bandicoot – N. Sane Trilogy

You know Uncharted and The Last of Us? Made by the very same Naughty Dog. The N. Sane trilogy was not one of their efforts, but it certainly stands as one of the better remakes of classic games. Based on the original three games, the N. Sane Trilogy brought these classics up to date with modern graphics, while keeping gameplay much more intact than what we saw with New n’ Tasty. Certainly not perfect, but we feel we have to include this entry as it really is what we feel to be a vast improvement over the example set by Oddworld. As the popularity of this game helped bring the upcoming Spyro remake into development, we hope this marks a trend of greater adherence to a classic look and feel.

Resident Evil 2 – Remake

We thought this one might be vaporware at this point, but their recent showing at E3 has proven that this game is not only still in production, it looks incredible. Unlike our previous examples, the Resident Evil 2 remake is not focused on mirroring the gameplay of the original, instead, it aims to update the game to create a similar atmosphere via very different means.

Whereas the original has static cameras, with 3d characters moving around a prerendered background, the remake abandons this in favour of a fully 3d environment, and a camera and control scheme similar to Resident Evil 4 or 5. Sure, this game doesn’t strictly look the same, nor does it control the same, but it manages to feel so similar. This isn’t Resident Evil 2 – 2.0, this Resident Evil 2 reimagined with modern technology in a way that works, which feels both inspired by the original and progressive in its own right. Say what you will about Capcom, but when they get it right, they really get it right.

Call of Duty Modern Warfare – Remastered

Hoo boy, what a show this one was. Call of Duty was still popular before Modern Warfare, but it was Modern Warfare which made the largest strides, bringing the series into one of the foremost dominating market forces we see today. Excitement for this was enormous, so naturally, the publisher of Activision had to find a way to capitalize on this and capitalize they did. For a start, the only method in which people could apply to buy the game was to purchase the premium version of Infinite Warfare.

That’s right, Activision made it so that one of the most anticipated remakes of all time was initially held hostage behind an expensive version of a game that many weren’t interested in playing at all. While the game would eventually release as a stand-alone version, this left that horrible taste in our mouths which we get when somebody practices such blatant avarice.

But wait, it gets even better. The original Modern Warfare didn’t include microtransactions, as it was released just as the infamous Horse Armor DLC was still much derided, and before Activision had their collective vision turn into cartoon dollar-signs. The remaster, though? The remaster decided why not, slip these into a remake of a nine-year-old game. Not a great middle to follow an awful beginning.

Billy Mays here, and we’re not done yet. It’s been the standard operating procedure up until this point to include all of the previously released DLC in a remastered version of a game, whenever applicable. Not only would Activision and Raven Software not include the DLC in their initial remastered release, they would actually end up selling the DLC at a greater cost launch cost than the original game’s original DLC.  With that, Activision laid its desires and intentions bare.

The Apologetic

Dark Souls Remastered

On some levels, we can get on board with this. Allowing us to play this FromSoftware game on newer consoles and with better frame-rates than ever before is a great opportunity, and we support it for that. The problem we have with this game revolves around the PC port.

See, the original PC port of Dark Souls was, to put it bluntly, terrible. Seriously, one of the worst port jobs which we have ever seen, and this is an extremely commonly held opinion. In fact, in order to make this game bearable, users were practically required to download and install a program called DSFix. This fix, created very shortly after the game’s release by a man going by Durante, massively improved the experience to a level which was considered adequate by PC gaming standards. More resolution options, better effects modification and anti-aliasing options, and the ability to run at higher than the unacceptably capped 30fps of the base game stood chief among these changes.

Released almost as soon as the game came out, despite the fact that Durante had no access to the game source-code. FromSoftware and Namco Bandai never fixed this version of the game to anything approaching the level Durante brought it to, and they never paid him for effectively making the game playable. In effect, Durante had performed their job for them, and it was only through him that the PC game avoided being more openly derided as one of the biggest PC port job failures of all time.

Then, years later, Dark Souls Remastered is announced. PC players are even given a discount to buy this game, again. Some would consider this considerate, but for those of us who still remember being sold an unacceptably shoddy product which was never addressed by the developers or publishers, this is little more than a slap in the face. We bought a faulty product, Durante fixed it for them, and now they expect a discount is a good enough reason to buy back in?

No, FromSoftware, I love your games, but I don’t think so.

Oh, and you can’t buy the old version for cheap and use Durante’s fix on it anymore on Steam, as that edition can no longer be bought.

The Constant Gamble

The entire environment of remasters and remakes is a tricky one, and we don’t envy the developers who have to try to both modernize a classic game and have it live up to its reputation. Success in these matters is a balancing act between what can be changed for the betterment of the overall experience, and what needs to remain the same for the game to really be considered a remaster.

To us, this is a two-part effort of feel and atmosphere. Games like the Resident Evil 2 remake might not be technically accurate in their representations of their original IP, but they still manage to remain appealing because of their dedication to the atmosphere. On the other side, games like New n’ Tasty fail because while they succeed on technical fidelity, they miss the feel and atmosphere which made the originals feel as engaging as they are.

Finding the right level here is not something which can be applied across all different games. Each game does something different, each classic has something special which makes it classic, and these are concepts which developers and publishers need to fully understand on an artistic level before a remake can even approach success. Or you can just release a fixed game, like with Dark Souls Remastered, and just call it a day from there.

Read of the Week: ‘The 1-Page Marketing Plan’ by Allan Dib

Allan Dib has compiled a tour de force of a book for any beginner in the world of marketing.

Marketing can be quite confusing for many starting entrepreneurs and beginners in the world of business. However, in his book ‘The 1-Page Marketing Plan’, Allan Dib reveals just what marketing is and how to go about it if you are just starting out or if you are doing it without any consistent and positive return.

Dib also reveals how to market with purpose and sets out a simple one-page marketing plan, which goes hand in hand with the rest of the tips and knowledge provided by Dib in the book.

So, if you are starting out in the world of business and marketing or you simply need to realign your marketing strategies, this book will be of great help to you. An easy and well-structured read for anyone in the area of business and marketing. A must-read for the week.

The 1-Page Marketing Plan is available on Amazon here.

Let’s Talk About the Sequels We Really Want (Part One)

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Video games are a business, at least that is the primary framing of the industry big boys. While there is the growing indie market more focused on customer satisfaction over sheer profit, this doesn’t help a lot when it comes to sequels to old AAA releases. It was hanging out with some friends, nostalgia tripping over the ‘good-old-days’ that we had the idea for this article – what old series do we want a sequel to, and why are these so special to us? At least with some of our old series, we might expect a crowd-funded pseudo-sequel but, if Mighty Number 9 is an example, these might not quite measure up to the originals.

Tony Hawks Pro Skater

This might surprise some of our younger readers out there, but the Tony Hawks games were once one of the biggest gaming series in the world. The first game on the original PlayStation and Nintendo 64 captured the imagination of 90s cool and skater culture perfectly, and the sequels on the PlayStation 2 generation added to this in both mechanics and scope. These were arcade perfection, with a focus on score and fun over anything approaching believability. Following this generation, however, the series fell into disarray. Starting with a new engine which just felt off with Project 8, pushing into terrible gimmick controllers with Ride, and the abomination which was the Tony Hawk’s Pro Skater 5 rush job, rarely has there been cases of series falling from such heights.

So what would it take to get us back into Tony Hawk game? How about we go the simple route first, to keep costs as low as possible and to bring back the original fans? Keep the hilarious character creator, keep all the playable characters, keep all the classic maps from the PS1-2 generations, and keep as much music as possible. This, right here, would have been a guaranteed way for Tony Hawk’s 5 to become a success. Alternatively, this could have been the path of the HD remake, which followed in the modern footsteps of unmitigated failure.

Still installed, and we still got the touch.

Lock it at 60 FPS, find some ridiculous way to link all maps together into one cohesive but nonsensical whole, and allow dedicated servers with plenty of concurrent players, and you have a chill-out game to surpass all others. Unfortunately, with the rights for the games now shifted from the original Activision, there is little chance we’ll ever get the follow-up we want. We can dream though.

At least we aren’t completely past the concept of high-quality Skating games, as the Skate series shows there is still significant enough interest to draw in major developers, and the recent announcement of Session does get our hopes us.

Help us Session, you’re our only hope.

Half-Life

You probably saw this one coming, well done. The original Half-Life began a revolution in gameplay and level design. Featuring a heavily story-based campaign, a setting which made the world feel incredibly real (maybe save for Xen), and AI which still beats out many modern contemporaries, Half-Life is often regarded as one of the best and most influential games of all time. Hopes were high for its sequel, where Valve showed the world they had not merely been resting on their laurels. Not content to just release the base HL2 game, Valve engaged in what is considered a forward-thinking attitude of episodic releases.

The first two of these episodes continued the story from the main HL2 campaign, with the second ending on one hell of a cliff-hanger. Fans were frothing (at the mouth) in their anticipation for the final of the three episodes to bring this entry to a close, only it never came. In what is now one of the most famous gaming memes, Valve not only abandoned the third episode, they have also made precisely zero announcements on a full-fledged third entry.

The stated reasons for this from Valve is that after the timing mess-ups which led to the cancellation of HL2 Episode 3, they wanted to wait until they could create a sequel as progressive as the first two were at the time of their release. Critics have pointed out that perhaps Valve’s reluctance is more due to their focusing on Steam as a money printing machine, with video games now being more a side project than their primary concern. At least we have some diligent fans in the Half-Life community who have dug up considerable information about what the third episode would have been like. This is well worth a look for those interested in game conception and creation.

YouTuber Phontomen lays out the cancelled HL2: Episode 3 story.

TimeSplitters

If you owned the original Xbox then chances are you were playing Halo. If you owned a PlayStation 2 or GameCube, however, and you wanted to get in on some classic split-screen cooperative or head-to-head FPS combat, then you probably went with TimeSplitters. Developed by the now-defunct Free Radical Design, this trilogy wore its GoldenEye and Perfect Dark inspiration on its sleeve. Makes sense, considering Free Radical Design was founded by a group of ex-Rare employees.

The story in TimeSplitters generally involved chasing aliens through time and attempting to stop the eponymous Time Splitters from creating a fascist and authoritarian future. This meant a huge range of environments and weaponry, in what are some of the most diverse settings included within a single series. This carried over into multiplayer, where users could play against their friends and bots with their own customized weapon sets and game-types.

Even better, TimeSplitters came with its own map editor. This was a powerful tool which is somewhat analogous to the modern DOOM Snapmap feature, including a variety of themes, and customizable events and triggers.

Time0to0split shows off the TimeSplitters 2 Mapmaker.

Unfortunately, Free Radical design saw financial difficulties which led to its ultimate sale and renaming to Crytek UK. While this company has still proven successful with games like Ryse: Son of Rome, and Crysis 3, they do not appear to have any plans to create another entry in the TimeSplitters series. While there is a fan recreation project happening on PC, development is slow and potentially stalled.

Thing is, you’d think to make another entry in this series would be a developers dream. Not only do they have the experience when it comes to first-person-shooters, the range of settings afforded by a time-travelling story would give an enormous amount of choice and flexibility to the involved staff. This is a game rife for creative exploitation, with a still very supportive fan-base, so we have to wonder what the hold-up might be. Hell, at this point we’d settle for an HD trilogy remaster. We know they have the tech, as per this Homefront easter egg so please, Crytek, give the people what they want.

Why do you tease us so?

So there it is, our first entry into our series of much-desired sequels. Which of these three would you want, or which others are overlooked that you miss? Hell, if we build up enough excitement as a group we might even inspire somebody to action. At least, we can hope.

 

 

Sound Selection 034

Our beloved Sound Selection is back and moving.

Four of Diamonds ‘Name on It’ feat. Burna Boy

The first song to enter our Sound Selection is ‘Name on It’ by the highly-vibrant and pop-driven Four of Diamonds featuring Burna Boy who bring us a wave of fantastic energy and light with their well-produced radio-ready hit.

qrauer ‘Aracus’

Moving into the world of experimental music, we have ‘Aracus’ by qrauer who bring us in with deep kicks, mysterious synths and enigmatic sound effects that keep with you until the end. If you are looking for something diverse and inimitable for your playlists, this will be for you.

The King’s Parade ‘Lemon Zest’

Another stunning song to enter our Sound Selection is by The King’s Parade named ‘Lemon Zest.’ In this moving song, the four-piece band, The King’s Parade deliver stunning vocals and a melancholic vibe that is beautifully linked with the heart-warming melody from start to finish.

Jude Woodhood ‘Beautiful Rain’

Moving back to electronic music, we have ‘Beautiful Rain’ by Jude Woodhood who experiments with soul-touching vocals and brilliantly incorporated synths that will keep with you for a fortnight to come. This one is a must-listen and one for the playlists.

Tim Schou ‘Nirvana’

Shifting our frequencies back to commercial music, we have energetic and simply stunning ‘Nirvana’ by Danish artist and songwriter Tim Schou who displays to us his well-fitting, full of energy and genuinely electrifying vocals in this warm and touching song. A true treasure of a song.

Tom Budin x Kopa ‘Things Change’

The final song to enter our Sound Selection is by Tom Budin and Kopa named ‘Things Change.’ In this thrilling and well-produced song, Tom Budin and Kopa take us on a ride with their warm melody and ear-pleasing vocals that makes this dance song a great listen for anyone.