The Forgotten Universe

For anyone not living under a rock, you’ve probably already heard the good news regarding our beloved Blue Bomber: MegaMan has officially been confirmed as a character in Nintendo’s upcoming Super Smash Bros. for 3DS/Wii U. Frankly, everything about this makes me excited: from his movelist to his revamped design, which seems to be a slightly stubbier and more refined take on MM’s design from the promotional art in the Complete Works re-releases of the NES games on the original PlayStation. Still, it’s perhaps the first real bit of good news that fans of MegaMan have seen for some time, considering we’ve gone 3 years without seeing anything major in the way of new games. And while the wounds have still yet to heal completely, it still seems like a good time to talk about one cancelled game in particular. No, I’m not talking about Legends 3: many have already spoken on that game’s behalf already, it’s a cliche at this point. No, I’m going to be talking about the first game that got cancelled, the one only a few mourned when it was first cancelled. I’m talking, of course, about the ill-fated MegaMan Universe.

For those of you who don’t remember, MegaMan Universe was one of the games announced by Keiji Inafune back in 2010, right before he announced the aforementioned Legends 3. Universe was revealed with a stop-motion animated trailer made by various artists from the “i am 8bit” art movement and with music from acclaimed MegaMan tribute band The Megas. Full of references to various other Capcom games, including trippy bits where a claymation MegaMan turns into Arthur from Ghosts ‘n’ Goblins/Ghouls ‘n’ Ghosts games and Ryu from Street Fighter while fighting off a horde of Metools, Tellies and other old-school MegaMan foes. It also showed off the birth of the now-despised Bad Box Art MegaMan, a good-humored ribbing of the downright bizarre North American boxart for the original MegaMan on the NES.

I’ve always speculated that MMU was planned as a reaction to the then-recent fan backlash against MegaMan 10 for being another NES throwback game like 2008’s MM9, but then, considering it was announced the same year 10 was released, that doesn’t exactly seem plausible. The game’s art-style was also a significant departure from the traditional Inafune-inspired artwork of old. Frankly, I liked it, but there were many others who didn’t. Still, the game was 2.5D, which was definitely a change from the 8-bit sprites. But it also resembled a previous attempt at a Classic revival: MegaMan Powered Up.

The game’s 2.5D format wasn’t the only thing Capcom took from Powered Up. The game had an extreme emphasis on customization. In addition to bringing back the Stage Builder mode from MMPU (and making it a major portion of the game itself), players would’ve also have been able to create their own player character, using parts from MegaMan, various robot masters, characters from other Capcom properties and even alternate versions of MegaMan (like the aforementioned BBA MegaMan and the more Inafune-inspired “Rockman”). Many fans and journalists likened the idea to effectively being a ripoff of LittleBigPlanet. Ironically enough, Powered Up predated LBP by over two years.

Of course, Powered Up wasn’t the only game Universe was inspired by. Pretty much every part of the game was a direct reference to the most famous Classic series game of them all: MegaMan 2. From the various stage builder locales, to the Robot Masters depicted and even the soundtrack, the entire game appeared to be a heartfelt love letter to MM2, not unlike MM9 was. Whether or not this was the entire scope of the game or if this game was an attempt to revitalize the MMPU series, I guess we’ll never know.

What I do know is that I actually experienced the game firsthand. While I was in attendance at New York Comic-Con in 2010, Capcom had a booth there with, what I believe was, an alpha build of MMU. I’ll be honest, the game was a bit rough around the edges, but I could see some real potential there. After all, the game was still in development. I managed to beat the stage I picked: I remember little about the playthrough aside from the fact that there were three stages (easy, normal and hard) and the one I had chosen (one of the latter two) used the MM2 Airman stage motif and I managed to beat it fairly easily, despite losing one of the three lives I was granted in the demo. I was rewarded with an inflatable lance based on Arthur’s from the GnG games with the MMU logo on it. I still have it to this day.

Considering how intrigued I was by the new designs and how much I had enjoyed the demo, I was honestly sad to see the game get cancelled. I can still remember how the entire affair took place. After playing the demo and the announcement of a variant on Japanese childrens TV show character Gachapin (dubbed “Megapin”) was announced as a playable character, news on MMU dried up. Keiji Inafune had left Capcom at that point and the future of the title (both MM titles he had just announced, arguably) was uncertain. I remembered asking Christian “Sven” Svennson about the status of the title on Capcom’s “Ask Capcom” forum. He assured me there would be some big news regarding the title coming soon and that it certainly wasn’t cancelled. About two weeks later, MegaMan Universe was officially cancelled. I’d like to say I was surprised when it happened, but frankly, I was just a little ticked off that I had been lied to, either as an attempt to avoid negative PR or due to Svennson’s own ignorance of what was going on. I already knew that when Inafune left Capcom, the two MegaMan games he announced just before his departure were already dead.

Somehow, I think that the gaming press was somewhat to blame regarding Universe’s demise. MMU honestly got torn apart by a lot of journalists when it first became playable. One major complaint I recall showing up a great deal was the fact that it had stiff controls. Stiff controls in a game that was still in its Alpha phase? What a concept! Whatever it was that got MMU cancelled, it just seemed kind of weird how quickly everyone seemed to turn on the game. First they were griping that MM10 was “yet another” 8-bit throwback game, ala the universally-beloved MM9 and said they wanted a change of pace. MMU does just that, departing from many of the stylistic conventions of past MegaMan games and everyone throws an even bigger tantrum. Then, two years later, we get a free PC game that started out as a fan homage to both Street Fighter and MegaMan and people complain about the 8-bit style used in that as well. I don’t think I’ll ever understand how popular opinion works.

In the end, I think the most insulting part of the cancellation of MegaMan Universe was not so much the way it got cancelled or the way the majority of people reacted to it when it happened. In reality, I think the worst part is what it took to make people start caring: the cancellation of MegaMan Legends 3. It was only after Legends 3’s failure to be greenlit that people started complaining, wailing and moaning that “we’d seen two MegaMan games cancelled”, while when MMU got cancelled, most people responded with a shrug and a resounding “meh”. It wasn’t an outrage until the game you wanted got trashed. It reminds me of the whole Operation Rainfall “movement”: sure, they talked about bringing all three games (Xenoblade Chronicles, The Last Story and Pandora’s Tower) to North America, but let’s face facts: as long as they got Xenoblade and Last Story, they were more than willing to throw Pandora’s Tower (the one game that actually looked interesting to me) under the bus, to the point where they declared total victory once Last Story got confirmed for NA release by XSEED. To them, Pandora’s Tower getting a release down the line was just a happy little bonus.

Of course, regardless of who’s to blame for the game’s cancellation or who used said cancellation to fuel feigned outrage, the point is no amount of ranting will ever bring this interesting little game back. But looking back at that MegaMan reveal for Super Smash Bros. for Wii U/3DS (really wish they had put more effort into coming up with a title), there was one little graphical detail that struck me as a bit strange. Despite the clearly Classic NES-inspired motions and design of the Blue Bomber, there were noticable creases in the cyan part of his armor. Not unlike those seen in the design of “MegaMan” in MegaMan Universe. It’s probably just a coincidence, but part of me still likes to think it’s just Nintendo’s way of paying homage to the cancelled game, sort of like how I believe that the upcoming Sonic Lost World is totally a revival of the cancelled Saturn game Sonic X-Treme, despite Sonic Team head Takashi Iizuka saying he had never even heard of X-Treme beforehand. Just the thought that interesting old ideas that got scrapped can come back in some form just cheers me up, I guess. Maybe one day, we’ll see another attempt at a MegaMan game with a stage builder.

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Used for Good: Why Used Games Are Vital

I’m not going to pretend I like all video game companies exactly the same. While I’ll never say a game is bad or refuse to play it because I dislike the company that makes its system, and I can like an individual system better due to its game lineup, I’m not going to deny that between Nintendo, Sony, and Microsoft I have a fairly distinct tier list in how much I like them as companies. As you can probably guess if you’ve seen my previous articles, Nintendo is at the top. Microsoft is at the bottom, and I am disclosing this because I want to emphasize that my… strong… reactions towards some features in the upcoming Xbox One are not because of pre-existing dislike for Microsoft or the Xbox brand. If Sony or even Nintendo did this, I would if anything be more angry, since I would be forced not to buy a system I would otherwise be likely to. So the gist of this is that Xbox One and how it treats used games is why I am so angry at Microsoft, not the other way around.

If you don’t know what I’m talking about, here’s a summary of Xbox One’s approach to Digital Rights Management (DRM). There are (among others) two features in X1 that no other mainstream video game console has ever attempted: a required daily online “check-in” for games to be playable, and the need for external permission from a company to use a game disc on more than one system. The online check-in has a host of issues unrelated to used games, but for this article the main issue with it is that it allows the enforcement of requiring “permission” to use a disc on more than one system. This online check-in means that you can not simply keep a system offline so that the disc does not use its one time activation code, and if you do have the disc’s ownership transferred to another system, you will be forced to go online so that the system can take away your permission to play the game even if you have the disc inserted in the console.

Now, as I’m sure you can guess, the reason why a disc will be prevented from working on more than one console is an attempt to control the used game market. Like nearly every other purchased good in a free society, video games can be sold or given to another person by the original buyer. If someone buys a used copy of a game, they will most likely not buy that game new, so the publisher will get one less sale. Publishers (some much more than others) do not like this. The Xbox One’s system requires the cooperation of a game’s publisher for a used game to be sold, since they must give the disc a new activation code for it to work on a new system. Microsoft has stated they will not charge publishers for this, but publishers are free to charge retailers or gamers to activate the disc on a separate system. They may also not charge, or not allow the disc to be reused at all.

The point of this article is not to convince you that Microsoft and the publishers who pressured them to do this are bad companies we should be angry at (although that is certainly true), it is to stress that Xbox One is a danger to both the rights of gamers and the preservation of gaming, and regardless of how you feel about the companies involved, the system must not succeed while using the DRM setup it currently has. Yes, I’m angry. I’m really freaking angry, but I will be doing my best to focus on logical arguments instead of my emotions.

Now, the first issue that has to be addressed is the position that video game publishers have a right to be so upset about used games and try to limit them. I understand that it is possible for used games to cost a publisher some sales, but every goods based industry depends on a balance between the interests of consumers and producers. The simple fact is that publishers do not have a right to people buying their games, while people do have a right to sell and give away their property. Allowing used games is clearly the preferable option to taking away the rights of consumers. People who compare used games to piracy are missing an obvious distinction: used games are a finite resource. If I make pirated copies of a game I own, I can still play the original and hundreds, thousands, theoretically millions of people can all play my pirated copies at the same time. If I sell a game I own, I can no longer play it, and if the person who bought the game sells it they can no longer play it. The amount of used copies of a game is limited by the amount of new ones sold, a good game that people want to play for more than a weekend is not going to have its sales killed because people keep reselling it. There is an enforced balance to the sales of used games, one that rewards publishers that provide high quality and substantial games. Eliminating used game sales can harm gamers even if they don’t buy used games, since it cuts down on incentive for publishers to release good games with high replay value.

Now, as Microsoft would be quick to point out, Xbox One does not technically ban used games. It is possible to transfer a disc between consoles, but developers will have the option of charging players or retailers that act as a middleman a fee to do so. Companies also have the option of completely stopping a game from being sold used by refusing to reactivate its discs. Which companies will take which approach to used X1 games and what the fees will be is still a matter of speculation, but what I want to stress is that it does not matter how much companies charge to reactivate game discs, needing the reactivation at all is a disaster for game preservation. No matter how many companies agree to reactivate their games for free, regardless of whether you feel it’s fair for a company to get a cut of used games sales, the simple fact is that this service will not be around forever. Systems stop being supported, and publishers move on or go out of business. With X1 as it is now, in a decade or so every game on it will be unobtainable by legal means. It is still possible to buy games and systems that are decades old and well out of production, that will not be the case for Xbox One. Any game exclusive to it will be lost forever (except, ironically, in the form of the pirated copies that Microsoft and third parties want to stop) in the future. This is something we can not allow to happen to games, the future of the medium is being directly threatened by restricting used games. Whether you play old games or not, I hope that out of respect for the medium of video games and empathy for future gamers who want to experience its past that you can understand how important this issue is.

Some argue that games will inevitably be delivered exclusively through digital services in the future, and that therefore used games will die anyway and it doesn’t matter what happens to disc based games. I will not deny that digital distribution will most likely become the sole form of game delivery at some point in the future, but the technology to preserve games will also advance. Legally backing up copies of digital games, especially on consoles, is simply not advanced enough at this point for us to entrust the preservation of gaming to it. There may come a time when playing and storing a game on a computer is as simple as a song, video clip, or even text. That time has not come yet, however, and for the time being being able to preserve games through transferring physical copies is necessary for the games to be playable in the future. There is also the issue of Xbox One’s daily check-in, which is a more severe form of DRM than even digital services like Steam (which will for the most part let you play games from it offline after the initial download) employ. Xbox One’s approach to the issue not only falls short of the hypothetical method that would make it acceptable, it is worse than currently existing ones.

In conclusion, I would like to make my beliefs on Xbox One clear: the system, as it is now, should not be bought by any gamer. This is not a matter of company loyalty, gamers as a whole must look past that and unite to defend their rights and the future of their hobby. I understand that this may be more difficult for some gamers than others, depending on how much X1’s exclusive games appeal to them, but if you really care about the future of the Xbox brand and those games you must help make Microsoft realize their mistake. No company makes permanent decisions, if the backlash hurts Microsoft enough they can change this. Even if it’s too late to fix the systems being released, we could at the very least stop the bleeding and maybe force Microsoft to make a new model. The more resolute we are in not supporting the system, the quicker the disastrous decisions made on it can be reversed. The quicker this happens, the less games will have their future endangered. We have to look at the longer term picture, especially gamers who want to be able to enjoy Xbox One and its games. It may seem frustrating now if there is an exclusive you really want on X1, but you will not regret your decision if your patience ensures that game can be enjoyed in the future.

The Next Level: Selling Sega Bit by Bit (Part 2)

Last week, I discussed the still very real possibility that Sega could end up on the auction block like THQ and Midway before it and tried to determine the best homes for a dozen of its franchises, both popular and obscure. This week, it’s gonna be more of the same: 12 Sega franchises and what companies would be the best fits for them.

Starting off this week’s assortment, Sega’s famous horror lightgun arcade smash, House of the Dead. The answer for this one’s obvious: Namco Bandai is still making Time Crisis games for both consoles and arcades to this day, and aside from Sega, they’re the only major Japanese publisher with a stake in the genre to this day. My secondary choice was gonna be Activision, which would cause the series to suffer like G did? So I did a little research for companies that had made some recent lightgun rail shooters, sure Capcom had those Resident Evil spinoffs, but then I saw a name that perked up my ears: Castlevania: The Arcade. That’s right, Konami actually made a lightgun (light-whip) game a few years back.

Next up, another oldie-but-goodie, Sega’s Genesis beat-’em-up classic, Streets of Rage. Now, you’re probably thinking the choice for this one is obvious: “Give it to Capcom, because blah blah blah Final Fight.” Well, I’m going off the beaten path with this one and giving it to an unlikely contender: SNK Playmore. SNK has quite the predigree of arcade beat-’em-ups in their past, games like Mutation Nation, the Sengoku series and even a few weird experiments in the genre like the first-person brawler The Super Spy (featuring the first appearance of SNK villain supreme, Geese Howard!) and the beat-’em-up/one-on-one fighting game hybrid Street Smart. Seeing SNK tackle a genre that isn’t a fighting game or Metal Slug again would be a fantastic treat and getting a fourth, actual factual Streets of Rage is pretty high on my Sega wishlist. Otherwise, yeah, give it to Konami or Capcom, I guess. Either one would probably just end up sitting on the franchise anyway.

Samba de Amigo, like Space Channel 5, was another of Sega’s rhythm game experiments, however this one focused heavily on motion-control through the maraca peripherals that were available both in the original arcade version and the Dreamcast home port. Considering the Wii got a port of Samba de Amigo itself that utilized the Wii Remote and Nunchuk add-on to accurately recreate the arcade experience, Nintendo is the clear choice. The fact that they themselves have a rhythm series that’s equally as wacky as Samba (Rhythm Heaven) is just icing on the cake. Likewise, Namco Bandai still makes Taiko Drum Master games, so they’d be an equally valid choice, especially if it did better in arcades than on consoles.

Then there’s OutRun, an unconventional arcade-style racer that focuses on completing an extended course with multiple branching paths within a time limit rather than beating out CPU-controlled drivers. It’s also one of my all-time favorite Sega franchises and I was especially happy to see it get a shout-out in the recent Sonic and All-Stars Racing Transformed. Not too many companies really focus on arcade-style racers these days, as most have moved onto racing sims, so the only obvious answer here would be Namco Bandai, who still put out a damn good Ridge Racer every once in a while. Second place goes to Ubisoft, as they currently publish the Trackmania games.

Jet Set Radio was one of those games that didn’t really get a fair shake when it first came out, but became a beloved cult classic down the line. Released when the Dreamcast was on the very precipice of disaster at the hands of Sony’s Playstation 2, Jet Set Radio (or Jet Grind Radio, as it was once titled in North America) is one of those rare 3D games that manages to avoid showing its age even today, due in part to its cel-shaded graphical style. The gameplay emulated the popular Tony Hawk’s Pro Skater series, but managed to expand on it to the point where JSR felt like a complete different game. After all, what other game can you think of where you can destroy tanks and helicopters by tagging them with graffiti? Personally, I’d give it to Ubisoft, considering both their work on Shaun White’s Skateboarding (proving they could get the skating mechanics right) and the Rayman series (proving that they’d likely keep the unique graphical style of the series. The only other company I think could do Jet Set Radio justice would be Nintendo.

Speaking of cult classics from the Dreamcast era, Shenmue is perhaps the prototypical example of the problems regarding the AAA industry today. Despite being the 4th best selling title overall on the Dreamcast, Shenmue fell short of earning back its immense budget. Still, there are many who wait for another entry in the series, even after the second game also failed to perform well outside of niche audiences. Having said that, I’d say that Atlus would be the best choice for the franchise. Both due to the fact that they’ve made a few games with similar mechanics to the series (Catherine comes to mind for me personally and I’ve heard the same regarding their Persona series) and because they tend to also do well with regards to niche audiences. My other choice is an extremely unorthodox one: Telltale Games. Considering the fact that Shenmue’s gameplay is not so far removed from point-and-click adventure games and its storyline is considered one of the main draws of the series, Telltale just seems like an interesting choice for a sequel, especially if they reunite the original creative team for a Shenmue III.

Valkyria Chronicles is another one of Sega’s more niche titles, at least as far as non-Japanese audiences go. An interesting take on the strategy RPG genre, where you shift into a third-person shooter-style segment during each party member’s turn. Consider the game’s unique take on the genre, I think that Atlus would probably be the best company to take on this one, due to its unique take on the genre and its popularity in Japan. After all, Atlus has even handled third-person shooters in the past (God Mode). If not them, then Nippon Ichi Software would probably be a good choice, considering their experience with the strategy-RPG genre.

There’s also Sega’s unique puzzle game: Chu Chu Rocket. Considering the fact that this was actually ported to the Game Boy Advance as a launch title, I’d be quite alright giving this to Nintendo. They would likely keep it on eShop, which would actually probably be a smart business tactic, considering the simplicity of the game’s overall design. I’d also consider Atlus to be a valid choice, considering their history with unorthodox puzzle games like the aforementioned Catherine and Rock of Ages.

Virtual On, while generally called an action game, is probably the best example of what I’ve come to call “arena fighters”. Think of it as the precursor to Anarchy Reigns, only with a custom arcade cabinet to boot. As such, my first choice would be Platinum Games. The problem is, I don’t really have a follow-up. Capcom used to make good arena fighters, like the Power Stone games and Spawn: In the Demon’s Hand. Konami made Castlevania Judgment, which in spite of its hideous character designs, was actually a pretty decent one. But considering the similarities between the recent Dragon Ball Z and Naruto fighting games with arena fighters, not to mention how close the Soul Calibur games are to them, maybe Namco Bandai would be the best secondary choice. At the very least, Namdai (Banco?) getting the rights would mean that Temjin and Fei-Yen would likely show up in the Super Robot Wars games a lot more often.
After Burner was Sega’s take on the combat flight simulator genre, only with good old fashioned 1980’s arcade flair thrown to give the game some fun factor. Recently it’s seen a resurgance, having been referenced in games like Bayonetta and the aforementioned All-Stars Racing Transformed (as a stage and one-third of a vehicle!). I can’t really think of many companies that still do games in that genre, aside from Namco Bandai, with their Ace Combat series. Otherwise, I’d just give it to Nintendo, because I can’t really think of anyone else who’d take it.

Then you’ve got the Super Monkey Ball series, another cult-classic Sega series, involving tiny monkeys in hamster balls running to the end of an obstacle course in order to get some bananas. The easy answer here is Nintendo: this game totally sounds like something the Big N would make. Hell, we might even see a Donkey Kong Country x Super Monkey Ball game. Atlus seems like a fair choice too, considering that they published the extremely similar Rock of Ages.

Rounding out this article’s list is Skies of Arcadia, one of Sega’s RPGs from the Dreamcast era. Considering it also showed up on the Gamecube, I’d just give it to Nintendo. They could use a couple more traditional JRPGs, right? I’d just as well avoid seeing Skies of Arcadia becoming another victim of Square-Enix’s IP hoarding, so Atlus seems like the only other logical choice.

Before we wrap things up, I’d like to discuss the fates of a few honorable mentions. First off, Sega’s original mascot, Alex Kidd should probably just go to Nintendo. Then there’s Columns, Sega’s first major attempt at a Tetris-style puzzle game, give that to Q Entertainment. Seaman was Sega’s attempt at a virtual pet style game, Microsoft seems like the best choice, considering I can’t think of a franchise that would be more Kinect-friendly. Shining Force was Sega’s first major success in the strategy-RPG genre, so give that to Nippon Ichi Software, as they make a great deal of SRPGs and would probably jump at having such a (comparitively) big name. Give Vectorman to Platinum Games, because they turned some heads in the third-person shooter genre with Vanquish. Finally, I’d give both Total War and Football Manager to Valve, considering they sell like gangbusters on Steam.

I guess if this two-part article has taught me anything, it’s that perhaps, Sega is greater than the sum of its parts, or rather its franchises. That’s probably the reason why, the last time they were in dire financial straits, Sammy Corporation just bought out the entire company, rather than simply taking on franchises that were considered the most important. Hopefully, should Sega fall once again, history will repeat itself in that case and all of Sega’s IPs will be kept together.

The Next Level: Selling Sega Bit by Bit (Part 1)

If you’ll recall, one of the earliest articles I wrote for this site was about Sega’s falling finances. Since that article was written, Sega’s been hit with the whole Aliens: Colonial Marines PR fiasco and they may be looking at a potential class-action lawsuit. Sega’s ship appears to be sinking once again, after losing one of the four or five key franchises they planned on using to remain afloat in these trying economic times, so now seems like as good a time as any to revisit the subject, wouldn’t you say? Last time, I explored the idea of other companies buying out Sega wholesale, but considering what happened with the bankruptcies of both Midway and THQ, it seems fitting to think of just what might happen if Sega gets cut up and each asset gets sold off to the highest bidder individually. So I’ve picked out 10 Sega IPs, some with recent releases, some that haven’t been seen for over a decade, some popular, and some so obscure you’ll probably think I just made them up. And just like last time, I’m not really dealing with what’s likely or possible, just what I personally think would be for the best when it comes to each individual intellectual property.

First up, the most obvious Sega franchise to get sold off: the blue blur himself, Sonic the Hedgehog. There’s an obvious answer to this one, folks. Some of you aren’t going to like it, but who cares. Nintendo has shown themselves in the past to be the best modern company when it comes to dealing with mascot platformers and even treated Sonic with respect when he made an appearance as a guest character in Super Smash Bros. Brawl. Needless to say, I’m sure that Nintendo is more than capable of continuing Sonic’s rehabilitation into a solid series, especially considering their heavy involvement in the recently announced Sonic: Lost World. Failing that, I wouldn’t mind seeing Ubisoft getting their hands on Sonic. Just imagine what a new 2D Sonic might look like on the Ubi Art engine. Just the thought of that gives me goosebumps.

Next up, Virtua Fighter, the first 3D fighting game ever. Not gonna say I’ve followed the series as much recently, but I loved the first 3 games. The obvious answer here is Tecmo Koei. Let’s face it, Dead or Alive’s gameplay is practically identical to that of VF (with a few minor tweaks) and while DoA is considering a wobbling, jiggling joke amongst serious fighting game fans, Virtua Fighter’s pedigree is assured. Besides, VF characters made appearances in DoA5. And while Namco-Bandai is an obvious runner-up, as they’ve made two of the most popular 3D fighter series of all time (Tekken and the Soul series), I feel like Virtua Fighter would be a much better fit for Capcom. Let’s face it, Capcom’s been trying to get back into the fighting game market, but their past 3D offerings have been…well, mediocre at best. Besides, Tekken and Virtua Fighter are two totally different animals.

Then there’s the NiGHTS franchise. Effectively Sonic Team’s first attempt at a 3D platformer, NiGHTS filled the gap left when the Saturn didn’t have a Sonic platformer to call its own. An interesting game in its own right, known for its beautiful (albeit extremely polygonal) artstyle and amazing soundtrack, which truly brought the dream world Nightopia to life. Just due to the family-friendly atmosphere of the series, I’m leaving it in the hands of Nintendo. Sure, Journey to Dreams was kind of lame for a sequel, but I’m sure that with enough time, the Big N could nail down the formula. Otherwise, the game itself seems like a perfect companion to the Klonoa series, so give it to Namco Bandai.

Speaking of games with weak sequels, how about Golden Axe? Man, was Beast Rider a stinker or what? I’d probably end up handing off this one to Capcom, simply for the purpose of killing two birds with one stone. Some people want a Golden Axe sequel that lives up to the original. Some people want a sequel to Capcom’s Dungeons and Dragons beat-’em-ups (which are finally being re-released on every major digital platform). So like that little girl in that taco commercial, I ask: why don’t we have both? Combining the Golden Axe mythos and setting with the gameplay from Capcom’s D&D games would be muy bueno, don’t you agree? If that doesnt work out, I guess Konami, the once-king of beat-’em-ups, is my saving throw. Just because I’d like to think that there’s a chance they could pick themselves up and stop making a mockery of their former glory. Fat chance.

Crazy Taxi was another one of Sega’s arcade hits turned console classics. It was also the subject of another lawsuit, this time in Sega’s favor against both EA and FOX Interactive in regards to another forgettable Simpsons licensed game. Regardless, Crazy Taxi was beloved in its own right, with its unique objective-based racing gameplay. I can only really think of one company these days that tackles arcade-style racing games (and isn’t EA) and that’s Namco Bandai. Nintendo would also be a good choice, as there’s a possibility they might just make it an arcade game again. Just not EA. Screw EA.

One of the cornerstone franchises of modern-day Sega is the Ryu ga Gotoku series, better known outside of Japan as Yakuza. The games themselves are effectively a cross between open-world sandbox games (GTA, Saints Row, etc.) and modern 3D action games, particularly ones that ape the classic beat-’em-ups of old (God Hand) with some action-RPG elements thrown in for flavor, set against a backdrop inspired by popular Japanese yakuza films. I’ll be frank: I think Atlus is the best possible company to handle the continuation of the Yakuza brand, due to the fluidity of the brand. If they don’t pick up the rights, I’d just give it to Take-Two Interactive or maybe Deep Silver. Maybe it would help them experiment a little more with regards to their respective sandbox games.

Phantasy Star is one of those rare Sega games that debuted in the days of the Master System and still manages to see new entries to this day: the second Phantasy Star Online game is due to hit the West sometime this year, along with iOS, Android and even PlayStation Vita ports. Once again, I think Atlus would be the best ones to handle this franchise. They have plenty of experience with regards to many forms of RPGs, from traditional JRPGs (the Persona series)to RPG hybrids (the upcoming Dragon’s Crown). And considering the way their North American branch handled Demon’s Souls’s online, it seems like they’d be able to handle both the classic Phantasy Star or the much more popular PSO series quite well. Level-5 might also be a good choice, considering their work on games like Rogue Galaxy and Ni no Kuni.

Another series originating from Sega’s pre-Genesis days was Shinobi. Appearing on many systems ranging from the arcades all the way to the 3DS, Shinobi, while not one of Sega’s most lucrative franchises, is still among its most beloved over old-school fans. Considering their interest in the Darksiders franchise and their own (albeit recently-ended) relationship with Sega, Platinum Games seems like a fair choice to take on Joe Higashi et al.’s adventure, considering their success with action games like the Bayonetta series and Anarchy Reigns. FromSoftware would be another valid choice (they have self-published a few of their games in Japan) considering they’ve worked on a few Tenchu games and have made some games that are really difficult, like a good Shinobi game should be. Perhaps you’ve heard of one: Demon’s Souls? Regardless, as with Yakuza, keeping Shinobi Japanese seems like it should be a top priority for the series.

Now onto some obscure games. First off: Panzer Dragoon. Oddly enough, my top pick for the classic rail shooter is Q Entertainment, the developer behind such games as Child of Eden and…well, a whole bunch of puzzle games. Considering how well Q did with Child of Eden, their spiritual successor to Sega’s Rez, I think seeing their take on the Panzer Dragoon series would be interesting. Otherwise, give it to Treasure. Those Sin and Punishment games were amazing.

Then there’s what is arguably Sega’s most popular rhythm game, Space Channel 5. The rhythm market has kind of dried up lately, but I can think of a few companies that still make them. The one I’m going with is Nintendo: Rhythm Heaven is at least as quirky as the SC5 series was and frankly, I’d love to see what kind of stuff The Big N might do with either the Wii U’s gamepad or the 3DS itself. Namco Bandai, who are still making Taiko no Tatsujin in Japan to this day would probably be my second choice.

Next, there is what may very well be the most obscure Sega franchise I’ll discuss: Comix Zone. An awesome action beat-’em-up featuring amazing (at the time) comic book-inspired graphics and interesting fourth-wall breaking gameplay mechanics. Considering both the game’s strictly Western influences and the fact it was developed by Sega Technical Institute, a dev team located in the United States, I don’t think a Japanese publisher could do Comix Zone justice. I just ended up picking WB Interactive, considering they’ve done quite well with the Midway franchises they’ve obtained and the fact that they’ve published totally awesome games like Lollipop Chainsaw, I’m more than willing to say the franchise would be in good hands. Ubisoft‘s really the only other major Western publisher I can think of that’s dabbled in the beat-’em-up genre, with Scott Pilgrim vs. The World.

Finally, there’s Space Harrier, one of Sega’s earliest franchises. Effectively one of the earliest on-rail shooters, SH had a few arcade sequels and a few home ports, but mainly lives on due to various references in other Sega games, such as Sonic and All-Stars Racing Transformed including the main theme on one of its tracks. Considering how similar the game is to the Sin & Punishment games, Treasure seems like a perfect fit for the franchise, especially given their history with Sega. Handing it off to Q Entertainment might also be interesting, they’d definitely have an original take for the series.

So there you have it, a dozen Sega games paired up with companies that might end up doing them justice. But let’s face it: I definitely missed some important franchises this time around. So see you later this month with Part 2 and another 12 Sega games I didn’t get to cover this time around.

New Appreciation for Mario

Soulless. Lazy. Rehashed. Uninspired. These are just some of the words that describe the reasons people have for hating the New Super Mario Bros. series. Half of it, at least, is underrated and does not get the love it deserves. Yes, I know they’re some of the best selling games of all time, this is about their reception in the gaming community. Before I go into detail about the two I want to defend, let’s have an overview of the entire series.

New Super Mario Bros. was announced at DS’s public unveiling during E3 2004. Very little was known about it at the time, but there was one gigantic thing it had going for it: it was the first new traditional 2D Mario in well over a decade. When the game was released in 2006 it got great reviews and spectacular sales, but it didn’t take long for people to start complaining that it wasn’t as good as Super Mario Bros. 3 and Super Mario World. There are valid reasons for believing that (low difficulty, poorly executed use of power-ups to find secret areas), but the predominant ones were superficial or unfair. The game’s graphical style lacked “soul”, it was too similar to a game we hadn’t seen anything like in 15 years. This led to a considerable backlash against the game, and despite how well it sold we wouldn’t hear another peep from the series for three years.

At E3 2009, Nintendo defied all expectations and announced the next game in the New series for Wii instead of DS. Called simply New Super Mario Bros. Wii, the game was overshadowed by Super Mario Galaxy 2 being announced at the same conference. While there’s no circumstance where you can say it was unfair for Super Mario Galaxy 2 to overshadow something, NSMBW still got relatively little attention for Nintendo’s big holiday game that would go on to sell tens of millions. Most focus is given to the co-operative four player mode it introduced, which is really a great disservice to the game, but I’ll go into more detail on that later.

At E3 2011 Nintendo showed a tech demo for their new Wii U console called New Super Mario Bros. Mii. Despite claims that it was a tech demo and not a real game, it was obvious from the detail in the HUD and amount of levels shown that it was going to be a full game at some point. Before the real game was shown, however, Nintendo announced New Super Mario Bros. 2 for 3DS. This is when people really started to turn on the series, furious at it for merely existing before we knew any details about it. New Super Mario Bros. Mii was renamed New Super Mario Bros. U at E3 2012 and confirmed as a launch game for the Wii U, while NSMB2 would launch in August. Despite the fact that it is not uncommon for a series to have a portable and console game released in the same timeframe (Metroid, Castlevania, Call of Duty, Resident Evil, and God of War are some examples) and that the NSMB series was averaging a new game every two years since its inception, people were absolutely enraged by this “milking” of the series. Neither game was given a fair chance by the gaming community, and one of them absolutely deserved one.

You’ve probably guessed which of the two games I feel are so underrated. They are the console ones, New Super Mario Bros. Wii and New Super Mario Bros. U. There is a pretty clear explanation for why the quality in half the series is so much higher than the other: the original New Super Mario Bros. was made by an inexperienced team and Nintendo as a whole was out of practice at making 2D Marios. The team reached their stride with New Super Mario Bros. Wii. New Super Mario Bros. 2 was made by a new rookie team while the established one made New Super Mario Bros. U. This shows in pretty much every aspect, with the console games being much more challenging, creative in level design, and willing to try new ideas.

Let’s start with New Super Mario Bros. Wii. As I said earlier, people often associate it with the ability to play the entire game in four player co-op, which spread to other 2D platformers. This undersells what makes the game great, New Super Mario Bros. Wii is at its best in single player. The level design is on par with Super Mario Bros. 3 and Super Mario World, NSMBW deserves to be seen as an all-time platforming classic. The game’s best new feature wasn’t co-op, it was the Super Guide. Yes, I know that sounds insane, but give me a second. For years before NSMBW was released, the biggest complaint with Nintendo’s games was that they were too easy. So the last thing we needed was a mode where the game would literally play a level for you, right? Wrong. Super Guide allowed the designers to make the levels challenging without frustrating newer or more casual players. Ever since its introduction, the “ease disease” that afflicted Nintendo has been eradicated. New Super Mario Bros. Wii was free to deliver an experience on par with the best Mario games of old, and if you give it a chance where you’re really concentrating (instead of messing around with four players and relying on the abundant lives and instant respawns to get you through) on it you’ll see its true quality.

Now let’s look at New Super Mario Bros. U. Much of my praise for it is similar to what I said for New Super Mario Bros. Wii. The level design is even better, and the many Super Mario World references (most notably the interconnected world map) are greatly appreciated after Super Mario Bros. 3’s themes dominating the New series for so long. Being as good as NSMBW would be enough for it to earn far more praise than it has been given, but there is something else in the game that adds at least as much as the main story, and makes it easily my favorite 2D platformer of all time. This feature is Challenge Mode. Challenge modes aren’t unheard of in platformers, but it is NSMBU’s flawless execution of the concept that makes it so much better. The challenges are fine tuned to perfection, achieving a brutal difficulty that far surpasses The Lost Levels while never feeling unfair. Things you didn’t even notice when playing levels normally turn out to be perfectly implemented for a challenge all along. For example, one level has coins flying at you throughout it, in normal gameplay it barely means anything. But when you have to beat that level without collecting a coin, you realize the coins were meticulously spaced so that they were all avoidable, but only with precise platforming and timing. The gold medal times for the time trial levels are calculated to an amazing degree, it was very rare for me not to be within a second of them when I succeeded. Nothing has tested my platforming skill to such an extent in over a decade, and anyone who feels the series has gotten too easy absolutely has to play NSMBU’s challenge mode.

Okay, I’ve raved about the games, but I’m not going to just pretend the criticism of them doesn’t exist. Let’s go over a few complaints. The most common one is that they are “rehashes.” Yes, the variety of settings has pretty much stayed the same throughout the series, but do you really play 2D platformers for the backgrounds? NSMBW and NSMBU both made significant advances in gameplay. New Super Mario Bros. Wii added the co-op function that, while given more attention than I feel it deserves, was definitely something new that had an impact on the genre. It also made the use of powerups more focused, instead of New Super Mario Bros.’ annoying “Here’s a star coin you need a rare powerup not in this level to get” tactic NSMBW designed levels around a single powerup that was the only one found in that level. It also introduced the Super Guide, giving quite a bit more freedom to the level design to challenge players. New Super Mario Bros. U added Challenge Mode, which despite its appearance of being a minor bonus is actually a huge step forward for the series. The other biggest complaint is that the series feels lazy and soulless. Making great levels is never easy, regardless of how different the backgrounds are, no game with level design like the console NSMBs can be lazy. Soulless is a meaningless term when applied to gaming, it almost always refers to superficial features like art style. A game’s soul is its gameplay, and the console NSMBs have plenty of it.

2D platformers don’t make for good trailers. Showing a few seconds of a level can’t convey the important parts of level design, and isn’t going to be very flashy from a visual perspective. I understand that all of the NSMB games may look the same on the surface, but if you look deeper and give them a chance you can find two of the greatest platformers of all time in New Super Mario Bros. Wii and New Super Mario Bros. U. Think of all the good times Mario has given you, and give his New games a chance. You’ll be the one to benefit in the end.

What’s Your Frequency?

When it comes right down to it, the MegaMan fanbase is a living contradiction. Less a united coalition and more a volatile combination, the fanbase is typically prone to in-fighting with regards to which sub-series is considered the most important to the franchise’s continued survival. Many place stock in either the original “Classic” incarnation or its first offshoot (the X series), citing that MegaMan is literally shorthand for “jump ‘n shoot man”. Others, generally younger members or those who started gaming later in life, hold the Battle Network series in high regard, due to the fact that it single-handedly kept the series from dying by reinventing classic concepts and implanting them into a new universe with totally new gameplay. Still others enjoy the Legends series the most, as we saw with the confirmation and subsequent termination of the third game in that particular series. Of all the series, there is one that is by far the least popular. Fittingly enough, it was also the last series Capcom developed for dedicated gaming devices: MegaMan Star Force, or Ryuusei no Rockman [Rockman of the Shooting Star] as it was known in Japan.

Truth be told, I actually liked the Star Force series. Maybe it was the fact that the Battle Network series went down a steep decline after the third game and the Star Force series, while extremely similar, changed things up enough to draw my interest once again. Maybe it was because I liked the character designs and the characters themselves, regardless of how stupid the English names for various characters were. Geo Stelar and Omega-Xis? Seriously, Capcom? Whatever it was about the series, I still proudly sport one version of each game on my shelf of Nintendo DS games.

What’s easier to understand is why so many people hated the series. The most common gripe was with regards to the gameplay. While the basic overworld engine was effectively identical to that of the Battle Network series, the battle engine was altered in fairly significant ways. Both games placed their respective MegaMans on a 3×6 grid in a real-time battle situation where you can either rely on a chargable buster or special attacks represented by a finite number of “battle chips”. To keep in-line with the MegaMan tradition of stealing abilities from downed enemies, you can even summon bosses that you defeated earlier on through special battle chips. There were a few significant differences between the games though. While Battle Network had an overhead view and gave you a default 3×3 area of movement, Star Force did an over the shoulder view and limited players to a 3×1 area of movement. In order to mitigate for the loss of the important tactical ability to move across two axes, Star Force also gave players the ability to lock-on specific battle chip attacks (specifically melee attacks like sword slashes) and to put up a temporary shield.

More importantly, people just didn’t take to Star Force for one very simple reason: it wasn’t Battle Network 7. People just didn’t bother giving the series a chance, because while it was extremely similar to the Battle Network series in design, gameplay and tone, it just wasn’t the same. Or perhaps, it just wasn’t different enough: the X games became extremely popular because they were a more mature take on the Classic series, despite being an equally derivative evolution of its predecessor in terms of gameplay. Perhaps if they had taken a more mature (read: darker) tone, it would’ve been better recieved by the general public, or at the very least in the West, where even the BN series didn’t enjoy mainstream popularity. Then again, the comparisons to the X series (in the sense that, like the X series, it took place in the far future of the previous [Classic/BN] series) may have drawn even more ire toward Star Force: maybe some people were hoping to fight Boomer Kuwanger.EXE with X.EXE when they first heard about the BN sequel series in the first place.

Even more telling was the fact that the most popular of the Star Force trilogy was the third and final game, which was commonly cited for turning the series in “the right direction”. What was this right direction you ask? Why, more closely aping the Battle Network series, of course! The series’ MegaMan got redesigned to more resemble EXE and BN’s Soul Unison system (where MM took on both the physical characteristics and the abilities of specific allies) came back as Noise Forms. Even the story imitated that of the Battle Network series; opting more for a terrorist organization as the antagonist, rather than an alien invasion or the resurrection of an ancient culture, like the first two games.

Of course, there was one aspect of the Battle Network series that the Star Force series retained much to their own detriment: multiple versions of the same title. Starting with the third Battle Network game, each iteration of the series released with two versions: each with their own exclusive Battle Chips, secret bosses and special power-ups. It’s speculated that this was done to either compete with or imitate the Pokemon series. Unfortunately, this also came into play with the Star Force series and the first game of the series got it the worst: it had not two but THREE versions, one of which ended up being a store exclusive in North America. The other two games shifted back to the traditional two versions, but at large, the idea never really worked as well with either MegaMan series. While the Pokemon series thrives on its multiplayer when it comes to replay value, both Battle Network and Star Force relied on more traditional JRPG methods: post-game dungeons with secret bosses and items. The multiplayer in MMBN and MMSF felt more like an afterthought than an integral part of the game itself.

By comparison, the MegaMan ZX series was similarly unpopular, compared to earlier MegaMan platformer series. Its sales were pathetic and despite the second game out-performing the first, Capcom decided to shelve the series before it was able to come to a satisfactory conclusion. Of course, it still manages to maintain a cult following and Inti Creates, who developed both this series and its predecessor the Zero games, went on to create MegaMans 9 and 10. Of course, its popularity may be due in part to the fact that it takes place in the main MegaMan timeline and is even rumored to directly link the Classic-X-Zero timeline to the mysterious Legends games.
Of course, it’s a moot point. Star Force 3 brought the series to a …well, definite ending. The series is complete and there’s really no reason to attempt continue it. But that doesn’t mean we have to forget it. Maybe one day, people will be able to look back on the MegaMan Star Force games with nostalgia, rather than apathy or outright hatred. And hopefully, it won’t be because we’re looking down the barrel of a MegaMan XOver 7 release date.

When Losing Control is a Good Thing

If you listen to the gaming community, aside from having a burning hatred of humanity, you’d probably think that it was best for a game to give players control over every aspect it possibly can. In a shocking twist, I disagree with the people who lower my opinion of humanity. While there are certainly many areas players absolutely should control (auto-platforming is the worst thing to ever happen to my favorite genre), it is not a universal constant. I’m going to explore some small areas, and a couple big ones, where games really need to stop letting/making the player make every decision.

Let’s start with something that I feel should be one of the ten commandments of game design: linearity is not a flaw! There are several genres that simply work better as linear games. Non-linearity may give the player the feeling that they are on a grander adventure and have more freedom, but do you know what the cost is? Level design. In any game with a focus on combat or environmental obstacles, designing levels in a way that always allows backtracking is going to cripple what can be done. The genre where this is most obvious is the platformer. Making a level in a platformer physically possible to backtrack in and explore areas in different orders requires greatly simplifying the level geography. The non-linear collect-a-thon platformers often had mostly flat, circular levels. Areas with platformer staples like crumbling platforms, auto-scrolling walls, and enemies that double as platforms ironically had to be much more cramped and restricted to accommodate the non-linear, explorable parts.

Platformers aren’t the only genre to benefit from linearity. The core of an action game’s level design is enemy placement, meaning a non-linear one has to either make you re-fight a tough battle several times with respawning enemies or break the pace of the game with treks through empty rooms as you try to figure out where to go next. Even in genres where complete linearity would be a bad idea, there are places where it is needed. In adventure games from the Zelda mold, you need an order for main story areas so that the game knows what items you have and can design areas around them. Good luck doing that if dungeons can be completed in any order.

Speaking of games knowing what items and abilities a player has, that segues nicely into my next area where I feel games often give players too much control: character customization. Now having gotten into the Pokemon meta-game, I’m not going to say there isn’t a place for character customization. But like non-linearity, there are contexts where it suffocates the level design. This mainly applies to real-time games with an emphasis on environmental level design. Let’s say I’m designing a level where the player has a double jump. I can do all kinds of things with it. Almost every aspect of the level design has to take it into account. I have to make the jumps trickier, make enemy projectiles bigger, place hard to get items in areas the player can’t just double jump to.

Now what if the player MIGHT have a double jump? Well, that just messes up everything. Either the level is unfair/impossible to players without it, or it makes the level too easy, or I just never have any situations where it matters. And what if the player may or may not have a double jump, the ability to climb walls, a projectile based weapon, a stealth ability, and the ability to possess enemies? Well screw this, I’m just going to have to make every dungeon as basic as possible. Maybe if I make 100 of them, people won’t mind. And that’s precisely what happens when games give you too many variations in what powers your character has and when you have them: the level design has to be neutered. This doesn’t mean real time games can never give players choices, but there has to be a balance. I’d rather have three distinct character classes with the level modified to suit mine than 30 combinations of abilities that one level has to accommodate all at once.

Another area where some genres should let the game itself do the work is camera angles. This mainly applies to more fast paced genres, games where the player simply doesn’t have time to constantly adjust the camera. Action games are the prime example, nothing is worse than getting hit by an enemy you couldn’t see at the time. Some may think that limiting the player to camera angles the game decided on would make this problem even worse, but what that objection overlooks is that the game will KNOW what area you can’t see. If the player controls the camera, then obviously enemies can’t be programmed to act according to what the player can see. But if the game sets the camera angle, it knows for sure if the player can see an enemy. Enemies can stay in visible areas or not attack when the player can’t see them. Obviously giving the camera over to the game requires a great deal of trust in the competence of the designers and programmers, but when it works it works very well. The Devil May Cry, God of War, and Super Mario Galaxy series give little or no camera control to the player, and it enhances the games, eliminating serious camera problems found in many other games of their genres.

Those are the biggest areas where I think some games can benefit from giving players less control, but there are a few other instances where I think it is a good idea. Many games where you can choose the morality of the protagonist strongly encourage picking an alliance and sticking to it, so why put in 100 choices when there are really just two real ones? A game like Infamous would benefit from just letting you choose to be good or evil at the start, it would mean less disappointment that you’re pressured into sticking with one side and allow for more variations between the two paths. I’m also quite frankly sick of “in gameplay” cinemas. Having to follow a character or pace around a room while a story event happens does not add any more to gameplay than watching a cinema, and reduces the chance of a game letting you skip it. If you don’t want a game to ever take control away from the player, make sure there’s always some sort of gameplay while the player is in control.

A recurring theme of this article was that all of my suggestions were only for certain genres and situations, and I want to reiterate that. There are many areas and genres where the player should always have choices. A linear sandbox game, turn-based RPG with no customization, or puzzle game where you couldn’t control the camera would all be absurd. However, that doesn’t mean giving the player control is a universal good in every single context, and the sooner developers and gamers realize that, the less games will be harmed by it.

Don’t Resuscitate, Reincarnate!

Some of the best video games of all-time have been sequels. It’s generally accepted that sequels are expected to be superior to their predecessors, due to the inherent interactivity of the medium, which allows for more improvements to be made with each new iteration. In fact, we’re generally disappointed when this turns out not to be the case. However, this runs counter to the majority of more story-focused forms of media, like literature, film and television. Outside of gaming, sequels are considered inferior to the originals as a rule, usually due to a ham-fisted attempt at shoehorning in an extension to a story that’s already met a satisfying conclusion. As time marches on, video games become more and more story oriented, which means that soon video game sequels will fall victim to the same exact issues sequels in other media suffer from. At the same time, the idea that each new installment will improve upon the original will likely always be relevant with regards to video games. So how can developers compromise between these two conflicting viewpoints?

As I said before, video game sequels, in general, improve upon the predecessors: refining existing mechanics and adding entirely new ones to create an improved experience. Despite the fact that many gamers bemoan the lack of original IPs, sales figures imply that sequels are much more popular. This is especially important for publishers, where even a single flop could spell disaster for all but the largest companies. The video game industry just isn’t as conducive to new intellectual properties as it once was… back when there weren’t any existing franchises.

Ironically, the games of old were always more suitable for sequels from a story perspective in the first place. Most games from the 8-bit, 16-bit and even many from the 32-bit eras of gaming had fairly simple storylines, akin to those of Saturday morning cartoons. I mean, just how many times did we rescue Princess Toadstool from Bowser or stop Dr. Wily’s plots for world domination? But as with so many other aspects of gaming, most modern games’ stories are much more complex, akin to more refined forms of media, specifically movies. Self-contained adventures with a concrete beginning, middle and end. For example, before a sequel was taken into consideration, the original Portal had a very decisive ending, where Chell (the main protagonist) simply escaped at the end. This was later modified with an additional scene via a patch just before the sequel had been announced. Less lucky in this regard was the original Bioshock, which had two fairly decisive endings, neither leaving much room for Bioshock 2, which itself had to play around with the first game’s canon by adding entirely new characters to the existing setting of Rapture. This attempt at retconing was met with much less enthusiasm compared to that of Portal 2.

Of course, other games tend to leave their endings open-ended. Sometimes, it’s because the creator wants to make an entire series as opposed to a single game. Other times, it’s just because the publisher wants to leave the option for a sequel open if the game ends up doing well. Unfortunately, when plans change or games bomb in terms of sales, the main victims are fans of these games. After all, MegaMan Volnutt is still rotting on the moon and loads of people are still waiting for the third installments of both Shenmue and Half-Life, even though most of us have given up hope. Reboots don’t generally fare much better, take a look at how well recieved DmC and Bomberman: Act Zero were.

So how do you reconcile the unique advantage that video games have always had with regards to sequels with the increasing disadvantages a greater emphasis on storylines modern games suffer from? Why, by making spiritual sequels of course! Spiritual sequels, while commonly associated with creators who have lost the rights to their IPs, could very easily allow for iterative sequels of old, without the worries of retcons and unresolved cliffhangers. As an added bonus, now all those whiners can get brand new shiny IPs with the added benefit of using a tried and true formula, allowing for a safer sell on the part of publishers and their investors, compared to an entirely original IP.

I can even think of a few good examples of some existing spiritual sequels that did fairly well. There’s the aforementioned Bioshock, which was actually a spiritual sequel to the System Shock games. The original Paper Mario was originally intended to be a direct sequel to Squaresoft’s Super Mario RPG. Same goes for both Vanillaware’s Odin Sphere and Muramasa: The Demon Blade, respectively codenamed Princess Crown 2 and 3 while in development. Compare Platinum Games’ MadWorld to Clover Studio’s God Hand or hell, Bayonetta and Devil May Cry. Blazblue and Guilty Gear. Dark Souls and Demon’s Souls. The point is, it’s been done and in many cases, it’s worked out quite well. There’s your proof of concept.

Of course, in many of these cases, the original games in question haven’t been all that popular to begin with. I mean, Princess Crown never even made it outside of Japan in the first place and God Hand was a colossal bomb in terms of sales. What if you tried a spiritual successor with something like Call of Duty, Madden or Grand Theft Auto? A lot of what makes megaton hits like those three sell as well as they do is brand-name recognition. As depressing as this may sound, there is an enormous customer base that only buys games in specific series (CoD and Madden being the most popular) and nothing else. While most gamers are aware that series like this are exceptionally rare, publishers and especially investors are not. And in these rare cases, spiritual sequels would be incredibly detrimental to the future of any devteams working on said games. Unfortunately, in these conservative times, many publishers hold that intellectual properties are much more important than refined gameplay and given the realities of the marketplace, they’re not exactly wrong.

Maybe there’s a possiblity for a compromise. You could do something along the lines of a spinoff or even a sequel in name only, sort of like what they did with Street Fighter 2010: The Final Fight (which was referred to simply as “2010” in Japan and had nothing to do with either Street Fighter or Final Fight) or Red Steel 2, which had nothing to do with the original. You could also make distinct references to the previous game through advertising. And of course, in cases where the game’s canon has come to a decisive end, nothing’s stopping you from doing a prequel elsewhere in the universe: Bioshock Infinite comes to mind almost instantly.

Regardless of what happens, this problem needs to be solved if the industry is going to “grow up” like so many producers are trying to do with the medium. Personally, I don’t believe that dropping one of the key strengths video games have over most other forms of media is a good way to evolve. At the same time, perhaps gaming should strive to deliver on more experiences than just fun, like some creators want the format to do. Regardless of what direction gaming takes in the future, it is important to discover a compromise between the advantages of improvement of game engines via iterative development and the potential for self-contained narratives in video games.

Top Ten SNES Games That Need Sequels (Part 2)

Welcome back to my list of ten games/series that made their last appearance on the greatest system ever made and need sequels. Once again there is no particular order, just five SNES games with a description and how I envision a current-gen sequel working. And the mandatory intro paragraph, of course.

Wild Guns (Natsume, 1995)

The Game

Wild Guns belongs to a distinct but extremely rare genre. A combination of run and guns and rail shooters, Wild Guns has you controlling both a reticule and your character simultaneously, shooting enemies in the background while dodging their bullets. There are a handful of other games that use this concept (Cabal, Nam-1975), but Wild Guns is widely considered the best. Like Sunset Riders, Wild Guns takes place in the old west, but it isn’t just the bullets that have a futuristic feel. For reasons I’m not sure are ever explained, robots have invaded the 19th century western settings and it’s up to you to destroy all of them. Wild Guns actually has some features that are ahead of its time, letting you dodge roll and blow up most of the background objects. With intense but never cheap gameplay, it really is an overlooked classic.

The 2013 Version

The first instinct of many developers would probably be to make Wild Guns a traditional shooter. No, don’t even think about it. A modern Wild Guns needs to keep its identity, but the single screen levels could feel a little limiting on modern systems. Thankfully, there is one game that is essentially a perfect 3D translation of this rare genre: Sin and Punishment. Taking the same control scheme of moving both a character and reticule and having them run on rails through full 3D levels is exactly how a modern Wild Guns should work. This lends itself perfectly to the over the top action a game about robots attacking the old west deserves, the game practically programs itself!

Ninja Warriors (Natsume, 1994)

The Game

Another great game by Natsume (possibly the most underrated SNES publisher), Ninja Warriors could best be described as a hybrid of beat-em-ups and one on one fighters. You have the multiple enemies and scrolling levels of a beat-em-up, but you have the one plane movement of a fighter and the moves that come with that. This manages to solve some of the problems beat-em-ups have where the developer doesn’t seem to know how to balance three dimensional movement in a time when it was rare. The fighting feels more strategic, and like Wild Guns the core gameplay is very well balanced and has robots!

The 2013 Version

Ninja Warriors is pretty easy to translate into a modern game. Unlike Wild Guns, I think Ninja Warriors would work fine as the closest mainstream genre to it. The fast paced, combo heavy gameplay feels similar to modern 3D action games, and Ninja Warriors would work well as one. There really isn’t that much that has to be said, Ninja Warriors’ gameplay would translate nearly perfectly into a Devil May Cry style game. There isn’t even a need for a “keep the same tone” disclaimer, since action games seldom try to be overly realistic or serious anyway.

Skyblazer (Sony Imagesoft, 1994)

The Game

Skyblazer is an action platformer with the standard Engrish filled throwaway plot you’d expect from that era. The gameplay is solid and has a good amount of variety (auto-scrolling flight levels, mazes, a level where the walls are rotating in 3D) and bosses. In addition to your standard melee combat abilities you can climb walls and gain access to a number of spells as you progress through the game. A very good but not exceptional game, what makes Skyblazer stand out is that it’s a SNES game made by Sony, so it’s unlikely to ever appear anywhere else.

The 2013 Version

Since a sequel to Skyblazer would be Sony exclusive, it seems appropriate to use another Sony franchise as the template for it. Skyblazer’s setting and melee combat/platforming gameplay would fit perfectly into a God of War style game. Go ahead and make it darker and more violent, it’s not like anyone cares about the groundbreaking characters Sky and Old Man. With a larger emphasis on platforming and the mythology having a more eastern influence, Skyblazer could set itself apart enough from God of War to be a good addition to Sony’s first party lineup.

E.V.O.: Search for Eden (Enix, 1993)

The Game

I’m not sure if thinking E.V.O. was an educational simulation game was common or just me, but the game is actually an action-RPG/platformer hybrid. E.V.O. starts you out as a simplistic sea creature, and as you level up you evolve new forms and abilities from several options. The game also covers several eras, each with its own unique enemies and forms for you to choose from. With multiple endings and real-time sidescrolling combat and dungeons, E.V.O. was a very ambitious game for its time. While the combat and platforming is far from perfect, it’s functional enough to let you enjoy the addictive process of evolving your creature to easily kill and eat enemies that used to terrorize you.

The 2013 Version

This is another game where a modern version is easy to picture, but so is what made the game great being ruined. A modern E.V.O. would be tempted to turn into a full sim game, and that would ruin what made it special. E.V.O. should remain simple in its gameplay and leveling and keep the supernatural elements. A modern version should simply expand on it, imagine if it went from amoebas to space exploring humans. It would be important not to let ambition hurt the game Spore style, but as long as the combat remains real time, the evolution paths simple to manage, and the mystical story intact I think a modern E.V.O. could be amazing.

Demon’s Crest (Capcom, 1994)

The Game

You remember those red gargoyles from the Ghouls ‘N Ghosts series? Well they had their own spin-off series, and it’s actually better than the original. Unlike Arthur who only has one weapon at a time and the worst armor in the world, the gargoyle protagonist Firebrand has a variety of abilities and gains new one and improvements throughout all three of the Gargoyle’s Quest/Demon’s Crest games. Despite the RPG elements, the core of the series is still action platforming, and Demon’s Crest is definitely the best in the series. Don’t let that infamous week it had more returns than sales fool you, Demon’s Crest is one of Capcom’s best SNES games.

The 2013 Version

A projectile-based platformer, Demon’s Crest could be tricky to translate into 3D. I think the best bet would be a big genre combination like Darksiders. A Zelda style overworld and dungeon setup would fit well into the series, especially Demon’s Crest with its emphasis on multiple paths and different forms for Firebrand. The style of combat and platforming mix would be nearly impossible in 3D, so since this is my fantasy about a game that will never be made anyway let’s just make the dungeons 2D. A higher puzzle emphasis and less linearity within them (which means adding a map is ABSOLUTELY MANDATORY, just in case I acquired reality warping powers without realizing it and this game gets made) would be a logical evolution for the series. Since we have a 3D overworld (even the SNES game had that, kind of), might as well use it for some gameplay and having rail shooter style air battles. This game might end up with negative sales again, but it sure would be awesome.

So there you have it, ten games that last appeared on SNES and need sequels. I’d like to make a few honorable mentions for Pocky and Rocky (had a sequel much later, but from what I’m told it was terrible), the Soulblazer trilogy (had an even more obscure fourth game on PS1), and Yoshi’s Safari (which just didn’t quite make the list). Will any of these games ever get actual sequels? Well, it’s not impossible, with the rise of lower budget downloadable games and the internet making nostalgia exponentially more powerful there’s always a chance. But until then, at least we still have these SNES classics.

Top Ten SNES Games That Need Sequels (Part 1)

I’m just going to say it: the Super Nintendo Entertainment System is perfect and the greatest system ever made. But rather than force my opinion on people who would deny this objective fact, I want to talk about some of the unsung SNES classics. The following five games had their last installment on the Super Nintendo, and it’s time they got their long overdue sequels. This isn’t going to be a complex list, just a quick description of the game and how I think it could work on current-gen systems. In no particular order, here are five SNES games that need a sequel:

Actraiser (Enix, 1991)

The Game

Actraiser is a very unique hybrid of two genres. Half action-platformer and half city building sim, Actraiser puts you in the role of The Master and tasks you with protecting humanity from demons and the inability to plan a functioning town in a game which Americans are assured has no religious themes. The platforming is pretty simple and the controls are a little stiff, but it’s still enjoyable. Town building is very fun, simple and with some real time combat from an overhead perspective. The game feels very satisfying to play and the music is great. And yes, I know it had a sequel, but not only did it have nothing to do with the original, it was also a SNES game as well.

The 2013 Version

The biggest obstacle with making a modern Actraiser would be the danger of the sim part being made too complex. Don’t make us manage our town’s economy or grain supply, keep it the simple and intuitive quest to seal monster lairs so you can fight the big demons. Maybe put in some simple tower defense style gameplay to protect your villages, but that’s it. I’d integrate the gameplay styles a little bit more, have specific areas on the map open up action segments when your townspeople reach them. The action segments aren’t difficult to imagine in a modern setting, just give it a solid action game engine and let the angel statue slice through demons with some light platforming.

Joe and Mac 2 (Data East, 1994)

The Game

This entry is really for the entire Joe and Mac trilogy. Yeah, trilogy, J&M2 was really the third game, but the second was renamed Congo’s Caper for North America. Joe and Mac is a simple game with a simple concept: dinosaurs and evil cavemen have kidnapped all the cavewomen in the titular heroes’ tribe, and they have to rescue them. Although all three games have some pretty noticeable differences in their presentation, all of them are platformers where you smack colorful dinosaurs and an endless supply of cavemen with your trusty club. You can also do a spin jump, which was enough to get the North American arcade release of the first game renamed Caveman Ninjas, because… well, it was the 90s.

The 2013 Version

I’m re-imagining most of the games on this list as big budget retail releases, but for Joe and Mac I’m making an exception. The concept is so 90s that a download release with nearly identical gameplay is the only way to go. The obvious path to take with presentation is to play up the cheesiness, I’d even say to give it the Caveman Ninjas name again. Other than that, just give us the same colorful, cartoony world and caveman bashing gameplay. Add to the game’s length by including the overworld map from Joe and Mac 2, with more humor in the dialogue and some bonus objectives.

Sunset Riders (Konami, 1993)

The Game

Sunset Riders is Contra in the old west. There isn’t that much more to say about it, that’s what it is. You play as a cowboy rampaging through hundreds of outlaws and everyone has six shooters that fire energy bullets. The distinctly western settings and memorable (if sometimes kind of offensive) bosses set this game apart from Contra and make it a solid entry in an underrepresented genre.

The 2013 Version

Making Sunset Riders into a modern game would be tricky, six shooters firing bright pink slow moving energy bullets would seem even weirder in 3D. I think the best way to address this is to make the game as stylized as possible. Don’t make the story too humorous, but give the game an over the top feel. Don’t try to explain why you’re a cowboy in a pink poncho and sombrero shooting spread shots of energy from your realistic gun, just embrace it. For the gameplay, the only game I can think of that has a suitable play style is Vanquish. A third person shooter with an emphasis on fast movement and dodging, instead of time slowing just make the shots slow enough for you to react to and dodge them normally.

UN Squadron/Area 88 (Capcom, 1991)

The Game

UN Squadron is a very unique shmup. While the gamneplay itself is completely traditional over the top horizontal scrolling shooting goodness, the structure is very unique. You choose which order you want to do missions in, and this actually matters since the normally useless points are money in this game, money you can use to upgrade your plane. You can increase your plane’s stats and choose which and how many special weapons to have for it, adding an element of strategy to the shmup formula. Your plane can also take more than one hit, which is something I really wish more shmups would do.

The 2013 Version

There isn’t that much that needs to be changed to make UN Squadron’s formula work in a modern game. Replace the limited continue system with saving and make the game a lot longer, and you’re set. Some more missions variety would also be a good thing, UN Squadron had a few mini-missions where you had to destroy a stationary target in a limited number of flights over it, so a new one could make more simple objectives like that. With how limited the amount of 3D shmups is, I would also like at least some of the game to be Starfox style. The game’s anime license is what’s keeping it off compilations, so Capcom would have to make this a spiritual successor. Despite the license, story isn’t a big part of the game so changing it wouldn’t have any significant impact.

Uniracers (Nintendo, 1994)

The Game

Uniracers was truly ahead of its time. If I was comparing it to a mainstream game, my first choice would be Tony Hawk’s Pro Skater. Uniracers is about riderless unicycles racing and competing in trick competitions. What made this game stand out so much among SNES games was the variety of tricks you could do in the air for points or bursts of speed, always having to stop them soon enough to ensure you landed in a safe position. The surreal atmosphere added to this game’s uniqueness, ensuring everyone who played it remembered it.

The 2013 Version

Translating Uniracers to a modern game would be easy. The extreme sports format that was big in the first half of the 2000s is perfect for it, just make the game 3D and expand on the trick engine and you’re set. Since I don’t think anyone would be insane enough to try to bog down a game about riderless unicycles with realism or a distracting story, Uniracers could be just what the genre needs to get back on track.

Well, there you have it, the first five SNES games that may or may not be forgotten, but definitely all need sequels. Since we’re talking about SNES there are obviously more great games to discuss, so stay tuned for the second part of this article where I’ll discuss and re-imagine five more SNES classics.