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Alby_da_Wolf said:

LOL, I read some of his last posts, and now his tone against MOM is less raving, he's letting his fans doing the dirty work, publishing their letters.   


It seems he never hated the game, just wanted to show why it was a bad idea.



A flashy-first game is awesome when it comes out. A great-first game is awesome forever.

Plus, just for the hell of it: Kelly Brook at the 2008 BAFTAs

Around the Network
LordTheNightKnight said:
Alby_da_Wolf said:

LOL, I read some of his last posts, and now his tone against MOM is less raving, he's letting his fans doing the dirty work, publishing their letters.   


It seems he never hated the game, just wanted to show why it was a bad idea.

But by now the fire has been started, the Malstrobans' hate can't be extinguished, the genie can't be put back in the bottle anymore!  =:-O  Malstrom can do what he wants to look more reasonable now, but he can forget being hired by Nintendo as analyst or consultant...   



Stwike him, Centuwion. Stwike him vewy wuffly! (Pontius Pilate, "Life of Brian")
A fart without stink is like a sky without stars.
TGS, Third Grade Shooter: brand new genre invented by Kevin Butler exclusively for Natal WiiToo Kinect. PEW! PEW-PEW-PEW! 
 


 100 Seats? - this article is about politics

As video games become more and more intertwined with the Internet, they are becoming less ‘video games’ and more becoming ‘ego games’. But is this any different than in the past? Single player games revolve very much on the player fluffing his ego. In a game like Civilization, everyone believes he or she is the emperor regardless of the difficulty setting. It is perhaps one of the reasons why a game like Civilization doesn’t exactly succeed when put to multiplayer. With most single player games, when we beat it we feel like we are awesome and that is it.

With online multiplayer, it becomes an ego versus ego type thing. Gamers are not playing games with other people. It is all about their own ego. A good example of this is a game like World of Warcraft where people literally throw years of their lives going through pointless dungeons just to get a shiny digital object (to create envy in others). It is so ridiculous that a stigma has grown around it.

In online multiplayer, no one ever loses. If someone loses, it is because of “lag” or because of “imbalance” or because the opponent is a “no-life loser who only plays the game all day”. All these responses are from someone trying to protect the ego.

One of the most amazing things is that local multiplayer wasn’t played for ego purposes. No one played Wii Sports to buff up their ego. They played it because it was fun. If they lost, oh well. When I think of other great multiplayer games of the past such as Archon, M.U.L.E., Doom, Super Mario Kart, Bomberman, co-op shmups, etc. that people played because it was a social experience, because it was fun. When multiplayer went to local network, it was the same thing. People had LAN parties because they were fun, not because they believed they were performing an achievement or trying to puff up their ego.

Jay Cotton brilliantly tricked network gaming to be used over the Internet so he could play Doom online. He began selling this program which was called Kali. With Kali, you could play all sorts of networked games online. This was a very big deal because while some games had Internet play, it was only 1 vs 1 in RTS games. I had the pleasure of hosting some of the first online 4 vs 4 RTS games (since I had a T1 line).

Warcraft 2 was so well received with using Kali that Blizzard began shipping Kali with Warcraft 2. There were many other successful games as well such as Red Alert, Descent, and the FPS games like Quake. The behavior of gamers was that they would huddle around the dedicated server for that game to find a game in the lobby, but then they would splinter to other servers with their own private group or clan. Everyone played for fun. However, there was much whining about the ‘tank rush’ and many people would declare ‘harvestor treaties’ where no one would attack for the first fifteen minutes (I would attack anyway and laugh as the player would cry on the screen). The tank rush complainers or grunt rush complainers were the first indication of people using online multiplayer as their ego. Clearly, they didn’t lose. The game was just “broken”.

The design and basis of the original Battle.Net was from Kali. Battle.Net was pretty bad when it first went up. When it went to a loading screen, there was no cancel button. So if connection got stuck or something, you were trapped. It was amateurish design no doubt about it. But this is to point out how small Blizzard was back then.

When Starcraft came out, I hated Battle Net and preferred Kali just as Starcraft 1 veterans hate BNET 2.0 and prefer 1.0. One of the things was as PCs became more and more accessible, there was a correlation in the increase of lamers. Kali was a really cool place. Then came Windows 95 and Kali 95. Lamers were occurring all over the place. What is a lamer? It is someone who uses ‘leetspeak’, someone who makes stupid faces using the keyboard (not the happy face), someone who says ‘lol’ all the time, and generally someone who acts like a 14 year old kid (but they could be a 45 year old man). With Kali 95, the lamers would congregate on the official game servers. Smart gamers would tend to avoid them. The problem with Battlenet was that everywhere was an official game server. And since Battlenet was free and came with Starcraft, unlike Kali which cost $15 for a lifetime membership, there was a huge surge in the number of lamers. And unlike Kali, you could not escape the lamers. They were everywhere.

One of the things that Starcraft 1 did was that it recorded every win, every loss, and every disconnect. This single element radically changed the behavior of gamers. Gamers suddenly began comparing their ‘records’ to someone else. Someone had a worse record? Why, they were inferior to you. More than ever, the ‘online gaming as ego’ began fermenting. But the wildest change was seeing seven players join a game to beat up against a lone and meager AI. And they would do it, over and over again, just so ‘wins’ would go up on their silly record. This made their ego feel good. And if they got too many losses, they would create a new account so they would have a record that ‘properly’ showed their “skill”.

When Starcraft came out, I thought Blizzard had largely failed to follow up on the awesomeness of Warcraft 2. Warcraft 2 was such a fantastic game. The game, alone, had a satisfying single player, you could play the computer, you could play via LAN, via modem, and of course Kali. Since CDs were new, I loved it when games used Redbook Audio so your Warcraft 2 game also was a soundtrack disc. And the music to Warcraft 2 was literally divine. The sound effects were very well done. The voice acting was well done. Even the cinematics were very imaginative.

Above: How an epic introduction is done. Not to tell a story but to immerse you into the game world.

Above: When video game music used to be good.

When Starcraft came out was the peak of the RTS genre. There were so many RTS games and many were extremely well made from Age of Empires to Dark Reign to Total Annihilation. Starcraft was panned from game reviewers because the game was not using 3d (which people expected after Total Annihilation). This is why Warcraft 3 ended up being 3d even though technology didn’t exist to make many units run around in 3d (which is why armies are small in Warcraft 3 and why there was upkeep so players were pressured to stick to small armies).

While kids who grew up with the game won’t realize it, Starcraft had a ton of problems. It was a smorgasbord of a universe with cliches all over the place. It was a little piece of this, a little piece of that. For example, the “Battleship reporting” of the battlecruiser was from Robotech’s Admiral Gloval (complete with pipe). The storyline of Starcraft was pretty bad especially the Protoss campaign (oh no, Conclave don’t like Dark Templar. Oh noes, Conclave is being ‘prejudiced’. Oh yay, Tassadar does the cliched ‘Ultimate Sacrifice’ and even rams his space ship into the big blob alien creature. Yawn.).

When Starcraft came out, it succeeded in its mission of making three distinct and different races. It also succeeded highly on the audio. On graphics, Starcraft was dismissed even on the day it came out. One review I remember reading laughed at the siege tanks as how painfully they looked as if they needed more frames of animation. What ended up fixing Starcraft was Brood War which added some badly needed units (such as the lurker) and a single player campaign that was actually entertaining (Duran plays a huge part which was impossible to miss). And bad Kerrigan was always fun. The atrocious holier-than-thou Tassadar character was gone as well which improved things.

Now let us fast forward to Starcraft 2. I am only going to refer to the multiplayer behavior of the gamers and leave other elements to future posts.

Sadly, gamer behavior concerning Starcraft 2 is sliding more and more into the ‘I play this game for my daily dose of ego’ or ‘illusion of achievement’ just like World of Warcraft. Let me make a disclaimer. I have over 3000 points in achievements or whatever you call them, I played only Zerg in beta, switched to Terran in retail, diamond, etc. etc. Most of my points came from doing the single player as friends dared me that I couldn’t do them.

Let’s look at the achievements, first of all. I thought gamers just wasting their time beating up a defenseless computer was atrocious back in 1998. Today, it is worse as gamers are cannon rushing or 6 pool poor insane computers just to get ‘their achievement’. There is an achievement that is called ‘raid night’ which requires you to beat the single player campaign in less than 8 hours. Sure, it is easy enough to do, but who the hell is going to spend half a dozen hours just to get ten extra achievement points? Do you hate life that much? When I see someone have that achievement, I become greatly concerned for them. The single player achievements were somewhat more interesting because they were more like challenges within the mission (such as the Yippe-kay-yay one for The Dig).

However, the big issue is the stupid league system. If there is any rule for Starcraft 2, it is that anyone who thinks they are good tend not to be that good at all. Also, you will note only the low level Diamond players brag about being in Diamond. All a league means is that you are ranked with a certain percentage for match making purposes (which only looks at wins and losses). To illustrate this absurdity, I took a screenshot in a 4v4 of a guy bragging how he was in diamond, that he was special, that his socks didn’t stink when he took them off, and when you go to his record he is diamond in 4v4 but is in Bronze League in 1v1!

Video games are never an accomplishment. If you are not having fun playing them, do not play them. But if your ‘fun’ of a video game is some imaginary sense of accomplishment, you are playing for the wrong reason. I am more annoyed than ever at the ‘league system’, which is nonsensical as it is not even a real ladder, because it has dramatically altered gamers’ behavior to play multiplayer Starcraft 2 for purposes of ego. It is so ridiculous that some people are scared to even play 1v1 because, oh no, it will put them in a record of some sort and they will be judged by others because of what league they are placed. The fault of this has more to do with the way how multiplayer was envisioned by Blizzard and not of the player.

Blizzard admitted that 50% of their customers do not play multiplayer. I expect that percentage to rise. The ‘playing for ego’ from players is a huge turn off. However, I do like how you get a new portrait after so many wins (but you could be in Bronze League and still get a Kerrigan icon if you have 1000 wins as Zerg). In Warcraft 3, having a new icon was also very much a motivator. However, I do not remember anyone trying to think their icon was a pedestal for achievement and trying to ‘show it off’ (because no one cared). Also, the Warcraft 3 ladder reset as did all the icons. I do not think the Starcraft 2 achievements will ever reset.

While it may sound I’m complaining, I am becoming more and more concerned how people are looking to cyberspace as an ‘illusion of achievement’. They do these repetitive things which only waste away their life (ask any former WoW player). These people are not only going to end up hating gaming, they are also going to create a stigma about it because of the deleterious effects the ‘illusion of achievement’ brings. Can you imagine how absurd it would be if Wii players had a special icon that said they beat Bowser back in 1988? People frown at Nintendo not doing system wide achievements, but I don’t think these people have fully thought through the after-effects. If you want to expand gaming, you want people to play games because they are fun, not because they are an E-penis.

I have much to say about Starcraft 2, but I’ll wait for other posts to do that. But in the spirit of removing the ‘illusion of achievement’, I will tell you how to get really good at Starcraft 2. It is not that hard.

The reason why there is so much cheese on the lower end of the “ladder” is because of the players trying to find a win through the least possible resistance and the least possible time. The mistake many players make is to aim for the ‘least possible resistance’ route (which leads to cheese) or to emulate “strategies” from replays of “pro gamers” where they do cutesy things.

The problem with emulating the strategy from the ‘pro-gamers’ part is because strategy isn’t what a player needs. What ends up happening is that a player will begin harassing, doing drops, and ends up losing their units. Losing harassment units can easily cost you the game.

Think back as to the motivating factor that causes cheese: playing that requires the least amount of work. It is the opposite that will catapult a player into the higher leagues. Instead of working on strategies, work on making more harvestors within a short amount of time or see how you can get an expansion up faster. It is these things that will win games, not ‘strategies’ or ‘techniques’. You could just spam one type of unit and still win.

When you watch a replay, just watch your nexus or command center or hatcheries and see if you are always making harvesters. Most players stop making harvesters when they are attacked or they are attacking, and then they might come back and remember to make harvesters. This is bad. Harvesters should always be made, all the time. If you have trouble with this, queue it up before you attack. 50 or 100 minerals stuck in the queue is worth it to ensure constant harvesters (just don’t do this at the beginning of the game).

Making constant harvesters is something everyone thinks they are doing, but they are not doing it. For fun, in a 4v4 game put up the Income Tab in the replay, and you will see who is making constant harvesters and who is not. The dominant player almost always has the most harvesters. Just something as simple as making constant harvesters will make you the dominant player, so whatever you do, keep making harvesters. There should never be a time where you are not making harvesters during a game (except if you are reaching the supply cap). And even then, you are better to err on the side of too many harvesters than too few. Not making a harvester early in the game will snowball later in all the minerals you lost out on. Failing to make a harvester when you could will lose you the game.

After constantly making harvesters, the next thing is to keep using your unit making buildings. If you have gateways or barracks, they should always be making things. (Zerg might be different, but I don’t think so. Stockpiling larva is risky because you will likely get supply blocked because you didn’t make ten overlords in order to use your eighty larva.) What will happen is that even though your production buildings keep pumping out units, your money will grow and grow (because you keep making harvestors which keep increasing the income). Your response is to put down more production buildings and have them keep pumping stuff out. The big challenge here is to not be supply blocked.

And the third most important thing is to expand early and do it cleanly and smoothly. You should know where you want to expand and have plans for the next few expansions. This will transition you into later macro games easily. And, of course, you are doing all this while you constantly have your production buildings in use and keep making harvesters.

Does this sound hard? Not really. It isn’t hard once you get used to the pattern.

The reason why many players linger in the lower leagues is because they keep thinking, logically, that if they improve their strategy that they will win more games. What cheese is is an ‘unorthodox’ technique, so the reason why there is so much cheese is because players are trying to improve their strategy (and cheese in the result).

Starcraft 2 has very little to do about strategy. It has everything to do about doing things at the same time. The better the player is someone doing things at the same time. And these things are making harvestors, making combat units, and teching all while doing things like attacking the enemy or defending against an enemy attack.

Clearly, there is a limit where other players will be making harvestors all the time, that they will be utilizing their production buildings all the time, and they will expand as soon and as much as they can. Then, and only then, does any “strategy” come into play. And this point occurs in Diamond or high Platinum.

Starcraft 2 is not a real-time strategy game so much as a real-time juggling game. Don’t even approach the game from a ‘strategy’ standpoint. Instead, approach it from a juggling standpoint. Realizing this, not only will you skyrocket to Diamond, you will realize how stupid it is to think it is an achievement. Once people realize this, hopefully they will stop acting like clowns and play the game because they have fun with it instead of trying to ‘prove something’ to the world (because the world won’t give a damn).

 

On a typical gaming message forum, people say lots of junk. What would happen if a major figure of the game industry decided to log on to a gaming message forum and put the forum dweller in his place?

On Atari Age, a writer was peddling his own book where it says how characters like Nolan Bushnell were a demi-devil who cheated on everyone, backstabbed everyone, to be a rich, grubby, soulless business success (since all business success is soulless). Never did he imagine that an enraged Nolan Bushnell would appear to respond to him directly. While no one believed it was Bushnell at first (because anyone can be anyone on the Internet), the writer, in his ‘classy’ style, demanded that Bushnell prove who he is by telling us the name of the woman he cheated his wife on. Once Bushnell’s identity was proven, the writer immediately went back and edited all his posts.

For the reader’s pleasure:

Regular text is Bushnell.

Italics is the narrator, i.e. Malstrom.

Bold is a Forum Dweller asking a question.

_________________________________________

Bushnell on being angry…

I THINK THAT IT WOULD BE A FUN TIME TO HAVE A ONE ON ONE CHAT WITH CURT. HIS RANT WAS NOT ONLY SILLY BUT SO HIGHLY INACCURATE THAT IF HE ASSERTS HE IS A REPORTER HE SHOULD BE FIRED. THERE ARE MAN SOURCES THAT WILL BACK UP MY POSITIONS LETS GET STARTED WITH TRUTH.

Bushnell on the nature of criticism…

Atari is such a different company now than when it was just a silly portion of Infogramms. Look at Jef Lapins success. He is a very smart guy and is in my opinion making all the right moves to create a videogame company of the future. Remember, It is not what we have done historically that counts but what we do in the future. The problem that anyone that does something we are subject to the criticism of those who have never done anything. I love my involvement with Atari, Chuck E. Cheese and most of my 20 founded companies of which all except 4 were sold at a profit. Happy to take criticism from anyone that has a better track record. Other wise shut the fuck up.

Bushnell on being asked not to use caps all the time…

Sorry the Curt rant really pissed me off. Sometimes you have to yell or your head explodes. The inaccuracies and bile was a total shock.

Bushnell on the consumer experience…

You shouldn’t love your involvement with Chuck E. Cheese. Not only is the place crawling with pedos, but the service is crap. Worst of all, the price is incredibly high and the pizza tastes like shit.

don’t be an idiot. Chuck E. Cheese was not made for you it was made for kids. Ask your kids what they think about your favorite restaurant and they will say it sucks.

Bushnell on Internet Message Forums

Sorry new to the site and getting used to the system. Had a great rebut to Curt’s highly inaccurate and silly flame. It went poof. Will get it down. I am an old guy and need to learn these things.

Bushnell on innovation…

It is really me. If you doubt it try me at either nolanb2@yahoo.com or nolanb@uwink.com. Of course i am on facebook and will friend you.

The bottom line is that Atari is a great brand and has done some remarkable things some of which were mine and many of which were done by other Atarians. No one would dispute the contribution of Al Alcorn, Steve Bristow, Steve Mayer, Larry Emmons, and a hundred more that were truly brilliant. I think it is important to look always to the future. There are so many tools that a game designer has that were only dreams when I was running Atari. Innovation is about taking the technology that is accessible now and doing something that has never been done. I have about 20 ideas that have a chance of success. Only about half will work. I just wish I knew which half.

Remember that innovation is about accepting risk. New things are inherently riskier than evolution of a proven product. I embrace risk because it is the only way to innovate. Yes I was too soon for the Robot Business but I know some things about that that no one knows. Stay tuned on that.

What I would like to set strait is some very silly and not complementary things from Curt that were totally wrong.. I am puzzled because I thought that Curt was a smart and cool guy. What happened?

I would relish a one on one with Curt. I do not believe his assertions will stand up to scrutiny.

Nolan Bushnell on uWink not working…

The nickname of the largest individual is “Netman” One of the biggest problems of business is getting friends and family to invest into a company that does not stand up to its promise. uWink had two chances to become huge. One was based on the coin op world and we had a 6 million dollar backlog and machines on the water and demand on the street when 9-11 happened, Backlog to Zero, the the machines on the water land with no buyers. We were out earning the others but the business stopped. We restructured the company when we should have BKed it and did the restaurant thing. Just got it working and the Lehman crash happened. All restaurants dropped in earnings by about 30% except the fast food. Again restructure and we now have a stand alone software company that is starting to do quite well. Shit happens and if you stay in there you can take any adversity and fix it. What may don’t understand that new companies are highly flexible and potentially hugely profitable but they are also fragile. I like the potential upside but also understand the downside.

Nolan Bushnell on uWink becoming a software orientated

Understand that in the chain restaurant business you have to get to about 10 to have it make sense. When Lehman fell we realized that we could not get to ten with no access to outside capital. We closed the two restaurants strategically and kept one as a showcase for the software. Since a demo was necessary. The software business could grow without outside capital and it turns out that we were correct and as the economy comes out of the recession we have a huge opportunity. The code is robust and the market is proven. We just signed a huge deal in China and expect many more.

The moderator at Atari Age asked for Nolan Bushnell to prove he was Nolan Bushnell by revealing the largest investor in uWink. Bushnell responded with ‘Netman’ which satisfied the moderator that Nolan Bushnell was, in fact, Nolan Bushnell.

Bushnell on never giving up…

If you are Netman let me tell you that you were a true believer as was I. If it is any consolation I am sure that I lost more money so far than you did. However the last chapter is not written and the software is better than ever.

Nolan Bushnell on Missile Command

In this interview you claimed to have been involved with the development of the Missile Command coin-op…
http://videogames.ya…command/1390303

During said interview, you recalled playing the game in your office and even specific memories of the game’s development, such as…

Quote

We actually got some criticism, you know, “The End” [the game-over screen] – people thought it was a little too dire of a prediction.

By all accounts, you left Atari in December of 1978…this is a matter of public record. You couldn’t possibly remember the development of Missile Command, because the game never even reached the design phase until mid-1979 (it was released in July of ’80). How do you account for this anachronism?


There is often a confusion of dates between the coin op and the consumer. I had no involvement with the consumer version but a lot with the coin op.

Bushnell on spotting a new business opportunity… (With people questioning his identity, Nolan Bushnell comes up with a new business model out of the blue.)

I think the issue of identity is very interesting. How does one know that a hot 16 year old girl is not some 60 year old fat fart in his basement in a bathrobe. One way is to have a third party like 7-11 authenticate with a pix and drivers license and then have an encrypted authorization. Another way–less secure is to link facebook. The difficulty of a hoaxer to get all the pix and data make the gap much harder.

Nolan Bushnell on Natalie Portman


Pictured
Above: Nolan Bushnell’s wife

The movie business is weird. I have been lobbying for Natlie Portman to play my wife (it is a fantasy thing) but it is so complicated that I don’t understand all the issues. Warner actually wanted to Green light the pix but felt that it would be difficult for them. I doubt that any movie studio will buy a game company for some time. They have always messed them up. Perhaps later there will become fashionable play again but not now.

Bushnell on the engineering of Computer Space…

The most silly things that Curt said is that Dabney did the original tech. Dabney was a good hardware engineer and a good friend. He was not a digital engineer. He did the tv interface circutry for Computer space and the sound module. Important things but clearly not patentable. The slip counter architecture that all game were based on until 1978 when the microprocessor took over were my invention and patented

Bushnell on Ralph Baer…

Ralph Baer was at most a pain in the ass. He is what i like to paint as a patent whore. Just one step from a ambulance chasing attorney. The real important guys upon whose shoulders I stood was Steve Russel from MIT who programmed the PDP1 to play space wars. His program was written in 1963 I played it in 1965 and loved it and it changed my life. I saw the Burlingame demo of the odyssey and thought it was crap and it was. I signed the register with my own name and have never denied it. It did spark the idea that the ping pong idea could be an interesting game if it were done well.

Odyssey only did as well as it did because people had played Pong in the bars and they though that was what they were buying. Magnavox discontinued odyssey because of all the returns they got. When we came out with consumer Pong the market was soured. We showed it at the toy show and sold none because of the bad taste that Odyssey gave them. If it hadn’t been for Sears the Magnavox Baer disaster may have spoiled the whole market.

Atari signed a license to get out of the Magnavox patent suit. I thought and still do think that Baers patents are crap but because we were raising money it was cheaper to settle for a “junk” settlement. We settled for less than it would cost to litigate and it amounted to less than .5% on sales. That is a junk settlement. Ask Ralph about that.

Bushnell on the need to make new gameplay…

If this is really Nolan, I would seriously like a job as a creative director. I have experience with 3D and have great ideas for games that would honor classic gaming, but use new tech and add story and humor. I would be willing to live in France if necessary.

A great game is easy to learn but difficult to master.

I would love to talk. But understand my bias. While 3d is interesting visually I am more interested in new game mechanic. Remember all the controversy and flames when I said that the Wii was much more interesting that the PS3 a year before it launched. The controllers were more interesting than the better graphics. Lets be serious the Wii has at best a poor graphics engine but it really kicks ass in new types of game play. Now we have the Iphone and I pat both of which have some really cool things that can be done. Watch this page cause that is where I am going.

Bushnell on the room Computer Space was built…

Okay, let’s take the issue of Bushnell’s involvement with the creation of Computer Space. Was it Bushnell or Ted Dabney who originally designed the hardware? Or what about Pong: is it true that Bushnell saw Ralph Baer’s TV Tennis before giving the game concept to Al Alcorn for implementation? If he did not, has he has claimed over the years, how did his signature end up in the guest book?

EDIT: I see you’ve already posted about Computer Space, although you didn’t entirely answer all of what Curt has written. Why does Bushnell claim that he converted his daughter’s bedroom into a lab for the development of Computer Space when Ted Dabney has stated that it was his daughter’s bedroom that was converted into a lab?
Perhaps it is because Ted Dabney does not have a daughter. My daughter was Britta and I put her in with her older sister Alissa. Both Ted and I did the hardware. Ted the analog and me the digital. See my other post about Baer

Nolan talks more on Missile Command…

At what time did Bushnell help to fine-tune Missile Command? And who were the other members of the development team who can verify this?
You got me, I cannot remember who was on the team. Sorry. But I remember the day when missile command was in the conference room with all of us around. It had to be after 1976 since we were on Borreagas avenue.

Nolan on the dangers of sugar-coating…

I am going to bed. I am not as much of a night owl as you guys. Post questions an I will try to answer them tomorrow. This has been fun. Dont worry about offending me. Ask hard questions. I am proud of my wins and sad about my failures but will not sugar coat either because both wins and losses are part of your game history and learning from both is important.

Ted Daney jumps into the forum and says Nolan is wrong to say he has no daughter. He wrote:

This person calling himself “NolanB” is either an idiot, a liar or a phony…
The real Nolan Kay Bushnell knows I have two daughters (Terri and Pam). He also knows that my digital skills are way beyond his.

Bushnell is great with the ideas but is very weak at implementation. His people skills are limited by his own ego.

I just got off the phone with Ted and yes his posts are real and he does have a daughter. She was older than mine and ted reminded me of the time they came up to my house and we were all around the pool. It was a senior moment that I forgot it. Ted was a huge help and a good engineer and we worked closely together. He thinks that the slip counter system was his idea and I think it was mine. I think that it was some melding of the two. But I think the real issue is that Dabney and I did Computer space and created the technology that powered the game business for 8 years. Al did most of the Pong work and Dabney was able to get the thing into production. Don’t forget we thought of ourselves as a studio designing games for others to manufacture.

Neither Ted or I thought the Baer patents were important and at most a distraction. The record shows that no one other than Magnavox used and of his circuitry.

Nolan destroys Ralph Baer:

I probably should not do this since there are some Baer lovers and I know that I will do nothing to change that but me and Don Quixote love to tilt at windmills.

1. What did I take from Ralph Baer? I came I saw I signed the book with my own name and never denied it.
2. What did I see that was new or unique. Nothing. I saw a blip moving back and forth. Had I see that before? Yes in 1965 at the University of Utah.
3. Did you see any circuitry—No
4. Did I or any of my people see any of Ralphs Circuitry before the patent suit No we did not and were frankly not interested.
5. Did the demonstration remind me of the ball and paddle game. Yes. It was easy to assign Al to do it as a training project had I not gone to the demo would I have assigned a ball and paddle game to Al? I will never know that one without a back to the future machine..
6. Did Ralph invent the ping pong type video game. NO there were several digital versions starting in the early 60 and Willy Higgenbotham demonstrated a stand alone unit in 1958.
7. Did Atari pay Magnavox a royalty NO we settled for a paid up license for 100,000 per year for 5 years which was less than our legal costs would have been. In our eyes it was a junk settlement. If it would have been a royalty it would have been less than a half a percent the first year and less in subsequent years.
8. Why do I get irritated with Ralph? He likes to claim that he invented Pong He did not Al Alcorn did most of the work and I helped with some details. It used circuitry that I invented two years prior to the Magnavox demonstration. He saw my game “Touch Me” patented a version and licensed it to Hasbro. Could I have sued him for that, probably did I no. (Do a search on Pong and notice the lack of Computer space which was in the market for a year before the Burlingame show, why??)
9. He claims that I will not appear with him on a public forum. The opposite is true he is the one that cancels. I am happy to have that discussion on the net, on a video conference. any forum. I would love to have Ralph interject on any of the above points.

Summation: People should claim their own work and give credit to those upon whose shoulders they stand. I have always credited Steve Russell and the guys at the U of U, Stanford and Mit that did the early video game programming that I played loved and got hooked.

Do a search on Pong and you with see Ralph all over them without any credit to Al or Atari. Ask yourself how that happens. The web is great for those that want to self promote.

I have been silent for 30 years in an attempt to be above the noise but I think that it is time to get the true record and history on the table.

Bushnell on Apple…

Steve Wozniak claims in his book that he basically offered the Apple II design to Atari via Al Alcorn but was told that Atari was too busy with the video game market to do it. Is that true and do you remember Al or anyone else ever mentioning it?

It is true. Remember that Atari at the time did not have the cash to fully exploit the 2600. We ended up selling to Warner so we could finance the inventory. We were growing very quickly and were always short on cash. (am I sorry for that mistake —you bet.)

Bushnell on a Bushnell designed and programmed game…

Did you program a game in college called Fox and Geese? Could you tell us about the game and the experiance of programming the game?
I programmed several games but the one that played the best and was sent around the country was Fox and geese. In the game the fox could move in any direction at twice the speed of the geese there was only one fox. The geese could move up to the right or the left. If a goose was alone the fox could eat it. If there were two geese adjacent he could not. The object was for the fox to either eat all the geese or escape past them. The geese won if they trapped the fox against the upper part of the screen. The number of geese was variable. 3 geese almost always lost 7 geese always won,

Bushnell on his favorite Atari games…

I was curious when was the last time you fired up the ol’ VCS and what are some of your favorite games for the console?
I fired one up about a year ago. It depends on who I am with what cart I use. I keep coming back to the early favorites like tank and breakout. Later titles are in my collection but seldom used.

Bushnell on the importance of sound in video games.

I notice that sound seems to have been very important to Atari’s early history. Of course the fantastically evocative Pong sounds quickly became iconic. But then there’s the fact that the 2600 was planned to have two speakers in it to provide stereo audio — a very innovative move back when TV was mono only. In these days of homebrew modifications to the Atari 2600, I can finally play Air/Sea Battle and hear those missiles launch and explode in stereo! I can’t even imagine how great that would have been in the 70s. And let’s not forget Atari Video Music, which I’d very much like to own some day. Not only is it nifty in its own right, but it’d be nice to show the whippersnappers that the iTunes visualizer is nothing new.

At any rate, what role did audio (music, sound design, audio engineering, etc.) play in the early days at Atari?
Thanks for the appreciation of Video Music it was the only product on my watch that was not profitable. I think we sold less than 100 at full price. Too far ahead of the curve.

the initial DNA of the company was coin op. We found that Music and sound if well done increased earnings drastically. The ability to make good sounds with the technology at the time was expensive and less than satisfying in many cases. Pong for example just used signals that were already available from the video drivers.

Wow, I didn’t know that Pong’s sounds came from the video circuits. There’s that theory that constraints make for great art, because we are forced to move beyond what’s easy and truly engage creatively in what we’re doing. Apparently the audio constraints of those early years did just that!

Thank you for taking the time to answer my question.
I thought of another interesting anecdote. I told Al to use the sound circuitry from Computer space to simulate a crowd clapping. (you do that by creating noise and then shaping the envelope of the sound wave) Al though it was too much trouble and started poking around on the board till he got the right sounds. Genus. Remember the prime clock frequency was 3.58Mhz and the counters counted down for horizontal and vertical sync. So any frequency that is a binary divisor of that number is available down to 60 hz which is frame rate.

Bushnell on the next new video game console…

You have said that you are very interested in new game mechanics (i.e. iPad, Wii controller etc..). I can only imagine what it has been like for you to vicariously watch the industry over the years up to this point now where companies are finally appearing to think outside the box once again. Given that you are a proven innovator in your field, would you care to elaborate on any ideas you may have about the future of video games in this regard?
Cant talk about things in too much detail but think about board games and then put an I pad in the middle of the table and everyone around the table has an Iphone that is connected to the iPad through bluetooth or Wifi. It becomes the universal board game videogame delivery platform.

Bushnell on how Atari games had such amazing cartridge artwork…

I’m just wondering in general about anything you could tell us about the early Atari artwork on the boxes and/or catalogs. Anything regarding how it was selected, who made the decisions, if there was any particular aesthetic goals… or anything else you may find interesting to share?

The early art was from a guy named George Faraco. Later George Opperman (who created the Fuji Logo) became the look and taste of Atari. He really had a great eye and none of us would second guess his genius.

Moral of the story: be careful what you say on your local ‘Gaming Message Forum’. The real life character might appear and totally own you.

 

I preface this by saying I am a Metroid cultist (as opposed to a Sakamoto cultist).  The Metroid series has been my favorite series of any game since my map-making days of the original’s release (Prime now being my overall favorite).  I even use Samus in Smash Bros., even though she is gimped beyond all recognition.  I do admit that I have not played the Gameboy iterations as I hate hand held systems, although I did try Fusion, but lost interest rather quickly.  So as a lifelong fan, I still plan on buying Other M.  I always judge for myself, and have tried to avoid spoilers and trailers (which is for the best, from what I’ve heard).  My expectations are very low, however.

As you have said, M:OM is apparently made by Sakamoto FOR Sakamoto.  However, I also believe it is in some ways made for the Japanese.  Samus was always a girl in a tank (sans the treads) to Americans.  While the first Metroid did well, each subsequent one showed plummeting sales in Japan, whereas American sales stayed pretty consistent.  During the Gamecube days Nintendo was not so interested in the lapsed audience, which is why it made the Prime series as a FPS, which even FURTHER alienated the Japanese audience.   Prime was the best selling game in the series because it came bundled with the Gamecube, which undoubtedly helped it’s numbers.  Nintendo now seems intent on going after the market that has lost interest with the Wii, thus deciding to make this game more for the Japanese market, thinking it has the American market cornered at this point.  Sadly the result will be that it probably won’t appeal to either one now.

Metroid Prime’s sales didn’t really come because it was in a promotion bundle with the Gamecube. So was Mario Party 7 and Dance Dance Revolution Mario Mix.

In regards of the three major markets of Japan, North America, and Europe, for the NES, Nintendo did very well in Japan and North America (Nintendo was too tied up in court to expand to Europe at the time). For the SNES, it was Japan and battling it out for North America with the Sega Genesis (which did well in Europe). For the N64 and Gamecube, Nintendo totally lost Japan to Sony (and lost Europe as well). The PlayStation and N64 were neck to neck for a good while in North America. The majority of Nintendo sales occur in America which makes NOA very important. I have to laugh when someone says someone like Reggie Fils-Aime doesn’t have a say or know about the upcoming new Nintendo hardware (all the leaders of the Nintendo divisions do).

Due to the downfall of the American economy and the downfall of the dollar (thanks to politicians spending and printing more and more money), Nintendo can no longer treat the American market for granted. You could very well be right that due to the Prime games not selling in Japan that in 2007 or 2008, Nintendo wanted a more Japanese market friendly Metroid made. And the irony is that Metroid will sell poorly in both markets.

The true problem with M:OM, outside of the quibbles that many people have that honestly won’t make or break a game, is this one thing:

That there seems to be a concerted effort to REMOVE control from players.  Sakamoto has said they had to rearrange game mechanics for the sole purpose of forcing players to use ONE remote, even though adding a nunchuck would have added more intuitive design and more buttons.  Simply adding the option to use “advanced controls” with the nunchuck would have eliminated the need to perform the jarring motion of changing the orientation of the remote from sideways to forward-facing, and would also allow more buttons so players wouldn’t feel like they just run into a room mashing the single action button (A), but that was unacceptable to Sakamoto.  There will be no sense of reward in this set-up other than “not dying”, which for some reason is what many developers think gamers want these days.  They seem to think that dying “interrupts the flow of the story”.  Gah!

Also, removing the ability to move in first person mode was purposefully done, and makes absolutely NO sense.  It was not removed for lack of technological means, but as a restriction imparted on gamers out of a “you MUST play this way because I say so” mentality (much like the design of the controls).  There is no reason why Samus shouldn’t be able to walk in this mode.  Does her suit lock-up or what?  Is she paralyzed with fear?

This truly believe this game could have been truly revolutionary in certain respects if had given choices to gamers.  It already removed enough choice from players by adding so many cinematics, but to remove CONTROL is unforgivable to me. Imagine if the game had allowed players to play the entire game through in third person mode OR first person mode, dependent on player choice!   And allowed us to pick whether we wanted classic, simple controls or the more advance two controller set up!  And even allowed us to skip cut-scenes if we so choose! It could have been the best parts of Prime and the originals all rolled into one!  I have only ever seen these types of choices implemented in racing games where you can choose what POV you want, and It would have been so fulfilling and forward-thinking to be able to do so in an action/advernture game. Oh, to not feel hampered and bogged down by forced game mechanics! That is what gamers dream of!

All of M:OM’s flaws are a result of what can only be called a developer’s superiority complex that makes him think he knows what’s better for gamers than the actual gamers do! So although I am still buying the game, I’m anticipating a quick return to the used-games shelf.

Reader’s note: I did not bold the above. The emphasis is the emailer.

This is a very shrewd observation on your part. In Sakamoto Land, the thinking is probably the cutscenes are the ‘reward’ (which is probably why you can’t initially skip them because that would ‘spoil’ your ‘reward’). I don’t think Nintendo realizes how much people despise the Sakamoto storyline for Metroid.

You’re right. Feeling of achievement is everything. This is why we like the ‘repetitive gameplay’ of Metroid. It is repetitive to develop, but it is not repetitive to play!

 

In a recent article you commented that today, game players feel entitled to beat a game simply because they invested the time into it. The more I think about this the more it seems astound me, because it’ so absolutely right and I never realized it. This especially hit home when a friend was asking me if I thought Mega Man games were comfort games. I couldn’t say, because for me now, I’ve played them so much it’s like clockwork. But when I was a kid, that wasn’t the case. I remember it would take days if not weeks to beat any stage, and in fact, as much as I loved the games I never finished. I wouldn’t even try because I was convinced I couldn’t. No, I’ll tell you what I did. When I actually became skilled enough that I could beat the eight Robot Masters, I would simply pick a stage to go to (though not Wily’s fortress), and then have my own personal demonstration of all the weapons. That’s where Mega Man games ended for me. I didn’t really start trying to beat them until Mega Man 8 came out (and boy do I have embarrassing memories of making my mother watch the ending of that game and seeing how bored she was).

But what about the latest Mega Man games? It seems natural that any game you play enough will become a comfort game (another nomenclature of yours I love). But here we have some brand new Mega Man games, made in the image of old, and they still feel very much like comfort games. It’s not as though they weren’t challenging (and 9 was especially cheap at points), but I still cleared them both on the day they came out. I did feel a little of that old anxiety near the end, but still, it wasn’t such a trial. So I feel like I can’t gauge if they’re really comfort games. Does my familiarity with the Mega Man concept and game physics make Mega Man an eternal comfort game now? Or do you think Capcom could actually make another Mega Man game that would take months to finish, without making it horribly unfair and cheap?

The Japanese Game Industry reminds me of the American Newspaper Industry. The elder newspaper editors know their industry is swirling down the drain, and they have completely stopped caring. They are not fighting the decline. They have decided to just do whatever they want, to print whatever the hell they feel like.

My impression from the elder Japanese game makers is the same. They do not wish to allow young game makers to have the same opportunity they did. They do not wish to fight the decline. Instead, they will just do Whatever-The-Hell-They-Want. Mega Man 9 was made for that purpose.

Mega Man 9 was most definitely not made to make Mega Man popular again. It was not made to make Mega Man into a mainstream game series again. Think of the design for a moment. The game was based on Mega Man 1 and Mega Man 2. Why Mega Man 1? The game wasn’t that successful in the market, not like Mega Man 2. And what about Mega Man 3? Apparently, the elder game maker didn’t like that game (for whatever reason).

When Star Trek: Enterprise ended with its final episode (the series was canceled after the fourth season), the show runners decided to make the last episode a holodeck in Enterprise D. This royally pissed off fans and the actors on the show. The reason why this was done is that The Next Generation was the show runners high point in their career, and they even picked the exact TNG episode where the Enterprise holoscene was supposed to appear for the two TNG characters as the precise tippy top of their career. The reason why they did this is for their own personal reasons, their own sentiment.

Mega Man 9 wasn’t made for any specific business reason, as far as I can tell. It was made precisely for the sentiment of the creator behind Mega Man. I suppose the old fart wanted to re-live his youth, re-live his glory days. There is absolutely no reason to have 8-bit graphics and make the game frustratingly cheap if not for this purpose.

Sven revealed on the Capcom forum that there was no business interest to make Mega Man 10 (due to how Mega Man 9 sold) but there was “creative interest”. What I think was going on was that the people on the team felt entitled to design their own robot master (just as every third grader does) which is why Mega Man 10 was made.

How many people did it take to make a NES Mega Man game? Say around 10. Today, a video game team can be as much as 200 people but more around 50-100? Most of these people are doing things not related to the content such as making sure the HD grass ‘flows’ in the wind or some other garbage. Game making budgets have ballooned to millions and millions of dollars. We also know that due to advances in computing, it is easier now that games are not sprite based.

Why not use some of that extra manpower and budget and re-direct it to the content? Where is it written that every Mega Man game must have 8 bosses? In Mega Man 1, it was only 6. In Mega Man 2, it was 8. In Mega Man 3, they added four additional stages between the robot masters and the Wily Castle. Up until then, more content was being added. Then it got ‘frozen’.

Why not make, say, a Mega Man game with 20 robot masters? That would certainly be tricky to balance out the weapons to each boss, but it is very doable. It would certainly keep you busy.

Part of the reason that you beat Mega Man 9 so fast is that you are older. But another big part of the reason is that it is the same exact formula used 20 years ago. Note that in Mega Man 2, the formula changed. It changed a little more in Mega Man 3. And then it stayed the same.

I like what Nintendo did with Mario 5. The single player is great, but more content was added by having the multiplayer. If there was no multiplayer, why not have 15 worlds in Mario 5?

I do not understand why game series from the NES are frozen in time in how their content is structured. Why must every Mega Man game have 8 robot masters? Why must every Mario game have 8 worlds? Why not have more? I miss the days when Japanese game makers were like Miyamoto when he first showed off Super Mario Brothers to Nintendo staff. At first, Miyamoto only showed off five worlds so they would agree. Once they did, he showed off the other three! For some reason, at that time everyone was interested in pushing the content frontier. Now, it seems like no one is interested.

I think another interesting example is New Super Mario Bros Wii. It is indeed challenging, and game reviewers compared its difficulty to Contra (which has become gamer-talk for “hard”), but I still beat it in a few days. However, I never owned Super Mario Bros 3, and I cannot go back and blow through that game. That game still kicks my ass when I arrive to world 2. That also goes for games like Ninja Gaiden, Blaster Master and Spy Hunter.

Mario 5 is tricky because it was designed also to incorporate four players at the same time. I thought it was impressive how the game was fun from single player to four players.

What I dislike in Mario 5 is how Nintendo used scavenger hunt coins to provide the ‘challenge’ instead of providing it in the fundamentals of the gameplay. The only real disappointment I had with Mario 5 was the final stage. Bowser’s caste is so huge yet his stage is so easy and small. This was made up with the final boss battle.

I’m not a fan of the coin collecting and find it a lazy design of a company scared of risk. They do this in all their games. The main game is simple to easy but there is a spot out there that should be called ‘hard zoo’ and you are put in a ‘trial’ through hard things. Like in Zelda, there is a little dungeon where you can go through rooms of increasing difficulty. There is no purpose to it except for something for players to do. I hate it. Why can’t this be in the main game? I also hate how in later Metroid games, they think they are providing the ‘challenge’ with ‘hard modes’ unlocked when the game is over. They aren’t. And it is damn lazy design.

Mario 3 had the right approach. The best thing to do is design difficult courses in the main game (not as a zoo) but give the player tons of options in how to approach the difficulty. In Mario 3, you had numerous power suits you could throw on. You even had easy-win power-wings. You could use a cloud to ‘skip’ the stage. You could take another path on the map which would bypass that troublesome stage.

It is not that difficult games are not fun. It is that difficult games, when the player has no options, are not fun. Any game with bad controls, for example, is not fun because the player has no options. With Zelda, the difficulty is tempered by the fact that the player can spend extra time getting some heart containers, getting upgrades for the sword and shield, and even buying potions.

When I would make games, I learned to start it very hard. Then, I would gradually make it easier. It is easier to make the game easier than it is to make an easy game harder (because you often put in things that are cheap).

Difficult games are always better than easy games. It is better for a player to feel FRUSTRATED than to feel BORED. But I think the solution is to give the player tools in how to tackle the difficulty. For example, Super Mario Brothers is actually a hard game especially if you play all the way through as small Mario. But there are things like power-ups to help you out. And there are pipes that cut off parts of a level. And there is the Warp Zone. All these things cut through the difficulty and were options for the player. I cannot think of another game at the time that had such options. It certainly helped catapult Super Mario Brothers to the stratosphere. Note how NES Zelda and NES Metroid were also extremely difficult but had ‘items’ which made the player overcome the sheer difficulty of the game (and made the player feel awesome for beating the game!). It is a shame that 3d Mario, puzzle Zelda, and Sakamoto Metroid no longer does this.

I can see why game publishers today would definitely like players to feel entitled to beat games with enough time investment. So long as the game can be beaten with a certain time investment, the faster they’ll move on to the next thing. Of course, this habit is what made the used games trade so profitable. And, wanting to have their cake and eat it too, publishers are going after used games…

The difficulty of early games had to have been something carried over from arcade gaming. In arcades, the games had to be hard so more coins would come through. As arcades died, it seemed like this addictive challenging gameplay has died with it.

I think the real answer is to have games that are more fun to play than to beat. Obviously, popular games like Wii Sports and Wii Fit don’t really have an end. Then there are games like Earth Defense Force (which I’m so happy you turned me on to) that have a story and ending and such, but I’m pleased to go back and play stages again and again. The same goes for those old Mega Man games.

Still, I do wonder if it’d ever be possible to have such a simple but challenging game that would take months of work again. I wonder if I could even have time for it!

The rub is that they don’t want to make games like that anymore. They want to make games like Metroid: Other M where it is about cutscenes and characters. And game makers wonder why game sales keep decreasing…

I encourage you to go ahead and try making such a game. Just start off small. It is very easy to ‘add on’ later. The biggest hurdle is making it to something in front of you that you can play. There is no reason why you cannot make the next Mega Man or Blaster Master. Then you can sell it and become rich. As you sit on your island full of naked babes, you think to yourself, “This was time so much better spent than arguing nonsense on the local gaming forum!”

 

Hello Malstrom. I am someone who got into gaming in the early 90s, when it was all about the Super Nintendo and Sega. We didn’t have a Super Nintendo though. We only had a NES. Not that I complained, I had as much fun with Zelda and Mario as the next guy. One game I simply could not overcome, however, was Metroid.

I was three to four years old at the time, and being a Norwegian it was impossible for me to understand any in-game instructions. Luckily the NES games were simple and straight-forward, letting even two-year olds play without difficulty. No Norwegian child would be able to pick up the average game for the 360 or PS3 nowadays (or Other M, haha), because they wouldn’t be able to understand any of it and would become stuck. Metroid for the NES was a different thing entirely. I was used to challenges as I had gotten far in both Mario and Zelda (I had never personally beat them until years later, when I got myself a Wii and the Virtual Console). Metroid, however, simply baffled me. I think you nailed it when you talked about how it was a game you’d watch your dad or older relative play through. Not even my big brother (four years older than me) could get very far in it. We would only see the final battle with Mother Brain when we visited a relative of mine who was much older, and much more of a game freak. The kind of person that defines game god. I don’t remember exactly what was his favorite game but I do remember he told us that Metroid was one of the defining games of his gaming experience on the NES. I wish I’d known that kind of satisfaction back in the day!

Few others that I knew had played Metroid, but it seemed as though many had heard about it. “Did you know Samus is a GIRL?!” “Who’s Samus?” “That guy in the suit in Metroid!” For ages we’d know Samus as “that guy in Metroid”. Imagine when I discovered to my surprise that she was female! I had never beaten Metroid by myself so there was no way I could have found that out on my own. Norway was always a bit late on the gaming front so there wasn’t as much talk about Super Metroid. I don’t ever remember playing it in my youth, actually. I only remember three SNES games – Donkey Kong Country, Super Mario Kart and Super Mario Land. We never owned a SNES of our own, so we made the jump straight from NES to N64. I wouldn’t even know Super Metroid existed until the Gamecube era.

My attention around Metroid would dwindle considerably around the N64 era. Metroid had been a massive challenge and left quite the impression on me, but I was much more of a Zelda or Mario type of person. I think that if Metroid Prime had been a N64 game, this could have changed. The only thing that got me from forgetting it completely was Super Smash Bros. I think Nintendo pulled a clever one by making that game, to be honest – before it I had never paid any attention whatsoever to Lylat Wars, Kirby or F-Zero.

Back to Metroid, the first Metroid game I would own for myself was Prime 3. I wouldn’t get the other 2 Primes before earlier this year, with the Trilogy. Prime 3 pretty much set the bar for what I like/dislike about Metroid today, but I can still remember the challenge of the original. Personally I enjoyed Prime 3 very much – I found the combat to be good, the controls were much better than on the Gamecube Primes, and outside of the early “Halo-like” stages it had a nice pace to it. I especially liked the part where you go and inspect the G.F.S. Valhalla, the atmosphere and music made my heart sit all the way up in my throat. Hypermode difficulty had appeal to it, for sure, but again I remember the original Metroid. Ironically, it seems that Other M is exactly what Metroid was NOT, even though they have the same protagonist and they both have Ridley and the Power Suit and all that. In the original Metroid you would never know that Samus was a woman until you beat it (and few that I knew ever managed to do that. Nowadays all you need is an online guide, but back then there was no such thing and we didn’t have Nintendo Power to help us in Norway). In Other M, it seems they can’t get enough of the fact that she’s a woman. “Don’t you know how to treat a lady?!” Random Zero Suit segments. The “beauty mark” under Samus’ lip which has oddly been missing in every other game featuring her face (some people believe it’s a detail added by Team Ninja, but it’s Sakamoto who originally talked about her beauty mark and how only he knew where it was). Metroid was a MAZE, where it was INCREDIBLY EASY to get lost (to this day I remember how I sat for six hours straight one evening with the game and I didn’t have a clue where I was going. When my brother took over he didn’t know where I was either. It was SCARY). Other M has linear corridors, more linear corridors and slightly crooked corridors. In Metroid, Samus didn’t utter a word (as was the status quo of Nintendo’s games. For some reason people keep insisting that it was the limitations of the NES that caused Nintendo to hold back on the dialog, even though games like Final Fantasy and Ninja Gaiden would prove them wrong). In Other M you will grow to hate her voice by the time you are shown the game’s title. And finally, Metroid marks the first time within the games that Samus meets Ridley, and she doesn’t flinch a bit. In Other M, she freaks out at the sight of him, even though she’s killed him five times. The “justification” for this is of course the manga.

It makes me a bit irritated to go on sites and suddenly find Sakamoto’s favorite kinds of fans – the fans who say “you need to read the manga!” – on forums and message boards where you honestly wouldn’t expect them to pop up. My last encounters of such fans were on two Zelda forums I frequent. Even worse, these are people that were happy to harp on Twilight Princess for linearity and easyness, yet they will go to great lengths to defend this Tribute to Sakamoto’s Fictional Girlfriend. “It makes sense if you read the manga.” “Well, you can’t know what she was thinking in Metroid Prime or Metroid Prime 3! She could have been secretly terrified to see Ridley face to face!” They’re just concerned with making sense of it all, instead of looking at whether the concept is GOOD or not.

Other M should never have been made as a game. Sakamoto should have gone to a manga artist and had them create it for him, and Nintendo could safely declare it non-canon. That way he would be able to “share his vision”, he could obsess over her “beauty” as much as he’d want, Nintendo could continue making Metroid as they please, and Samus’ character would remain intact for the rest of us who never cared about maternal instincts and who can safely say that they frown at anyone who cried at the end of Super Metroid. Mangas can have stupid plots and inconsistencies all they want, because no-one would ever hold the manga to the canonical standards of the games. And there would be no voice acting. I promise, if you were to play through this game, you’d think Pit’s voice acting in the new Kid Icarus would be perfectly fine by comparison. How they managed to screw up Samus’ voice so much is beyond me.

I’m not sure if I want to see more Metroid now. I don’t trust Sakamoto to suddenly retire and stop trying to shove his “visions” into our faces. I think the series needs someone else – maybe Retro again – to come and deliver a game that can shut Sakamoto up once and for all. As it stands now, Nintendo doesn’t even consider the Prime games as a part of the Metroid timeline. They’re just “side-projects”.

I definitely agree that a game like the original Metroid would be amazing to see on the Wii. I’d highly anticipate such a game, maybe even as much as the likes of Zelda and Super Smash Bros. Brawl (the game that had the biggest launch of the Wii, until Mario 5 took its crown). Unfortunately Sakamoto has stated that he was going to be turning to the Metroid Dread game after Other M, so I can’t look to Dread for comfort at this point.

Translation to above commercial:

Introducing Metroid II, the action game that’s causing waves in America! As metroids increase in power, find all the items. With countless enemies and bosses to destroy along the way, it’s the ultimate in game excitement! (ekkusaitingu!) Now on Gameboy: Metroid II!

What interests me is how Samus being a woman wasn’t advertised in Metroid II. And guess what? No one cared. And that Metroid game didn’t have a touch of Sakamoto in it. The fact that Samus Aran is a girl got old back in 1986. Sakamoto must have missed the memo as every Metroid he is behind keeps rubbing that she is a girlin our faces. I love your description of M:OM as ‘Sakamoto’s Fictional Girlfriend’. Isn’t that the truth!

I’m glad you can remember how NES Metroid commanded awe and wonder from all gamers. It was as if it was the game for the master player. Younger relatives would look up in awe as they might be able to beat Super Mario Brothers, but not Metroid! Despite the huge difficulty Metroid had, it didn’t hurt its sales.

One thing I strongly detest about Sakamoto cultists is how in order to raise Sakamoto up, they must tear down everyone who has worked on Metroid. For example, Gunpei Yokoi, who was the producer of the first three Metroids, is ‘torn down’ by saying he had absolutely no involvement, that he was asleep the entire time or something. More common is that the other developers were not really developers. Why, they were engineers.

While listening through the cultist’s nonsense, a thought occurred to me. NES Metroid really does feel like the fruit of many engineers working on it. Just the way how the game was designed is very intricate and really does have that engineer’s touch in things. For examples, the constant mazes, the radically gameplay altering items such as the ice beam (which could not have been easy to program in), to things like hidden energy tanks in ceilings, in the lava, and all are really something you would get from engineers going wild. When you get a ‘designer’ to go wild, you get awful narrative and awful characters. The intricate mazes and little touches on the gameplay really shows up in NES Metroid and even in the two Metroids following. After that, it seemed as if Metroid suddenly became more of a puzzle game with bad cutscenes and ninja boss battles.

It is very difficult to communicate to people in such high regard the original Metroid was during the NES era. We already know about how Mario and Zelda were regarded. But Metroid was regarded differently. Metroid was not highly regarded because of its game world or aesthetics (as the sci-fi staples were in almost every other video game at the time). Metroid was like the mythical labyrinth made by master engineers which everyone tries to get through but very few can make it. Every step is scary. Every monster in it is scary. You easily become lost. Metroid was a game unlike any other.

I’ve been trying to think of other reasons why Metroid was special. Aside from the fierce difficulty and awesome engineering it seemed was behind the game (and how freaking mysterious the game was! The mystery, reader! The mystery! We thought there were hidden worlds in NES Metroid!) there was something I call context shifting.

Above: Like the Negative World in Super Mario Brothers, glitches only added to the imagination.

When Metroid begins, like most games you begin going to the right. But, alas, you come to a wall with a small hole at the bottom that you cannot go through. So you start to head back the other way. Going past your starting point, you find the morph ball. You can become a ball, but so what? It wasn’t until you get back to that wall again and see the little creeper guy walk underneath it that the idea comes to your head to use the morph ball to squeeze through the hole.

People will look at this and go, “Aha! The Metroid formula is to get X item to pass X obstacle.” But this is totally not what Metroid is. Adventure games that date far before Metroid was using the X item to get past X obstacle.

What occurred was a context shift. The gameplay, in the player’s head, was that of a typical action game with Samus running and jumping around. But, suddenly, she can become a morph ball and move around to places she normally shouldn’t. It altered the basic core of the gameplay.

Let me use a better example: the ice beam. The ice beam was a huge context shift to the game. Suddenly, enemies which you only responded to blowing up were now platforms. And you could freeze them in place to make going through rooms easier. Those invincible guys in the vertical passages, which were so annoying, were now extremely valuable. The core gameplay had a substantial change.

Another good example are bombs. Bombs totally shifted the context of the game. Suddenly, you were bombing everything to see if there were any holes anywhere. Your bombs would pop your morph ball up (this is definitely an indicator of good engineers). Your bombs could be used against enemies.

What about the screw attack? Throughout the game, you tried to not spin jump because it wasn’t as accurate as the regular jump (and face it, in NES Metroid, one misplaced jump means falling into the lava of death). Now, suddenly, you want to only spin jump.

Metroid had a very difficult but very solid core gameplay of platforming and shooting. And items would shift that gameplay into entirely new contexts. Despite NES Metroid not being a very large world, it FELT large because there was so many contexts the player went through. Content is, after all, only in the player’s head. We even thought the glitches were some untapped secret of Metroid we had to figure out. Remember that this game was filled with illusionary walls, fake bosses, vertical corridors everywhere… Metroid was not just hard on the reactive skills of platforming and shooting, it was hard on the mental skills of figuring out the mazes and the new contexts the items put on you. I cannot think of any platform game that has come close. Games like Zelda 2 had the ‘Find X item to pass X obstacle’ but there was never any context shift. You got the hammer to get past the rock, you got the flute to get past the spider, you got the raft to get to the other continent, etc.

The best items of Metroid are the context shifting ones: morph ball, missiles, bombs, ice beam, screw attack, grapple beam, spider ball, space jump.  The bad items of Metroid are ones that do not perform any context shift: super missiles, power bombs, high jump, gravity suit, and so on. NES Metroid did some funky things like the long beam and wave beam (to shoot through objects) which were godsends during the game but I’m not sure if they qualify for context shifting. Same for the Varia Suit.

There hasn’t been any great new context shifting items for Metroid for a long time. Let me give an example of one. Say something like ‘gravity boots’. These would allow Samus to walk on walls. This, alone, would totally change the context of vertical corridors. But it would take an engineer’s touch to pull this off in the game world design. You would have to additionally design the game to account for the player to walk on walls. This is why I think engineers really made Metroid as Metroid.

One of the great joys of Metroid was getting a new context shifting item. Metroid was full of them because it was the first game. Metroid II had a few such as the Spider Ball (walk on ceilings) or Space Jump (you’re literally flying). Super Metroid had some more like the grapple beam (who didn’t just spin around and around in Maridia on the flying blowfish?).

One of the reasons why I think Metroid Prime was successful was that the move to 3d was a context shift for pretty much everything. The morph ball was completely different in Metroid Prime and felt almost like Marble Madness. Moving through 3d rooms felt very different than in 2d Metroids.

And this could be part of the reason why M:OM failed. The quasi-first person view and the ’2d view’ wasn’t exactly context shifting. When in 2d view, you wonder why it isn’t as good as 2d Metroid. When in 3d view, you wonder why it isn’t as good as Prime. The cutscenes also didn’t shift any context because cutscenes have nothing to do with the core gameplay.

It is really sad that Nintendo is going the Other M path. It would be so nice to play a 2d Metroid that would kick your butt and when you got that new item, it would totally transform the gameplay before your eyes. And you’d be “Wow!” Instead, we get nothing but the same exact items as before, no difficulty, poor 3d to 2d translations, horrible cutscenes, and more atrocious character development.

The Metroid gamer on the NES was the ‘best of the best’, seen as the most skilled player of all, and looked at with a sense of awe. The Metroid gamer on the Wii is now someone whose skills are worse than Super Mario Brothers players, who thinks bad anime is Citizen Kane, and is laughed at by all other gamers. Thanks for destroying Metroid, Nintendo!

Music #63 - Bucky O’Hare

“Video games today are a race to the bottom. They are pure, unadulterated trash and I’m sad for that…”

-Nolan Bushnell, 2007, right before the gaming market cratered.



He's really just going into Other M hate overdrive, isn't he? He's being inconsistent with his own theories multiple times over. For one, developing a game with a control scheme in mind used to be a virtue. Developing games like NES games used to be a virtue

 

I wonder where all that disappears to?

 

Then of course he jumps the gun to declare the series to be dead and we're already moving on to the post-mortem. At least wait for sales, or what that be too rationally consistent to fit with his agenda?



Monster Hunter: pissing me off since 2010.

Mr Khan said:

He's really just going into Other M hate overdrive, isn't he? He's being inconsistent with his own theories multiple times over. For one, developing a game with a control scheme in mind used to be a virtue. Developing games like NES games used to be a virtue

 

I wonder where all that disappears to?

 

Then of course he jumps the gun to declare the series to be dead and we're already moving on to the post-mortem. At least wait for sales, or what that be too rationally consistent to fit with his agenda?


No, he's actually stated well before that developing games just for the control scheme is bad, when it's an existing franchise. It's one of the things he's called on 3D Mario, particularly Galaxy.



A flashy-first game is awesome when it comes out. A great-first game is awesome forever.

Plus, just for the hell of it: Kelly Brook at the 2008 BAFTAs

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Alby_da_Wolf said:

LOL, I read some of his last posts, and now his tone against MOM is less raving, he's letting his fans doing the dirty work, publishing their letters.   


He has made it clear how Sakamoto has has taken a great game and made it into his personal wet dream.

Having Samus quake and freeze with fear at a beast she fuked up before sucks

he made her into a quivering mass of scared jello.  Instead of us using our imagination we are forced to watch and listen boring and and badly made cutscenes with cringe inducing dialog  that has been better in crappy movies.

And to add shame he has a guy saving out cringing wall flower Samus.  And i won't even mention the controls he forces on us. 

Why couldn't they have given this to Retro instead of this sexist sakamoto when they did a superb job with Prime1



Alby_da_Wolf said:
LordTheNightKnight said:
Alby_da_Wolf said:

LOL, I read some of his last posts, and now his tone against MOM is less raving, he's letting his fans doing the dirty work, publishing their letters.   


It seems he never hated the game, just wanted to show why it was a bad idea.

But by now the fire has been started, the Malstrobans' hate can't be extinguished, the genie can't be put back in the bottle anymore!  =:-O  Malstrom can do what he wants to look more reasonable now, but he can forget being hired by Nintendo as analyst or consultant...   

You say nothing to prove any point, just that you don't like him

He makes good points and put into words why I had negative feelings when info came out about this game



mhsillen said:
Alby_da_Wolf said:
LordTheNightKnight said:
Alby_da_Wolf said:

LOL, I read some of his last posts, and now his tone against MOM is less raving, he's letting his fans doing the dirty work, publishing their letters.   


It seems he never hated the game, just wanted to show why it was a bad idea.

But by now the fire has been started, the Malstrobans' hate can't be extinguished, the genie can't be put back in the bottle anymore!  =:-O  Malstrom can do what he wants to look more reasonable now, but he can forget being hired by Nintendo as analyst or consultant...   

You say nothing to prove any point, just that you don't like him

He makes good points and put into words why I had negative feelings when info came out about this game

I don't know the Metroid series. Reading Malstrom, I wouldn't buy the latest chapter, but I guess this is one of the cases I agree with him, if it's true that the game is dumbed down, on rails and with excessive cutscenes. But the cutscenes wouldn't be the worst fault for me.

Anyhow, my point isn't about whether I agree or not with him this time. As I wrote, knowing my own tastes, I could actually mostly agree. My point is that suddenly, answering a raving fan, he looked instead mild and reasonable, as if he regretted having possibly damaged Nintendo and tried to look innocent. Totally personal opinion, mind you.



Stwike him, Centuwion. Stwike him vewy wuffly! (Pontius Pilate, "Life of Brian")
A fart without stink is like a sky without stars.
TGS, Third Grade Shooter: brand new genre invented by Kevin Butler exclusively for Natal WiiToo Kinect. PEW! PEW-PEW-PEW! 
 


Alby_da_Wolf said:
mhsillen said:
Alby_da_Wolf said:
LordTheNightKnight said:
Alby_da_Wolf said:

LOL, I read some of his last posts, and now his tone against MOM is less raving, he's letting his fans doing the dirty work, publishing their letters.   


It seems he never hated the game, just wanted to show why it was a bad idea.

But by now the fire has been started, the Malstrobans' hate can't be extinguished, the genie can't be put back in the bottle anymore!  =:-O  Malstrom can do what he wants to look more reasonable now, but he can forget being hired by Nintendo as analyst or consultant...   

You say nothing to prove any point, just that you don't like him

He makes good points and put into words why I had negative feelings when info came out about this game

I don't know the Metroid series. Reading Malstrom, I wouldn't buy the latest chapter, but I guess this is one of the cases I agree with him, if it's true that the game is dumbed down, on rails and with excessive cutscenes. But the cutscenes wouldn't be the worst fault for me.

Anyhow, my point isn't about whether I agree or not with him this time. As I wrote, knowing my own tastes, I could actually mostly agree. My point is that suddenly, answering a raving fan, he looked instead mild and reasonable, as if he regretted having possibly damaged Nintendo and tried to look innocent. Totally personal opinion, mind you.

The linearity of this game is vastly overstated. I would say its less linear and less directly mission-based than Fusion (Fusion told you where to go and you went. Other M is closer to Prime, in that it lights up a dot out in the middle of blank map and essentially tells you to figure it out for yourself)



Monster Hunter: pissing me off since 2010.

Alby_da_Wolf said:
mhsillen said:
Alby_da_Wolf said:
LordTheNightKnight said:
Alby_da_Wolf said:

LOL, I read some of his last posts, and now his tone against MOM is less raving, he's letting his fans doing the dirty work, publishing their letters.   


It seems he never hated the game, just wanted to show why it was a bad idea.

But by now the fire has been started, the Malstrobans' hate can't be extinguished, the genie can't be put back in the bottle anymore!  =:-O  Malstrom can do what he wants to look more reasonable now, but he can forget being hired by Nintendo as analyst or consultant...   

You say nothing to prove any point, just that you don't like him

He makes good points and put into words why I had negative feelings when info came out about this game

I don't know the Metroid series. Reading Malstrom, I wouldn't buy the latest chapter, but I guess this is one of the cases I agree with him, if it's true that the game is dumbed down, on rails and with excessive cutscenes. But the cutscenes wouldn't be the worst fault for me.

Anyhow, my point isn't about whether I agree or not with him this time. As I wrote, knowing my own tastes, I could actually mostly agree. My point is that suddenly, answering a raving fan, he looked instead mild and reasonable, as if he regretted having possibly damaged Nintendo and tried to look innocent. Totally personal opinion, mind you.


I don't think he usually sounds crazy.  I think he has a good grasp on what makes a good game that sells boatloads