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"how does that translate into them not caring about the length?"

Again, the lack of replay value PLUS the length. Those quality do not make up for those, and don't cut off half my points just to pretend it's otherwise. Most gamers don't spend $50-$60 just to look at a pretty game they are only going to play once (note the sales picked up when the price dropped).

"I still disagree about the tutorial, but I'll wait until I play the game to continue that argument."

You're just supposing what the tutorial is leading up to? Do you even know if we're supposed to be feeling loss for this guy later on?

I mean, I'm not even looking at the rest of the game because I'm trying to see this from Malstrom's POV, and from some of the emails he's gotten. I've actually played a lot of games with slow tutorials. But this tutorial belongs in The Sims or a copycat game, not an adventure game that's supposed to have a deep and interactive story. You're supposed to use a tutorial to let us know how to play the story if that's the main element.

Yes, that's the reason the tutorial is bad. The main promised element of the game isn't in the tutorial.



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

Nintendo going through old 

What is this? In an Iwata Asks about Zelda handhelds, the Nintendo developers are poring over documents from the original Legend of Zelda. Iwata, who formerly said that Zelda could not be defined, is now suddenly talking about the ‘Zelda essence’? Iwata even refers to Miyamoto, Nakago, and Tezuka as the ‘trio’. It is a very surreal reading experience for me. I suspect this Iwata Asks interview was, in part, a new direction in the Zelda series by getting back to its roots. Iwata picking the “trio’s” brains and about the evolution of handheld Zelda (and really about Zelda in general) with much attention at the end with the original Zelda seem to reflect this direction. And Aonuma is there to learn.

This reminds me that I need to finish and put up my little “Essence of Zelda” mini-article. It will say how Zelda originally sold to non-gamers and new gamers.

“What! More baseless opinion?” shouts a reader.

No. There is proof to back it up.

Email: How to make Zelda entertaining again

Below is an email that was sent to me. And yes, these are the typical length of the emails I get! (laughs)

I love sharing emails from people who are bored with gaming or drifted away from gaming in the past decade or so. It is fascinating how we all share the similar complaints.


Hello once again, Mr. Malstrom.  I know you’re wrapping up your website, and I’m not sure you’ll get around to checking out this email, but I did wanna talk about Zelda a little bit after reading your recent posts.

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I used to love Zelda.  Back in the day I’d watch my older cousin Kevin (who basically got me into gaming) play through it, and get the Master Sword and go the Dark World.  Eventually I got good enough to do that on my own.  Then years later I bought Ocarina of Time.  It was definitely awe-inspiring for the time it came out, especially when I was younger.  But nowadays I’m loathe to even take another look at the game.  Why?  The damn Water Temple.  As a child I loved that game right up until that damn dungeon.  Then I got stuck for hours, finally got through it, and I do attribute it to killing my enthusaism for the game over the years.
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I skipped out on Majora’s Mask.  Then I did a double-take when I saw Wind Waker and it’s cel-shaded graphics.  Needless to say, I was in the “hate it” camp.  A few years back I borrowed the game from a friend of mine.  And my attitude towards the graphics had softened.  In fact, I rather liked them.  But, I never finished the game.  Hell, I never got far enough to get the Master Sword.  I don’t even think I got past the first or second dungeon because the game bored me to tears.
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What I really like about your site is that you talk about games in a way that makes me think back about them and re-examine why I loved or hated certain things.   What killed me on Wind Waker was that when I got the boat and started sailing around the “world”, I got very bored with how uninteresting it was.  There were islands, with maybe a cave, or a piece of heart, and maybe some small outposts with enemies and such, but it just wasn’t very exciting.  It just wasn’t exciting enough for me to keep playing, especially when I got stuck in a dungeon.
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Then when the Wii first came out, I watched a friend of mine play through Twilight Princess, and most of the time I saw him playing, it was in a dungeon, and when he was in the overworld, it was doing some annoying obstacle course of trying to platform using the hookshot, just like we’ve done on Ocarina of Time.  It wasn’t interesting or exciting enough for me to want to play it.
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I think the real problem with Zelda (and you have basically stated) is that the last few installments have become formulamatic.  All the major console games have essentially been the same game with a different coat of paint and maybe different controls.  The games have essentially become predictable, and like any media, be it books, movies, or TV shows, when something becomes predictable, it usually ceases to be interesting or entertaining.  Most of the Zeldas have worked this way, save for one.
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Now, I missed out on the original Zelda growing up, so sadly I don’t have that game as a frame of reference for the rest of the series.  But I have played Link’s Awakening for the Gameboy.  And thinking back on it, I think it might be my favorite entry in the series.  Even moreso than A Link to the Past, because it seems to break a great deal from the formula that the series has adhered to.  It may be closer to the original Zelda, but I don’t know since I haven’t played it.  But essentially, Link was on a boat sailing back to Hyrule, and on his way there was a storm that wrecked his boat, and when the game begins you’ve washed ashore on Island.  So right off the bat the game is interesting because it doesn’t take place in Hyrule.
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The next interesting bit is that Ganon is not the villain of the game.  Third, there is no Princess Zelda, and fourth there is no Triforce, and fifth, there is no Master Sword.  Instead of trying to find the Triforce, you go around the island finding musical instruments that will allows you to awaken this giant floating whale.  You’ll have to forgive my memory, I haven’t played the game in years, but I do remember enjoying myself a great deal when I played it, and would like to play it again.  I think the coolest thing about Link’s Awakening, however, is that you go the Roc’s Feather, which
allowed Link to jump around. To this day I am perplexed at why none of the following games really tried to expand on Link being able to platform.  Of course, after reading your site, I have a better understanding of why.
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That’s really the big problem with games these days, and like you said, is that they are all the same.  They have been turned to formulas and franchises to be milked.  I had no interest in Mario Galaxy because I watched a friend play it for five minutes, and I basically felt like I had seen everything the game had to offer.  It was the same way with Mario 64.  You get one star, you’ve gotten them all.  You’ve seen everything the game has to offer in a few minutes and it ceases to be interesting or entertaining.  Zelda has gotten to be that way.  Wind Waker and Twilight Princess both emulate Ocarina of Time so closely they may as well be the same game.  That’s probably what has driven the wind out of Mega Man over the years as well.  I loved Metroid Prime (and hated Fusion, for the reason you have stated), but I didn’t feel the game need sequels.  Prime 2 emulated the Dark World of Link to the Past, and wound making me feel lost and confused and frustrated to the point that I never finished the game despite getting to the final boss.  And then the irony of being sold on the Wii because of Metroid Prime 3, and then finally getting the game, and very quickly getting bored with it because I managed to somehow feel lost
and kept on a short leash at the same time.
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I think Monster Hunter was exciting to me because it kept changing things up with every installment.  New monsters, old monsters with new behaviors, new weapons, armor, skills, and new ways to play the game.  The games usually have a slow build-up, but it’s like a pebble going off the side of a mountain.  Before long it starts an avalanche and it’s just everything you can do to keep up with the momentum the game maintains right up to the very “end” (since it does have an online mode).
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But, as someone that used to be a fan of Zelda, but who really isn’t interested in the series any longer, I would like to make a list of things that I feel would once again command my interest in the series.  The main problem with the series is that they have become predictable.  I said that Link’s Awakening was the only one of the series that I played that didn’t adhere to the formulas that is used in almost every game of the series now, so I’m gonna use Link’s Awakening as a template for what I’d like to see out of a console Zelda game:
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1.  Link starts the game with the Master Sword.  Maybe he doesn’t know how he got it.  Maybe the game is a sequel to another Zelda.  Maybe we never find out.  I wouldn’t really care either way.  A lot of people might whine about “the satisfaction of earning” the Master Sword, but ya know what I’ve missed since Link to the Past?  The ability to temper your damn sword!  It’s kinda like an FPS being advertised with all these big guns, and yet when you start playing you only have a knife or crowbar or crappy pistol.  Give me the good weapon starting out, and then give me the freedom to make it
better.
And while we’re on the subject of equipment, give Link the abliity to wear armor, or at least upgrade his outfit so he can take a hit.  Let him wear his armor over his normal clothes, if you want, that’s fine, but just give me the ability to have some modicum of control over how much damage I can take.  Or maybe instead of having to find heart containers upgrading Link’s armor boosts his health.  That would cut down on the annoying fetch-quests somewhat, if you have to pay for it instead, which would help make combat more meaningful instead of an ancillary elment like they are in the more recent games.
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2.  The game does not begin in Hyrule.  That’s right, Link’s Awakening was awesome because you were exploring the world outside of Hyrule.  For once, the game’s universe was
expanding.  I want the next Zelda to be like The Odyssey where Link is trying to make his way back to Hyrule, and he has to travel through exotic kingdoms and foreboding wilderness, and maybe even travel across oceans to other countries and continents along his way there.  And you know what that means…
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3.  Less dungeons, more overworld.  I don’t want one kingdom to explore.  I want many kingdoms.  I don’t want just a village, I want to explore remote settlments, colonies, traverse hostile wilderness, accidentally come across an encampment of bad guys and have to fight them.  I want diverse habitats and ecosystems.  In OoT Hyrule was a microcosm of these things, but I’d like other kingdoms to portray these things in a more interesting light.  I want there to be shops, carnivals, I want to be able get a horse and travel along vast plains, or surmount a mountain range to overlook the next kingdom.  I want to be able to pay someone to ride me somewhere in a carriage, or on a boat. or ferry.  What I want is for the overworld to be
filled with stuff to see and do, I want to have a vast world to explore. And to help perpetuate the ability to explore this great big world, I would also like to
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4.  have the ability to platform again.  Yes, Nintendo, I would really appreciate having the ability to let Link
jump. This has been long overdue.  Make the first damn dungeon I go into give me a feather I can stick in Link’s cap that let’s him jump.  Then, I want some damn wings to affix to Link’s boots that let’s him perform the dash from Link to the Past.  Let it be upgradeable, I don’t care.  Doesn’t have to let me run across the entire map, but it would be nice to have, and would make combat a lot more exciting.
But overall, I would like to see a greater emphasis on platforming.  I want the freedom to either storm into a fort full of badguys with a sword in one hand and a bomb with a lit fuse in the other.  Or I would like the ability to use a hook and rope to rappel up into the fort and try to sneak through.  Let me use the hookshot to go Bionic Commando/Tarzan through a forest.  I want dungeons to be less about puzzle-solving and more about platforming.  In fact.
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5.  There shouldn’t be any “dungeons.”  Maybe I need to storm a castle to get an important item.  Maybe I need to raid an underground catacomb filled with zombies or mummies to get an item.  Maybe infiltrating a monastary requires Link to leap and bound over the surrounding rooftops before sneaking in through the bell tower.  Maybe I have to haul ass on my horse to intercept a bunch of ruffians in order to save a fair maiden they kidnapped.  Maybe I have to sneak into a prison to rescue an old man who has information I need, or whatever.  This kinda goes back to Number 3, where I want interesting stuff to in the Overworld.  Keep the “dungeon” elements on the surface so that they aren’t as noticeable.  And then when a character really does have to go into an actual dungeon where they can’t see the sky, it will be more interesting and less monotonous.  Also…
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6.  No puzzles.  The Water Temple may have single-handedly killed my love for Zelda.  I was playing Prince of Persia:  The Sands of Time recently, and while I love the platforming elements, my enjoyment of the game comes to a screeching halt when I’m forced to solve a damn puzzle.  It ruins the game’s pace, and even worse is that it kills the game’s momentum.  When Frodo got to Mount Doom, did he have to solve a damn puzzle to throw the ring into the fires?  No!  Does Rambo need to solve a puzzle to kick ass and take names?  No!  So why the hell should Link have to solve a damn puzzle to find items or achieve his objective?  Instead of puzzles, put a greater emphasis on platforming.   When well-executed, platforming is almost always more satisfying to perform because you’re constantly doing something.  You rarely have to stop to think about your next move, because you are usually doing that on the fly.  It keeps the momentum going and the game exciting.  Resident Evil 4 was awesome because it dumped most of the silly and illogical puzzles from the prior games.  It kept the momentum going.  Make the dungeons more about action, and not only will people not complain about them, but they’ll probably want to do them again.  And to aid in that, I’d like
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7.  to see items become meaningful throughout the entire game instead of being somewhat useful only dungeons.  If I find an item that let’s me jump, then that item has become an integral part of the game, which means it is useful for the entire, if not needed.  If I get dash boots, let me use them to blaze through hordes of enemies, or smash through walls or doors, or run across collapsing floor tiles ala Indiana Jones and the Last Crusade.  I want the Magic Cape back, so I can turn invisible and kick a Moblin or whatever off the side of a ledge.  I don’t want a lantern.  I want the Fire Rod to act as a lamp/torch when it’s not being used to turn chickens into barbeque.  I want to light an arrow on fire and use it to burn a cottage to flush out a band of ruffians.
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In fact, let me upgrade my items so that they become more effective.  Let my Fire Rod become a portable flamethrower.  Let me gain the power to fire arrows faster than Legolos did in Lord of the Rings.  Give me gloves that not only let Link lift boulders, but flatout
punch them into rubble. Do you know why people like Monster Hunter?  It’s because you literally start out with nothing and then by the time you get tot he end of the game, you look like a badass.  People can look at you and see what you had to fight and struggle against to make your armor and weapons.  Zelda doesn’t have this.  When I start the game I want to look like a wimp, and then by the end of the game I want to see Link wearing armor, and his Master Sword needs to glowing so bright that it could be used as a lamp in dark places.  I want a visual progression to help emphasize Link’s progression through the game, and display the ultimate culmination of all his trials and tribulations.  If a guy in a green tunic came up to me and told me he was about to storm a heavily fortified castle with just his sword I would laugh.  If I saw a guy come up wearing heavy armor glowing with magic energy and armed with magic and weapons and more than enough gadgets to make even MacGuyver envious, I’d be more willing to take him seriously.  I sure as hell wouldn’t laugh.
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8.  Next, I want magic.  I want the Master Sword to shoot energy again.  Give it it’s own special gauge or something.  Let me upgrade the Master Sword to do different things.  Tales of Hearts let you control how the characters’ weapons developed, which would determine what kind of powers and qualities they had.  That would be an interesting choice to throw at players.  Maybe make the Master Sword have a focus on using magic, or make the other one sharper, or more effective at breaking an enemy’s guard.  But I also want the power of the Fire Medallion back.  Give me the Staff of Somaria or whatever it was that puts a force field around Link.  I don’t care.  It’s a fantasy world.  I want magic, in some way shape or form, or at least more of it.
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9.  Finally, Ganon is not the villain.  It’s The Legend of ZELDA not The Three Stooges starring Link, Zelda, and Ganon.  Ya know what, make the king of Hyrule the villain.  Maybe Link and Zelda have a thing for each other and maybe this doesn’t sit well her father, so he sends Link off somewhere and hires a bunch of peple to try and kill him.  They fail and you spend the whole game trying to get back to Hyrule and rescue Zelda from a forced marriage or something.  Maybe the king finds out again and sends his armies out to track Link down and try to kill him, or maybe he hires mercenaries to try and kill him.  Maybe like The Wild Bunch from My Name Is Nobody.  Maybe right before you get to Hyrule Castle you have to face down with all of them, but your fairy companion slips a bunch of gunpowder into their horse saddles, so all you have to do fire burning arrows to explode all of them like Jack Beauregard.
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I mean, at least with the game unfolding like that, the title of the game would make a lot more sense just because the game really is about Zelda, and what Link has to go through to get back to her is the kind of thing people would talk about and pass through into legend.
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Whew, anyways it’s been a pleasure reading your site, and I will continue to do so until you cease to update it, and I’ll be very eager to follow your work wherever it takes you.  Best wishes and Happy New Year!

Now, when you say ‘platforming’, I know what you mean but other people will think you mean Mario. What you want is an exciting combat system and intense fights and an intense adventure.

You remember when Zelda was an intense experience. Today, Zelda feels like a sedated experience. Herd the ram, find the cat, go on nature walks, go for a canoe ride, solve some puzzles, and so on. In fact, in Zelda games now you never die. But you would die all the time in older Zelda games. If you just stood in one place, you would die pretty fast.

What you describe is pretty much Zelda II with magic, with a jumping Link, with different kingdoms, and a boss that isn’t Ganon.

What you sound like you want is a meaty action/combat system. From a developer’s point of view, they would call it a ’system’ as to be a ’skeleton of the game’. You feel something is lacking. And in the earlier Zelda games, there was a distinct combat/action system in all the games.

I have never felt combat to be fun in modern Zelda. So that is probably why Nintendo emphasized puzzles more. But yawn at the puzzles.

When you say you want Link to visually progress, to be able to get armor, to have items that are useful throughout the game (like the boomerang in the older Zelda games) instead of for a part of the puzzle, you are hinting at that combat/action system for the game to revolve around. You want a fire rod to help you in combat, to make you more of a bad ass. You do not want a fire rod to light lanterns to open up a door (which is an annoying way to do something that could have been done with a key).

In a way, you are hinting that you want a skills based Zelda. Modern Zelda doesn’t require any ’skill’ except for puzzle solving sessions.

One thing I have noticed lately is that I find games thrilling when I feel scared. For example, I was constantly scared in World 8 of Super Mario Brothers. Those long jumps and all those Hammer Brothers were a very scary thing. In a game like Zelda II, I find just the trip to the Final Palace to be scary as hell. And the Final Palace is scary as well as Shadow Link. In the Final Palace, there are those blue guys that are jumping around shooting their swords at you. I always freak out around them.

In Civilization, I am scared if a civilization is sending armies my way and my town has nothing but puny militia. In Wing Commander, I am scared when my shields are blown, when my ship is sparking, and I don’t know if I am going to make it. In Ultima 7, I am scared when I wander too far into a cave and monsters appear all around me. How am I to get out?

I find fear isn’t a correct element in some games, but it is a correct element in ALL games. Tetris scares the crap out of me. Especially on Level 20. Oh. My. God. When I am done, even if I lose, I say, “WHAT A RUSH!”

People play games for a rush. It is why people love playing fast based games like RTS or FPS games online. Even in ’slow’ games like Dragon Quest, you would get that rush if you decided to visit the Dragon Lord at level 14.

I felt ‘fear’ in Mario 5 that I didn’t feel in NSMB DS. Especially in World 8. I ADORE World 8 in Mario 5. World 8 is Mario 3 type of awesome. Although, I never felt World 9 was ’scary’. I just found most of its levels to be more annoying and frustrating. 9-7 doesn’t come across to me as scary as 8-1 did.

In Zelda, we should have the freedom to progress in order to maximize the ‘rush’ the game gives us. For example, in Zelda I, you could go to other dungeons out of order or go through them without the armor or weapon upgrades or with only 3 hearts. In Zelda II, you didn’t have to level your Link. The game became much  harder if you didn’t.

It is really hard to get that ‘rush’ from Zelda anymore if it at all exists. You never feel like you are in danger.

And speaking of changing Hyrule, Zelda I, Zelda II, and Link to the Past all had very different overworlds. You could even argue that Ocarina of Time was a very different world since it was in 3d. But I am sick of that stupid Kariko Village and its chickens.

With Ocarina, I did manage past the dreaded Water Temple, but my interest waned pretty fast after that. I hear that most people who played Ocarina of time didn’t finish it which is why Miyamoto has made Zelda games so much easier since then.

And I agree with you on Wind Waker. I fell asleep playing the game.

I judge the quality of a Zelda game today by how fast I get the sword and am kicking ass with it. With Zelda I, it took a simple trip to the cave. In Zelda II, it took me to walk out of the palace. In Link to the Past, I had to fall down into the sewer and get a sword from my dying uncle. It didn’t take much time for me to start kicking ass. But in games like Wind Waker, you are not given a sword. As soon as I got to the Forsaken Fortress, I was ready to kick ass. But then they took my sword away! It became a stealth game! And once I get my sword back, I can’t do much with it. I immediately get sent to a town and have to talk to stupid villagers to find a “sail”. The only thing that impressed me in Wind Waker was the Mirror Shield. I thought it was cool reflecting light back by adjusting my shield. The final battle in Wind Waker was pretty cool too.

Why does Nintendo start every Zelda game in a snore fest? Why is the Forest Temple always the first dungeon? And why do I have to talk to so many stupid NPCs to do anything? I don’t care about NPCs. I care about kicking ass.

The good news is that in the latest Iwata Asks, the “big shots” at Nintendo are poring over the original design documents for the Legend of Zelda. It looks like there is interest in bringing Zelda back to its roots.



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

I really wish that the new zelda returns to its arcade roots of the NES and SNES versions while retaining some of the new ones. I hated the tutorials on OoT, WW and TP. I don't want to catch pigs, cats ortalk with bratty kids..just put me in the action and give me the darn sword in the beginning!

The idea of the dungeons that the emailer exposes is not that bad.



Is “Michael Pachter” imploding?

There has been some extremely odd behavior from “Michael Pachter” lately. I am actually getting worried about him. He is running the risk of turning Wedbush into a joke and harming the careers of the staff that work there.

It is extremely odd behavior for an ‘analyst’ to become a TV show host on a lowly watched video website. It is extremely odd behavior for any analyst to publicly argue with the executive heads of a company about the company’s plans for their next product. It is extremely odd behavior for an ‘analyst’ to dismiss best selling business books (e.g. Blue Ocean Strategy, Innovator’s Dilemma) in favor for buzzwords (“casual”, “hardcore”). It is extremely odd behavior for an ‘analyst’ to write long threads on gaming message forums and even say things that everyone knows is outright false (more on this below).

Sincerely, Pachter’s behavior has been very odd lately… odd even for Pachter. His behavior doesn’t fit an ‘analyst’ anymore. His behavior now fits that of the ‘activist’. Instead of being intent on analyzing events, his behavior is geared toward shaping events.

The game journalists who are stenographers to everything Pachter says or emails aren’t even bothering to do any fact checking (hence, the ’stenographer’ description).

Check out these strange and bizarre quotes:

Pachter says that piracy — plus a new mobile platform in town — might also be weakening the DS. “It appears that piracy in Europe and some substitution of iPod Touch games has impacted DS software sales more than we expected,” says Pachter.

These ‘casual gamers’ are an amazing type of gamer. I mean, they are so stupid and dumb that they cannot play ‘real games’. Yet, they can pirate games the ‘real gamers’ still don’t really know how to do. The 14 year old pigtail girl will look at Ubisoft’s “Babiez” game and go, “I am not going to pay for that! I am going to go to my computer, do some elite hacking, and pirate it!” These ‘casuals’ are just incredible.

Have you also noticed an amazing coincidence how every time discussion of third party games and Nintendo comes up, the third party companies are always innocent. Always. Nothing is ever a third party company’s fault. It is such an incredible coincidence.

Anyone who has been following the DS knows there is piracy. There is piracy on all the platforms. There has been piracy since the first video game console. And piracy will continue in the future.

Pachter expects the pressure on Nintendo to continue, he explains: “We think that lower pricing on the PS3 and Xbox 360 will provide consumers with a more difficult choice when considering a new console.”

The Wii’s gone from being $350 less expensive than the PlayStation 3 to just $100, for example, says Pachter, “with the feature-laden PS3 a tempting purchase for prospective console households.”

This is an absolute lie. The Xbox 360 has been at the same price or cheaper than the Wii in various territories. Yet, the lower price did not cause people to rush out and buy the system.

PS3 has many features. Unfortunately, they are not video game features. PS3 already had the Slim and major price cuts. Aside from a temporary boost, none of this has changed anything in the market. Pachter’s behavior in being a PS3 advocate is very un-analyst behavior. This is why people no longer respect Michael Pachter and increasingly see him as a joke.

“The holiday Wii sales boost was primarily attributable to a $50 gift card promotion offered by Wal-Mart,” he asserts. “While we expect similar promotions at holiday next year, we expect the other consoles to be lower-priced by then, further eroding the Wii’s competitive price advantage.”

Then why did Wii sales skyrocket in other territories that did not have Wal-Mart? Pachter is not interested in answering. He “asserts” himself like a bear “asserts” itself when cornered. Everyone knows that Mario 5 was a big driver in the Wii sales boost.

I didn’t even know about any Wal-Mart promotion. It certainly wasn’t well advertised. Note that the company that does heavy promotions and coupons on its console is Microsoft. Xbox 360 was heavily price promoted with special ‘deals’. Yet, Pachter makes no mention of this. Why?

In his NeoGAF thread, Pachter writes:

The conclusion I draw from this is that the Wii audience is far more casual and harder to reach than the PS3 or 360 audiences (pretty obvious), and they buy brand name software (with “Wii” or “Mario” in the title, or with a TV/product tie-in). The only titles that don’t fit this are Deca Sports and Game Party. The average selling price of third party titles says a lot, coming in almost $7 below the average for all Wii titles, and almost $18 below first party titles. There were a lot of units sold with the word “party” in the title at $20 or less.

I made a comment on Bonus Round that half the Wii audience is hard core and half is purely casual. That split sounds pretty agressive, and the data above suggests it’s more like 25/75.

Given that NeoGAF is a hard core site, I’m curious to hear your spin. What should publishers do?

If his name wasn’t Michael Pachter, he would have been banned for trolling. Talk about kicking a dead horse of a subject talked about into the ground.

The answer is to not talk to the hardcore. The answer is to talk to the Expanded Audience. Since I am a member of the Expanded Audience, let me give you the answer:

There is no such thing as First Party Games and Third Party Games. Those are Industry terms. That is not the consumer perspective. The consumer perspective is First Rate Games and Third Rate Games. Consumers do not buy every game that is heavily marketed by Nintendo. Look at the sales of Wii Music for example or Animal Crossing Wii. The massive sales of Mario 5 proves that people do not buy games simply because it has Mario in the name. If it was, all these people would have bought Super Mario Galaxy.

It is incredible that the Expanded Audience keeps being talked about as if they are martians from another planet. Why not go ask them?

It should be clear now that even Pachter doesn’t even believe what he is saying. He is not “stupid”. He is intentionally saying these things for a purpose that is more activist rather than analytic.

I actually think Michael Pachter is imploding. I don’t think he can take how people are laughing at him and how everyone is rejecting what he says. While it is annoying to go to any game website and see him quoted, the more he talks the more he is destroying his reputation and the reputation of Wedbush.

Email: Mario 5 shows that the hardcore is soft

Malstrom,

I am a frequent reader of your site. The first time I read your articles I felt the scales fall from my eyes.  I wanted to relate two situations to you which happened to me over break.

Before Christmas my fiance and I purchased Super Mario 5.  When we brought it to her family’s house her 19 and 20 year old sisters squealed with delight.  One of them proclaimed “Oh! A 2D-Mario! I hate the 3D ones! Can I play next?”

Playing four players with her family was a blast.  While it would take awhile to finish stages, there were so many ways to have fun.  People would be throwing each-other off the ledges, picking the weaker players up to help them finish the level, seeking retribution on those who either stole your power up or hit you with a shell.  It was a great way to spend a holiday.  We probably looked like the families in the 1980’s Nintendo advertisements (I attached one to this E-mail).

Next, we took the game to my parents house.  My mother (who played the original Mario and Zelda, but hasn’t played video games since Super Mario 3), bugged me several times to hook up my Wii so we could play the game as a family.   She also remarked “I don’t like 3D Mario, I get too confused.”  She was especially excited that Super Mario 5 returned the matching mini-game (although she was disappointed that it wasn’t matching but test your luck).

My 20 year old younger brother, who is a member of the hardcore, was the only one not to have fun.  He would throw mini-hissy fits every time someone would pick him up and throw him down a hole.  If someone stole his power up, he would mope.  If we decided to end the madness and try to finish the stage, he would take umbrage that I had to carry him to the end.  Everyone else had a good time, realizing it was just a fun, hectic, action game.    He declared Mario “not fun” and went to play madden and dragon age.

I have a thesis of why he acts this way: Hardcore games make a gamer soft.  (I think this dovetails nicely with your “necessity of fear” argument.  The hardcore hate uncertainty and fear).  in the original zelda and mario brothers there was no intro or story (except that which was in the instruction guide), you just played and made your own fun.  No stupid Owl showed up and told you how to kick ass.  You learned to kick-ass through trial and error.  People found their own way around the world and discussed with their friends the various ways to make it through the game and their exploits.  I remember when I was in elementary school that during lunch we would discuss hidden warps and the various paths you could take through Zelda.

Hardcore games hold your hand and slow the action down.  My two examples of this are Dragon Age and Gears of War.  While I enjoyed Dragon Age, to get through the game on the higher difficulty levels you have to continually pause the game and plan out your strategy after every move.  While the battles and powers you gain as the game goes on look epic, the game is really based on precise micromanagement and risk aversion.  Gears of War also only rewards the risk averse player.  I found that whenever I rushed out from behind cover i would be clobbered by the monsters.  The best, and only, way to play the game was to have nearly every fight be the same (shoot-and-cover-shoot-and-cover, move-up, cut scene, shoot-and-cover (another aside, this is also the basic play mechanic of Mass Effect)).  This is so radically different from the non-stop action of mario that the hard-core can’t handle it!  Despite all the fancy play mechanics and use of complex button combos, the games are slower and offer a less diverse play experience than Mario Wii.


Excellent email! You saw with your eyes how there are people out there who *despise* the 3d Mario. You also saw the hardcore get his butt whipped by ‘girl gamers’ hahaha. (Those housewives on Dr. Mario are ferocious. I imagine they play a mean game of Mario 5 too!)

Your idea of hardcore games rewarding ‘risk-aversion’ is interesting. All the problems of modern gaming could be said to be caused by risk aversion. From the business side, risk aversion has game companies make sequels after sequels. But from the game experience side, things like tutorials came into existence because of risk aversion. From a publisher’s point of view, a tutorial is to erase the risk that someone may not learn how to play the game properly.

Risk-Aversion is the riskiest strategy a game company can take. All roads of risk-aversion lead to boredom. No wonder gaming sucks these days. Perhaps that would explain why there are so many ‘cutscenes’. You cannot ‘lose’ during a cutscene. There is no risk for the player to fail.

Games are being made today with the expectation that players are entitled to finish them. This isn’t how games used to be made. In the past, with arcade-type gameplay (since many console games were arcade ports), you could not finish most games. Most space shooter games I have never finished. But that is OK. They are fun to play. When I play them, I think, “Maybe THIS is the time that I win!” There are countless NES games that I have never finished. I never thought I was ‘cheated’ because I didn’t finish them. For some of the really hard ones, like Ghosts ‘n’ Goblins, I considered it a special challenge.

Games like Zelda were not made with the expectation that everyone who plays it will finish it. Players should enjoy the process of playing. There are many people who didn’t finish Zelda I and Zelda II for example.

With modern games, not finishing a game is considered a problem with the game. With Ocarina of Time, I did not finish the game not because I was dying, but because I was bored. I can understand why people stopped playing at places like the Water Temple. There is a difference between challenging and frustrating.

My biggest peeve about modern gaming is how they change the gameplay on you. Using Zelda examples some more, I absolutely despised having to suddenly be forced to play a Fishing Game or a Snow Boarding game in order to advance in Twilight Princess. If I want to play a Fishing Game or a Snow Boarding game, I would buy those games. Learning gameplay mechanics is frustrating to the consumer. Once the consumer is over that hump at the beginning, they have no desire to learn totally different mechanics.

The old games were arcade games. Arcade games had to be challenging, not frustrating. Challenging means addictive enough for the player to keep putting in quarters to play but being difficult to stay alive. Frustrating is a game where you die all the time but the game is not addictive. A frustrating game would be a game with bad controls, for example.

Some people think that ‘old school gaming’ means dying all the time so they do things like throw instant-kill spikes and cheap kills all over the place. This is what Mega Man 9 did. Mega Man 9 is not hard in the arcade sense. The game is simple in that it is nothing more than memorizing where the cheap kills are and dodging spikes. But Mega Man 9 would never work as an arcade game. Why would someone want to throw in more money to continue? To see more spikes?

The downloadable games I’ve seen and played on WiiWare, Xbox Live Arcade, and PSN all show they still haven’t figured this out. All the games feel flat. It is like this:

Mario 5 is what I demand from a game. But I suppose when I buy a $10 game, I should expect a second rate or third rate product.

People want games that are easy to learn but hard to master. Mario 5, Wii Sports, and Wii Fit all share a common theme that they are all games that are easy to learn but hard to master. Blizzard enforces a strict theme that all its games must be easy to learn but hard to master.

The big mistake the “Industry” makes is that it sees Nintendo or Blizzard games as ’simple’ therefore they think they should have no problem replicating that success. But it is harder to make a simple product. Making complex products is easy (and is a sign of incompetence).

There is a difference between fiddling with the computer and playing a game. Most gamers do not wish to fiddle with the computer. They just want to play the game. They do not have the patience to go through all the tutorials or to watch bloated cutscenes. They just want to start kicking ass.

How should game developers make games for the ‘Expanded Audience’? Very simple:

Due to risk-aversion, games are losing their souls. A game, by its very definition, is about risk taking. If it wasn’t, no one would try to jump over a hole with Mario. When the player is allowed to risk, only then can there be true achievement. It is this sense of achievement that will cause people to anxiously buy the sequel or to buy games like it.

Or, in other words, Zelda games no longer feel satisfying because there is no danger (and thus, no thrill. No rush of blood. No sweaty controller).It is harder to die in modern Zelda than it is to stay alive. You have to deliberately work yourself to die.

Game series like Zelda have been neutered under the mistaken belief that Every Gamer Is Entitled To Finish the Game. This destroys the game’s value. People will finish the game and sell it at a used game store. What reason would they have to replay it?

We used to say, “I have finally reached level 5 in this game!” Today, we say, “I am five hours into this game…” The first game will not be sold used. The second game will be. From the gamer’s perspective, the first game morphs into an achievement. If completed, the gamer will keep it around as a trophy. The second game, since its progress was only through time, will only be seen as “Time Wasted On Finishing This Game”. Instead of being a trophy, the game will be felt as a type of albatross. It will be sold ASAP.

Every now and then, I adventure into used game stores. I have never seen a copy of Mario 5 used. I haven’t even seen a copy of Mario Kart Wii either. Both Mario 5 and Mario Kart Wii are not pushover games. They can be challenging. But the key word is challenging. I can imagine both of them being arcade games.

On another note, is it not strange that the hardcore had a cow over Mario 5 selling so well? This is very strange. I, and many other people, did not have a cow with Modern Warfare 2 selling well. I just had indifference. But our hardcore friends seem offended that Mario 5 sells well. Why? What offense did Mario 5 do? The Expanded Market doesn’t care what hardcore games sell well. So why do the hardcore get their panties in a knot when Expanded Market games sell well? Why do they care?



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

How to report the news

Someone should make a video like this for “game journalist” or for “analysts”.

Warning: language

 

 

Watterson shows the proper attitude for entertainment makers

Here is a delightful interview with, arguably, the best cartoonist of the 20th century. Just listen to these quotes. No one talks this way in the “Game Industry”, not even Nintendo developers:

With almost 15 years of separation and reflection, what do you think it was about “Calvin and Hobbes” that went beyond just capturing readers’ attention, but their hearts as well?

The only part I understand is what went into the creation of the strip. What readers take away from it is up to them. Once the strip is published, readers bring their own experiences to it, and the work takes on a life of its own. Everyone responds differently to different parts.

I just tried to write honestly, and I tried to make this little world fun to look at, so people would take the time to read it. That was the full extent of my concern. You mix a bunch of ingredients, and once in a great while, chemistry happens. I can’t explain why the strip caught on the way it did, and I don’t think I could ever duplicate it. A lot of things have to go right all at once.

In other words, Watterson had no intention of ramming messages or narratives at the audience. He respected the audience’s imagination and played to his audience’s imagination.

What are your thoughts about the legacy of your strip?

Well, it’s not a subject that keeps me up at night. Readers will always decide if the work is meaningful and relevant to them, and I can live with whatever conclusion they come to. Again, my part in all this largely ended as the ink dried.

No one making games talks this way about their product. Watterson basically doesn’t answer the reporter’s question. He leaves the impression of Calvin and Hobbes up entirely to the audience. Whatever they find meaningful and relevant of it is fine to him.

One of the big reasons why Calvin and Hobbes was so successful was due to how much the strip glorified imagination. It was not imagination from Watterson so much as imagination from Calvin. Is Hobbes a stuffed toy or a real talking tiger? I don’t know. I don’t think Watterson even knows. But Calvin had an overactive imagination. The wall between dream and day would often dissolve and Calvin would be experiencing days with full blown imagination. Calvinball was my favorite as Calvinball only had one rule: you cannot repeat a rule twice. So the game was between the dueling imaginations of the players.

Readers became friends with your characters, so understandably, they grieved — and are still grieving — when the strip ended. What would you like to tell them?

This isn’t as hard to understand as people try to make it. By the end of 10 years, I’d said pretty much everything I had come there to say.

It’s always better to leave the party early. If I had rolled along with the strip’s popularity and repeated myself for another five, 10 or 20 years, the people now “grieving” for “Calvin and Hobbes” would be wishing me dead and cursing newspapers for running tedious, ancient strips like mine instead of acquiring fresher, livelier talent. And I’d be agreeing with them.

I think some of the reason “Calvin and Hobbes” still finds an audience today is because I chose not to run the wheels off it.

I’ve never regretted stopping when I did.

Watterson curiously chose not to ‘industrialize’ Calvin and Hobbes’. While you see strips like Garfield or Dilbert turn into merchandise everywhere, of both strips being past their time, there were no official Calvin and Hobbes merchandise. Watterson was a true believer in integrity of the medium (of cartoons). Although I don’t think some merchandise would have destroyed the strip, Watterson probably thought it was corrupting. It was not why he was making the strip in the first place.

Because your work touched so many people, fans feel a connection to you, like they know you. They want more of your work, more Calvin, another strip, anything. It really is a sort of rock star/fan relationship. Because of your aversion to attention, how do you deal with that even today? And how do you deal with knowing that it’s going to follow you for the rest of your days?

Ah, the life of a newspaper cartoonist — how I miss the groupies, drugs and trashed hotel rooms!

But since my “rock star” days, the public attention has faded a lot. In Pop Culture Time, the 1990s were eons ago. There are occasional flare-ups of weirdness, but mostly I just go about my quiet life and do my best to ignore the rest. I’m proud of the strip, enormously grateful for its success, and truly flattered that people still read it, but I wrote “Calvin and Hobbes” in my 30s, and I’m many miles from there.

An artwork can stay frozen in time, but I stumble through the years like everyone else. I think the deeper fans understand that, and are willing to give me some room to go on with my life.

Quite happy to retire.

Is there something that game developers can learn from Calvin and Hobbes? I think there is. The most essential is Watterson’s humble approach of respecting the audience’s imagination.

Now, here are some fun Calvin and Hobbes strips:

My favorite strip of all time:

Calvin probably grew up becoming a game developer:

And this is the business model of this website:


NOTE: Remember this is not him against stories in games. He's against trying to force the story through the developer's vision, rather than the player's vision.

Narratives are the anti-game

Recently, the notion of ‘narratives’ has infested gaming like a virus. The origin of ‘narratives’ is a term that has jumped out of academia. I don’t take anything seriously on the issue of art that comes out of academia because academics rarely produce art themselves. It is like listening to a monk preach on how to make love.

The issue of narratives and video games isn’t that complex. Look at board games. Does Monopoly have a narrative? A story can certainly develop. But there is no narrative. What about a match between RTS players? Or FPS players? There is no narrative there. But there is certainly a story of the players’ actions.

What is the narrative of Super Mario Brothers? Or Duck Hunt? Or Tetris? “But they don’t have stories, Malstrom! Duhhh!” What about Final Fantasy I?

People are confusing story and narrative to think the two are the same. They are not. They are different and have different origins. Narrative implies narrator. Narrative also demands that the only relationship between the artist and art is the relationship between the potter and the clay. The artist creates the art. The artist shapes the art.

But is this true? If it is true, where does that leave the customer? Does not the customer have any say? Are customers nothing more than passive beings with passive brains whose role is to only receive? Are customers nothing more than an empty dish where the artist squirts out his ‘art’ into? That is what narrative implies.

In the more interesting look, the customer is not a passive agent. Rather, the customer becomes an active one. And the customer’s active part shapes the experience more than the artist.

If you ask how this is possible, just watch a child at play. You can give a child a toy car, but the child could use the toy car as a missile or as a boat. Is the child wrong? Of course not. Now let us say some adult came in and seized the toy car and demanded, “You must play with the toy car only in this manner.” The child would hate you for you are doing a cruel act. You are treading on the child’s imagination. So long as the child isn’t harming anything, what does it matter if a child uses a toy differently than for its developed purpose? If a child gets entertainment blowing up toy soldiers rather than making mock wars with them, what does it matter to the toy makers? They got their money. And the child is having fun with their product. Who are they to say how the customer can enjoy the product?

Narratives tread on imagination. In other mediums, what we know as ‘narratives’ are acts of amateurs and are the first thing condemned in 101 class. In the written medium, narratives clearly are the ‘telling’ of the story. And the elder writer will scoff and say you do not ‘tell’ a story, you ‘SHOW’ a story. The ’show, not tell’ has become so often repeated to point of being cliche.

The reason why ’show, not tell’ works is more complex than the three words. Thoughts of imagination cannot be transmitted to another brain through visual or musical arrows. To the contrary, what happens is that the artist takes his imagination and breaks it down into pieces and chunks that compose the medium (the script, the scenes, and all that). The audience then receives these pieces and chunks and apply their imagination to them. The consumer experience is inside the audience’s head. The consumer experience is certainly not the pieces and chunks. If the pieces and chunks were upgraded to be more pretty, more eloquent, would this create a better consumer experience? Not exactly.

The success of movies depends on the non-narrative. The best movies, just as the best movies, best books, and all, always have the customer think he is the main character. (e.g. people thought they were Mario in Super Mario Brothers or Link in The Legend of Zelda. People thought they were Ender in Ender’s Game.) Young girls thought they were the Kate Winslet character in Titanic and went to watch the movie over and over again. The Matrix is a great example because everyone sees themselves as Neo… until the sequels. Why aren’t the sequels to the Matrix as entertaining as the first one? There are more ‘action scenes’, more special effects, bigger budget for everything, so what gives? The directors began believing they were ‘geniuses’ and tried to ‘tell’ the movie rather than ’show’ it to you. People stopped seeing themselves as ‘Neo’.

Mediocrity results in the artist believing art is a one way signal. It isn’t. The genius of the artist is found in the imagination of the audience, not the artist himself/herself. Somehow, someway, the artist was able to activate that imagination, to turn the key for an imaginary door.

Narratives never respect the audience’s imagination and tend to trample over it. What are you left with? Well, you have the literal replay of the artist’s imagination. But it isn’t that good because imagination cannot be transmitted as people think. All that is left is the awe of computer animation.

Is computer animation entertaining? No. It is only entertaining to young people. You will see the same trend be replayed over and over in your life. Young people love something that has computer animation while everyone older thinks it is uninteresting. Young people say, “Old fuddy duddies!” This is why mediums like the movies and video games get trapped in a young age group as their customers due to the over-reliance on computer animation.

And this is why Next Generation is always ‘necessary’. People who believe the progress of video games or movies depends on the progress of computer animation do not understand video games or movies. This is why there are so many bad movies and video games out there despite looking ‘fabulous’.

Shakespeare’s plays still make up half of all theater productions in America. Why? New plays are more ‘hip’ and have better props and costumes. Shakespeare’s plays are very stark in how they use sets. The answer is because Shakespeare’s plays tap into people’s imagination. Despite all our technology, we cannot produce something as imaginative as a “Midsummer’s Night Dream”.

There are some people saying, “How dare Malstrom say this! He just wants to turn back the clock to a more retro time. He wants all games to not have stories.” This is not true. I am not anti-story for video games. I am anti-narrative. The reason why is because narratives do not seek to activate the imagination of the player. It is the artist staring at himself in the mirror. Narrative games are always vanity games.

Most of the reason why I oppose story in video games is because the game makers have no skill in the craft of story telling (and it shows). In the creation of games, they do not let someone, who has never drawn art, be responsible for the art. They never let someone who makes the music be someone who has no experience with music. They never let someone to program who has never programmed before. So why do they put in stories when no one on the team has successful experience in it? This amateur story ends up bringing down the other parts. Better to leave it out. Bad food corrupts the entire dish and ruins the meal.

But the source of magic from a game comes not from the developer’s mind but the customer’s mind. It is the customer’s imagination that is making it magical. It is very common for an entertainment product to be successful and the makers of it do not know why and are unable to replicate the success in sequels.

There are several examples of science fiction writers who literally cannot play the game Civilization. With the imaginary mind of the science fiction writer, games like Civilization are very lethal. They become addicted to the game more grossly than the average man and some of them literally shatter the disc just to make it stop. There is no ‘narrative’ in Civilization. Yet, the game keeps telling the most amazing stories. And the science fiction writer’s mind is more potent than the usual mind so the experience is far more intense for them.

There are many games in which I like the stories. Star Control 2 is a favorite. There are conversations and mission logs, and there is a beginning and end, but there is no real narrative. I can play the game again and again and come up with some different experiences (though not conversations and I have to do the same things to trigger the end of the game).

Ultima games are very rich in story. But they lack a narrative. There is no narrator dictating the story. No forcing the camera of the game to act like a movie camera. People take away very different but very intense experiences from the Ultima games because of that. The Ultima games became much weaker at the tail end because they were trying to drive a ‘narrative’.

In order for a game to become magical, it must activate the imagination of the player, not dominate it. As the “Game Industry” became obsessed with narratives, the “Game Industry” enters decline. The common refrain from the public is, “Games are no longer magical.” It is because the industry considers the imagination of the player to no longer be considered magical.



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

Iwata calls Sandlot; Asks for them to add Motion Plus

In the latest Iwata Asks (which I cannot read because it is in Japanese), it is said that Iwata called Sandlot and asked for Motion Plus to be added to Reginleiv. This is an indicator of where Nintendo might be heading.

E3 2009 showed Nintendo was in a holding pattern. There were sequels everywhere. It was a very safe course. Galaxy 2. Other M. Some more User Generated Content games unfortunately. It wasn’t anything like 2008’s E3. But it wasn’t as exciting as E3 2007 or E3 2006 (though I don’t think anything can top the unveiling of the Wii). The only game that really stood out to do something for Wii’s momentum was NSMB Wii. I didn’t know the game was going to become Mario 5.

But based on E3 2009, it was difficult to tell which way Nintendo was moving. They had a little of everything. At E3 2009 was also the Natal and Wand announcements.

This was my fear:

With Wii momentum being hurt by UGC, Nintendo would declare they had to make a new version of the Wii (Wii HD or whatever). And with Wand and Natal, Nintendo would move away from motion control games to not get stuck in a red ocean with them.

But here’s the problem. People bought the Wii precisely because of motion controls and the promise of motion control games. They didn’t buy the Wii to play Gamecube sequels. After the big Gamecube games became represented on the Wii from Mario Kart Wii to Smash Brothers Brawl to Mario Galaxy to Metroid Prime 3, there was no need to make a Galaxy 2 or another Metroid game. Worse, if Nintendo put out another home console, why would anyone buy it? Whatever new ‘element’ is attached to it, the Wii customers wouldn’t transfer over because they are still waiting for good motion based games.

It has gotten to the point now that any game said to have motion plus has people rushing to look at it no matter what the publisher or what the content of the game is (so long as the game isn’t on-rails). When gamers played Wii Sports or Wii Sports Resort, they imagined those controls in their type of games. They immediately thought of Swordplay in Zelda (or any other type of game. An RPG or dungeon crawler where you go around and hack around with motion plus sword fighting would be sweet) or using the bow in an adventure type of game. If shooting the bow at a dumb target is so much fun, just imagine how glorious it would be to shoot at a dragon or some other monster.

This hunger is why I think online Wii lookers are spotting Reginleiv and pining for it to come to the West. I’ve noticed that while Sandlot’s games are looked down by the ‘hardcore gamers’, that the more ‘unaligned’ gamers tend to like it.

So Iwata calling Sandlot and asking for Motion Plus is a very interesting sign. It points that, perhaps, we might be seeing more motion plus games in the future.

Games like Reginleiv are what we always imagined would pop up on the Wii. From what I gather from the Iwata Asks, Sandlot was experimenting around and they found it tons of fun to use motion controls to just smash things. When the Wii came out, I always imagined Nintendo would make such a game like a Wrecking Crew Wii where you just smash things and things fall down. It is interesting that Sandlot is the one doing it and doing it in a fantasy context.

But isn’t this how games were orignally made? The developers would find that something was fun (like smashing things) and just explored that concept. If the game took off, lo and behold, a new franchise is born. That is where all the old 8-bit franchises seemed to have come from. I’ve been very puzzled why Nintendo would want to make sequels to established core franchises instead of using the motion controls to explore something new. It doesn’t even have to be a big game. Even something small on WiiWare.

Iwata calling Sandlot shows that NCL is interested in motion plus controls (I was worried they were not). It is a good sign for Wii’s future.

Looking online, the Wii is still sold out at places like Amazon or Gamestop. Prior to Christmas, Reggie did answer on televised interviews of people asking about supply, “I don’t think we’re going to sell out of Wii, but I’d love to have that problem.” Well, he has that problem. Mario 5 must have re-ignited Wii Mania.



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

Bobbuffalo said:
I really wish that the new zelda returns to its arcade roots of the NES and SNES versions while retaining some of the new ones. I hated the tutorials on OoT, WW and TP. I don't want to catch pigs, cats ortalk with bratty kids..just put me in the action and give me the darn sword in the beginning!

The idea of the dungeons that the emailer exposes is not that bad.

I'd agree. I liked OoT the best, so it would be cool to take a game like that, add in more action, a better overworld, and less puzzles.



This one is kind of all over the place, but he is responding to various posts from a single forum thread, and we all know how those are all over the place anyway.

Although I do agree that scene in Super Metroid didn't make me feel Samus's maternal instincs. It made me see how the metroid was feeling.

Zelda fans are kinder and gentler than Metroid fans


Above: A Metroid fan: *growl*

Zelda fans have had an unearned reputation of being feisty at anyone who criticizes Zelda. I have learned this is not true. Dissent and debate is more encouraged in Zelda circles (probably due to all the timeline theories and all). When I expressed that I didn’t like the choo-choo train in Spirit Tracks and felt like Zelda has really fallen as well as desiring a return to more combat, more action, some people got angry. But I was never asking Zelda to be something it wasn’t. Zelda fans can see why fans of the earlier Zelda may feel out of place with the more puzzle orientated, ‘character driven’, Zelda games.

It’s a total different story with the Metroid fans. Here, take a look (someone emailed this to me).

The reason why I am responding to this thread is…

1) They never dreamed I’d respond to them.

2) To illustrate the hostility of fans when someone says something they don’t like… even if it is on his own website.

3) The continued effort of the Human need to feel superior, e.g. attack the messenger and not the message and they aren’t even getting the message right.

The reason why online discussions of games have been held hostage by a young group of fans is because of old timers are literally pushed away. Since the old timers do not understand why everyone is so excited about something they were not, they conclude that they have outgrown gaming and move on.

But now, things have changed. I am realizing that I didn’t leave gaming, gaming left me. And it is important for those of disinterest to speak up.

As usual, Malstrom takes one tiny piece of information concerning video game hype and speculation and he goes on an unnecessarily long tirade against EVERY SINGLE THING Nintendo has “committed against” a certain franchise. And he has some outrageous hate for narrative of any kind in video games.

That isn’t why I wrote the narrative post. I’ve been consistently vocal against narratives for a long time. Remember that IGN post that praised Wii Sports Resort for its ‘narrative’? I was like, “WTF! What narrative? hahaha” This called more attention to that article and people were laughing at it. IGN was very unhappy with me that day, haha.

There is no such thing as a narrative in a video game. Narratives are not about allowing the player to have control. What you end up with is watching a movie of computer animation while twiddling your thumbs… and a bad movie at that.

I’ve noticed a disturbing trend of game developers somehow, someway, always throwing in ‘narratives’ into their games. For example, Sonic the Hedgehog 4 was said, by a developer, to have a new ’story arc’. I can tell you people did not play Sonic the Hedgehog for its amazing story. If you put game developers into a room, you would eventually end up with them making a movie. I’d say, “Guys, you’re doing it wrong.” Did you not see the post of me being in stunned disbelief over how ridiculous Heavy Rain was? The post wasn’t spurred by Other M.

1. It is about time for change in the Metroid Series, the story throughout needs to be tied together, and tied together GOOD.
2. The gameplay looks fine, it is a different type of game, obviously it isn’t like Metroid Prime and of course it isn’t like Super Metroid, anyone that can see the trailer can deduce that.
3. I think that it is good that they do cinematics.
4. If people are scared that it will be like the manga…. damn really? I mean… Personally I don’t even know how to answer this.
5. This just seems to be exactly like Metroid Prime, like everyone has said here, people were on the edge and said MP was going to suck, “blah blah blah.” Well it didn’t. Now there is always a chance the game can suck I mean we don’t know much about it but hey, give it a chance. It just seems to me that some people are afraid of change and they have grown accustom to Metroid Prime so any type of change that they have never experienced before automatically because a “hell no” on their list. Well man up people, give it a chance. You were told specifically at E3 last summer… “This Metroid game will be like no other.” That should have been the hint.

1. If you consider Metroid to have a ‘great story’, then why not other games that were out at the time? Why doesn’t…say… Contra have a ‘great story’? It certainly has a more interesting intro:

“Let’s attack aggressively!” But it isn’t much of a story. While I never felt maternal feelings during Super Metroid, I definitely felt some testosterone during Contra 3!

2.You cannot say the gameplay looks fine. We haven’t been shown any gameplay yet. Not trying to rain on your hype, but I do not think it is a good idea to get hyped up on a title before it has shown any gameplay.

3. Why is cinematics so good for Metroid? I do not understand.

4. Manga does repel many people. The success of Metroid was never due to any manga.

5. Who said it was going to suck? I, myself, have said that I am in a ‘wait and see’ mode on the gameplay. The only thing that scares me are Sakamoto’s quotes where he describes Other M as exploring Samus as a woman and her tough yet sensitive feelings. Oh geez…
_______
This fellow needs to be smacked. Hard.

EDIT: Sakamoto-sama deserves hugs, kisses, and chocolate! WE LOVE YOU SAKAMOTO-SAAAAAAAAANdesu-
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Are you guys Metroid fans or Sakamoto fans? There is a difference.

I am detecting a high degree of ‘Game God’ worship. As for me, I slay Game Gods because they are more trouble than they are worth. The notion of ‘Game Gods’ I have found to be very destructive to gaming. It allows a developer to make games for himself (instead of for customers) and makes young people want to join the ‘Game Industry’ so they, too, can become a ‘Game God’ (and ignore customers).

Sakamoto is no Game God. Neither is Shigeru Miyamoto. The only ‘Game God’ is the customer.

Whoever this guy is that wrote that article knows nothing about being a Metroid fan. People aren’t scared over what the game is going to be. People have expressed concern with gameplay and such but Sakamoto has it under control. To say his disconnected from the consumers, this guy is blowing it out his ass.

ugh I can’t talk about it no more without getting a headache.

What we are witnessing with many of Nintendo’s main franchises is a clash of generations. With Zelda, there is a generation that thinks Ocarina is the bee’s knees. But there is another generation that prefers the style of game found in the original Zelda or Link to the Past or even Zelda 2.

With Metroid, people who played the original NES game when it was new (and knew what the heck they were doing) have to be over thirty years old now. You do not hear from this group online much because they are too busy with real life. I am one of these people.

If this generation is showing anything, what is said online in gaming forums often ends up being very different than what happens in the market.

But, reader, note how I am not allowed to disagree. They are saying I am not a ‘Metroid fan at all’. And you know what is ticking them off? It isn’t anything I’ve really said about Other M. I have no idea what the game will be because no gameplay has been shown. What is stirring them is that I am laughing at Sakamoto when he makes those crazy quotes. I am laughing at the Game God. That is blasphemy!

I do confess that when Sakamoto talks about the Metroid series in a way of exploring the womanly issues surrounding Samus Aran, I burst out laughing. It’s funny.

I can just picture an old school gamer walking into a game store and see “Metroid: Other M” on display. So he goes, “Hey, I like Metroid, and I need a new game after buying a Wii for Mario 5.” So he takes Other M home with him expecting a traditional Metroid experience. I would love to be in the same room to see his reaction! What would he think when exploring Samus’s womanly issues? What about when exploring Samus’s relationship with Adam? I’m not bashing Other M, I just find that scenario funny.

Excuse me Sean, just a minute. I’m not happy for you, and I’m not going to let you finish. Super Metroid was one of the greatest games of ALL TIME.

…so i really don’t think anything you say is credible when you talk about it like it sucked or something. Screw you, guy.

Super Metroid wasn’t that hot when it was released. It got overshadowed by Donkey Kong Country when that came came out a few months later.

The game has aged incredibly well. But anyone saying Super Metroid has a ‘great story’ must think comic books are ‘great stories’ as well. There is no real story at all in the game.

Super Metroid was, at its heart, a remake of the original Metroid. You fight the old bosses again of Kraid and Ridley. You go to the same areas again like Norfair.

Super Metroid is a great game and a triumph of the use of sound and music. However, the game was incredibly easy and a cakewalk after Metroid I and II. Since games have gotten easier that don’t really require much skill as the arcade style games used to require, Super Metroid has become more popular today than it ever was when it was released. However, the game is probably overrated especially in discussions online.

You know, I would have written a whole essay how this guy fails a everything he does, but unfortunately I don’t have his email nor be able to write comments.

So I think it’s for the best to just swallow our hate and avoid this man like a plague… At least until we know how contact him.

You may email me at seanmalstrom@yahoo.com.

i want to know how many people that played Metroid did not realize that huge f’in Metroid was the hatchling? Anyone not know that? I mean it’s the first Metroid you see in the game near the end, the obvious fact it didn’t kill you means something.

still can’t keep from wanting to punch him

Such violent thoughts! But I never said, and Sakamoto never said, that people didn’t realize the big Metroid was the hatchling. Sakamoto said that he thought he illustrated Samus’s ‘maternal feelings’ with the Metroid, and I am laughing at Sakamoto.

I also consider his interest in a digital video game character’s feelings to be… honestly, a little creepy.

The fact that this guy doesn’t like Super OR Fusion makes me scratch my head. How is he even a metroid fan at all?

I mean, I agree with him about metroid not having a consistent direction and suffering from retcon-itus, but why the hell is he even bothering to comment on Other M if he didn’t like the rest of the series?

I liked Super Metroid. I would have liked Fusion more if they ripped out all the ridiculous dialogue from it. “Oh Adam…” “Oh Samus…”

I think Sakamoto’s eccentricities were excused from Fusion and Zero Mission due to those games being 2d Metroid. Now that Sakamoto is upping on the eccentricities and not making a 2d Metroid, I am going to enjoy seeing how this game is received.

I think he did that purposely because he doesn’t want pissed off fans barking at him. And really …who does? But he has a right to think and believe what he wants to. I’m not going to rain on his parade- even though I disagree with him.

I have Nintendo fans pissed off at me all the time ever since I started putting on my ‘Elder Gamer’ hat and stopped talking exclusively about Nintendo’s business strategy. But this is more about the clash of generations.

And I didn’t write the narrative post because of Other M. But I do wonder why there is a trend for game developers to want to make computer animated movies instead of video games.

No, that scene didn’t develop Samus at all. It did, however, show that Metroids are not entirely mindless killers, and that they can have at least some level of emotional attachment. After nearly killing Samus, it not only stopped once it realized who she was, but paused for a moment and chirped in remorse before flying off. And thus does the player realize that it’s the once-tiny hatchling, now freakishly altered. For Sakamoto being such a bad story writer, he certainly conveyed a lot of realization and emotion through a wordless 16-bit scene. Any schmuck could do that, right?

Again, reader, note that they are annoyed not because of what I said but because I am disagreeing with SAKAMOTO THE GAME GOD.

The player does not realize the Metroid had been altered through radiation or anything else. It is just a bigger sprite.

And Sakamoto did screw up. Where did all the other Metroids in Super Metroid come from? Super Metroid starts off saying the baby Metroid was the last Metroid in the galaxy. And the only way for there to be more Metroids is if there was a queen or something else. It wasn’t explained. And it is a giant plot hole. Someone should ask Sakamoto where all the other Metroids came from and why it wasn’t explained.

You want a scene that made consumers believe that Samus was a maternal being? How about ten minutes later when she’s devastating the Mother Brain in a burst of emotion after having witnessed the death of the ‘Last Metroid’ who had just given its life to save her? That was one of the most powerful and memorable scenes of the SNES era.


Because clearly games like Final Fantasy IV or Final Fantasy VI or Chrono Trigger just can’t compare to that scene. Oh no, not at all!

But then Sean goes on about the lack of Metroid evolution as being a plot hole in Super. (Might as well make it a plot hole in Metroid, MZM, and every game of the Prime series as well.)

Sure, why not? The storyline in Metroid doesn’t make much sense. Much of the problem of this is because the original Metroid is remade again and again.

Metroid
Super Metroid (a remake of Metroid)
Metroid Prime (Putting the remake of Metroid into 3d)
Zero Mission (a remake of Metroid)

It does confuse the storyline.

Considering that the hatchling (of which he was apparently not aware) was not only a baby at the beginning of the game, it grew because of experimentation (radiation, I believe) and not because of maturity. I don’t think it (or its clones which were born even later) had the time to mature and evolve. I could shoot off some fan theories, but the point is, the only “hole” is in Sean’s reasoning. He even advocates Metroid Prime which clearly lacks those same steps of evolution. Good job, Sean.

You’re making up stuff that was never in the game. The game never said or showed that the baby Metroid was experimented on or that the other Metroids were clones. If the other Metroids are clones, why aren’t they all big Metroids? You cannot insert things into the game that exist purely in your imagination (unless you agree with me that games and narratives do not co-exist). Good job, anonymous forum dweller.

As for Metroid Prime, it was clearly a spin-off and wasn’t trying to fit into any ’storyline’. It was just trying to be a good game… and it was.

I skimmed some of the rest of the blog and closed the window before completing it. Misinformed droll is nothing more than misinformed droll, afterall.

Awesome! Less email to stuff my mailbox then! =)

I wish I had the innate power to piss people off like he does, but I have too much good in me to do so. And I’d spend the whole time just making jokes giving me away.

In any event, arguing with morons will turn you into a moron.

This is very good advice. It goes, “Do not argue with an idiot because people will be hard pressed to tell the difference.” So I am taking a professional risk with this post.

What is hilarious is that I am not bashing Other M, I am still in the ‘wait and see’ camp. I am worried though based on what Sakamoto has said. And I quoted Sakamoto (accurately) and then I laugh at what he is saying. And you guys go bonkers!

You guys say you want to punch me, want to inflict violence against me. Why? What did I ever do to you? How does posting my own thoughts on my own personal website bring out these violent thoughts?

If I was a jerk, I’d register at the forum and come in and have some ‘fun’. But what would that accomplish?

I am seeing a pattern that anyone who thinks what Sakamoto was saying about ‘maternal feelings’ with Samus or ’strong woman’ kinda odd to be attacked.

Why can’t people have different opinions? And why the commotion of a game that has showed no gameplay? And why the cult-like devotion to Sakamoto? (I’m against all Game God cults, even ones to Shigeru Miyamoto. I don’t think they are healthy for the gamer, for the developer, or for the industry in general.)

If you guys think that Sean Malstrom’s opinions on Other M are pathetic, his opinions on Zelda are worse. Much, much, much, much worse. He wants all puzzles removed, he wants zero plot whatsoever, and he wants Zelda to return to its “arcade roots.” I’d link to these articles, but I don’t want the thread getting too off topic.

But here’s something funny from December. He basically loses it when he sees pictures of Wii disc cases that have a recycling logo on the inside. He says that such an act is “unacceptable.” He claims that such an “abominable” act has inspired him to quit blogging forever.
Yet here he is two months later.

Seriously, this guy is an idiot.

Do you people even know how to read? In my Christmas day post (which I was cranky since I had been up 36 hours straight), I was never ‘inspired to quit’ because of the packaging. I’ve been wanting to quit for a long while. (That’s just the straw breaking the camel’s back.) What is keeping me going is how I keep having an effect like, for example, telling the truth of why the original Metroid sold. By the way how Sakamoto talks, he doesn’t seem to know what Metroid is about. Since no one else is saying it, I’ll be the one to do so. Pioneers always get the arrows.

And about Zelda: puzzles and “scripts” are not the reason why Zelda became popular in the first place. All you have to do is play the earlier games, and you will see that. There are no puzzles or scripts in the early Zelda games.

While I don’t browse forums much, I never heard a Zelda gamer say he wants to punch me in the face or dream of other acts of violence against me. The intolerant reputation of Zelda fans is undeserved, Zelda fans are far more kinder and gentler than these Metroid fans.

But I don’t even think they are Metroid fans. They are Sakamoto fans first, Metroid fans second. They are literally worshiping a ‘Game God’. When Sakamoto says something, they rewrite their opinions to match his. “Yes, Sakamoto! We felt Samus’s maternal feelings in Super Metroid too!”

One thing from that thread you will not hear is this: what if Sean Malstrom is right? What if Metroid is not about Samus Aran? What if Metroid is about something else… such as zapping Metroids? This question isn’t even considered. I laughed at their ‘Game God’, so I committed blasphemy, therefore I must be tossed into the volcano.

Remember, what's above the line in this article is from the email, not his own words.

And what looks like a quote train here is SUPPOSED to be three separate quotes, but I don't know how to make them show up separately.

 

 

Email: Sonic the Hedgehog 4

I don’t know if you saw this.
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Sega is making Sonic the Hedgehog 4 so it appears that Sega finally got smart and is giving consumers what they want, a new 2D Sonic game and mind you there hasn’t been a decent 2D Sonic game since Sonic Rush Adventure on the DS which somewhat pales to the first Sonic Rush in that SRA tried to shoehorn 3D “adventure” elements in effort to forced the Sonic Adventure gameplay on an audience that doesn’t want it.
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While very little has been seen of it, many are happy to see 2D Sonic and the fact that you’re not playing as a ton of extreaneous characters and not getting into the stupid gimmicks of 3D games like werehogs and swords and that Sega is at least giving consumers what they want.
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Though I while I’m happy they aren’t ignoring the Wii audience in favor of HD (early rumors had fears that it would only be on the HD twins) I still can’t help but shake my  head at the fact that Sega won’t release it as a full disc, rather they’re going the Megaman 9 route of download only. That doesn’t have to be a bad thing but after seeing how well New Super Mario Bros. Wii…oh sorry, I mean Mario 5 did, Sega still seems fearful to release a 2D game as a full disc console game. Especially given that unlike Megaman 9 they’re using updated graphics.
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Also in these interviews they’re talking about the whole “episodic” thing. Seems they can’t shake all their bad industry habits in wanting to have a “story” with these.  I mean the Sonic 3 and Knuckles had some story but nothing along the lines of the overly long cutscenes populating the modern 3D games these days and my hope is Sega doesn’t ruin this old school title with tons of poorly voice acted, overly long cutscenes.
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And of course, as you’ve pointed out, it comes down to content of this.  It’s upsetting that unlike Mario 5, there’s no multiplayer that could’ve incorpated Knuckles and Tails as in Sonic 3.  But many say this comes out of years of backlash against Sega’s shoehorning all of Sonic’s friends into every game and it’s also a matter of if there will be new levels and not just revamps of old stages. The first already looks like Green Hill Zone 2010 so we’ll have to see as more info becomes available.
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Well at least they got the right idea.  Maybe this will do well and Sega will realize what the consumers want and stop being slaves to the industry.

You covered pretty much my own thoughts on this matter. I’ve never liked the idea that just because a game is 2d that it has to be on handheld or has to be download only. That screams to consumers that they are ’second class consumers’.

The ’story arc’ comment about Sonic 4 really jumped out at me too. Who plays Sonic for its story?

What I really don’t like is how the game is ‘episodic’. Do they expect to string Sonic fans along? And for what? For the ’story arc’?

I’m not jumping up for joy with Sonic 4 yet. I’m still cautious about it.

While Mario 5 isn’t a nostalgia game, I am worried that the Sonic 4 developers have nostalgia goggles on. They will be making the game as if it is in the 16-bit era rather than for today. It would be like Nintendo making Mario 5 resemble Super Mario World almost in every way.

Just because a game is old and is in 2d doesn’t mean it is easy to make. Sonic games were made by Sega during their peak. I can’t think of any game maker today that comes close to that degree of talent for side scrollers (aside from Nintendo). The developers are not just making a new Sonic game. They are competing with Sega’s past… when Sega was at its peak.

I don’t think they’ll be able to pull it off. But we’ll see.

 

 

Email: Metroid Other M E3 2010

Hi Mr Malstrom,

As I am not a native English speaker, this e-mail might get tedious to get through, sorry.

I’m reading with great interest your recent posts about Metroid : Other M and how narrative might wreck it all.

One thing that puzzles me is that you keep insisting that we haven’t seen any gamepley at all.

Yet the recent screenshots you posted and the unveiled trailer clearly show what the gameplay is going to be : 2D gameplay à la Super Mario 5 with a mix of 3rd person perspective when exploring and first person perspective when meeting some bosses (maybe other enemies as well, that isn’t clear from the trailer).

My theory is that NOA was very scared to unveil two 2D games during the same E3 press conference (what with the silly 4D they spun when introducing Super Mario 5) and they clearly asked Nintendo Japan that this would not be communicated at that time. Now that Super Mario 5 is a resounding success in the US, they have more faith in the game and should be considering unveiling it properly (re. Sakamoto at GDC 2010).

Making Metroid Other M a 2D game without any 3D really makes sense when you consider what little success Galaxy has had in Japan.

I’m also thinking that Other M owes much more to Zero Mission than Fusion, due to the Team Ninja involvement : witness the Japanese commercial for the game:

You just know that Team Ninja would get all hot and bothered from seeing that ad!


What you saw at E3 2009 was a teaser video, not a gameplay video. You say it shows gameplay. It flashed different things, but there was no gameplay video shown.

A gameplay video would just be someone playing the game. That would give us an idea of what the game is like. Teaser videos don’t really do this.

Since Sakamoto-the-Divine-God ™ is doing a GDC appearance, we will likely see more video of the game. E3 2010 might be packed for Nintendo since they have to show off Galaxy 2 and Zelda Wii (which is supposed to come out in 2010 and nothing has been shown!). Perhaps they are going to let Metroid Other M show itself off at GDC and use E3 for Zelda, Galaxy 2, and other games? Nintendo has a very heavy sided core game release schedule this year. And they also have to spend significant time on Vitality Sensor.

 

 

Regenleiv videos

This game is fun to watch.

The video below shows the game with Motion Plus.

The video below shows the game without Motion Plus

It is always good when even the tutorial looks like fun:

How are you going to play this game, reader? I am thinking it would be fun to be the dainty little girl running around with a wimpy wand taking down giants. The Japanese website for the game is here.

You want more? Impertinent reader. Well, here is some music for you. I’m always highly demanding about a game’s music and Regenleiv sounds pretty good so far.

Fantastic music.

 



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



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

From here on, I'm posting two articles at a time, as the quote system got wonky the last time.

Parts I think should be noted will be in both bold and italics. Also remember that email posts have the emails quoted, so not everything is his words.

Email: Super Metroid

The people on that forum are smoking crack.  No one who played Super Metroid remembers the final scene because of the “touching sacrifice of the last metroid.”  That is internet wankery.  Anyone who actually played that game remembers that scene because it’s when you get the HYPER BEAM!  Yeah!  Then you blast the crap out of Mother Brain, which is awesome.

If Sakamoto wants people to love Metroid other M, he should put kick ass guns and weapons like the hyper beam into it, not “womanly maternal instincts.”

However someone wishes to experience a game is up to them. Let’s leave them alone on that.
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Sakamoto is an elder gamer maker at Nintendo. Apparently, there seems to be something where an elder game maker gets to make their own project before they go. Sakamoto has been wanting to make Other M for a while. There are interviews with him that go back eight to nine years ago where he says he wanted to make a game that blurs 2d and 3d (goes back and forth).
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Tecmo has had some very serious problems lately in their business. Other M is probably rescuing them in a sense. I think Nintendo sees itself as a type of shepherd for the rest of the gaming companies and when Tecmo was having big problems (not due to the developers but due to the upper management), you can see Nintendo stepping in. Of course, Nintendo stepping in is having Tecmo make a game for Nintendo! So it benefits both.

Other M is going to be something very different. For sure, it is going to be an ‘exploration’ of Samus Aran as a character. Let me be clear on this: if people are excited about Other M than that is fine. Good for them. With so much mediocrity in gaming today, it is good for people to be excited about something. However, when I put on my business hat and ask myself, “Is this going to resonate with the market?” The probability wheel spins and spins and when it stops it says: “Very low possibility.” I cannot think of any game that is driven entirely about exploration of a character that has succeeded in the sales.

I wonder if Sakamoto is getting ready to retire. All the other Metroid designers have retired. Sakamoto is the last one left.

His ‘maternal feelings’ of Samus in Super Metroid comes, perhaps, he knows that Other M is so radically different from previous Metroids that he is seeing previous Metroids like Super Metroid as a stepping stone to whatever he is doing with Other M today. I believe, however, he is seeing in Super Metroid what he wishes to see. If Miyamoto made Mario: The Other M, it would be as if he said that Super Mario World revealed Mario’s sensitive side (or whatever).

This next article is not him trying to interpret Iwata's words, but to clarify them, and to explain why he agreed with Iwata.

Iwata speaks to investors; Malstrom tells you what is being said

What is unfortunate is that most of these Q/A sessions has Iwata shooting down incorrect perceptions about the company. For example, the Q/A starts off with Iwata saying Nintendo is interested in cutting edge technology. But Nintendo is not interested in cutting edge technology that doesn’t make consumers excited or costs countless billions (such as the PS3). Gunpei Yokoi’s ‘lateral thinking of matured technologies’ is another way of saying disruptive technologies. When eBay came around, the Internet was a mature technology that was getting mainstream. But eBay put the technology of the Internet in a new context of use.

Interactive entertainment is putting technology in a certain context of use. An example would be touch screens. Or accelerometers. Or gyroscopes.

Now, listen to the Iwata:

Next, regarding your question of whether Nintendo is interested in the entertainment formats other than video games (such as music, videos, e-book, and SNS), I believe that Nintendo’s business field shall expand as the definition of video game expands. Nintendo has actually been expanding the definition of video games. We have been adopting a variety of different themes, some of which were said to be unthinkable as video games. During the course, these unthinkable themes have gradually been conceived as video game themes. One of the strengths of Nintendo lies in interactivity, namely when our consumer makes some input, they can receive some response which can positively surprise them. And, more specifically, we have the advantage to realize a situation where consumers can easily and comfortably use our products without consulting the instruction manuals at all. It is possible that, as a result of our natural course of expanding the definition of video games, we may have some contact with music, videos and SNS. However, we will not do so simply because others are doing fine in that business field as we will not effectively utilize our strength that way. We would like everyone to understand that Nintendo’s strength is in interactive entertainment and that it aims to focus on that.

The investor dumbly asked about convergence. Iwata gave the answer of ‘Revolution’ instead. Here’s what he means:

Gaming IS the revolution. We keep hearing about a game that says it is going to ‘revolutionize gaming’ but that is poppycock. To the contrary, it is gaming, itself, is the revolution. Back in the 70s and 80s, this was understood. Atari was the fastest growing company, at the time, in all of the history of the United States. And that includes the entire Industrial Revolution (companies like Microsoft or Google have certainly overtaken that record, of course).

The fact is that the masses first touched a computer through video games. That would be PONG.  Sure, computers would grow up to find other roles. But most of the programmers and engineers today became fascinated through computers and software because of video games. All those personal computers like the Commodore 64 in the 1980s were bought primarily for games. Many of former Atari employees ended up being executives in major software companies such as Microsoft. The most famous former Atari employee is Steve Jobs.

So gaming is not just a carnival of electrons, gaming is the heartbeat of the entire silicon revolution. It was gaming, not movies, that revolutionized 3d graphics and really made them mainstream into computers. It was gaming, not scientists, that explored the Internet into completely new forms of use. If gaming wasn’t constantly pushing the limits, would computers have grown like they did? I do not think so. Without gaming, we’d probably still be using 386s today and it could even be monochrome displays. Steve Wozniak put color into the Apple II because he designed the Apple II to be a video game machine (Woz loved gaming).

The ‘Revolution’ was going on in the arcades, in personal computers, and even consoles back in the early 1980s. Atari crashed not because of disinterest of games but because of the “Industry” being greedy and stupid. (I actually believe the arcades died away for the same reasons. Arcades became more about the Industry interests than about gaming interests.) NES continued this ‘Revolution’ with its spectacular exploration of gaming from the sheer amount of peripherals the NES had to the very different type of games. The NES was a rollercoaster ride when you looked at where games were when the NES began and where they were when the NES ended. (For example, games couldn’t even save! Or they could only scroll in one way.)

For some reason during the 16-bit Era (early 90s), gaming jumped into the ‘Red Ocean’ with the era of Console Wars. Gaming grew only due to population growth and companies like Sony adding additional territories. As a medium, gaming was not growing in popularity. With population decline in Japan and Europe, with gaming already global, it was clear gaming could not depend on demographic trends anymore. Gaming had to grow or die. And it is that sentiment that caused Nintendo to create the DS and Wii.

But Iwata’s answer is not the answer of a marketer who dully says, “Got to sell to new demographics!” Iwata’s reply is that of the Revolution. The Revolution is literally exploring a New World. This is why Wii was so wildly received. Wii matched the spirit of Revolution. People anxiously want to explore gaming. PS3 and Xbox 360 did not offer that. All they offered was ‘Industry games’.

One of the ‘revolutionary’ moments came with Wii Fit. No one ever dreamed that gaming could re-define how to do fitness. When Wii Fit came out, gaming enthusiasts panned it and said it was the ‘End of Gaming’. But Wii Fit matches the spirit of Revolution in that gaming is exploring a new frontier. For almost twenty years I have seen gaming confined and stuck inside frontiers established in the 1980s. The only new things discovered for gaming occurred on the PCs which were using networks and the Internet. Apply these things to consoles is not exactly ‘new’. It is still stuck in the confines of the past.

But the Wii was really new. And people are responding very well when Nintendo explores new frontiers. What Iwata is saying is that gaming may, indeed, bump into other mediums as it continues its expansion, its exploration.

But the context in how the investor was talking was of someone who does not understand the Revolution. The investor sees the mediums as static, as already defined, and never changing. And the investor probably thinks movies and music are sexier so he wants Nintendo to do things there instead of being a ‘video game company’.

But gaming is the most radical entertainment medium ever created. And the Revolution, while it has been in a coma for twenty years, is back.

Imagine a settler on the New World and being stunned at how unexplored the continent is. An investor pops up and says to the settler, “Why explore this continent? Why not adopt part of the Old World?” The settler would laugh and say, “This is the New World. Your imagination cannot comprehend what is to be discovered.” No one, not even Nintendo, expected games like Wii Fit to be so big.

There are things about gaming that even Miyamoto does not understand. This is because gaming is unexplored. How absurd it is for game makers to compete against one another’s plots of land when there is an entirely new continent to discover!
Regarding the specific media report to which you referred, let me share with you some background information in order to solve any misunderstandings. The reporter during the interview asked me, “Isn’t it true that the next generation DS will realize highly-sophisticated graphics and incorporate motion-sensing technologies?” And, I responded by saying that, “These things may naturally become necessary, but do you think these features alone can sell a product?” I guess there were restrictions for the total coverage the reporter can write, and my latter half of the comment, “but do you think these features alone can sell a product?” was not included in the article, which may have changed the meaning of the article a bit. What was written in the article was not wrong because I did say, “These things may naturally become necessary”. Total context is not easily grasped, is it? When my messages are delivered indirectly in this manner, misunderstandings may take place, so this article reminded me that I have to be very careful about how I say things. We are aware that, as technologies advance, what can be done naturally changes. We are not trying to avoid high functionalities at all. It’s the issue of balance, once again, because we know higher performances and functionalities alone are not good enough reasons for potential consumers to want to buy the resulting new product.

The same thing can be applied to what they call “Wii HD.” Though I don’t know where this story came from because I have never said anything like it, if I am asked about this, I will probably wonder about the ability of high-definition or highly-sophisticated graphics to be able to sell Wii and ask the reporter, “Will such a feature alone can make a product that can sell?” and add that “we will need something new.”

What Iwata is saying is that the press are intentionally doing complete distortions on what he says (Iwata, very diplomatically, does not use the bluntness that I am).

Iwata is correct that he has never, ever said “Wii HD”. Yet, it continues to be used in a concerted effort. The person responsible for legitimizing “Wii HD” as a business possibility would be analyst ‘Michael Pachter’ whose erratic behavior shows that we must question his behavior and intentions instead of his comments. Pachter is a very intelligent person and he knows how to work the press. He wouldn’t have started or continued his ‘Wii HD’ broken record routine unless it was intentional.

Note that the press reports on this Iwata Q/A only quotes Iwata on the ‘Wii HD’. Now, why is that? Why not report on other things that are being said?

If it weren’t for competition and competitors, I might be willing to share with you some of the ideas about which I have been thinking. However, I have to think in terms of competitive reasons and refrain from saying anything in detail today.

Note that Iwata is saying ideas. In other words, no new Wii hardware anytime soon. Hell, it is sold out in America again!

To begin with, we have come to understand that many of our consumers did not understand the perks of when Wii is connected to the Internet. So, when you purchase a Wii console today, there is a preinstalled video that shows what you can do when you connect your Wii to the Internet. We have done the same thing on Nintendo DSi after we had launched it. When they are shipped, Wii and Nintendo DSi include the Wii Channel and preinstalled Nintendo DSi software, respectively, that show videos that explain what players can do when these systems are connected to the Internet. We thought that we should make this explanation visually, so we incorporated the video. Once the device is connected to the Internet, the video is of no use any more, so it is set up so that it can be deleted. We are also engaging in other activities to promote net connection, such as by collaborating with NTT East and NTT West to set up telephone support service for those who do not understand how to connect their Wii to the Internet.

Furthermore, we have also come to realize that even though we have a number of new downloadable Wii Channels, many people have no knowledge about them at all and that, even when they are aware of these Wii Channels, it is a very high hurdle for them to clear to actually visit the Wii Shopping Channel and download the Wii Channel(s) they want. Therefore, we are pre-installing small (sized) Wii Channels (that can be “seeds” for actual ones) – a demo if you will – for the Wii consoles we started shipping from the end of last year. When you click on one of these Wii Channels, for example, you will receive an explanation about what the Wii-no-ma Channel can offer you. When you select, “I’d like to download it”, you will be directed to “Wii-no-ma download page” of Wii Shopping Channel. We are doing this in order to make it as easy as possible for the consumers to be able to select and download the Wii Channels that they want.

Through these efforts, against the natural current, the Internet connection ratio of Wii has gradually been increasing. However, the current net connection ratio has not reached the point that we wanted it to be. Of course, there are people who have comprehended our messages and are enjoying Wii with the Internet 100% or even 120%, but there are many people who do not know what they can do when their Wii consoles are connected to the Internet. Right now, we are implementing these explanations only on the Wii hardware that we are shipping today. We are reviewing the possibility of doing similar things on Wii software in the future for consumers who have not connected their Wii to the Internet so that a message may appear to show what can be done when Wii is connected with the net or how to download Wii Channel(s). It might be possible to lower the hurdle even further when we can dispatch such messages with the software, and we are reviewing such possibilities today.

Today, the value of Wii and Nintendo DSi that are felt and appreciated by many owners who have connected their systems to the Internet have not been shared at all by the owners of Wii and Nintendo DSi without the net connections. The fact is, as I showed you the leaflets for the first timers today, there are even so many potential consumers who do not understand such first steps as how to start playing with Nintendo DS and where the Nintendo DS game card should be inserted, or how Wii can be played by utilizing Wii Remote, what kind of software are available and which components are included in the Wii hardware package. It is not an easy job to expand the net connection ratio as there are still many consumers to whom we need to convey these steps. However, if we can take it one step at a time, I feel that Nintendo, more than other devices, will be able to contribute to narrowing down the “digital divide” among people, including those who appear to be farthest away from the Internet world. Some may see what we are doing about the Internet and think that we have been doing rather primitive things. However, if we can thoroughly do the fundamentals and can invite consumers to the world of the Internet that any other devices cannot do, we will be able to create an enormous value. We’d like to remain tenacious in continuing our efforts.

Iwata is explaining Nintendo’s online strategy here. Nintendo’s effort is to get the masses onto the Internet. And this is a pretty difficult task. This is not PC gaming or an Xbox where a few enthusiast gamers are gung-ho about Internet. Nintendo is trying to get the untraditional gamers to get onto the Internet. Why would Grandma need to plug her Wii to the Internet? Nintendo is trying to give Grandma reasons to plug her Wii into the Internet. This has to be a difficult and costly task.

As a matter of fact, I myself was worried in October and November. Any corporate president must be concerned in a situation like that. Originally, we had expected that from around mid-November, the market would respond more strongly. We had done whatever we needed to do, and we knew that our consumers’ satisfaction levels of our products were not bad at all. On the contrary, weekly sales did not show the usual increase of an annual sales pattern. I do not intend to pretend like an arrogant person and say that everything was just as I had expected. The fact is, we were concerned.

Straight from the horse’s mouth! Iwata admits he was worried.

I did notice a big change in Reggie. Everyone noticed that Reggie acted like he was walking on a cloud in 2008/2009. People said that Reggie had gotten arrogant. When the Wii got in stock in 2009 and began slowing down, the ever optimistic Reggie said, “No problem. Sales will pick up once we get our big software in a few months.” That did not occur, and we found Wii getting its price cut (!). And the price cut didn’t translate to anything longterm of a sales boost.

Then came a market research report (internal to NOA of course) and Reggie was no longer on a cloud. He had a more serious tone and was not very relaxed. This was around October or September. During the holidays, Reggie seemed more relaxed and especially now. NSMB Wii was literally flying off the shelves.

I am sure the Nintendo guys are much more relaxed now then they were prior to December.

Interestingly, I got worried about Wii sales not soon after Wii got back in stock in America. Remember my tirades against User Generated Content? hahaha. I remember saying frequently, “Stop this User Generated Content! You want sales? Go make Mario 5 and you will have sales.” And Nintendo did that! They stopped the UGC and made Mario 5. Now Wii is sold out again!

I think Nintendo may have been too rash in cutting the price of the Wii. If Wii was still $250, the shortages probably wouldn’t be as severe as they are today. (But with the piss poor economy, a price cut might have to have been done.)

We were able to observe how consumers react to our offers when there is no rush. More specifically, what probably happened in the U.S. and in Europe in 2007 and 2008 was that many consumers thought that if they did not purchase a Nintendo DS and/or Wii early enough, they will run out when they really need to buy them. Also, the economic environment was not this bad at that time, so they could afford to make a purchase decision early on. In case of 2009, their sentiment must have been that, because there were no dangers of the inventory shortage, they should wait to choose the best deals (from the retailers.) Fortunately, many consumers kindly chose Nintendo products in the end. We can either say that this was because Nintendo had been making efforts so that consumers would choose our products or because we were blessed by a tail wind at the very final stage.

This is what happened:

Wii was selling mostly due to potential. Wii Sports promised a new type of video game. Wii Fit continued this promise.

User Generated Content killed the potential. What also killed the potential, in consumer’s minds, were the core Nintendo games continuing to neglect the Wii’s special features. Now, consumers did not think “User Generated Content!” They just played games like Wii Music and thought, “This sucks.” People were waiting for Nintendo to deliver on the potential of the Wii. User Generated Games were not what they wanted.

When the potential of the Wii was gone from the consumers’ minds, the Wii just began to deflate like a balloon.

But Wii sales are shooting up again because of hopes in the system’s potential. Games like Wii Fit Plus and Wii Sports Resort rekindled the potential began in Wii Fit and Wii Sports. But games like Mario 5 really was a bolt of lightning. I wasn’t saying “Make Mario 5!” because I am a retro-fanboy. I was saying “Make Mario 5!” because I knew there was a huge market waiting for the next 2d Mario game in order to buy a console. I, myself, bought a DS only because of NSMB DS. And the DS sales exploded in America right when NSMB DS came out.

Nintendo can have their consoles sold out almost all the time if they want it. The key to do so is keep following the Revolution. People want to see games explore new things. This is why they are responding so strongly to games like Wii Sports or Wii Fit. They want to see motion controls applied to arenas that are not sports or fitness based as an example. Remember, all the people who bought the Wii were not crazy about Wii Sports. They were crazy, however, in the potential that Wii Sports promised.

Having said that, however, we have not thought of it as the final glow of a candle light at all. Now that we have been able to once again learn about under which conditions consumers make their final purchase decision and make an actual purchase, we would like to continue our efforts while there is still momentum. Also, as I said earlier today, the situation of the Wii software market today is completely different from what it was a year ago. New Super Mario Bros. Wii was able to sell more than 10 million units in such a short period of time but the sales pace has not significantly slowed from the beginning of the New Year. It is still selling at a pretty good pace today and is the trend across Japan, the U.S. and Europe, so the software must have the potential to appeal to even more people as long as we can drag out its real potential. For example, New Super Mario Bros. Wii has sold more than 3 million units in the Japanese market where little less than 10 million Wii hardware units have sold. In comparison, if I remember correctly, NPD reported New Super Mario Bros. Wii’s U.S. sales at the end of 2009 as approximately 4.2 million units. Because Wii’s installed base there is about 27 million, about three times as much as in Japan, when we compare the U.S. software sales ratio to the hardware, even though 4.2 million unit software sales is nothing to be sneezed at, it has a long way to reach the level in Japan. Looking from such a perspective, we see further room for sales expansion. When a game can be discussed as a social topic, and when potential consumers can often hear positive comments on the game from people, the little interest they may have today can be peaked, and they may become willing to buy one for themselves. The important thing for us is to create such an environment.

How about making a Super Mario Brothers game more often than eighteen years? Just think of it, reader, all these people buying a Wii for Mario 5 are people like me, Malstrom gamers! Otherwise known as the Old School.

Have you noticed how all these Expanded Audience games are really a renaissance in the Old School? The Old School are returning home…

About the book Free, I happened to read it myself. While many things are coming closer to free-of-costs in the digital world, there are pros and cons on the contents of Free. As Malcom Gladwell, author of The Tipping Point, posted his counterarguments to Free on the Internet, there are skeptical opinions about the future direction described in the book but, at least, I acknowledged that many things can easily lose their values in the digital world so we have to be very careful. In fact, many people believe that lowering the price is an easy way to sell products, and price reduction is often discussed as an option when they try to obtain short-term profits. Because I am concerned that, if we lower the price of the software without regard to the real value, then we will be lowering the value of the software to the extent that there will be no value remained and no decent business would be conducted anymore, so I have no intention to reproduce what is written in the book Free as they are.

On the other hand, if we can smartly take advantage of the idea of Free, there is a potential that those consumers who were not able to try out products could have the opportunity to really understand their value, and it might be something that everyone should think about using.

In other words, Iwata is saying “LOL” to this book of ‘Free’. Anderson uses ‘disruption’ much in the book. However, I consider the book a shoddy piece of work. The fact that Anderson is using Wikipedia sources is reason enough to “LOL” at it. I didn’t think much of “The Long Tail” either.

There is a precedent for games being ‘free’. It is called shareware. And that model worked very well for some companies in the past. Basically, it would be like episodic gaming with the first episode being free (and encouraged for you to share that first episode to everyone). Unfortunately, the “Industry” keeps charging for the first episode which is why the shareware model cannot be reborn.

As long as we can change the circumstance(of the social acceptance of video games), we should be able to make more changes(for the better in developed markets). But, if I abandon such a possibility and say that the newly emerging markets are the only future, I felt I would be too irresponsible, which is the reason why I did not emphasize them today. Once again, however, we are not making light of newly emerging markets when we look at them in a three- , five- or ten-years range.

Investors are thinking of expansion only in new territories rather than in new contexts in the same territory. Iwata is trying to illustrate Nintendo’s direction that there is much to be done to expand gaming even in the older markets.

On to our challenges on the decline of our software shipment in the “Other Regions” including the European market, we acknowledge it as a big issue because, even though the decrease in actual sales in the markets was smaller than the decrease in our shipments (as I said during today’s presentation), the actual sales declined about 20%. Some say it is due to piracy activities made possible by devices such as Magic-Coms(R4), but I don’t believe it’s the only reason. When Nintendo DS was getting more and more popular and sales figure performed accordingly, some of our product proposals became a social phenomena. Just like Brain Training in Japan, Nintendogs or Brain Training did the same thing in the European market. Actually Brain Training performed fine there last year – it sold over a million copies in Europe but the previous year had sold more than three million copies. That means Brain Training had less visibility as a social phenomenon last year. Nintendogs is in a similar situation. If we could propose what will replace them and maintain a high visibility in society, then the Nintendo DS momentum can be activated and more software titles can be sold. What this means is that we were not able to do that. Thus I believe our highest priority is to propose and offer Nintendo DS titles which can be another social phenomena.

There are people running around saying the decline in DS sales in Europe is entirely due to piracy. Michael Pachter is one of those people. And Iwata rejects it as do I.

When was the last ’social phenomenon’ game to occur on the DS? Spirit Tracks? Bahaha! What it does show is that the DS is not a ‘casual machine’ where third parties sell garbage. Usually, there is a hit game that everyone wants. And then that interest bleeds over into other games. DS hasn’t had any killer apps in a while which is bringing down software sales in general. This is what Iwata is saying.

And then Iwata goes on talking about Professor Layton.

Another topic that I have addressed several times is the opinion that third parties can’t perform well on Nintendo platforms.” During the previous fiscal result briefing, I had shown some data to explain that it was not true, but it seems a hardened belief cannot be altered easily. Or you might see the situation from such a viewpoint because of the visibility of Nintendo titles on sales chart.

It is not that third party games do not sell on Nintendo platforms. It is that they do not wish to sell to the Expanded Market. They do not wish to make games for Sean Malstrom. They wish to make games for themselves.

The Industry tactics do not work for the Expanded Market. So this is why the Industry doesn’t want to make games for the system. Fortunately, the Industry will continue shrinking and the Expanded Market will continue growing.

Gaming has radically changed from twenty years ago. Games have become extremely mediocre and are sold entirely due to hype. The Expanded Market has the identical standards for quality that existed twenty years ago. Most game companies cannot measure up.

It may not be arrogant to say third party games cannot sell on a system. But it is truly arrogant to say that third party games cannot sell because you failed. It is easier to blame “da casualz” or “evil Nintendo” rather than blaming oneself.

As a member of that Expanded Audience, let me say that there are no third party games. There are only third rate games. Put the top tier team on the Wii and start making first rate games. Stop looking for marketing gimmicks to sell your crap. The Expanded Audience is more discriminating than the ‘hardcore’ gamers are. This is why the Expanded Audience do not normally play games.

The problem is not the business model. The problem is that you suck.

But during the last year-end sales season, I believe there was one thing we have to specifically consider. It’s Call of Duty: Modern Warfare 2, a great hit from Activision released in November for PS3 and Xbox 360. Its influence and impact might be as large as our ten-million trio(Wii Sports Resort, Wii Fit Plus and New Super Mario Bros. Wii). So when we remove it from the result, you will see this. The reason why the number of titles decreased by three was because NPD tracked three different SKUs for the game, namely, normal edition, pre-stage edition and special can-package edition. I think that’s one of the aspects of big titles’ impacts. In recent video game software market, there is a huge gap between what sells very well and what sells very badly and this is a challenge for the whole industry. Some people criticize that Wii business has been driven only by Nintendo’s great hits and there is little benefit for third parties, which in fact is not true, as the situation is similar even on non-Nintendo platforms, when we compare per-title sales figure like this. Adding to these facts, when we actually consider which platform owns more major titles of third parties, that criticism again loses the basis.

This is a very interesting argument. Iwata is saying the idea that only a few titles sell on Nintendo’s systems (Nintendo’s main games) and everyone else doesn’t is more profound on the HD Twins. And Iwata uses Modern Warfare 2 as an example.

As a reader emailed me pointing out that a huge blockbuster title and not much for anyone else shows the rising flood of disinterest. I couldn’t agree more. Infinity Ward made a very well made game. But the problem is that most games today suck.

Again, the problem isn’t gaming’s business model. The problem is that you suck.

Personally, I am really excited to see more and more movies getting 3D functionality, and feel no hurdle in using 3D glasses for two hours in order to watch a movie. But when we consider the possibility of 3D video game for a household, we also have to consider if everyone needs eyeglasses in order to start playing, or how would the graphic and players look like to spectators without 3D glasses? If it is played by one person or without any family member on the spot, I think 3D technology will be suitable for a video game experience. As Nintendo has been and is going to be focusing upon the number of users per household, I have some doubt that current 3D technology which requires eyeglasses will be suitable for our products. In fact there have already been discussions for a possibility of a 3D video game for a long time. To tell you the truth, GameCube is secretly designed to load graphical circuits which display graphics for right and left eyes respectively, for a future possibility of realizing 3D gaming experience. So actually we have had interest on this technology, but I have some doubt about everyone needing glasses to play. Also, we would have to consider the impact on a human body if we develop 3D games as full-scaled as current video games, which takes much longer than 2-hours movies. If we design games that the players can enjoy only for two hours, that would mean less value for the price. To wrap up, we have interests but are also aware that there are so many hurdles to overcome, thus we don’t believe every kind of game will become 3D environment in no time.

There is another significant problem to 3d games as well. Those games require two functioning eyeballs. Many, many people may have a weak eye or cannot see in an eye so cannot get the full effect. Prior to the Wii’s release, when there was much wondering about Nintendo putting out a visor type of console, one enthusiast gamer/website maker was depressed because he did not have eyesight full in both eyes. Being a huge Zelda fan, that would mean he could not play the new Zelda game. He was scared Nintendo would go that direction.

And as you get older, your eyesight doesn’t get better anyway.

These visor games are not changing the substance of the game, only the style of output. Gaming has already had its 3d revolution. Having 3d outputs is only changing the style, not the substance, of games. The next big change in gaming will be done with altering the substance of how games can be played (as motion controls did). Not in the style of how the graphics are displayed.

Why can a title that is fun not produce positive sales results? Even some of Nintendo titles are in such a predicament. When we analyze what they were lacking, we always come to the conclusion that we didn’t motivate and get consumers interested enough to actually try out the products in their own hands. Some forms of entertainment which attracts consumers by offering it free-of-charge have a much lower barrier for consumers to try. In order to not lose our significance against such free entertainment, we need to motivate and get consumers to actually experience ours. And it will be crucial for the future of our business.

Interesting. Iwata finds the ‘free games’ out there to be a threat because they may be ‘good enough’ for the consumer not to want to play Nintendo games.

The solution to this is the ‘Revolution’. Keep games exploring the New World and then you will get a hit or two to break out like Wii Fit.

These ‘free games’ also point that the future of gaming is in the hardware. Woe to the Industry thinking digital distribution is going to be the future. Do you guys really want to compete against free games? That line of thinking is going to get slaughtered soon.



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