Showing posts with label Blogging. Show all posts
Showing posts with label Blogging. Show all posts

Friday, December 30, 2011

RAGEQUIT: I Suck at Street Fighter (And So Do You!)

I'm not going to pretend I have much in common with the average Street Fighter fan.

For me, there's magic in those games, but it only has so much to do with frames of animation.
The movement of characters is special, to be sure, but for me, it's everything that's implied in the placement of feet and the trajectory of acting limbs, rather than the hitboxes they connect with, or the executive distances they create. I love the mythos of Street Fighter -- the stories that exist in and out of the games, intertwined with the visuals and conceptuals present in even the most rudimentary edition, which builds a legend sufficient to elevate a white suited karate man far beyond the generic three-letter name he's given.

To distance myself even further from the average player, I'm not all that enamored with online play.
Don't get me wrong. I understand the differences and appeal of going toe-to-toe with a human opponent (as opposed to CPU), but there's a convenience in the disposable exchange between machine and man, complimented by the fact that I actually enjoy the cutscenes and glimpses of story, have a generally poor internet connection, and very rarely master my games to any discernable degree. Or so I thought...


To really underline my level of skill (or lack thereof), I'll boldly admit to being completely incapable of executing a combo or super on command. I'm relatively ignorant to the ins and outs of tournament competition, but I'm pretty sure this instantly ranks me in the bottom echelon of prospective opponents. Well aware of this fact, I'll gladly do my best to trade pugilistic strategies, comfortable in the knowledge that I'll probably lose miserably. That's fine.

With obvious shortcomings in mind, however, imagine my surprise, when venturing online, to discover myself beating opponents! To their level of quality and stature, I cannot speak. The mere act of challenging someone with a noteworthy score was enough to render me surprised, beating them was an enjoyable bonus. Of course, I was surprised -- and ultimately enraged by a string of second round 'lost connection to host' conclusions (playing Street Fighter IV original), again and again.

Despite my initial suspicions based on timing, I gather the loss of host connection is actually a legitimate, impartial practical breakdown, and not a strategy to retain a solid win-loss record. I can begrudgingly accept that, particularly as my internet connection is less than spectacular, and I was knowingly entering into battles with a red graded connection probably located somewhere far, far away.

Switching to the abundantly titled Super Street Fighter IV: Arcade Edition, I figured I might have more success, finding local opponents on the more recent and more populated title. To a modest degree, I was right. Believing this would improve my sparse win-loss record on the original was my first mistake, however. Which brings us to this blog, which is essentially a long and laborious howling deathcry from a gamer unwilling to risk the damage inherent in furiously hurling his controls at the screen like a spiteful hadouken.


Officially, after a handful of dominant ranked matches, my record is 0-0. I have 0 player points.

To date, I haven't suffered a lost connection to host on SSFIVAE. Instead, the enraging indignity of quite explicitly confirmed quits by opponents has been my fate. Quits from ranked matches, which, I surely would have assumed would result in a default win for me (I was leading comfortably, any way), with points awarded accordingly.

This, of course, is wrong.

The reason for these forfeits was eloquently summed up in my first ever received "troll" message since playing online -- "laggy bitch," the subject. No content required. Laggy bitch. Laggy bitch with a clearly labelled connection quality of orange. Laggy bitch with a clearly labelled connection quality of orange, colour coded so any moron can instantly see if this is a fight he might like to avoid, based on ability to perform under lag. Laggy bitch with a colour coded connection any moron can instantly read, who was dominating the fight.

Suffice it to say that the lag was a fairly minimal, only occasional half second pause.
Compared to my red graded SFIV experiences, it was actually probably a little bit worse than I would expected of a newer game. Even so, it was hardly enough to interrupt the flowm, easily managed with a shred of anticipation shared mutually between two players.

In closing, I posit that it is you who is the bitch!
You and everyone like you, whose game can so easily be thrown off by the merest presence of latency! You, whose skills are so utterly underwhelming, you took a C-grade whooping before quitting like a whiney little bitch! You, who by any other measure, was defeated! You, who clearly sucks based on the rudimentary limitations of your skills! You, who can go screw!

Game Over!

After defeating Seth, Mike takes control of the S.I.N laboratory and uses their hi-tech facilities to play online. With a spectacular connection and almost no lag to speak of, he is swiftly handed his own arse, relegated with embarrassing efficiency.

Original Post: http://www.1up.com/do/blogEntry?bId=9093708

Monday, December 12, 2011

Running the Asylum: Lessons Learned from Batman

Adrift in the white noise of what seems to be generally good feelings about the now passed Bat-sequel; I must confess to having almost no knowledge of, or experience with, Arkham City. Amidst rumors of yet another expansion toward something along the lines of an 'Arkham World,' I feel some reticence toward any assertion that these are the greatest games the comics-to-gaming world has, and will ever see, but the point remains -- Rocksteady did make some very good games!

Personally, I've never been a big believer in writing off titles simply because they're derived from something else. The world has undeniably seen its fair share of hideous adaptations, but that blanket attitude has done more than lead many a soul to miss a hidden gem, canonizing an opinion as fact to such an extent as to condemn an entire sub-genre, by consensus, and by self-fulfilling production. At least, that's the theory. A brand as powerful as Batman can be counted on to fight through just about any prejudice (for the time being), and there are always the unwashed masses who buy even the most reviled adaptations, if they're within Wal-reach and the price is Wal-right.

As much as I'd love to spend time sharing my take on consumer wisdom, a more interesting, if equally dismaying point, has taken my fancy. It's a subject intertwined with a good deal of blogging I've done on 1UP over the past couple years, but is the kind of boneheaded, blisteringly obvious point that bares constant repeating, if only because it hasn't been adopted as a widely accepted truth: games should reference the source.


I suppose the implication of "referencing the source" is a project that intends to make use of the parent license, and if you're making use of a license from comic books, then your focus is primarily to reference design and ideas.

Games have never completely abandoned their penchant for storytelling, but for a while there, it seemed there might actually be a conceited push to get away from inconveniences such as plot, motivation, and other things that don't always accomodate a grey-brown palette and running and gunning. Comics can do both, as famous for their face pounding superheroes as they are their elaborate literature of pictures and words. Batman: Arkham Asylum brought The Dark Knight Detective's chops to both arenas, improving upon the motion of being the ultimate hero, as well as the poetry of his world. I've got my issues with both areas, but for all intents and purposes, the success of Asylum was an important moment for everyone to take note of -- and they clearly have.

Warner Bros. Montreal (via MTV Splash Page) inspired this blog by citing the current Batman games, as well as Activision's now classic Spider-man for the PlayStation, as the contemporary standard for this type of product. It's the kind of no brainer statement that makes me a little sad for the need to say it, but pleased that the right people are reaching the right conclusions, however late. As they prepare to tackle other properties from the DC Comics pantheon, they note, "They were just taking that really rich fiction from the comic books and exploring the characters. It's not about hitting the movie date or some arbitrary date – it was giving the game the time it needs to be successful and really just concentrating on the quality of it."

It's worth remembering that Batman: Arkham Asylum -- one of the games of 2009 -- emerged as a belated, unofficial compliment to one of the films of 2008 - The Dark Knight. The film influence can be found in elements of the close quarters fighting, or the steady orchestral drone of score that occasionally swells during play, but it was otherwise a surprising shift away from the direct adaptation that was met with mixed reviews for Batman Begins. For a time, a Dark Knight game was reported and assumed, but in the end, through design or inadvertent juggling, we got something much better, sourced from the comics (with a smattering of other references).

Consider for a moment that Arkham Asylum had the all-black costume of the movie Batman, and revolved around a slightly different plot, and you might appreciate the importance of recognising that games based on popular movies don't necessarily need to fail. Activision's development of the Spider-man universe arguably peaked with Spider-man 2, the second film sequel that gave the wall crawler a complete city (with streets and select interiors), and added new complexity to the act of web-slinging. Of those first four games, divded evenly between comics and films, each sequel improved upon the experience of its predecessor.

Where movie-based games are most immediately prone to fail is in the storytelling department. Personally, I think it goes without saying that a game that literally retells the plot of a movie, even with occasional insertions, is going to fall short, however ironic that might be. It's a redundancy that isn't completely without virtue, but typically has all the charm and intrigue of a second-hand account of last night's cinema trip from your parents, whose droning confusion equates to scene-extended fetch quests and time trial chase sequences. If your parents are anything like mine, it probably also rings true that the notation of a familiar actor (or character) takes precedent over anything even remotely relating to the film -- but I digress...

 

It's my hope that, if nothing else, superhero video games can learn valuable lessons from the success of the Batman games, but it's no sure thing. Batman has often been a brand to lead the way down a golden path, only to have it soiled by hamfisted misinterpretations.

Anyone partaking in the online sport of mocking nineties comics (and folks like Rob Liefeld) would probably like to trace their bombastic, grit-toothed origins to the grim 'n' gritty explosion led by iconic eighties matter like The Dark Knight Returns -- a tome expected to play key to influencing Christopher Nolan's 2012 blockbuster, The Dark Knight Rises. Nolan himself has been the source of widespread mediocrity, empowering a terrifying trend of brainless franchise remakes that extends to video games, and coincides with new products that share a skewed, misguided influence taken from the "realistic" Bat-reboots. Even DC hasn't been immune, bungling their way to one of the flops of the decade, the glowing missed opportunity of Green Lantern, which attempted to combine ideals of the successful Batman and Iron Man franchises with insulting results.

Even as we speak, a designer or publisher somewhere in the world is contemplating ways to recreate the success of the Arkham games with no appreciation for how a product was arrived at. Accounts from those that ventured there give the impression it was the mechanical formula of the Arkham series that gave motion to a lacklustre film tie-in based on Captain America. It certainly seemed to be that type of affair, not quite worth the dollars to find out [consumer beats commentator].

Unfortunately, some of these more shallow, corporate-driven trends have infiltrated the comics themselves. If you know about the heavily publicized DC Comics "New 52" reboot, you know that the four-colour format is as fickle as ever, prone to ditching its history at the first sign of digital sales (to a degree), contrary to old wisdom. With worlds that demand reason to fill the far reaching corners of an ever expanding sandbox, I like to think video games have the opportunity to take the best from the Batman lesson, doing as the comics haven't by making a sales pitch of a rich and involving universe.

Arkham Asylum makes a meal of all available materials, borrowing iconic thrills from comics like Arkham Asylum: A Serious House on Serious Earth and Arkham Asylum: Living Hell, while also picking up on colourful strands from scary places like 1997's reviled Schumacher film, Batman & Robin. The story isn't a dense tome of text and cut scenes, but often that's the intended meaning of good storytelling, remembering the importance to acknowledge medium, genre and any other influences that might shape a story. Things fell apart at the end of Arkham Asylum, but for the most part, there was a servicable effort to make all that trapsing seem pretty worthwhile, at least while it was happening. By referencing the comics, it ensured the entire affair was as visually and conceptually interesting as it should be, unbound in ways the films, by their own choice, haven't always been.

The films have a similar strong foundation in the comics, owing much to stories like Batman: Year One and Batman: Dark Victory. With that in mind, the lesson of Batman's many successes should almost certainly be one of respect for the source, rather than dollar-signs-in-the-eyes that might suggest any Batman is good Batman. It's an endorsement of the influence of the original, just as Warner Bros. Montreal profess.

Meandering to a blog conclusion, I think back to the turn-of-the-decade phenomenon of The Matrix. The 1999 breakout hit brought Hong Kong wirework to the Hollywood fore and similarly endorsed the ideals of a comic book and anime audience, steeped in expansive universes and interesting concepts, bolstered by graphic design. Famously left to the devices of the Wachowski siblings who put the pieces together (in distant Australia), the film was a landmark endorsement of the creator, confirming the action-packed auteur theory that offered a gateway to the superheroes who've taken over that ideaspace (for better or worse).

Let's just hope things end better for Batman.

Tuesday, January 11, 2011

1UP: The Actual Decade Ends and I Give A Crap!

[Roughly] this time last year, I capped off a busy blogging epoch with thoughts about the then immediate gaming past, present, and future.

This somewhat incorrectly labelled "Decade-Ending Review to a Kill" was an informal discussion based on the topics and obssessions that fuelled much of my time on 1UP to that point. It was underscored by a general sense of skepticism that accompanied the assumptions of the current console generation. Having spent significantly less time blogging in the last six months, I don't have as many thematic throughlines as I did at the beginning of 2010, but I don't expect that will have changed my feelings a great deal...

One of the biggest differences between then and now is that I'm knee deep in relatively contemporary gaming. I've learned to stop worrying and love owning a current console myself, and it is good. Owning a console myself hasn't miraculously changed my perspective on gaming and life, but the timing for me was right. For the most part, I still like the same types of things, and still have the same prejudices, but at least now I can loathe the latest first-person shooter making waves, with a wireless control in my hand, and an active internet connection.

Full Article: http://www.1up.com/do/blogEntry?bId=9068305

Saturday, May 29, 2010

iChart 100: 2010 Returns

If you're reading this, you might want to check out YouTube, iTunes, or Amazon for the obscure remix track you're looking for. In the event that this wasn't a wayward Google search that I can't do anything about, you might want to get a better hobby than reading some idiot talk about his iTunes play stats (or broaden your horizons by seeking some of the tracks out). Video games or superhero comics come highly recommended as topical alternatives!

Lately I've been burrowed in my cave working on various writing projects, including comic book projects that haven't come as fluidly as I would've liked. One project in particular, featuring pulp and novel inspired characters, was supposed to be a fast-tracked project, but has proven much more difficult to develop than originally speculated. Part of that is my foggy old brain, part of that is a desire to make the best product I can. That, and I hate doing layouts. SO STOP DISTURBING ME!!!

Theoretically, data dumps like this help keep my brain active, ergo;

#1 [527] William Ørbit - Cavalleria Rusticana (--)
#2 [525] William Ørbit - Ogive Number I (--)
#3 [514] William Ørbit - In A Landscape (+2)
#4 [510] Way Out West - Pulse of Life (-1)
#5 [496] William Ørbit - Piece in the Old Style 3 (-1)
#6 [494] 菅野よう子 [Yoko Kanno] - Bad Dog (+3)
#7 [493] Thom Yorke - Analyse (+1)
#8 [489] CocoRosie - Rainbowarriors (-2)
#9 [488] William Ørbit - L'Inverno (-2)
#10 [461] William Ørbit - Xerxes (+2)
#11 [460] William Ørbit - Triple Concerto (-1)
#12 [460] William Ørbit - Pavane Pour Une Infante Defante (+1)
#13 [445] Björk - Mouths Cradle (-2)
#14 [436] Underworld - Two Months Off (Radio Edit) (+1)
#15 [427] William Ørbit - Piece in the Old Style I (-1)
#16 [421] CoLD SToRAGE - Body in Motion (+3)
#17 [412] William Ørbit - Opus I32 (-1)
#18 [412] Vangelis - Love Theme from Bladerunner (+2)
#19 [400] Björk - Who Is It (Carry My Joy on the Left, Carry My Pain on the Right) (-2)
#20 [393] Bodyrox feat. Luciana - Yeah Yeah (D. Ramirez Radio Edit) (+1)
#21 [392] Moby - My Weakness (-3)
#22 [388] William Ørbit - Adagio for Strings (--)
#23 [362] CoLD SToRAGE - Cold Comfort (+3)
#24 [352] Björk - Submarine (-1)
#25 [341] Gustav - Genua (-1)
#26 [340] Madonna - Frozen (+5)
#27 [335] Intermix - Mantra (-2)
#28 [331] PNAU - Journey Agent (+7)
#29 [330] Hot Chip - Over and Over (--)
#30 [329] UNKLE - Lonely Soul (-3)
#31 [324] Björk - Visur Vatnsenda-Rósu (-3)
#32 [323] Stardust - Music Sounds Better With You (Radio Edit) (-2)
#33 [321] CoLD SToRAGE - Cairodrome (+4)
#34 [317] Radiohead - Videotape (--)
#35 [311] William Ørbit - Barber's Adagio for Strings (Ferry Corsten Remix) (+12)
#36 [308] Future Sound of London - Papua New Guinea (-4)
#37 [306] Pendulum - Coma (+7)
#38 [306] Einsturzende Neubauten - Blume (+7)
#39 [305] Groove Zone - Eisbaer (Extended Mix) (+7)
#40 [305] Björk - Desired Constellation (-7)
#41 [304] Groove Terminator - Losing Ground (-5)
#42 [303] Joe Jackson - Steppin' Out (-3)
#43 [303] Sasha - Wavy Gravy (+5)
#44 [292] Moby - Porcelain (Clubbed to Death Version by Rob Dougan) (-6)
#45 [290] DJ Krush - Dig This Vibe (+4)
#46 [288] Rob Dougan - Clubbed to Death (Kurayamino Variation) (-5)
#47 [287] Björk - Pleasure is all Mine (-7)
#48 [286] Cassius - Toop Toop (-6)
#49 [285] Console - 14 Zero Zero (+5)
#50 [284] Luke Slater - Stars and Heroes (+3)
#51 [283] b(if)tek feat. Julee Cruise - Wired for Sound (-8)
#52 [271] Björk - Vokuro (-1)
#53 [268] Supreme Beings of Leisure - Strangelove Addiction (+13)
#54 [268] Moby - Bodyrock (Hybrid's Bodyshock Remix) (-4)
#55 [267] Peter Bjorn and John - Young Folks (+3)
#56 [266] UNKLE - Rabbit in your Headlights (+4)
#57 [264] Madonna - Drowned World/Substitute for Love (-5)
#58 [259] The Chemical Brothers - Let Forever Be (+11)
#59 [253] Pet Shop Boys - Miracles (Radio Edit) (+9)
#60 [253] Hot Chip - Grubbs (-5)
#61 [251] William Ørbit - Water from a Vine Leaf (-2)
#62 [249] CoLD SToRAGE - Onyx (-6)
#63 [248] Moby - Memory Gospel (-6)
#64 [247] Björk - Triumph of a Heart (+7)
#65 [245] Pet Shop Boys - I Don't Know What You Want but I Can't Give it Anymore (+17)
#66 [243] Moby - Natural Blues (+7)
#67 [242] The Beta Band - Space Beatle (-3)
#68 [240] Ratty - Sunrise (Here I Am) (Radio Edit) (-7)
#69 [240] Nine Inch Nails - Just Like You Imagined (-7)
#70 [239] Moby - ARP (-7)
#71 [239] Orbital - Petrol (-6)
#72 [238] Faithless - We Come 1 (+7)
#73 [235] Moby - Flying Foxes (-6)
#74 [228] Björk - Oceania (+6)
#75 [227] Faithless - Drifting Away (Paradiso Mix) (-3)
#76 [225] Cassius - Toop Toop (Olivier Koletski Mix) (-6)
#77 [222] CoLD SToRAGE - Messij Received (+18)
#78 [220] Hot Chip - Boy From School (+5)
#79 [218] ana voog - Telepathic You (+7)
#80 [218] b(if)tek - 3 Seconds of Her (-6)
#81 [216] Daft Punk - Around the World (+9)
#82 [215] DJ Shadow - Six Days (-6)
#83 [213] Pet Shop Boys - Paninaro '95 (-5)
#84 [212] Kenji Kawai - Making of a Cyborg (+7)
#85 [211] 菅野よう子 [Yoko Kanno] - Pulse (+7)
#86 [210] Rui Da Silva feat. Cassandra - Touch Me (new)
#87 [210] Raven Maize - The Real Life (Fatboy Slim Mix) (-11)
#88 [210] Björk - Who Is It (Vitalic Mix) (-11)
#89 [208] Luke Slater - Grace (-5)
#90 [207] Sash! - Chillout No.1 (-5)
#91 [207] Groove Armada - Dusk, You & Me (-10)
#92 [206] 808 State - Pacific (808:98) (new)
#93 [205] Gerling - Enter Space Capsule (-5)
#94 [204] Radiohead - 15 Step (new)
#95 [203] UNKLE - Unreal (-6)
#96 [202] Faithless - Salva Mea (Way Out West Remix) (+1)
#97 [202] Timo Maas - To Get Down (RE)
#98 [201] Pet Shop Boys - Opportunities (Let's Make Lots of Money) (RE)
#99 [201] Hybrid - Finished Symphony (Album Version) (-12)
#100 [198] Hybrid - If I Survive (new)

Evidently I'd forgotten just how much music I added in the gap between now and the last time I did this silly little ritual. A couple of albums in transit from Amazon arrived, and I've since made use of Christmas iTunes vouchers in the plenty. It's been nice to replace some tracks with higher quality versions, and pick-up a lot of music I've been watching on YouTube in the absence of an album or download. Mind you, I've burnt through it all so fast, it seems excessively familiar!

This familiarity no doubt stems from the fact that only a few tracks are actually new. Inspiration remains far from the contemporary charts. I sometimes wonder if I'm just getting to that age where the world moves on. Music sucks and kids have stupid haircuts. Then I see a band actually called LMAO on a TV playlist and feel a whole lot better about myself. It really is them!

Meanwhile, speaking of the past -- MTV's Daria finally hit DVD. Unfortunately this means long begrudging legalities surrounding the massive playlist of licensed music in the show has not been resolved. Which means Daria without it's soul. A version stripped of the popular music of the time, replaced by "sound alikes" and other. A very bittersweet situation. Great to finally have the show on disc, but will it be the same without the contemporary spirit of it's soundtrack? I have my doubts.

Friday, December 25, 2009

iChart 100: Year-End 2009

Well, I got an iTunes gift card for Christmas, so after lord knows how many months of whinging, I actually have the opportunity to buy new music. Of course, with great powers great responsibility, so I'm taking it easy, making sure I get what I really want. Why I would tell you this, or why you'd be interested, is well beyond me. It seems this statistical notetaking has just become something of a tradition. Ergo...

#1 [472] Way Out West - Pulse of Life (+1)
#2 [465] William Ørbit - Cavalleria Rusticana (+1)
#3 [464] William Ørbit - Ogive Number I (+1)
#4 [459] William Ørbit - In A Landscape (-3)
#5 [458] 菅野よう子 [Yoko Kanno] - Bad Dog (+2)
#6 [457] William Ørbit - L'Inverno (-)
#7 [457] Thom Yorke - Analyse (+1)
#8 [456] William Ørbit - Pieces in the Old Style 3 (-3)
#9 [453] CocoRosie - Rainbowarriors (-)
#10 [443] Björk - Mouths Cradle (-)
#11 [420] William Ørbit - Triple Concerto (-)
#12 [416] William Ørbit - Xerxes (-)
#13 [409] William Ørbit - Pavane Pour Une Infante Defunte (-)
#14 [400] Björk - Who Is It (Carry My Joy on the Left, Carry My Pain on the Right) (+1)
#15 [398] Underworld - Two Months Off (Radio Edit) (-1)
#16 [390] Moby - My Weakness (+3)
#17 [389] William Ørbit - Pieces in the Old Style I (-1)
#18 [375] William Ørbit - Opus I32 (-1)
#19 [370] CoLD SToRAGE - Body in Motion (-1)
#20 [362] Vangelis - Love Theme from Bladerunner (-)
#21 [353] Bodyrox feat. Luciana - Yeah Yeah (D. Ramirez Radio Edit) (+1)
#22 [350] Björk - Submarine (-1)
#23 [341] Gustav - Genua (-)
#24 [334] Intermix - Mantra (-)
#25 [325] William Ørbit - Adagio for Strings (-)
#26 [324] Björk - Visur Vatnsenda Rosu (-)
#27 [311] CoLD SToRAGE - Cold Comfort (+4)
#28 [308] The Future Sound of London - Papua New Guinea (-)
#29 [307] Hot Chip - Over and Over (+1)
#30 [305] Björk - Desired Constellation (-1)
#31 [304] UNKLE - Lonely Soul (-4)
#32 [301] Stardust - Music Sounds Better With You (Radio Edit) (+4)
#33 [299] Madonna - Frozen (+5)
#34 [299] Radiohead - Videotape (+6)
#35 [291] Joe Jackson - Steppin' Out (-2)
#36 [287] Björk - Pleasure is all Mine (-4)
#37 [286] Moby - Porcelain (Clubbed to Death Version by Rob Dougan) (+10)
#38 [285] Cassius - Toop Toop (-3)
#39 [283] b(if)tek feat. Julee Cruise - Wired for Sound (-)
#40 [282] Pendulum - Coma (-6)
#41 [281] Rob Dougan - Clubbed to Death (Kurayamino Variation) (+5)
#42 [279] Einsturzende Neubauten - Blume (-)
#43 [278] PNAU - Journey Agent (+2)
#44 [278] Groove Zone - Eisbaer (Extended Mix) (-7)
#45 [276] CoLD SToRAGE - Cairodrome (-1)
#46 [271] Groove Terminator - Losing Ground (-5)
#47 [267] DJ Krush - Dig This Vibe (-4)
#48 [266] Moby - Bodyrock (Hybrid's Bodyshock Remix) (-)
#49 [264] Madonna - Drowned World/Substitute for Love (+7)
#50 [259] Luke Slater - Stars and Heroes (+9)
#51 [256] Sasha - Wavy Gravy (+6)
#52 [256] Björk - Vokuro (-3)
#53 [255] William Ørbit - Barber's Adagio for Strings (Ferry Corsten Remix) (-2)
#54 [252] Hot Chip - Grubbs (-4)
#55 [249] CoLD SToRAGE - Onyx (-3)
#56 [248] Moby - Memory Gospel (-1)
#57 [246] Peter Bjorn and John - Young Folks (-4)
#58 [245] William Ørbit - Water From a Vine Leaf (-6)
#59 [244] UNKLE - Rabbit in your Headlights (-4)
#60 [240] Nine Inch Nails - Just Like You Imagined (-2)
#61 [239] Ratty - Sunrise (Here I Am) (Radio Edit) (+4)
#62 [237] Moby - ARP (-8)
#63 [232] Console - 14 Zero Zero (-2)
#64 [231] Pet Shop Boys - Miracles (Radio Edit) (-2)
#65 [227] The Beta Band - Space Beatle (-5)
#66 [225] Chemical Brothers - Let Forever Be (-)
#67 [223] Björk - Triumph of a Heart (+1)
#68 [223] Faithless - Drift Away (Paradiso Mix) (+7)
#69 [221] Moby - Natural Blues (+7)
#70 [220] Cassius - Toop Toop (Olivier Koletski Mix) (-)
#71 [220] Orbital - Petrol (-4)
#72 [218] b(if)tek - 3 Seconds of Her (-3)
#73 [216] Supreme Beings of Leisure - Strangelove Addiction (+1)
#74 [215] DJ Shadow - Six Days (+4)
#75 [209] Raven Maize - The Real Life (Fatboy Slim Mix) (+5)
#76 [209] Björk - Who Is It (Vitalic Mix) (-5)
#77 [208] Moby - Flying Foxes (-5)
#78 [206] Groove Armada - Dusk, You & Me (-5)
#79 [203] Hot Chip - Boy From School (+2)
#80 [201] Pet Shop Boys - I Don't Know What You Want but I can't Give It Anymore (-1)
#81 [200] ana voog - Telepathic You (-4)
#82 [195] Daft Punk - Around the World (-)
#83 [193] Faithless - We Come 1 (+2)
#84 [193] Kenji Kawai - Making of a Cyborg (-1)
#85 [192] Pet Shop Boys - Paninaro '95 (-1)
#86 [191] Bentley Rhythm Ace - Theme from Gutbuster (-)
#87 [186] Hybrid - Finished Symphony (Album Version) (-)
#88 [184] Sash! - Chill Out No. 1 (+4)
#85 [184] Björk - Oceania (new)
#86 [183] UNKLE - Unreal (+9)
#87 [183] Luke Slater - Grace (+13)
#88 [182] Hybrid - Zulu (RE)
#89 [182] Faithless - Salva Mea (Way Out West Remix) (-1)
#90 [182] Pet Shop Boys - Single - Bilingual (-)
#91 [182] 菅野よう子 [Yoko Kanno] - Pulse (-)
#92 [182] Kenji Kawai - Pappetry Song (Gods' Gathering in the New World) (-3)
#93 [181] Ramin Djawadi & The RZA - Daywalkers (+5)
#94 [179] Pet Shop Boys - Being Boring (+3)
#95 [178] Gustav - We Shall Overcome (-2)
#96 [176] Gerling - Enter Space Capsule (new)
#97 [176] Death in Vegas - Hands Around My Throat (-3)
#98 [175] Moby - In My Heart (RE)
#99 [174] Chicane feat. Bryan Adams - Don't Give Up (new)
#100 [174] Timo Maas - To Get Down (RE)

In October I lost a dear friend/family member to kidney cancer, so I know the music I've been listening to has changed. For a week or more I didn't really listen to any music as I gradually adjusted to the fact that I was listening to it without the company of another pair of ears. Certain lyrics and tones also didn't fit my mood, through grieving, and through moving forward. I still think of him often and feel a great sadness for that massive loss. It's sometimes nice not to be reminded of it by song.

I'm looking forward to the long overdue addition of new music. "New" to my iPod, at least. I don't imagine anything recent chart topping music will win my thirty iPod dollars.

Actually, despite the above inferrence, I recently discovered the 2000's weren't as grim a decade for music as I'd thought. Granted, there's plenty of stuff that slipped by this decade, but even with that in mind, when I compiled a playlist full of tracks from the 00's, I was pleasantly surprised, even if there was some confirmation of the strength of the first half.

The bulk of the top 10 from this month's Top 100 came from the 2000's.
Some real gems are in there, too. PNAU's Journey Agent harkens back to better personal days and the creative vigor of the year 2000. It's been a theme of my video game blogging on 1up, but I think the sense that the world was inspired by the race toward the new millenium, only to finish the decade with a belly flop, applies to music as well. PNAU's warm, jazzy track is a stark contrast to the obnoxious eighties-kitsch they were churning out by 2008. They certanly weren't alone in producing this kind of claptrap, which is currently vying for the top of the pops with rap hangover and the usual plastic princess crap that sells to fourteen year old girls.

I've dwelled in the 98-02 period quite a bit this year, reminiscing over days when I felt much more empowered. The declining graph of creative endeavours over this decade has led me to feel quite a bit more disconnected than I had for a long time. I was very use to keeping a narrow scope that shifted with the times, but now I now I find I am constantly look backward, catching up on the things I missed the first time, and reappreciating the things that meant a lot.

The KLF has been a recent favourite. Other tracks from the eighties and nineties have been a feature, and I've got the 24 Hour Party People (movie) DVD on order, so the turning point of dance in the Manchester/Factory scene is something I'm sure I'll be soaking in again soon. Incidentally, if you've found yourself reading this, and you're interested in a pisstake of music history through the lens of modern myth, you should give it a look.

The big votes for the 05-09 period, at least on my feeble iPod playlist, come from Way Out West, Thom Yorke, CocoRosie, Hot Chip, Cassius, Peter Bjorn and John, Faithless, and various other Swedish acts. With the exception of the unbolded latter, it's a tad disheartening to see what is obviously a very nineties-influenced list of offerings.

Incidentally, La Roux's Bulletproof is heavily eighties-infused pop that actually manages to strike a chord, perhaps because it feels somehow more sincere than the glut of new releases baring gaudy neon strips over solid white backgrounds. The song's got an infectious pop hook with the benefit of a powerful lyrical message. I'm sure it's all about empowerment in the face of lusting adversity, but the large fiction-addled quadrant of my brain likes to think of it in terms of an old friend who promises to come back with none of the old weaknesses.
La Roux lakes the personalized reinterpretation of eighties trends that, say, MGMT were able to offer, but on the same token, didn't make me want to punch idiotic shirtless fifteen year olds in the face, either. I'll take a little tight white denim and big shoulder pads over muddy kids eating worms from the yard, any day!

Also well worth a look, against all odds, is the latest offering from the Black Eyed Peas, who against better judgment, continue to associate with Fergie. It seems, in a rare fit of musical integrity, the "BEP" have decided to investigate conventional wisdom, putting together a track in Meet Me Halfway that has a bit of an emotional punch to go along with it's pop competence. Replacing their usual modus operandi of constantly repeating a handful of words is an actual chorus, proving that, somewhere behind that squinty-eyed blonde, there's a competent music act, who, like PNAU, had better days at the beginning of the decade, kicking arse with pre-Fergie tracks like Weekend.

On the subject of kicking arse (and looking backward), I've been having semi-religious experiences revisiting the saxaphonic supremacy of 1989's Pacific State, by 808 State.
I don't think I'm getting carried away when I describe the echoing brass as nigh orgasmic. Somewhere out there I'm sure there's a remix that cuts the Roland TR-808 intrusion that hasn't aged all that well, and let's the sax speak for itself. Apparently it's in GTA: San Andreas, but I'll try not to hold that against it.

Also from the same period, I've been getting back in touch with one of my favourite albums (as a complete package), and the very first album I ever owned (late bloomer), U2's Achtung Baby. I shant sneer at their beloved eighties output, but I'm sure I'll always have a bias for the group's '91 turning point, which gave birth to the modern U2 of today, but did it without the tired, soulless gimmicky rubbish. Mind you, I'm undecided if the "birth" of Bono in black leather and giant sunglasses was at it's silliest in The Fly, or much less so than later years. I think perhaps I'll just focus on the music, which was bloody fantastic! I'm sure sometimes at night when I fall asleep I'm still hearing the opening electric of Zoo Station, still echoing in my ears years after I lost the swanky silver-buttoned Sony Walkman my late Great Aunt bought for the express purpose of firing up my synapses with this metal-grinding industrial reawakening [of u2].

That's probably enough bitching for one Christmas night, though.
Hope you're having a good one and just happened to find this post in February, rather than reading it when it was posted, late Christmas (early in the US). Cheers!

Wednesday, June 24, 2009

SixArmedSamurai 101up: Lazy Self-Referencial Milestone Post

Hello!

I'm Mike. You might know me as the guy with the eyebrows in the not-quite pretentious black and white avatar; the scowly wrestler-faced guy who talks about superheroes on Secret Wars on Infinite Earths; as the writer/creator of the experimental small press comic book, The Kirby Martin Inquest (via Nite Lite Theatre); the guy who used to write for prowrestling.com; had some music chart on the original mp3.com; and/or from many other embarrassing online projects from the past ten years of little note.

Thanks to a big chunk of re-post segments with links to "SWoIE," my blog post count has been successfully padded out to 100 posts. In the interest of full disclosure and lazy blogging, I thought I might sift through those many entries to repost the ones that weren't quite as creatively insulting. The ones that fall into a series of formats I've imposed upon myself to structure otherwise meandering and pointless rantings.

I'd stumbled across 1up.com once or twice through random happenstance in the past, but became more interested in the site via BigMex's blog (after he linked to mine) and after finding the podcasts whilst searching for Street Fighter IV news (ie; The 1up Show #117's exclusive first-look). They were simpler times, those heady days of early 2008. Halcyon, young, and oh-so full of promise...

Despite struggling to cross over into the current generation of games, I've played intermittently for the past twenty years. My interests skirt somewhere between the much discussed "casual" and "hardcore" ethics, to include: beat 'em ups like Street Fighter, Mortal Kombat, and Tekken; combative racers like Wipeout and Twisted Metal; music rhythm games like PaRappa the Rapper and Bust-A-Groove; prowrestling games like the WWE: Smackdown! (vs RAW) series; survival horror games like Resident Evil and Silent Hill; and many many more. Including, of course, the game from which my 1up user handle originates - Shinobi III.

I'm foreign; generally regard Nintendo as the score on a failed IQ test; prefer most games have a story; refuse to drop "PSX" as the shorthand reference to the PlayStation; and think said console was probably the crowning achievement of the entire industry. I have no special loyalty to Sony, despite considering the PS3 the slightly more interesting, if wholeheartedly stagnant, lesser evil of a generation dominated by the unnecessarily unattractive and boring.

I understand these things might put us at odds, but am sure we can still be friends. Even if you're wrong.

My current high score on Contra: Hard Corps is: 1330.

AdVantage Point...
Each entry features a scan of a gaming advertisement than ran in a comic book.
These scans are all in my 1up gallery and might have some archival use for someone at some point. Otherwise, these are posts that meander around the topic of the quality of the advert, the subject of the advert, or any tangential subjects that it might inspire. None of the features are affiliated with the products mentioned in them, and should be enjoyed or disdained with the freely admitted knowledge that each image might be subliminally affecting your decision making with over sexualized imagery and pseudo-science.
Also, "AdVantage Point" is a hilarious and brilliant triple-threat of wordplay. Makes you laugh; makes you think.

Street Fighter IV (2009) [April 16, 2009]
Mortal Kombat II (1994) [April 17, 2009]
Dragonball Evolution (2009) [April 18, 2009]
Halo Wars (2009) [April 20, 2009]
TNA Impact! (2008) [April 21, 2009]
Mirror's Edge (2008) [April 23, 2009]
Catwoman (2004) [April 28, 2009]
Wolverine: Adamantium Rage (1994) [May 1, 2009]
X-Men: Mutant Academy 2 (2001) [MAy 4, 2009]
Marvel Super Heroes: War of the Gems (1996) [May 9, 2009]
Matrix Online (2004) [May 28, 2009]
WWF: Royal Rumble (1993) [June 2, 2009]
Twisted Metal: World Tour (1996) [June 10, 2009]
Final Fantasy VII (1997) [June 11, 2009]
Silent Hill: Homecoming (2008) [June17, 2009]
Splatterhouse (1990) [June 23, 2009]

Musi(c.)PSX...
Much like the AdVantage Point series of posts, these posts feature the corresponding music video embedded from YouTube. All songs fall within, and often reference, the era in which the PlayStation console was dominant. The oh-so less groovy trendy name of the posts would be, Music Circa the PlayStation. Since that many words wouldn't look good printed in a white blocky font on orange paper with a tiny logo in the bottom right corner, it had to be sassed like the cover of a mainstream Luke Slater album.

Underworld - Born Slippy .NUXX (1995) [May 2, 2009]
The Prodigy - Breath (1996) [May 5, 2009]
Groovezone - Eisbaer (1997) [May 8, 2009]
Aphex Twin - Windowlicker (1999) [May 14, 2009]
Secret Garden - Nocturne (1995) [May 17, 2009]
Dana International - Diva (1998) [May 23, 2009]
Aphex Twin - Donkey Rhubarb (1996) [May 25, 2009]
Fluke - Atom Bomb (1996) [May 26, 2009]
Sly & Robbie - Superthruster (1999) [May 27, 2998]
Rob Dougan - Clubbed to Death (1996) [May 29, 2009]
USURA - Open Your Mind '97 (1997) [May 30, 2009]
Moby - Run On (1998) [June 3, 2009]
Pet Shop Boys - I Don't Know What You Want But I Can't Give It Anymore (1999) [June 16, 2009]

Hero Of The Week...
Each Monday the world stops in order to recognise the achivements of a single superhero.
These posts bounce off of events in games, film, television, and the comics themselves, to further typecast this blog as one written by that guy who does the comics. As it happens, superheroes have become a phenomenon in popculture making it fairly easy to connect most characters back to video games, either upcoming, or retro.

#1 Wolverine (Marvel) [June 1, 2009]
#2 Batman (DC) [June 8, 2009]
#3 The Flash (DC) [June 15, 2009]
#4 Captain America (Marvel) [June 22, 2009]

Saturday Night Slam Masters...
In the mid-nineties Capcom attempted to capitalize on the success of their various fighting games with a venture into the prowrestling genre. Saturday Night Slam Masters (and it's sequels) remain a slightly obscure but fondly remembered series of games full of the same type of energy and design that made Street Fighter a juggernaut.
In an attempt to stress test the thought of reviving the series as a conventional wrestling game (complete with story modes), these posts feature results written as if Capcom Wrestling Association were competing with WWE. The series includes Capcom characters from other successful franchises with the hope of writing a full year's worth of events.

The Muscle Bomber Comeback! [June 4, 2009]
CWA: The International Blowout Preview [June 5, 2009]
CWA: The International Blowout [June 7, 2009]
CWA: Saturday Night Slam Masters [June 13, 2009]
CWA: Saturday Night Slam Masters [June 20, 2009]

Miscellanious...
An obsessive compulsive's worst nightmare!!!
These are the articles that were not contorted to fit into one of the other post formats.
They are no better written, better conceived, or even necessaily worth your time.

Wipeout: Style and Substance [Jan 28, 2009]
You Stupid Fanboy! [Jan 29, 2009]
There's a brand new dance, but I don't know it's name... TEKKEN! [June 18, 2009]
Games on Film: Silent Hill (2006) [June 19, 2009]
SixArmedSamurai 101up: Lazy Self-Refencial Milestone Post [Ironically Self-Referenced]

Original Post: http://www.1up.com/do/blogEntry?bId=8996095

Saturday, May 30, 2009

Musi(c.)PSX: Open Your Mind '97 (1997)

Sony's Playstation console was first released in Japan in December of 1994.
A year later, it spread across the globe, leading to it's eventual assimilation into modern living. The console was officially discontinued by Sony in 2006, but began a process of phasing out with the 2000 release of the Playstation2. Known in it's early years colloquially as the PSX, the console was characterised by a slick attitude that met modern gamers on varying levels, boasting releases like Wipeout, which fused electronic music culture with the gaming experience. This post is a celebration of that time. Music circa (c.) the PSX
.


USURA - Open Your Mind '97 (1997)

When I renewed efforts to make use of 1up's super-cool free blogging tool, I wasn't sure how long I'd actually last.
As it turns out, almost as if to support the argument contained within some of them, something resembling an on-going discussion has formed over the past few weeks worth of posts, emerging inadvertently from common elements to a particular timeframe. I guess that's what stream of consciousness is all about.

Persistent rantings dedicated to romanticizing the PlayStation eventually led us from experimental dance music, to the Wipeout games, to overlapping influences, to the turn of the century, to the Matrix films and games. The latter subject became eerily topical with Sony's announcement to disconnect the Matrix MMO coming a day after our discussion [AdVantage Point: Matrix Online].

To round out the week I thought I'd take it easy, finishing up with the 1997 rerelease of the '92 dance classic, Open Your Mind. The title of the track comes from the line sampled in the song from the film, Total Recall, which features a handful of comparisons to the Matrix, including it's themes of uncertain realities, simulation, and pill-based escapes (from aforementioned uncertain realities).

In the various doe-eyed rants about the PSX a recurring theme has been the way the console (and generation) was able to reinvigorate imagination within the industry, effectively rendering everything established in gaming as a brand new playing field. The transition from side-scrolling 2D platformers, to 3D action-adventure games, is a prime example of this fundamental rethink.
This kind of referential adaptation by technology has been at the very heart of dance music, embodied quite purely by the practise of remixing. Open Your Mind '97 quite literally took something old, changing very little to modernize it for a re-release.

Next week's E3 will almost certainly attempt to roll out familiar elements repackaged for a rerelease in 2009 and 2010. Among them, the expected announcement of Sony's PSPgo. Also on the way will be more news from Steve Harris, who will also be dusting off the old to make it new with the timely resurrection Electronic Gaming Monthly. So there's the tenuous tie between music and game for the weekend. Super!

Original Post: http://www.1up.com/do/blogEntry?bId=8991759 

Thursday, May 28, 2009

AdVantage Point: Matrix Online (2004)

Give an idiot a scanner and a comic book and let him pick out all the advertisements for video games.
This is AdVantage Point -- a chance to document the winding timeline of comics/gaming history as it was canonized by the adverts. Musings, rantings, observations, stream of consciousness.


 
Reinterpreting most developed fictions as an interactive experience isn't all that hard.

The basic construction blocks of video games are much the same as any other domain of fiction, complimented by using recognisable pro-nouns and concepts to establish a sense of verisimilitude in the interactive landscape. The best games possess the same attention to detail as any comic book, novel, or movie, no matter how incidental, making those comparable mediums and their recognisable locales ripe for plundering as video game levels.

The Matrix (1999) deliberately expanded upon the culture and technical references of video games and computing. Describing the multimedia franchise as a fitting choice for a licensed MMORPG would be an understatement of the obvious, if not the inevitable!
If ever there was a fanbase and commercial premise ready to embrace the infinite, it was the "free minds" enamoured with the cultural clash of kung fu action and existential lite-philosophy that took place within an artificial reality construct referenced in the film's title. I mean, essentially, the movie was about a giant "secret-best" MMO!

To deviate momentarily, I have to admit to being relatively late to the Matrix party.
Despite an instant campaign of approval reminiscent of Agent Smith's expanding ego in the sequels; I had a hard time looking at the film as anything but an overblown green anime/comic book hybrid starring Keanu "Whoa!" Reeves. For whatever reason, I didn't appreciate the type of cross-cultural references that helped further anime's growing popularity in the West, and other comparable ideas discussed yesterday [Musi(c.)PSX: Superthruster].

Fortunately for me, after a couple of stubborn years and some female encouragement, I finally got over my prejudices to discover a most excellent film, indeed.

This goodwill, for the most part, even extended to the much maligned sequels, which in my opinion, immediately felt like the logical continuation of those same anime/comic book styled adventures. Sure, I could've done without most scenes in Revolutions that weren't set in the Matrix itself, but I suppose after that first intrigue-filled viewing of the original film, that was true of all of the movies. Which is probably why I still watch Reloaded the most. That, and my giant man-crush on Daniel Bernhardt. Ahem.

The announcement of an on-going video game that expanded the now concluded adventures of the Matrix characters seemed like quite a brilliant idea! If I'd been more of a PC gamer with a wallet that justified paying periodical instalments for one game, I probably would've jumped all over the MMO like Neo on Trinity.
Alas; circumstances were such that no matter how accepting I had become of the escapades of these vinyl-clad digital warriors, I was not going to play Online.

Judging from 1up's own six-part pseudo-blog on the developments of "MxO," I apparently escaped a fate worse than techno-assimilation. I'm personally a little reluctant to place that much faith in the monotoned labourings of Monsieur Sharkey, but can't argue with some of the predicaments he found himself in. Shame he didn't last longer.

To date, my experiences with MMOs remain limited to a handful of naively enjoyed brief liaisons with reviled freebie, Runescape. Conversations with WoW diehards who share an interest in turning everything into an MMO pitch have taught me that this ignorance is true bliss.
Without the familiarity and acceptance of the fantasy game's internal conventions, I've been able to avoid becoming a slave to the machine world, unaware and uninterested in established task trees and methods of indulging the MMO experience.

Matrix Online immediately appealed to my sensibilities as an avid and seasoned superhero fan.
The inclusion of comics writer and acclaimed creator of Concrete, Paul Chadwick, was a vote of confidence for the game's ability to sustain a live-action plotline comparable to the on-going adventures of comics, where the craft was successfully honed over sixty-plus years.

Execution might have been lacking, but by featuring a cast of characters, new and old, in a massively developed open-world, Matrix Online developed a simple MMO model that I believe is far more viable than the grinding of more popular alternatives. MxO allowed players to embark on adventures to align themselves with factions from the film, whilst also developing simple skill sets familiar to fans of the movie, achieving an interactive brilliance of simplicity.
Live events and a regularly unfolding storyline that encouraged players to strive toward encounters with big name NPCs, mirrored the type of story-driven action found in any comic book, combining it with the simple conventions of neophyte-friendly gaming. Easily subverted emote-actions also meant seasoned avatars were likely appeased, easily rendered pantsless by combat.

To the best of my knowledge, much like the franchise in general, it seems the Matrix Online is now a distant memory. Ten years after the first film, it's really quite extraordinary to observe the shift in fervor. Once inescapable comparisons to The Matrix have faded as cinema goers become increasingly exposed to the superhuman exploits of DC and Marvel superheroes, and gain overdue perspective for what's truly possible. The sequels surely did their part to end widespread appeal, but in a reversal of roles, I think it's important we remember all the significant contributions this very late-late nineties/millennial series made.

EDIT: [May, 29] It seems Matrix Online had indeed still been running, but has just been announced for a final disconnect on July 31, 2009. How eerily topical.

In the lead-up toward DC Universe Online -- another brand perfectly suited to the MMO format -- I can't help but hope Sony Entertainment Online gained valuable insight from their acquisition of the Matrix Online game.
Sure, they led it to it's eventual demise, but the examples presented by MxO are no less admirable as a foundation for a friendly and accessible model of the MMO concept. With the diverse talents of contributors like Geoff Johns and Jim Lee, not to mention the vast universe of characters on tap for the series, I hope we have a ready-made model for success. The chance to literally interact with a comic book somehow seems even more obvious than the techno-hipster metaphors of a world based on computer programming. It also arguably has some proven measure of success, if you're inclined to use City of Heroes as a comparable example. Then there's Sony's other beloved MMO that I haven't mentioned; Everquest.

It'll be at least another year before we see if those examples, and Matrix Online, have contributed a legacy sufficient to support the superhero MMO franchise. Though admittedly naïve to a large extent; I like to think MxO, as a vestigial oddity of the turn of the millennium, will live on through DCU as a valuable example of what is truly conceivable when the WoW bullshit is pushed aside.

Yes! It was all about comics again!
You've been fooled by reality again, no? (Uh... No.)

Original Post: http://www.1up.com/do/blogEntry?bId=8991316

Wednesday, May 27, 2009

Musi(c.)PSX: Superthruster (1999)

Sony's Playstation console was first released in Japan in December of 1994.
A year later, it spread across the globe, leading to it's eventual assimilation into modern living. The console was officially discontinued by Sony in 2006, but began a process of phasing out with the 2000 release of the Playstation2. Known in it's early years colloquially as the PSX, the console was characterised by a slick attitude that met modern gamers on varying levels, boasting releases like Wipeout, which fused electronic music culture with the gaming experience. This post is a celebration of that time. Music circa (c.) the PSX
.



Sly & Robbie - Superthruster (1999)

If you've been reading the entire series of these music-derived articles, you could be forgiven for thinking me a deranged lunatic convinced the PlayStation was the centre of the universe. While I'm not sure I appreciate the inference of insanity, I have to wonder if, in this gaming world gone mad, the perspective of a madman isn't the most clear of all.

The focus of most of these blog entries has been on the significance and contribution the PSX made to electronic music, and vice versa. It's fair to say, however, that the PlayStation was a very different thing to very different people.

By 1999, the Sony PlayStation was firmly established as a household name.
This feat, particularly as a global phenomenon, could not have been achieved through the exclusive sensibility of Sony's trendy, Euro, youth driven marketing stratagems. As much as the vivid cool of electronic urbana was able to infuse the clunky grey box with a sexy beeping soul, it was a darwinist math that inevitably demanded broader interests to support the machine.

The PSX had to offer much more than the paninaro of it's time to expand it's reaches across the gaming market. Sega's bungling business meant rising to the role of a console for all Europe was simple, but regardless of it's clunky ineptitude, the tragically unremarkable Nintendo 64 put the Nostalgia in NTSC, and had the confidence of fists stained with the blood of a blue hedgehog.

A congregation of entertainment movements was needed to unite the efforts of the techno-fashionista and common man.

Experimentation created a conversation of common interest between the professional ranks of niche interests, like skateboarding and wrestling. Sony's early line-ups established a strong enough base upon which emerging trends could position themselves to further interact with hardcore and casual fanbases, alike. This commercial discussion re-established gaming a vital tool in cross promotional marketing, encouraging fans to feel increasingly involved with their interests.

CD-based technology meant many of these games could challenge alternative mediums through high quality sound and video. Even before the WWF Smackdown! games introduced exclusivity to wrestling on consoles, FMV challenge promos like those seen on broadcasts made playing Warzone on the PSX a valued unique experience.

Though significant for decades prior, the PSX era coincided with a mainstream boom for anime in Western culture. Now a staple of Saturday mornings, it's hard to imagine a world where the wide-eyed kinetic style of Japanese animation wasn't so prevalent.

1995 gave the world a name to rally behind with the release of Mamoru Oshii's cinematic adaptation of the Masamune Shirow manga, Ghost in the Shell.

This rallying point engendered a renewed sense of familiarity that boosted interest in other iconic titles (like 1991's Akira), and gave way to a phenomenon. While Nintendo were well primed to capitalize (and fund) the trend with titles like the Pokemon franchise; the PlayStation arguably connected Western audiences to Japanese development in ways that mirrored their perception of the "genre" as something exotic and adult, whilst pandering to familiarity. (Unlike the import-heavy favourites of the Dreamcast).

The 1997 PSX-exclusive, Ghost in the Shell, contributed a relevant example despite it's relative obscurity today, and in-game graphical removal from the anime style. Animated sequences closer to the manga in design were enough to pick up the slack, making it a smooth segue from the film deeper into the niche, and a rival to more direct correlation seen on the Sega.

This, of course, is the long way round to introducing today's musical feature.

The Sly & Robbie track quickly became a staple of my listening at the time, which, also coincided with casual interests in anime. Early experiences in gaming, ie; Street Fighter II, helped prepare me for the animation titles that would be popular at the time, and made connecting with softcore Japanese titles on the PSX a fun fad for all. I'd like to think I've never been nearly as ignorant to the culture as that implies, but it's a touchstone for the importance of these congregating interests.

It was a time of intertwining interests and expanding horizons.
A chance to share and communicate through different mediums.
It was a time for shiney skyscrapers and full frontal nudity. I miss it.

Original Post: http://www.1up.com/do/blogEntry?bId=8991086

Thursday, April 16, 2009

And Now a Message From the Sponsors...

When I signed up on 1up.com as an avid listener of the podcasts, I'm sure I had some ill conceived notion that I would spontaneously spark an interest in modern games, and start blogging profusely. Alas, with perhaps the rare exception of the odd elaborate insult to the current industry and fanbase, I've done little of that. Instead, most of my posts redirect you toward other venues, where I can be found taking superheroes seriously and generally phoning it in.

I recently noticed that, despite my inactivity, a modest flow of folk were hitting this here blog.
I don't know how, or why, you found your way here, but I have an overwhelming urge to try to make it worth your while, despite my being a total slack and uninspired bastard.

If you've been here before, you probably know me as a comic guy. Fair enough.
You can, after all, find my pseudo-superheros-sports blog at http://secretearths.blogspot.com, and buy my modest writing at http://www.nitelitetheatre.com. The question is, why should any of that even matter to you, the 1up.com reader?

The obvious pop culture significance of superheroes aside, there has to be more. More. More!

Unfortunately, there isn't, so instead of coming up with something really interesting, I thought I'd at least fill the void with some overlapping. Comics and video games do occupy a similar space. The same kinds of people find the same kinds of interests, and so, there's a happy tradition of cross pollonation between the seasoned statesman of the comics industry, and active power fantasy of the video gaming experience, which becomes a sequential format the more it ages.

If I was going to use up UGO's newly acquired webspace with the picture feature, I wanted to have a motivated reason. Thus, in merging my interests, I thought I might share with you some of the adverts that have come to populate the landscape of comic books.

With the death of iconic print rags like EGM, it strikes me that many interested readers might never get to see this facet of the advertising strategum. Honestly, before I considered doing this, I hadn't really noticed just how many gaming adverts there still are! I've already got a nice stack of 2008 and 2009 commercials to share with you, albeit, mostly revolving around bland shooting games I personally couldn't give a rats arse about.

The scanning process has already thrown up it's first intriguing tidbit.
Whilst surveying issues from the past few months, I was surprised to find that it was DC comics who had a far greater share of gaming adverts, dominating the barren House of Ideas. One can note theories of vocational relevance that would explain the loyalties of one related brand, to another, but that might be reading in to it a little bit much.

Never the less, I hope you, the reader, will come to enjoy subsequent features of adverts, and enter a suggestable mindset that will allow me to milk you for sales of my comic(s).

Stay tuned!
Cheers!

Original Post: http://www.1up.com/do/blogEntry?bId=8986134

Thursday, January 29, 2009

You stupid fanboy!

Admittedly, sometimes I have to surpress my utter contempt for the unwashed masses because, well, it's just bad business not to. Nobody has any backbone anymore in an environment where the consumer is carefully controlled by pandering corporates to believe they are "king."

Fortunately my latest peeve is one married to an interesting observation of culture.

"Fanboy" is irrevocably attached to the world of comic books, where, at least in the modern age, it is believed to have stemmed. In it's origins, the contemptuous tones gamers associate with the phrase, denoting obsessive qualities, might very well have been there, but the vernacular did not end where it began.

In an industry divided between the two major companies and everything else, it's hardly surprising that a culture of obsessive loyalty to one brand, over the other, has been deeply ingrained in the psyche.
It's this type of mindless appreciation for one brand's content, and the converse disapproval and beratment of all other options, that seems to define the gamers "fanboy."

We have other names in comics, however. Ones that don't interrupt or disturb a sense of friendly fire and/or affection about the term, "fanboy." Particularly for the well adjusted among us, comics fanboys are brothers in arms. Chums with a taste for four-colour culture and all the positives that come with it.
Those other people. The ones who've bought X-Men for thirty years uninterrupted? Those are typically referred to as zombies, or any alternate insults that might come to mind. Wii owners, perhaps? (Haw!)

Comics fans can be as volatile and downright stupid as any other fanbase.
(Anyone coping with the indulgent superheroics of Final Crisis knows all too well about the latter!)
I wonder, however, why it is that the use of the term has diverged so specifically amongst gamers.

I suppose it's (de)evolution into an outright insult could simply be a product of the inherent competitive streak that exists vitally within any gamer. Comics fans butt heads, but probably aren't as specifically trained to be in competition with each other, the afforementioned collector zombies, not withstanding.

Next time you're about to baselessly accuse someone of having a blind bias for one brand, perhaps you might pause to consider the bigger picture. Video games and comics are all part of a rich pop culture tapestry, which, presumably, made the migration of the word so simple. So! Consider the possibility that we're all - each and every one of us, and you yourself - part of the fanboy melting pot.

That, and you might be the raving lunatic with the blindspot.
Because it's our word! Stupid fanboys!!! Yell

- Mike Haseloff
Fanboy of minimal celebrity

Original Post: http://www.1up.com/do/blogEntry?bId=8979875

Wednesday, January 28, 2009

Wipeout: Style and Substance

WipeoutHD is the final refuge of attractive people interested in playing a game without entering into an online bidding war with middle-aged women under the illusion the Wiimote is a magic wand that will help them shed enough pounds to have tracksuit pants camel toe because they want it. It's a relic of the PSX age, when gaming was sexy, modern, and full of style. It's an echo of a future past.

Sci-fi racer?! Hah!
This isn't Tron! You don't approach Wipeout like your "shooters" or your postitute killing trucking games!
It's about midnight in an apartment full of pale wood and silver, standing next to the TV in a puffy orange vest with spikey frosted hair.
It's about the fashion accessory. The soundtrack, the palette, the design, the brand name.

You don't play Wipeout!
You shift your weight to one side and cock the opposite eyebrow, cutting a graceful curve in the game as if by sheer coincidence.

It's a wave of style and substance...


... and consequently, probably not for Americans. Haw!




Explaining Wipeout; re: LTTP: Wipeout

Thursday, January 08, 2009

Blog: Boy meets 1up, boy loses 1up...

What a strange turn of events, it has been!

If you've happened upon this page previously, you probably know me as a comic book fan, and aren't really all that interested in anything I have to say regarding the UGO buy-out. Quite rightly, too.
Only in my own headspace have been a regular at 1up, cheering along or grumbling quietly to myself in disagreement, while tapping at a keyboard, or engaging in some other inane task.

Having militantly listened to 1up podcasts for well over a year, I finally felt it reasonable enough to sign-up, when 1upFM was having download issues (a little over a month ago). It didn't hurt that I'd also come across someone else with similar interests, in the form of fellow Street Fighter fanatic, "BigMex". (Who almost certainly didn't find me via an embarrassing, yet common, Google search Tongue out).

I left my heart with the PSX (Playstation), but I've been "gaming" for the better part of twenty years, and fell instantly in love with the first Street Fighter II in arcades.

With that in mind, the shockwave that really hit me, was the fact that EGM is gone.
It seems in an age of digital media, user-generated content, and financial crisis, the sanctity of print materials is constantly under threat. This trend has only enhanced the prestige of brands that have existed for as long as EGM.

The Street Fighter fan in me obviously instantly thinks of "Sheng Long," but as a gamer who spent most of his reading time loitering around Sega and Sony magazines, there aren't many general publications I can name. EGM is one of them.

I'm inclined to consider the twenty-year legacy of a publication bigger than the people that contributed to it, but that's just me. While I haven't been swept up in the community and personal associations, I have come to know and enjoy the voices of the podcasts.
In this respect, it's undeniable that UGO has jettisoned one of the most enjoyable aspects of the site, if not the most profitable. I don't know how receptive some of these folks will be to belated friend requests, but I intend to do my best to follow some of them to their future endeavours. Though very different to me, I have enjoyed the spirit the 1up and EGM staff have conveyed through these meaty slices of audio discussion.

Some of the staff have already made a bloody admirable effort to carry this tradition on!
Like many of you, I've already downloaded the first "Rebel FM" podcast, and have been thoroughly impressed. As much as I enjoyed 1upFM, the first instalment of this spin-off offered a greater diversity of interests, opinions, and discussion that was greatly appreciated.
I'm sure you don't need my endorsement or encouragement, but if you haven't already, you might like to sprint, jog, or saunter, over to Eat. Sleep. Game. where many of the lost, have been found.

I agree, the hierarchy of events is a little conspicuous, but the podcast is fantastic.
Particularly appreciated, a moment of in depth discussion about fighting games (RE: Street Fighter), which, I would selfishly say, was sorely absent from 1upFM and 1up Yours. But I'm not to be trusted.

I'm sure there are more informative or passionate articles around the 1up Blogosphere, but I felt it was about damn time I posted some original content, and maybe made an effort to introduce myself.

We now return you to article teasers from my better known comics blog.
I hope you will buy something. Please.

Original Post: http://www.1up.com/do/blogEntry?bId=8977994