Over the last month I participated in the SpeedRunsLive Mystery Game tournament, which just wrapped up this weekend and proved to be an exceptionally fun experience. I plan to write a more detailed post about the event shortly, but for now I can say that it’s something I highly encourage people interested in exploring a wide variety of games to participate in.
One of the games I drew (out of the four matches I played “officially”) was Intelligent Qube (“Kurushi”1 in Europe for whatever odd reason), a PSOne title that I’d heard of but hadn’t played before. It’s a very interesting game: its rules are somewhat complicated to explain but easy to grasp once you actually start playing. That isn’t to say that Intelligent Qube is easy. In fact, it’s extremely unforgiving, to the point where even minor mistakes made early on can come back and bite you in the ass later on, and a small slip-up can incur severe penalties. But every mistake you make is your own fault: the game is harsh, yet fair. It’s undeniably a clever, well-designed action/puzzle game, but it just didn’t click with me. Spatial puzzles have never been a strong suit of mine, and keeping track of the positions of multiple cubes and panels and such just kind of overwhelms me after a bit. (That, and I keep getting smooshed.) I can certainly see the appeal, but it’s not for me.
What I did really enjoy about the game, however, was its soundtrack, which took me completely by surprise. Usually when you think of puzzle game music, you think of boppy, catchy tunes that keep you alert while you’re figuring out a solution. Intelligent Qube’s soundtrack goes a distinctly different route, featuring big, bombastic orchestral pieces. Here’s my personal favorite.
Readers who were watching the stream I played IQ on can probably remember me making remarks about the music’s quality and wondering who the composer was. I suspected it was Hitoshi Sakimoto at first – it has a bit of an orchestral FF Tactics/Tactics Ogre vibe to it – but the composer is actually Takayuki Hattori, who actually does a lot of anime and live-action drama music, according to his Wikipedia entry. I suppose that’s why IQ’s soundtrack doesn’t quite give off that typical “game music” vibe.
Since I more or less stymied around stage 4 during my playthrough, I decided to look into what the game’s final stage looks like… and I’m now both impressed and terrified. There’s pretty much no way I could do this without panicking.
I think this is a Japanese pun, which really leaves me wondering why the game only has this name in the EU! ↩
Game Developer’s Conference is this week, so I’m going to be busy hopefully gathering material both for here and for assorted freelance outlets until Friday. Seeing as how I’m not going to have time to write new material for a bit, I think it’s time to once again reach into the vault and republish a piece that hasn’t been seen in English before, and one that I’m particularly proud of.
This interview with Cave CCO Tsuneki Ikeda – known to shooting game fans as IKD – was originally conducted for France’s ig Magazine in 2010. A lot has changed since then, and not all for the better, in Cave’s case. Reading through the text now, you can definitely see Ikeda drop some hints of market troubles that would come to have a harsh effect on Cave’s shooting game development. It’s a very interesting read – but also quite heartbreaking.
And, of course, thanks to Jon Rogers for being awesome and helping to set this all up.
I’ve always been a collector type ever since my youth (much to the chagrin of my parents), and though the stuff I’ve collected tends to change over time, it’s typically import goods with some connection to gaming. These days it’s primarily doujin goods and figures, but during my highschool/college years I acquired a sizable collection of physical game soundtracks and arrange CDs. MP3s were a thing back then, but portable MP3 players like the iPod weren’t1, so CDs were really the only semi-portable way to take your music with you. Me being who I am, I wanted my favorite VGM with me everywhere I went.
The problem with game music CD collecting is that it’s a niche market, even in Japan, so only a few stores carried a good VGM selection. Another issue was the price: Japanese CDs are ridiculously pricey compared to the West due to a whole mess of factors, so you’d be spending half the cost of an actual game just to legally own the music from it. A niche market combined with high prices meant stuff went out of print very quickly and would sometimes command absurd prices in the aftermarket.
Then iTunes happened. Love or hate Apple, iTunes provided a service people wanted: a way to cheaply and easily buy and enjoy music digitally. With the power of popular portable music players behind it, the iTunes store quickly became the favorite way of many consumers to legally obtain digital music. It also provided an easy way for producers and music labels to reissue old releases without having to put up the costs to reprint CDs and packaging – a perfect fit for niche markets like game music fans. For Japanese consumers, it’s even sweeter – they get all the music for considerably less than an actual CD.
While Japanese iTunes has a pretty amazing selection of game music, there’s also a substantial amount available on the US iTunes store, including a bunch of stuff you’d likely be surprised to find is available Stateside. Here are some recommendations for you to check out!
(Since I’m located in the USA, this article mostly covers items available in the US iTunes store. Availability may be different in your territory, but I encourage you to check and post your findings here! And hey, making a US iTunes account isn’t hard, either.)
Much as I take pride in my knowledge of gaming history, there are a few areas that I could stand to learn more about. One company whose history I don’t particularly know that well – though I’ve always meant to learn more about – was Human, a Japanese developer and publisher prominent through the late 80’s up until the end of the 32-bit era. Human was known for a lot of things: Fire Pro Wrestling (perhaps the best-regarded wrestling game series of its time), a game design school that produced fascinating experimental titles like The Firemen and Septentrion (S.O.S. in the West), the groundbreaking Clock Tower series, and a sudden collapse that left the firm in shambles.
So when I was offered the opportunity to conduct an interview with Hifumi Kono, the former Human employee who went on to found developer Nude Maker, I jumped at the chance. I was eager not only to learn a bit more about Human’s history, but also to look a bit deeper into the game that defined the company’s later legacy, the Clock Tower horror game series, and its spiritual successor Project Scissors/NightCry. Read on for a candid look at Human’s past, Clock Tower’s influence and how it symbiotically benefited from Biohazard, living on pachinko earnings, and what happens when you play a classic Western horror game without speaking the language.
And here we are folks, official video of the panel from MAGfest themselves! I may upload my backup copies as well, since those provide a better look at the projector. Please try not to mind my initial nervousness. Also, yes, I know I said “EXP” when I meant “HP” during Hoshi wo Miru Hito. My mistake!
Ahh, the early 90s. It was, indeed, time for Klax, but also time for a sharp rise in popularity of rap and hip-hop music. Anyone who was a kid watching cartoons on North American TV during the late 80s and early 90s was well aware of how companies quite cynically exploited hip hop music and culture to look “cool” and “with it” to the youth. We got all manner of terrible faux-rap theme songs, new and improved character designs with backwards baseball caps, and some of the most hilariously awful commercials ever transmitted through the airwaves.
Game companies were no exception when it came to utilizing hip-hop’s popularity for commercial means, with predictably bad results.
(To be fair, Nintendo would eventually improve Zeldarapping significantly.)
Making a commercial with a rap theme song was one thing, but taking inspiration from hip-hop and combining it with game music was something else entirely. The rapidly improving sound quality of VGM, bolstered by the introduction of CD-ROM redbook audio, gave enterprising game music composers the ability to implement things like samples and voice into their songs, allowing for them to create original rap and hip-hop tunes for games. The songs were still predominantly hilariously bad, of course, but there’s a weird and lovable kitsch to them that makes them incredibly fun to look back on. Most of them, anyway.
So today, we’re going to be looking at several of these awkward game-related attempts at jumping on a musical fad. I’ll be leaving out one really obvious track – the Street Fighter III Third Strike character select theme – since we featured it previously. (I’m also leaving out Parappa because it’s just too obvious.) Everything else on here should hopefully either jog memories or be completely new to you lovely readers. So put on your Reebok Pumps and bootleg streetwise Looney Tunes shirts, and get ready for a game music time warp!
If you’re anything like me, you had the Awesome Games Done Quick charity speedrunning marathon running throughout most of last week. The great thing about AGDQ is that, since it runs 24/7, there’s always something going on. However, since our frail humanoid bodies require things like “food” and “sleep” and “jobs through which we acquire necessary funding to live,” it’s almost impossible to watch everything that looks interesting on the AGDQ schedule as it airs live. While a lot of us make time to watch the speedruns of really big games, there are a lot of smaller titles with really fantastic play that get shown as well. But since they’re at odd times, or they’re of relatively unknown titles, or they’re not really viral-video material, they have a tendency to kind of happen and be forgotten. Even people who see the schedule and think “Yeah, I’ll watch this later” may likely forget them amongst all the other stuff happening that week.
But personally, I think there were a lot of really noteworthy speedruns at this year’s AGDQ that I worry a lot of folks missed out on. Yes, we all saw and enjoyed stuff like Tetris TGM and the Megaman X race and Boshy and Shovel Knight and blindfolded OoT, but just because you missed it and it wasn’t trending on Twitter doesn’t mean it wasn’t a great run. Here are some of my picks for the best runs of AGDQ 2015 that you might have missed!
It’s a feeling I think we’ve all experienced: the uncomfortable notion from withing that there is something deeply wrong with us for not enjoying a particular piece of media. It’s especially discomforting when it’s something that seems engineered to push all of our individual Like buttons, as though somehow we’re the ones that are flawed for not properly adoring this work made to cater explicitly to us.
This feeling cropped up when I started playing the NES Remix games on Wii U. Here were cleverly conceived compilations of classic NES titles with the addition of “remix” games: parts of classic titles remodeled and mashed together in unique ways to deliver bite-sized new challenges. I certainly love Nintendo history, having grown up on so many of these titles, so the concept excited me immensely. But actually playing NES Remix 1 and 2 on Wii U felt strangely unfulfilling, even downright frustrating. I wondered if it was the platform – these sorts of short objective-driven challenge experiences, I feel, tend to work better in mobile games that you can dig out and play for ten minutes. With this in mind, I picked up Ultimate NES Remix on 3DS, but even playing it to break up long Persona Q sessions left me feeling more irritated than amused. Obviously, it wasn’t the platform that’s the problem. So then, what is it that makes NES Remix considerably less than the sum of its parts?
So as we’re all aware by this point, Street Fighter V is a thing that’s coming. From the bits of gameplay footage we’ve seen so far, there’s already a tremendous amount of speculation over what is and isn’t in the game. Are parries there? (Probably not.) Is guard crush there? (Definitely.) Are there noodle hats? (Very, very yes.)
SF fans can argue for days about what gameplay systems they do and don’t want to see in-game, but there’s one thing we can all agree on:
I have literally one request for sf5. I don’t care if there’s parry,or air combos, or whatever. Only one thing matters. Indestructible.
Ah yes, Indestructible, aka The Next Door in its Japanese-lyrics incarnation. It seemed like Capcom was trying to attach some big-name Japanese musical acts to its games for a while: Dragon’s Dogma had a theme by B’z (actually a remake of a much older song of theirs, which was one of the first J-rock songs I downloaded in my high school MP3 hoarding days), while May’n did a song for the sadly-never-to-see-Western-release EX Troopers. Indestructible was by EXILE, a massive, number-one-hit-producing band consisting of many, many dudes. (I hesitate to call them a “boy band” because the Western concept of the term is very different.) When the time came to release new upgrades for SFIV, however, Indestructible was not included – likely a casualty of a higher-up not wanting to fork over additional royalties to an S-tier Japanese band.
However, the EVO crew somehow managed to secure the rights (and pay the royalties) to use the song again in the 2014 Ultra SFIV Grand Finals intro sequence. Having been in the crowd, I can assure you that people went bonkers at those opening notes, and a massive sing-along ensued. (Of course I joined in, what kind of terrible person do you take me for?) See for yourself in this footage someone else got from the event:
As much as we love Indestructible, however, it’s one of a wide variety of vocal songs related to fighting games and fighting game characters, which I touched on a little bit in my look at Virtua Fighter Costomize Clip. It’s not even the first song by well-known Japanese singers to be used as a game’s opening theme. This doesn’t make it any less awesome, of course, but there are lots and lots of other goofy fun fighting game vocal songs out there that we all should sing along to. Let’s have a look at some!
A lot of folks are aware that I am a giant supernerd for Sega-AM2, and their fighting games in particular. Besides owning entirely too much stuff related to Virtua Fighter and Fighting Vipers, I collect various factoids and trivia about the games in an important area of my brain most people would reserve for something like remembering the names of their relatives. One such factoid has been the existence of a Virtua Fighter OVA released in 1996 by Production I.G., a 30-odd-minute outing that’s completely separate from the more well-known TV VF anime by Studio Pierrot. Called Virtua Fighter Costomize Clip, it was released in 1996 in very limited quantities, and it’s so unknown that even Anime News Network’s otherwise comprehensive catalog lacks any information about it.
I’ve been actively seeking a VHS copy out for a while (along with more chapters of Virtua Junky, a mid-90s manga about people playing Virtua Fighter 2), but actually obtaining a copy, even through a proxy, has proven extremely difficult. However, it was recently brought to my attention that the whole thing is now up on Youtube in a VHS rip. I’m not quite sure how I missed it for so long (maybe because I was looking under what its correct English spelling should be, “Customize Clip”?), but what matters now is that it’s found and oh my lord is it ever a nostalgia trip to the height of VF’s mid-90s popularity.