The irony of anime being easier to legally enjoy than ever before, thanks to online streaming and simulcasts, is that I’m actually watching less anime than I did when I was younger. I’m not sure why, either. Maybe it’s because the flood of new series that comes out with each season is overwhelming. Or maybe it’s because I’m an old fart who prefers the general look and stylings of anime from the 80s and early 90s. Or hell, it could just be that the list of hundreds upon hundreds of games I want to examine is higher priority. As a result, there’s a lot of stuff I want to watch, and fully intend to watch… someday. Mostly stuff folks online have given high praises, like Monthly Girls’ Nozaki-kun, Ore Monogatari, Tatami Galaxy, Showa Genroku Rakugo Shinju, and a whole shitload of Gintama. (And maybe some Ushio and Tora too, y’know, to satiate my love of out-of-left-field throwbacks.)
My viewing habits have changed, too: rather than buying DVDs volume by volume as I did in the early aughts, I prefer to binge-watch batches of stuff when the time arises. I make a few exceptions: I eagerly ate up SeHa Girls when it came out, and I’m watching the adaptation of Jojo part 4 weekly. Generally, though, I like my anime in meaty chunks — which is how I opted to view the subject of today’s article. I watched most of the first half of Osomatsu-san before I left for my Japan trip, and blazed through the rest of it last weekend in-between some writing, which was probably the ideal way to consume this show: Once you get a taste of the Matsuno brothers, you want another hit of it as soon as possible.
Tetsuya Mizuguchi was, at one point, known as a wunderkind for making great arcade racing games (and later Saturn ports of said racing games) before transitioning into a developer at the forefront of the intersection between music and games with titles like Space Channel 5, Lumines, and Rez. These days, he’s got a new company – Enhance Games – and is currently working on Rez Infinite, a re-imagining of perhaps his most beloved title for the PlayStation VR platform.
I had the opportunity to sit down with Mizuguchi at this year’s Game Developers Conference, not long after he gave his postmortem presentation on the production of Rez. Without further ado, let’s chat with Tetsuya Mizuguchi!
We’ve been around for a while now, and I’ve been doing my best to try and establish a few traditions around these parts. Last year on April Fools’ Day, we ran the Kusogecast, which involved many hours of playing a wide variety of garbage for your entertainment.
Well, we’re doing it again! We’re still going to play awful games for a lengthy stretch of time, but this go-around we’re going to limit it to a single title. We’re going to see how far I can get into the legendary Famicom RPG, Hoshi wo Miru Hito/Stargazer, in a six-hour stretch.
It’s going to be painful. And amazing. Painmazing!
Everything will be going down on my stream channel. We will be starting up on Friday, April 1st, at 5:30 PM PST and end around 11:30-midnightish. Co-commentators will be joining me throughout to share in the “””fun””” and “””excitement””” of one of the most utterly unfair RPGs ever.
If anything changes — which is possible, given some connection hiccups I’ve had lately — I’ll be sure to post it on my Twitter accounts, @Zerochan and @Gamingmoe. I’m looking forward to another April 1st of terrible retrogames, and I hope you are, too!
I should preface this with, perhaps, an admission of potential bias: I think Fangamer is one of the raddest “nerd stuff” companies out there. Their merchandise is clever and classy, their clothing is nicely designed and high-quality, and they’re just a nice collection of really cool folks selling cool gear. They don’t put out books quite as often as clothing and accessories, but when they do, they’re usually pretty fantastic.1 So when Clyde Mandelin, well-known fan and pro translator, announced that he was going to expand on some of the material of his Legends of Localization site in book form, I was pretty hyped!
Though, I have to admit, I wasn’t horribly enthused by the initial choice of focusing on Zelda I. There really wasn’t a whole lot of text to the game, after all – how could you possibly fill up a 200-page book about it? As it turns out, however, there’s a lot of interesting ground to cover in localization that extends beyond just in-game text, and Mandelin’s book goes into all of it in great detail.
So, let’s get right to it – here’s a review of Legends of Localization, Book 1!
Images used in this piece are a combination of my own and promotional images from Fangamer’s website. The latter should be easy to distinguish with the watermarks!
I went to MAGfest in the DC metro area again this year, after having a lot of fun last year and putting on a really cool panel. Besides doing another panel (which will be up shortly, with notes), I also had the opportunity to partake in some of the musical festivities – it is the Music and Gaming Festival, after all!
Above: Manami Matsumae plays the keyboard in a live performance of Mighty No. 9 songs at MAGfest 16.
Among the performers at the show was Manami Matsumae, a storied game composer currently working with BraveWave. She’s perhaps best known for her work on the original Rockman/Megaman. Her body of work encompasses many more great tunes, however, including several of Capcom’s early-90s arcade classics. She graciously took some time out of her busy schedule to chat with us during the event, and the result was some very cool anecdotes about working on the Capcom sound team during the great Japanese video game boom of the 80s and early 90s.
It’s weird to think that Mario, one of the most influential and important action game series ever, not only has an RPG spinoff, but has multiple such spinoffs. The original Super Mario RPG felt like a unique, one-off affair back in its time, but the groundwork laid by that title has since spawned the Paper Mario and Mario and Luigi series. After years of doing their separate takes on the Mario universe – and producing some all-time classics in the process – the two series recently crossed over in the 3DS game Mario and Luigi: Paper Jam. (Can we stop and ruminate on the sheer brilliance of that title for a bit? It works beautifully on so many levels.)
I had the opportunity to talk with Mr. Akira Otani of Nintendo and Mr. Shunsuke Kobayashi of Mario and Luigi series developer Alphadream about the creation of this 2D/3D adventure. Read on for some fun little tidbits about what went on behind the scenes of this game’s creation!
Please note that since this was an email-based interview, it’s a bit shorter and doesn’t have quite the same back-and-forth as the interviews I do in person or over voice/IM. There will also be minor spoilers for events about halfway through the plot. Please be aware, and I hope you enjoy it!
Y’know, with so many gaming websites now printing a bunch of general “nerd news” amongst gaming-related articles, I find it saddening how much Wonder Festival gets ignored. Here’s where all of the coolest gaming figures on the planet are being showcased, but nobody’s talking about them! It’s not even a matter of “well this stuff is only available in Japan” anymore – hell, GameStop and Hot Topic are stocking Nendoroids and scale PVC figures these days! It’s never been easier to get a lot of these things! But no, we’re gonna focus on unboxing whatever garbage Funko pooped out last week, I guess.
Oh, uh… I guess I got a little ranty there! Eheheh. Anyway! Winter Wonder Festival 2016 was last weekend, and with it came a whole mess of figure news! As usual, I’m here to collect the coolest gaming figures that were shown and put them all in one handy little article for you! Hooray! This year brought us some super cool surprises – while I was a little disappointed overall that my favorite manufacturers didn’t have much truly “wow”-inducing new stuff to show, the out-of-left-field announcements of stuff like a friggin’ figma Iron Fossil and Beat from Jet Set Radio more than made up for it.
The usual disclaimer: I know things like the Fate series. Shining stuff, KanColle, etc. fall under the “games” category, and I am excluding them because there are just so many of those figures that you can very easily find pics and info elsewhere.1 We’re focusing on the more under-the-radar gaming figures – the sort of stuff that doesn’t get merchandised in shiny plastic form all that often.
Click on the photos to see bigger versions if they’re available. And, as always, if I missed anything, let me know in the comments!
Sometimes, a personality associated with a famous game is so visible and so spoken-about that we ascribe all elements of a game’s creation to them, rather than recognizing the true team efforts that many of these titles are. Such is the case with the original Resident Evil/Biohazard – you’ll often hear Shinji Mikami given full credit for the title, when in truth, Biohazard wouldn’t have taken the industry by storm if it wasn’t for the entire team who made it a revolutionary horror experience. Kenichi Iwao is one such individual: his scenario and storywriting for Biohazard set the stage for two decades of sequels, offshoots, and lore to follow. It’s not his only claim to fame in the business, either: Iwao has worked on many beloved titles like Demon’s Crest, Einhander, and Parasite Eve II. He also carefully created the sprawling worlds and stories of the Final Fantasy XI and XIV MMOs. It’s an honor to have to opportunity to interview one of these great unsung heroes of the game industry.
We had a unique opportunity to sit down with Iwao and discuss his lengthy career in the video game industry, and he surprised us with some of his answers to our questions. What do Steve Jackson and MSX games have to do with Biohazard? Read on to find out!
Special thanks to Alex Aniel of Brave Wave Music for assisting with this interview.
Ah, yes, it’s that time again – 2015 has shuffled off into the history books, and the majority of 2016 lies untold before us! Which means it’s also time for a now-annual Gaming.moe tradition – the Gaming.moe Waifu Awards.
In case you’re wondering – no, we’re not awarding awards to our favorite game waifus, because I’d have the same winner every year. It’s a name we adopted in the general spirit of the site for non-traditional year-end awards. Rather than doing typical categories like “Best Graphics,” “Best Fighting Game,” and the ever-argued-over GOTY, we give awards based on weird, arbitrary categories based on noteworthy happenings of the previous year. (You might want to check last year’s awards to get a better idea, as I explain the concept a little more in-depth there.)
2015 was a very good year for gaming as a whole. We got lots of fantastic new releases, juicy industry drama, and promising new projects. Of course, not all noteworthy happenings were the stuff of major hashtags and gaming news site headlines. Let’s celebrate the best (and worst) Waifus of 2015! Continue reading →
I visited Japan for the first time in a while over the holidays, spending my new year with a posse of fellow nerds celebrating in the most irredeemably dorky way possible: Comiket and arcade-hopping. (And a few game bars, too, for good measure – A Button is a lot smaller than I thought it would be!) While some Tokyo arcades like Mikado and HEY have already developed a strong reputation among retro-obsessed fans from abroad, I’d like to showcase a smaller, cozier, but similarly cool retro game space called the Natsuge Museum.
The name “Natsuge Museum” is derived from a combination of the words “natsukashii” (nostalgic), “Game,” and “Museum.” It’s located a short walk away from Akihabara station, though it’s in the opposite direction of Chuo-dori where HEY and most of the major stores are located. It’s a bit easy to miss: it’s not on any major roads, and its signage is limited to a few posters and banners hanging around the vicinity. It’s a fair bit smaller than those arcades, as well, being a single-floor establishment with as many machines as possible crammed into the space while still allowing you to move – just like the good ol’ game centers of old! This place is here to make you feel like you’ve warped back to the 80s, or perhaps the early 90s, when little arcades like these dotted the landscape, offering fun, strange, and challenging titles for everyone who was willing to waltz in and plunk a couple hundred yen into the machines.