Being the Butt of the Joke: The Bard’s Tale

Humor is not always nice to everyone.  Humor has to be subversive in some way to find its mark.  It has to go against expectations, explicit or implied.  And targeted humor goes against the expectation that we’re all good to each other, which, as it turns out, is a pretty core one in this whole human journey we’re on.  Because we’re all good people.  So yeah, making fun of people is one of the more effective ways to get a chuckle going.  Because we’re all bad people.  Making fun of people in real life, when they’re not in on the joke, is kind of a crappy thing to do.  Making fun of fictional people, though, what’s the harm in that?

Aside from making you feel bad for the guy you’re probably not supposed to feel bad for, normally, not much.  Video games bring a new dimension to that, though.  That guy, everyone’s butt monkey, the target of every joke even though he’s not actually all that bad?  What if that was you?

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At least, that’s what I ran across in my playthrough of The Bard’s Tale.  I was going to go for a review, as I’ve been doing around here, but the game’s not enough to make for an interesting review.  “Competent but kind of bad” pretty much sums it up.  The only really notable point is the game’s humor.  It has a lot of it.  It’s in an odd Scottish style, which I wouldn’t have known was a thing before playing it, that may not land with a lot of people, but it does make the humor unique, at least.  A lot of it is at the expense of the titular Bard.  Which, ok, sure, he’s not a good person.  He could use a good few pokes at him.  Thing is, though, he’s also you.

And that leaves me curious for how all these jokes should be landing.  It’s not the only game to be leaving the PC with the occasional thrust.  It sure felt quite a bit different when it’s just so constant, however.  The Bard, and by extension, you, never seems to catch a break.  Even the people who are happy to see you there usually have some jibe in place that the game pulls on you.  And sometimes that has gameplay implications, like when you’re told to find a character and you end up finding 5 with the same name and have to go between them all multiple times over before getting to the next plot point, or when you get to the end of a big old monster sprawl to rescue someone that can point you to the incredibly obvious place you need to go that’s right next to him, but the Bard can’t understand his brogue so you have to spend around 15 minutes backtracking and re-backtracking to bring someone there who could understand him and tell you to just go in the glowing portal thing.  Really, when it gets to the point the jokes are dragging out the gameplay, the joke’s not on the character.  The joke’s on you.

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In any case, for a rather unremarkable game, this is the facet that stuck out at me.  It’s pretty common to have one of those characters in a work.  The perennial lovable loser.  The butt monkey.  The guy for whom luck goes sour in the most hilarious of ways.  And yeah, you can make that work.  Video games play by different rules, though, and no matter who the protagonist is, there’s going to be parts of you there just by virtue of them being your avatar to this world.  You’re going to sympathize with them more.  And good natured ribbing is one thing, but when you’re the butt of every joke and it never lets up, well, it’s not fun to have the whole world laughing at your expense.  That’s an additional level you wouldn’t find in most media, but it’s right front and center in games.

That said, as always with humor, it’s a different matter when it hits right.  A few of the jokes, like when the Bard joins in on a tavern jam session and ends up inadvertantly playing in a song that is insulting him all over the place for accidently setting a doomsday demon free earlier in the game, that was funny no matter how close to home it was.

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Project G-A Primer

Man, you remember when I used to do series?  Have a particular idea or theme I was wanting to have across several posts to build off each other, or more thoroughly explore a work or franchise?  And how at least half of them I never bothered actually finishing?  Yeah, good times.  We should do that again.  And you know what, let’s do that again here!

So, a while back, I did something for like the second time in like three years.  I went to see a movie in the theater.  Godzilla: King of the Monsters, in fact.  I’d been kind of a passive Godzilla fan for a while.  I’ve seen more of the Godzilla stuff than your average, less sexy general consumer, and probably enjoyed all the stuff it has to offer way more than most, but I’ve rarely made a point of getting into something Godzilla when it wasn’t right there in front of me.  I caught the 2014 Godzilla in theaters, and thought it was all right, although it was the first movie that I watched after I left the film industry that I ended up with an overall positive experience of.  Still, I found myself inexplicably excited for King of the Monsters.

I know what you’re thinking.  “Aether, my main man, don’t you have issues with watching movies?  And didn’t King of the Monsters get really mixed reviews?  This doesn’t seem like a good time.” On the contrary, this ended up being the best time with a movie I’ve had in… I don’t know how long.  It was perfect for me.  Part of it may be expectations.  I remember talking to a few people about my hopes going into the film, hoping that it would be at least a little stupid, but not too stupid, and that it would revel in it’s own big dumb monsters fights in a satisfying way.  And I’ve never had a movie that delivered what I needed from it so fully.  It is exactly the right level of stupid, it relishes its monster fights, and, for me, one of the best things is that about 90% of the movie was done either on a sound stage or by CGI, which are two aspects of production that I never had anything to do with when I worked in film, and therefore don’t trigger my burnout-induced stresses that often come with watching a movie.  So, whomever you are on the film crew for that movie that is a devoted follower of this blog because that’s the only likely way you’d know so much about me, thank you so much for making a movie that’s just for me.

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In any case, after my time with Godzilla: King of the Monsters, I found myself diving deep into my inner Godzilla fangirl.  Snapping up all the movies I could easily get my hands on, pouring hours into going through them, reminiscing about all the other Godzilla properties I’ve spent time with, I don’t think I can call myself a ‘passive’ Godzilla fan any longer.

Which brings us into this series I’m going to start here.  I’m spending all this time with the movies, I figured I’d at least build some content around it.  Godzilla’s been around for close to 65 years now, with more than 30 films made, with widely varying levels of quality and availability, and I haven’t been able to build up a complete library of Godzilla films overnight.  As such, this may not be a comprehensive look at the Godzilla films.  But I am going to at least put together some mini-reviews for all the Godzilla films I’ve been able to collect.  So, I call this a series, but that’s really just what it will be.  A bunch of small reviews.

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Before I get into doing that, though, I wanted to go over how these films all fit together, because I think some groundwork there will be useful in understanding these things once we get into a bit more of the nitty gritty.  One of the things I particularly enjoy about the Godzilla films is that in general, the continuity is handled in a way that, largely, you could make whatever you want out of it.  The movies may be very, very different, and there’s a couple of separate timelines and continuities there, but you can always just pick up a movie and watch it, if you were so inclined.  The individual stories are almost entirely self-contained, and for the bits that do follow up from previous films, they will explain clearly what happened in those films and how it’s leading to things now.  There is absolutely zero continuity lockout in this things, and you could start from any point and be right where you need to be.  And frankly, there’s a lot of room for headcanon in there too.  There’s the official lines, sure, and things may not always match up between series, but it’s wiggly enough that if you wanted to, you could consider things pretty much happening all in one go, with different Godzillas growing up and stomping around at different times.

That said, there are a couple of factors that could be useful to keep in mind as we’re going through this.  Biggest one is just the eras of Godzilla we’re looking at here.  Toho will typically produce Godzilla films in clumps, doing them over a span of time while people are really interested in them.  Then, when interest starts to wane, so as to avoid making things overdone, Toho will put the franchise on hiatus for a decade or so, to give it time so that it’s more fresh when they come back to it.  As they bring Godzilla back, they’ll reboot the continuity, starting after the first movie.  Usually, each span of time will be creatively rather different as well.

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As far as the movies go, you start, obviously, with the original Godzilla in 1954.  No matter what the other films do with their timelines (except for the American-made Monsterverse films and Shin Godzilla, which start everything over completely), the original Godzilla is fixed point in history.  The first Godzilla known to man always attacked Japan in 1954, Japan was always helpless against him, and he was (almost) always killed by Dr. Serizawa weaponizing his newest, fearsome scientific discovery.

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Then, some time later, a new Godzilla arose to terrify the world.  What happened there, though, varies.  The various series of Godzilla films are named after the Japanese eras in which they were largely made.  The first of those is the Showa series, which is what most people think of when they think of Godzilla.  Probably where the films made their biggest overall impact.  The Showa series came out in a time where the Japanese film industry as a whole was really troubled, and although they did have home-grown successes of all types, the only types of films that could consistently bring in a profitable audience where kids’ movies.  The first two Godzilla films are thoughtful horror movies akin to the classic King Kong.  If they stayed that way, though, the franchise probably wouldn’t have survived this long.  Bowing to the market of the time, from the third movie on, Godzilla movies where either ‘all-ages’ or outright children movies.  This is where you see the campy, goofy Godzilla, basically pro-wrestling in rubber suits.  That’s not necessarily a bad thing, but it’s helpful to know what to expect.  When you think of cheesy Godzilla movies, the scenes you may be remembering probably came from this era.  This is where the big dumb Godzilla dropkick was.  This is where you saw Godzilla dancing.  And although this isn’t the only place to find Godzilla goofiness, this is where it was most concentrated.

And although the first Godzilla movie pretty much stands outside the series structure, it’s considered a Showa era film, so next time you’re trying to impress that fly honey at one of those Godzilla parties that go on all over the place all the time, make sure you include the original in the Showa films or he/she is just going to think you’re a big nerd.

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The Showa series ended in the 70s.  Godzilla was on hiatus for a while, until they came back with a new film in 1984.  The developers, recognizing the trajectory the original series was on, wanted to go back to its roots and start fresh with the dark, heavy tone that the first movie set.  So, The Return of Godzilla, the first movie of the Heisei series, rebooted the timeline to just after the first movie, and had a new Godzilla attacking Japan 30 years later, taking the next step from the original film while also maintaining a lot of the sci-fi elements that the later films had brought.  Other films in the series followed suit.  The Heisei series definitely has it’s own goofy moments, some of them really goofy, but it plays everything a lot more seriously than the Showa series did, and it’s rare that you’ll find instances of deliberate humor in there.  It still revels in its fun big monster fights, but it does so seriously.  Serious face :I.  It has a bit more of a sense of continuity; there’s a couple of recurring characters, the G-force organization is at the heart of most of the movies, and fairly often new villains are created as a result of past happenings in this Godzilla timeline.  You can also tell that the special effects team was really excited about being able to put lasers on screen here.  In most other eras, most of the monsters will fight physically most of the time, with the various breath and other distance weapons being reserved for special occasions, when you really just need to hit the big guy hard or when you need a whole lot of things destroyed right now.  In the Heisei era, though, monster combat is mostly done through beam spam.  Lasers, breath weapons, special moves, the monsters are definitely at their flashiest here.

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Then, in the 90s, the Heisei films started slowing down.  As a result, Toho put their Godzilla films on hiatus again.  This time though, we weren’t going to lack for Godzilla in general, just their version of Godzilla.  Instead, they were going to give Tri-star a shot at making their own Godzilla universe in America.  Plan was for Toho to be on hiatus and Tri-star leading the way for Godzilla for about ten years.  Tri-star’s Godzilla film came out in 1998.  It… wasn’t good.  Toho wasn’t willing to let that be the lingering memory anyone had of Godzilla, so they broke their hiatus early and came out with the Millennium series of films.  Probably the biggest notable thing about the Millennium series is that every single film with one exception is in a continuity of it’s own.  Like The Return of Godzilla did, although most of these came out within a year of each other, they all take things back to just after the first movie.  Some of them do recreate events in the backstory between the first movie and this one, but that’s always independent of any of the other movies, and doesn’t match up with anything we’ve seen on film so far.  This series is less consistent, in general, in terms of creative design between films, but overall, it strikes a balance between the goofiness of the Showa series and that seriousness of the Heisei.  It’s also of pretty mixed quality, but the good films of this series are some of the best Godzilla movies overall.  In my not-so-humble opinion.

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Then the series was put on hiatus again after all that was done.  Ten years later, Toho decided to trust an American producer again, licensing Godzilla to Legendary Pictures for what would become their Monsterverse.  That’s still ongoing, with two Godzilla movies on deck so far as well as one where Godzilla made a cameo, and a third already in post-production, and it will be ongoing until at least 2021.  Contrary to last time, Toho seems very happy with what Legendary is doing, and is satisfied with allowing them to take the lead.  The Monsterverse, so far, restarts Godzilla and most of it’s associated features from an American perspective, while also slowly combining it with what they’re doing with the King Kong reboot.  It offers a new take on the classic Godzilla format while also being really faithful to what worked with Toho’s films, and with the latest release, is starting to build a world unique to itself.  I’ve been a fan of it.

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Toho has returned to the Godzilla well a few times, however, although they haven’t made a dedicated effort to establish a new series.  It seems that so far, with what’s being called the Reiwa series, they’re mostly doing it when the creative opportunity for something unique presents itself instead of really trying to establish a market position for it the way most film producers would.  So far, we’ve got one movie and a trilogy of anime films out of the Reiwa series, both of which are taking the normal Godzilla formula and twisting it into new forms, well beyond what’s been done before, that essentially require these movies stand apart from anything else that would typically be going on with Godzilla.

So…. that’s that.  Here’s a big old post where I’m creating content that’s mostly talking about how I’m going to create content later.  Have I ever mentioned that I work for the government?  We love recursivity.  In any case, I’ll see you guys down the line.

Mumbling about Muramasa: The Demon Blade

Man, you remember the Wii?  I’m pretty sure I’ve said this before, but for all the flak the Wii got for “having no games”, it sure had a hell of a lot of good games.  In a lot of ways, I feel the Wii got everything that the indie games market is covering now, before indie games even had a hope of making it.  In the face of the Xbox 360 and Playstation 3 pushing HD graphics and high processing power, but correspondingly high development costs, the Wii offered a more modest rate of performance at a much cheaper, and correspondingly less risky, development price.  Games didn’t port well to and from the Wii and you didn’t see it’s larger install base buying as many games as the other consoles, so it didn’t see that many AAA releases.  But established companies shooting out more experimental and creative secondary-level games?  That it had in droves.  And lots of them were really good.  At this point, my Wii library is pretty comparible in size to that of its competitors, and I find myself really glad for that.

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Case in point, there’s Muramasa: the Demon Blade.  Oozing art style, combat that’s at the same time buttery smooth and awkward, a game that’s not trying to make the huge statement of its AAA counterparts and is just there to be fun.  That last part is really representative of the Wii’s output for me.  How did it play out in this case?  Let’s find out!

Muramasa is made by Vanillaware, who at this point were notable for Odin Sphere and later because well-known for their beat-em-up Dragon’s Crown.  It’s a side-scrolling action game where you play as one of two characters roaming around beautifully drawn depictions of the various areas of feudal Japan, as you slay your enemies, collect the Demon Blades, and…. do things to get stuff done.  There’s a plot, but frankly, it really doesn’t matter.

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And yeah, it being Vanillaware, the art is the most prominent part of this piece.  And it is great.  Everything is lavishly hand-drawn, incorporating real-world art techniques from feudal Japan in a way that makes things look completely fitting to the setting even as they’re stunningly gorgeous.  Most of it looks even better in motion.  Being hand-painted, animations are a little limited, and some of them do look a little janky, but for the most part, they really breathe life into these characters and locales.

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The bosses are probably visually the best part.  If you’ve been playing video games for a while, chances are you’ve probably been pretty well exposed to lots of classical Japanese culture and mythology.  Muramasa draws from that well pretty heavily, but doesn’t just add art to it, it’s often dropping some really interesting twists on the classical mythology as well.  Inugami goes from classical mythology of being a dog poltergeist to the version here of being a blasted scary being with rows of teeth that never end.  Raijin keeps all they fierceness and aggression he’s had in classical mythology, but he’s in the form of a muscular battle woman here.  I found it interesting, seeing the unusual takes on familiar features all over the place.

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Sunshine Blogger: The Four-ening

We’re continuing our Sunshine Blogging spree by taking on the questions that Red Metal posed for us in his nomination.

And frankly, if you hang around this place, you know Red Metal.  He and I have been blog allies for quite some time.  He does a lot of video game reviews, pulling some rather unsung parts of games history out of the pile as well as the traditional classics.  On top of that, he’s been doing film reviews as well.  Guy puts a lot of content out.  So go check his blog.  You won’t be sorry.  And thank you, Red Metal, for this honor.

Other than that, rules are the same as the last three times.  Or, frankly, any of the many other awards we’ve gotten.  Questions are different, however.  Let’s go!

  1. What do you feel is the ideal length for a studio album (or LP)?

Roundabout an hour is the perfect length for me.  Substantial enough to be getting at an artist’s sound from a variety of angles and to make for a full experience in the car, which is where most of my albums get played, but not so long that you start to get tired of it.

2. Have you ever accidentally rendered a physical copy of a game/film/album unplayable?

Aaaaahhhhaahahahahaaaaaa…. all the time.  Let’s see.  I think first was with a copy of SimCity 2000.  Dropped the disc underneath my computer chair, and in attempting to pick it up, ran the chair’s wheels over it.  Never got that recovered.  My copy of Saints Row wasn’t running as smoothly as I wanted it to, and I had my Xbox in the vertical position.  I wanted to see if it’s work better if it was horizontal, so moved the console while the disc was spinning, and that put in a thick circular scar that made it unreadable.  My local game shop was able to fix it, though.  A similar thing happened with Fallout: New Vegas, when the cat knocked the console over while I was playing it.  Game shop guy came through then, too.  Later, he went out of business, and I bought my own disc grinder for those knocks and scratches.  Got a lot of use out of it, but a few missteps.  I had a used copy of Eternal Darkness that was always in poor shape, but it had degraded to the point where it just couldn’t read anything past a certain point in the game.  Tried to get it in the disc doctor, but the tiny little Gamecube discs didn’t mount correctly, and it ended up in worse condition than ever, to the point that it wasn’t even readable.  And the used disc I bought for Yakuza 4 has a slight scratch in it that had absolutely no effect on the game except for one late game cutscene that it prevented from loading, completely ending progress.  I ran it through the grinder and got the disc in absolutely pristine condition, except for the fact that it didn’t work at all.  Apparently you can’t just grind down the scratches on blu-rays the same way you can with CDs and DVDs. I had to replace the disc entirely.  Save data was on the console, luckily enough.

I swear, I am truly an elegant and graceful person.  These missteps are totally unrepresentative.

3. What series do you feel has a confusing naming convention?

Godzilla is absolutely the worst at names.  The. Worst.  Seriously.  Let’s see if you can follow along with this.

Godzilla (1954) is a different movie from Godzilla (1985), which is different from Godzilla (1998), which is different from Godzilla (2014).  Godzilla, King of the Monsters! and Godzilla: King of the Monsters are different movies.  Mothra vs. Godzilla and Godzilla vs. Mothra are different movies.  King Kong vs. Godzilla is different from the upcoming Godzilla vs. Kong.  Godzilla vs. Mechagodzilla and Godzilla Against Mechagodzilla are different movies.  Terror of Mechagodzilla is the sequel to Godzilla vs. Mechagodzilla, not Godzilla vs. Mechagodzilla II, which takes place in a completely different timeline than Godzilla vs. Mechagodzilla.  Godzilla Against Mechagodzilla was notable for having a direct sequel in an era where otherwise every other film around it completely restarted the continuity, but the sequel was titled Godzilla: Tokyo S.O.S. and didn’t refer to the previous title at all.  However, Mothra vs. Godzilla and Godzilla vs. The Thing are different titles for the same movie.  Same with Ebirah, Horror of the Deep/Godzilla vs. The Sea Monster, Invasion of the Astro Monster/Monster Zero, All Monsters Attack/Godzilla’s Revenge, and probably a lot of others I’m not perfectly aware of now.

On top of that, and this seems like a really minor issue now, most over the films are titled something in the structure of Godzilla vs. Other Monster which is only helpful if you can distinguish the names of the monsters.  Do you know the difference between Megalon and Megaguirus, and can tell me whose film features the coveted Big Dumb Godzilla Dropkick?  Becoming a Godzilla fan requires a guide of some sort.

4. What critical darling do you feel completely failed to live up to the hype?

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I remember people raving about Psychonauts.  I remember people bemoaning the fact that it’s not talked about more, didn’t sell enough, doesn’t take up enough space in our collective consciousness.

Then I played it.  And you know, I get what people like about it.  It’s got good ideas, it’s got a lot of creativity, it’s really high concept.  It’s just not very fun to play.  The controls are clumsy, the environment is often unresponsive, the challenges before you are really uninteresting, etc.  This is a game that’s a blast to watch, to absorb all the good parts behind it.  Just not to actually get your hands on the controller.

5. Which work do you feel should have deserved more attention?

Time is starting to correct this, but Fire Emblem has long been one of gaming’s unsung treasures.  I love turn-based strategies, but you very rarely get a good series going.  Fire Emblem has earned it’s place as one of the best.  I can understand why it never got much love.  Nintendo didn’t have faith in it on the American market until their character’s placements in Smash drove demand for it, and even then, the rampant permadeath, minimal developmental advancement between entries, and really basic presentation makes it hard to recommend for the general player.  But the strategic gameplay is really solid, and the series always deserved more than just surviving on the very edge of profitability.  From Awakening on up, though, the series has been getting a lot more success, and that’s really nice to see.

Now, if it would just get enough success that you could manage to find a copy on sale or for something less than MSRP even years later, that would make me a pretty happy man.  Nintendo doesn’t really cooperate with deal hunting.

6. Do you prefer a foreign work to be subtitled or dubbed in your language?

Film and TV, I prefer them to be subtitled.  I have a lot easier time with my film-industry burnout stress issues when watching a movie if I don’t understand the language being spoken, for whatever reason.  Video games, I prefer them dubbed, usually, especially if they’re going to be delivering any spoken content outside of cutscenes.  Given that I’m interacting with the work and my attention needs to be going in a couple different directions, having the dialogue draw too much of it away by making me both read and listen and mentally attach one to the other through translation conventions just doesn’t work on the fly.  Video games seem to get higher quality dubs than film and tv as well, that helps.

That said, I’m not super picky on it, and there are times when dubs can improve or reduce the quality of a work.  I just want the best experience available, and I can go between them as needed.

7. Can you remember an instance in which you managed to succeed in a game by the skin of your teeth (e.g. beat a difficult boss with barely any health remaining)?

Lots of times.  I think one of the most glorious times of that was in fighting Artorias in Dark Souls.  And you know what?  You guys were there for it.  Nice to have it recorded for posterity like that.

8. Can you remember an instance in which you got completely robbed playing a game?

Yes, and it still burns me.  No More Heroes has the absolutely worst overworld I have ever seen in games.  It’s big, expansive, takes forever to traverse, and mostly empty.  You have to deal with it, though.  It’s not an optional part of the game.  Specifically, to get your story missions, you have to grind for them.  You have to pay money to get your missions, and the only way to get sufficient amounts of money is through the inane minigames that are scattered around there.  To access them, you have to sign up for them at a central location, drive through the lame overworld to get to them, do the worthless thing, drive back, sign up again, rinse and repeat.  It’s not fun, it’s not engaging, and no matter how anyone tries to say it’s really satire, this is one of the dumbest and most disrespectful things I’ve ever seen anyone include in a game.  The core gameplay is pretty good, so you deal with it, but as you have to do more and more grinding to get to your missions, it really starts to wear thing.

Halfway through the game, you have to pay about $800,000 of game money to access a mission, if I remember correctly.  Tons of grinding.  Contrary to every other mission you’ve been through, when you start this one, it’s just a big long hallway.  No open areas, no twists and turns, nothing really to capture your interest, just long hallway that you fight basic dudes in.  But then you get to the end.  And the boss comes out.  And the bosses are the best part of the game.  This guy looks intense.  This is going to make up for it all.  But who’s that other guy in the cutscene?  And why did he just slice the big boss in half?  And now he’s leaving?  You never got to fight the boss?  Oh well, mission success, now grind $900,000 for the next mission.

I turned the game off then and I have never been back to No More Heroes.

9. What is your favorite arcade game?

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I have not played this since I was a kid, so nostalgia may well be twisting my perspective, but Ninja Baseball Batman was my favorite arcade game as a cub.  The only place I ever saw it was my local Pizza Hut, but I spent so many quarters on that game.  I don’t know if I ever beat it, but I do remember coming really close to the end multiple times.

10.  If you could travel anywhere in the world, where would you go?

I would make a world tour, and visit the homes of the significant others of all my enemies and take them all on their dream dates.  No romances are so sweet as the one that ruins the life of someone you hate.

11.  What critics (in any medium) do you find to actually be reputable?

These days, not many.  I would much rather get an opinion from one of my fellow content creators than trust a review.  I trust the staff of PC Gamer more than anyone else, however.  It used to be because they were the only outlet I would see that would be openly negative in previews about a game that just wasn’t fun to see.  Everyone else, no matter how they trashed the game when it was released, you could always go back and see those same staff doing their jobs of being good industry outreachers and talking up that exact same game in previews, but PC Gamer would openly state that the games not good.  I don’t see as much of that these days, as I’ve moved away from traditional video games media as a whole, but I still see them taking a more balanced line than other outlets, not so much trying to partner with the publishers until they switch sides so they can milk a bad game or controversy for the big bucks then ingratiating themselves with the publishers once more to start the cycle over again.  I’ve gotten a little bitter about that, haven’t I?

Well, in the interests of sparing LightningEllen, no nominations this time.  Yet.  We’ll see if anyone displeases me first, then they’ll be staring 121 questions down as well.

Sunshine Blogger v3.00

We’re back, baby!  Went on a bit of an unintentional hiatus there, but yet again, Lost to the Aether rises like the phoenix.  You all now have my permission to rejoice.

We’re going to ease our way back in here by addressing the not one, but two Sunshine Blogger awards/nominations/whatever we received while I was out in that horrible, fearsome place we call real life.  Yes, both AK from Everything’s Bad For You and Red Metal from Extra Life Reviews have put us forward for this incredibly illustrious award.  Having received this already twice before, that obviously makes Lost to the Aether a shoe-in for this, whenever the people administering this bother to make my trophy.

Anyways, as always, in making these nominations, each of our fellow bloggers have posed a number of questions to us.  And your main man is always up to fill people in when they get curious about him.  So let’s get started.

Since AK got his nomination in first, will handle his questions up front.  Red Metal’s turn will come later.

But first, in keeping with the rules of the award, thank you, AK, for this opportunity to engage in my favorite activity and talk about myself.  If you don’t already, you should go check out his blog, Everything is Bad For You.  In spite of the name of his blog, he mostly posts about the good things, usually Japanese games and music, he enjoys.  Dude knows and loves his SMT.  And he’s a lawyer (poor guy), so you’ll sometimes see him working his law knowledge into his posts the way I do with business stuff sometimes here.  You like my stuff, you might well enjoy his.

Next step, on to the questions posed.

  1. Do you have a favorite game composer?  If so, who is it?

Motoi Sakuraba is my favorite video game composer.  I really admire him for the fantastic range and diversity of his works.  I know him best from his work with the Tales Of series, where you get mostly JRPG big bombastic emotion projecting pieces with a bit of rock instrumentation thrown in at times.  His work with the subtle, moody intensity of Dark Souls’ soundtrack was so different I never realized it had the same composer until I looked it up.  Going from there to the Valkyrie Profile series, to the Star Ocean series, to his Smash Bros. work, to so much more, every series of which seems to have a completely different type of soundtrack that is still of a really high quality, Sakuraba is a marvel even among all the talent in the industry.

Beyond that, Yasunori Mitsuda’s work in games is really limited, but Xenoblade Chronicles has probably my favorite soundtrack of any game.  Koji Kondo is a bit hit or miss for me, but when he hits, I think he has more impact than anyone else.  His theme from the trailer to Legend of Zelda Twilight Princess gives me chills every time I listen to it.  And Nobuo Uematsu’s soundtracks basically define my childhood, and still get my feels going.

You know, as I type this out, I realize this is really, really close to Red Metal’s post on the subject.  Guess I’m not that original.

2. Same question as above, but for game artists/art directors.

You know, I’m having a lot harder time with this one than I am with music.  There’s a lot of games I can point at having particularly good art direction, but I can’t bring any of the individuals behind them to mind.  I guess I haven’t connected with the individual creators on this front the same way I had with the music.

3. Is there a character you’ve encountered in a game that annoyed you immediately?  If so, did that character grow on you over time, or do you still dislike them?

Almost any child character in a game.  It always seems like the kids are just cancer to the story.  Nobody knows how to write them well, and they always seem to cause the characters I do like such huge problems and haven’t built up the sympathy required for me to tolerate that.  Walking Dead’s Clementine, Final Fantasy VI’s Relm, and Persona 4’s Nanako are about the only exceptions to this I can think of, where I actually enjoyed their presence from the start.  The rest of the kids just make me groan internally when I realize they’re going to be sticking around.

Sometimes they grow on me, and sometimes they don’t.  It really depends on how they progress from the initial brattiness.  Persona 3’s Ken never did.  In fact, I spent much of his arc moving from initial mild frustration over how “precocious” he is even though he doesn’t really do anything to great anger at the plot over how he does horrible things that have huge consequences yet his development through that is crazy rushed and everyone forgets about what he did almost immediately.  Anise from Tales of the Abyss, however, you start unraveling her character and finding out that, although she’s annoying, she’s got her reasons and traumas that make her that way.  Then there’s characters like Fallout 3/4’s Mayor MacCready, whom I had a burning firey rage for because they’re such a stupid little ratbag, then I have a lot more sympathy for them after they’ve gone through a bit of hell for being a stupid little ratbag, and I like them more once they’ve paid for the suffering they’ve imposed on me with their stupid existence.

Moral of the story is never have kids.

4. If you could own any vehicle from a game, which one would you own, and would it be a practical form of transportation?

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I’ll take the Jehuty from Zone of the Enders 2.  It’s good transportation, and you can park it anywhere.  Combat ready, for when I spy one of my many enemies.  And I have it on good authority that women love a man with a mecha.

5. How do you feel about contributing to crowdfunding campaigns for games and other works?

I actually have pretty strong feelings about that.  That drives me to never do it, really.

I really don’t like how crowdfunding campaigns are driven to treat those contributing to them like investors and selling them on that concept, yet really, all they’re doing it pre-ordering the material all in advance with potentially some special perks, and once the campaign is closed, treating them that way.  It’s telling the consumer they’re buying one thing, but selling them another.  And the fact that there’s no accountability in place and so many of these projects launch and fail because they’re sold on the strength of the creative aspects but they don’t have a producer or manager in place capable of keeping them moving forward, I just really have a hard time trusting crowdfunding.  I think one of my earliest awarenesses of crowdfunding was for the Homestuck game, yet once that campaign was funded, mismanagement led to it negatively impacting the webcomic it was to be based on, and the game itself was floating in the dead zone for a while and still has yet to fully come out.  Not a good first impression of it.

Yet, I can’t deny we’ve gotten some marvelous games out of it.  Your Undertales, your Shovel Knights, your FTLs, your Kingdom Death: Monsters, your Divekicks, the list of smashing successes goes on and on.  I can’t deny that it’s made for some great things, some of which probably wouldn’t exist without it.  I just wait until they’re all available commercially before I pick them up, however.

Fun fact, once upon a time I was going to do one of my business counselor posts about how I’d do a crowdfunding campaign, but then my last job proved that I’m really not good at those.

6. Reversing a question I was asked – what movie would you want to see adapted into game form?

Eh, I’m not really one to ask about movies.  I used to work in the industry, sucked at it, and got burnt out to the point that even now, years later, I get stressed out when I watch anything but just the right type of film.  So, sorry, but I rarely watch movies now, and I don’t have a good answer to this question.

7. Do you buy physical copies of games?  How important is it to you that the publisher releases a physical copy of a game, or does it matter at all?

Oh yeah.  I get physical copies all the time.  That’s my preferred way of getting all this going.  I live in a rural area, and internet’s not the greatest here.  It’s just fine for streaming movies, usually, but downloading games takes quite a while, and it’s usually a lot easier for me to swap out a card or disc when I want to play something than it would be waiting a day or two before I get to play that current gen piece of hotness I’ve got my eye on.

That said, I do have an extensive digital collection.  Mostly on PC, however.  The closing of the Nintendo Wii Store and the fact that my XBox 360 doesn’t work with my current internet has given me trust issues over games being taken away from me, and although Sony seems more reliable, it’s still a pain in the exquisitely formed butt to need to constantly manage system memory.  On PC, though, the various launchers I have make it easy, and the games get to be so cheap, it works wonders with my thrifty nature.  I’ll usually get a game digitally if it’s significantly cheaper than physical, but otherwise, give me my disc any day.

8. If you could have dinner with/hang out with any one main cast of characters from a game, which one would it be?

The crew from Fire Emblem: Path of Radiance.  I don’t know why, really.  It just seems like they’d be the best time for just a big giant barbecue.

9. How important are a game’s story, characters, and overall message to you when weighed against the quality of its gameplay?

I want something to be good in a game.  I can take a bad story if the gameplay is good.  I can take bad gameplay if the story is great.  Best case scenario has both of them coming in line.  I’m willing to work with most any mix there, as long as at least one of the elements has something to offer.

10. If you were exiled to a desert island and could only bring one game console with you, which one would it be?  Not counting the PC – you’re allowed to have a PC on the desert island.  You also have access to power sources.  This is a really convenient desert island, isn’t it?

Well, I’ve got a couple hundred games in my PC library, so are you sure you’re going to let me have that?

Probably my Wii.  Largely because it’s backwards compatable with my Gamecube library, which has a little bit of everything in there, as well as it’s own.  So I think that could keep me occupied for quite a while.

11. How much money do you think you’d get for your entire game collection in Gamestop in-store credit?  

I have a pretty massive game collection.  Most of it’s digital or from a generation or more ago, so that’d be pretty minimal.  I could probably get a good steak dinner from what’s left, if I could find a restaurant that takes Gamestop in-store credit, but not much more than that.  Their going rate’s not that considerable.

Alrighty, now it’s on to the end times, the further nominations!  Normally, I would skip this part, but not today.  Today, I nominate LightningEllen for all eleven nomination slots here.  That’s right, LightningEllen, pick 121 questions, and answer them in your blog.  You have to thank me for it, too.  The rules say so.

And tune in next time, when we slam down the eleven questions Red Metal posed as well!