March 19

The Genius of 1-1 (Super Mario Bros.)

Super Mario Bros. Single handedly saved and revived the gaming industry and re-popularized the public’s interest in home consoles as well as video games as a whole.

Looking back as to why this was the case is quite simple, and can easily be traced back to what’s known as the “Console Market Crash”, one of the most significant moments in the history of video games. The console market crash happened due to the oversaturation and mass production of low effort console games with popular IP’s to its name in order to capitalise on its commercial success. A great example of this would be the disaster of the E.T game.

Because of this over saturation, the general public quickly lost interest in home console games, which gave way to the much more powerful Personal Computers which were set to dominate the gaming industry for the foreseeable future. However, one company firmly believed in home gaming consoles. Nintendo carefully studied how to regain the lost joy from home consoles to the general public, they were certain that their games would be able to make an impact on the industry as a whole. Despite their beliefs, investors weren’t content with the idea of the Famicon, and advised Nintendo to market their home console as a “System for Entertainment” in order to deviate from relating their product to video games.

“The first shipment of NES systems arrived in a neat stack that barely took up half of the trailer on which it was transported. The boxes were stored in the warehouse, and the team began the arduous task of trying to get retailers to accept Nintendo’s products. Most store owners did not want to look at video games, let alone waste floor space selling them. In fact, team members were cautioned not to use the term video game. The NES was to be sold as an “entertainment system.”- (Kent, S.L. (2021) The ultimate history of video games. volume 1, from pong to Pokémon and beyond–the story behind the craze that touched our lives and changed the world. New York: Crown)

As a way to regain the consumer’s trust, Nintendo created their own “Nintendo Seal of Quality” which would ensure that the game was of a certain standard. Nintendo’s new approach allowed it to act as a publisher as well as a tester for third-party companies to ensure that these produced quality games. Because of this, as well as the technological innovations of the time, that the standards, development costs as well as the quality of games drastically improved or heightened. Not to our surprise, the company who knew how to best take advantage of these innovations was Nintendo, Kent explained it best in his book The Ultimate History of Games “Super Mario Bros. took Mario out of his single-screen setting and placed him in a huge, vivid world. Instead of simply climbing ladders and moving around on platforms, players now controlled him as he ran through a seemingly endless, brightly colored countryside filled with caverns, castles, and giant mushrooms.”, which gives us a good insight as to how Nintendo was able to create a vivid world despite the limitations of the NES.

O’Donnell (2014) also states, “The release of the NES would change the video game industry forever. Not just the quality of the video games, but the way the video games were developed, sold, and marketed”, the NES, as well as the release of Super Mario Bros. shifted the gaming industry as a whole, and set up a new standard, as previously mentioned, which changed both developers and consumers approached games.

With a brief look at the history of this title, as well as how important this game’s launch was for the industry, we can now make a deep dive into what made Super Mario Bros. such an important and revolutionary title.

One of the biggest factors into the success of this game, was Mario’s design, which as Shaw describes in her book Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture, “in Nintendo’s famous Super Mario Bros. franchise, the title character, Mario, was not origi­nally conceived of as an Italian American plumber. Rather, the particularities of his design arose out of an assemblage of factors. His pudgy features, colorful costume, large nose, and bushy mustache— ­ characteristics subsequently read as signifying his Italianness— ­were all designed to make the most of the limited graphics of early arcade machines and Nintendo consoles” (Shaw, 2014, p.23).

Mario Sprite

Fig. 1, Image showing Super Mario’s design in Super Mario Bros.

 

Nintendo knew how to make a simple yet visually appealing character. His overalls, as well as his hat are excluded from Shaw’s description, but I believe its also important to mention since they add to the perspective of the Italian plumber. Additionally, adding a hat would remove the need of having to animate hair, which would’ve been a struggle to develop especially considering the limitations of the time. Because of this, Mario’s design was easy to develop and was a simple design that’s easy on the eye for all audiences.

Level 1-1 is the primary example of how to design a tutorial level without telling the player what to do. It started the trend of going to the right when you start a platforming level, which has become a staple across multiple 2D Platformers since the release of Super Mario Bros. The level starts off with Mario standing on a bricked ground with some bushes and mountains on the background which are coloured with different shades of green, and is accompanied by a nice blue sky, which’ll be a constant throughout the level. Just with this powerful first image, we can see how this game doesn’t use harsh or dark colours (yet) which would hinder how easy the objects on screen could be seen. This initial level is also visually pleasing for the younger audiences, allowing for them, as well as their parents, to easily get invested into this vast and magical world.

Accompanied by an upbeat music, the player quickly realises how there’s a mushroom shaped enemy walking towards them. If the player walks directly to them, they will lose a life, meaning that they’ll have to avoid this enemy by jumping over them, or jumping on them in order to defeat them. As the player progresses, they will see two different blocks, one shining with yellow with a question mark, and another standard brown block.

Fig 2, Mario jumping on Goomba and showing the blocks for the first time.

Fig 3, Mario jumping to hit the blocks revealing a power up mushroom that makes him bigger.

As seen on Figure 3, when Mario jumps on these blocks various different things happen. The first question mark block reveals to have a coin hidden in it, and the second one reveals a mushroom (different to the one we just jumped on) to the player. Which, upon interacting, will allow us to power up by making Mario bigger. This Power-Up allows Mario to move quicker, as well as jump further and higher. This also widens his hit-box however, which means that he’s more likely to get hit by enemies. When Mario has powered-up, the player can afford to get hit once without losing a life, which if they did they would have to restart the level from the beginning.

Figure 4, Super Mario Bros. teaching the player the maximum jump.

After this, the game teaches you the maximum height jump Mario can do, by cleverly spacing out some pipes so that Mario can jump from one all the way to the other, as shown in Figure 4. The game also puts enemies on the floor between the pipes so the player knows what’s at risk if they mess up the jump. The game immediately tells the player it’s most important mechanic, “jump”, which is a neat call-back to Mario’s origin in “Donkey Kong” where he was known simply as “Jump-Man”.

Figure 5, Video showing Mario using Fire Flower power up as well as the Super Star power up.

There’s also various power-ups scattered throughout the map of 1-1, for example the “Fire Flower” allows for Mario to launch projectiles in front of him that will bounce off and hit enemies. This allows for Mario to have other options apart from jumping on top of enemies as a means to defeating them.

There’s also another power-up, known as the “Super Star”, which allows for Mario’s sprite to blink and become invincible for a set period of time. This power-up changes the background music to a much more energetic and upbeat one, which immediately transmits to the player “run and go as fast as you can”, whilst being able to immediately defeat enemies, the “Super Star” really makes the player feel empowered for the short period of time they have it activated for.

As you can see in Figure 5, both power ups above can be stacked and be used together. Which allows for players who are reluctant to run into enemies to maintain the projectiles as well as the speed the Super Star gives you.

The level design of Super Mario Bros. is at a whole different level, especially given that it was the first side-scrolling platformer. This game was advanced for its time and is a perfect way of telling players how to play the game exclusively with gameplay and not by explicitly telling them with an in-game tutorial that holds the player’s hands until they’ve completed said tutorial. As Loguidice said in his book Vintage Games. “The gameplay was superb, which is why the formula continues to be popular today, as demonstrated by the release of 2006’s New Super Mario Bros on the Nintendo DS. The controls in Super Mario Bros are straightforward and intuitive.”which is a statement that to this day still holds up. Super Mario Bros. is a simple, yet effective game that’s easy to pick up, and thanks to various re-releases as well as the game being on the Nintendo Switch Online’s NES catalogue of games means that its easily accessible by gamers around the globe to enjoy.

 

It’s understandable to make a deep dive into the first level and ask yourself “why?”, why would people make such a big commotion on the first level of a game that came out in the 1990’s?, as explained earlier, the console market crash arose out of the distrust of the consumers towards home console games, and “Super Mario Bros, played a decisive role not only in the revival of the console market, but in the expansion of the videogame industry as a whole.” (Loguidice, B. 2009. Vintage Games. Boston. Focal Press.) .The genius level design that went into each level so that the progression and adventure felt like you were actually traversing a world is what made Super Mario Bros. stand out and revolutionize the gaming industry for the foreseeable future, creating a cultural impact that has only been made possible because of the success of this game.

 

References and Sources:

Kent, S.L. (2021) The ultimate history of video games. volume 1, from pong to pokémon and beyond–the story behind the craze that touched our lives and changed the world. New York: Crown.

Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture

Loguidice, B. 2009. Vintage Games. Boston. Focal Press.

 O’Donnell, 2014

 

*All videos used in this post have been taken by me on the Nintendo Switch Online’ NES service. This allows for a faithful emulation of the original NES release of the game on modern hardware, the only differences are the UI of the Nintendo Switch Online’s NES service appearing. However this does not hinder the experience nor the overall gameplay of Super Mario Bros. as this is merely used as a demonstration of the game.

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March 17

10 years since NX’s reveal!

Today, 17th of March 2025, marks 10 years since Nintendo announced their next major console, the “Nintendo NX” is what they called it.

Many believed that this console would be a disaster, especially considering how underprojecting the Wii U was in hardware and software sales. However, Satoru Iwata firmly believed and pushed for the ‘NX’, believing that it would be a revolutionary system that will forever change the gaming industry. Because of his belief, during the years Nintendo struggled with the Wii U’s life-cycle, he reduced his pay in half so that no one was fired, as well as keeping morale high within Nintendo for the ‘NX’.

The ‘NX’ was the code name for the Nintendo Switch console. A hybrid between a home system as well as a portable handheld console that can be taken anywhere. This system has many accessibility features such as natively coming with two controllers, a durable battery as well as the ability to play every single game either on TV mode or on the go. As Iwata believed, the Nintendo Switch became a pioneer console for the gaming industry, allowing for 3rd party developers as well as many indie developers to have a platform for visibility as well as rebuilding the trust in the consumers with regards to Nintendo.

However, sadly Iwata could not see the release of this console. He sadly passed away almost two years before the release, but his business practice and ideas that he brought to the table were the biggest reason as to why Nintendo was able to succeed with this console.

As a reference to Iwata’s impression within Nintendo employees, in The Legend of Zelda: Breath of the Wild, there is a hidden mythical creature by the name of “Satori”, a mythical horse that is believed to be a reference to the afterlife. This horse can’t be damaged, can only be found on specific phases of the moon, as well as can’t be registered as a horse owned by the player. This optional side “quest” is more than just a world building aspect within this version of Hyrule, it’s a love letter for Iwata’s impact for the entire gaming industry.

As we currently look towards the release of the Nintendo Switch 2, we can only but imagine how Iwata’s beliefs will carry on with the future of Nintendo, as the Nintendo Switch 2 is projected to be as huge as the Nintendo Switch as well as feature much more powerful titles that will revolutionise the modern gaming industry like they have been doing since 2017 with the Nintendo Switch.

 

Link to original posting of the NX’s reveal:

https://www.ign.com/articles/2015/03/17/nx-is-nintendos-new-next-generation-hardware-system?utm_campaign=ign+main+twitter&utm_source=twitter&utm_medium=social

March 12

Niantic is bought by Scopely

Niantic (Pokemon GO’s developers) have been bought by Scopely (Monopoly GO’s developers) for 3.6 Billion USD.

This is a significant purchase, since Pokemon GO is Niantic’s pride and joy, it’s single-handedly THE reason Niantic is known. Pokemon GO has consistently been ranking highly in the top mobile games since it came out in 2016, making up for millions of players weekly that make up a majority of Niantic’s playerbase.

However, in the past couple of years Pokemon GO has been seeing bad reception from their players. This is due to bad decisions by the developers, such as removing accessibility related quality of life features that they introduced with the pandemic like the “Remote Raid Passes” (which are now paid for). An important detail to note out is, despite the pandemic being 5 years ago, limiting everyone from being able to leave the comfort of their houses, Pokemon GO’s developers made massive changes to accommodate for these extreme cases. Because of this, the number of active players spiked because the game was having good reception, consistent quality of life updates, and a reason to delve into the digital version of our own world. As previously mentioned, the “Remote Raid Passes” allowed for players, regardless of where they were, to remotely access the promoted raids with other players (also regardless of where they were), in order to take down these tough Pokemon battles.

These changes were beloved by the community, however as the limitations of the pandemic lessened world-wide, the developers sneakily started making these quality of life updates a paid twist. Pokemon GO, since 2022, has become more of a Pay-to-Win game, making events that give exclusive mythical Pokemon (that are unobtainable otherwise) a paid activity, which is time gated to a couple days rather than allowing for players to be able to it at their own time like most other events they give special Pokemon in.

Because of this approach that Niantic decided to approach, the player reception hasn’t been quite good, making players reluctant to wanting to spend their hard earned money on Pokemon GO’s money grubbing strategy. This makes Scopely’s acquisition of Niantic, as well as all the developers that are confirmed to be moving from Pokemon GO Niantic->Pokemon GO Scopely, a bit more of a sticky situation. Monopoly GO is an AFK game that’s pretty much a glorified casino. You can’t finish events without spending money on getting extra rolls. Because of this, Scopely’s approach in attempting to getting players to spend in microtransactions all the scarier when it comes to Pokemon GO (a game, which is remind you has a target audience of children).

 

Many have shared their concerns on social media platforms such as X (formerly Twitter) as well as on Reddit. Players are naturally scared that Pokemon GO will become even more of a Pay-to-Win game as well as Scopely interfering too much with the core structure of Pokemon GO, basically killing off the game in an attempt to get as much out of the players as possible.

 

 

Sources:

https://www.scopely.com/en/news/scopely-to-acquire-niantic-games-business-which-includes-pokemon-go-one-of-the-most-successful-mobile-games-of-all-time

https://nianticlabs.com/news/niantic-next-chapter?hl=en

February 26

Assasin’s Creed Shadows is in Danger

Ubisoft’s next large-scale project, Assasin’s Creed Shadows, seems to continue sparking controversies despite not having released!

The entirety of the art book of the game leaked online just a couple weeks ago, including major story spoilers.

 

Another major issue that’s happened with this game is that physical copies of an early build of the game have leaked online, which will affect the overall sales of the game.

Moreover, because of the early build of the game leaking, a Japanese temple is intending on suing Ubisoft because their temple got destroyed in Assasin’s Creed: Shadows.

 

 

We must remember that all of these controversies are happening after the game has already been delayed as well as the original controversies surrounding the game when it was originally revealed.

 

It’s safe to say that Shadows is Ubisoft’s last chance at staying relevant, especially with the downfall of Star Wars Outlaws and their lack of sales. We shall see what the future has for the release of this game, but if they continue to have controversies and important information leaked, it all looks like we will have a rocky release which may conclude in sales being under what Ubisoft has projected for Assasin’s Creed Shadows.

February 9

Digital and Physical Games Debate

As a result of the PlayStation extended maintenance, which affected every PlayStation user, there has been a big debate on social media once again with “digital vs physical” games. For those who are unaware, there are games on PlayStation 4 and 5 that even if you have them downloaded or own them physically, you still require to connect to the internet in order to play them, even if they are single player experiences. This locked out a good chunk of players out of games such as FC 25, where PS5 users can cross-play with X Box Series X/S players, but because of the issues of the extended maintenance, those who play this game on X Box, were able to thrive and play against rivals of their own console without having to worry about the PlayStation users (which is where most of the pro players play, so this allowed for better transfer market deals, better placement in online matches amongst other features that are related to Ultimate Team)

What I’m getting at is, if you wanted to play a game, offline or online, or even download a game you have purchased, or buy a DLC, you simply couldn’t (for the most part). This has caused a huge ripple effect where consumers are talking about buying in physical medium again just to avoid issues like these happening in the future. Being locked out of using your console’s games for 24 hours, especially when Sony has been unclear if it was a data breach like what they previously experienced in 2011, is leaving users worried with regards on if their data has been stolen as well as their credit card credentials. This is a huge cause for concern, especially with hackers being much more experienced in phishing, it is easy for them to appear to be Sony when you want to change your password, or even remove your card from being linked to your account.

Because of this, I would like to give a debate where I outline what I believe what has been some important features companies have done in the past, but over time have evolved and changed.

I would like to start off by presenting that X Box started off this trend, the X Box 360 required you to have constant connection to Wi-Fi in order to play the console, or even set it up for the first time. even if you purchased physical games, you were required to be constantly connected online to play even single player games. This immediately caused issues, since by the time the 360 came out, in November of 2005, not every home had a Wi-Fi connection. Those house holds that did, would have slow Wi-Fi, since it was still a relatively new concept that not everyone could afford. This would cause games to be laggy, cause awful loading times, and even boot players out of the servers at times. With regards to how this looks in retrospect, especially in 2025, this looks and feels like a step back. Forcing your users to connect to the internet for no reason even if they just want to play single player games isn’t exactly a good selling point for your system that will harm the user experience in the long term.

However, the early 2,000’s was a difficult time for developers. Especially with patching their games. The Nintendo Wii was a prime example of a console that had games for everyone, didn’t require users to have a constant connection, and had great single and multiplayer games. However, in November of 2011, with the release of The Legend of Zelda Skyward Sword, there were some users that found a game breaking glitch. Near the end of the game, you’re forced to do quests in the different regions of the game; Faron, Eldin and Lanayru. The player was allowed to complete these in any order, but if they specifically chose to start with Eldin, they could complete the quest as intended, but if they decided to talk with an NPC before they departed from the region, this would accidentally start the flag for the quest the player just completed again. However, the player would be unable to progress from that point, as they wouldn’t be able to start the quests in the other regions, nor could they carry on the quest since the flag for the quest was raised unintentionally. When the issue was brought up to Nintendo, they got hard at work for weeks in order to fix the issue, whilst allowing players to send in their physical copies to them so that the soft locking bug could get fix (Since the only way to avoid getting soft locked was to have a save from before you activated the original Eldin quest). This issue was a thing for digital owners since… there weren’t any!, most Wii games came out exclusively on physical and it was only the Wii U where you could finally download these physical games from the Wii shop. Like I mentioned earlier, this console was a difficult one to patch games for, since it was extremely convoluted to do so via the internet. Nintendo’s solution to the problem, was a seperate Wii channel that users could download from the Wii shop known as “Skyward Sword Data Update Channel”, users could download this channel and put their soft locked Skyward Sword save on this programme, which will run the patch and fix the issue. This was not the perfect solution, in fact most players didn’t even know of this bug until years later when it was documented in mass on YouTube. This solution back then, was to ship games out as a “Version 1.1” of the game, with updates already installed and applied onto the game, you may own Wii Sports, and I can guarantee that your version of the game is different to the day 1 release in America for the exact same reason I just mentioned.

Image showing the data update channel for Skyward Sword

This method was certainly not perfect, but it did fix the connectivity issues, or the reliance of having to download something onto your system in order to fix issues. This directly challenges what we see today. Although the Wii method I mentioned is a primitive one in comparison to how things are handled today, there is a point to be made that if I were to buy a Wii alongside Skyward Sword today, I wouldn’t have to worry about pirating the channel to update the game because the Wii servers have been discontinued since April 2024. Whereas today, for example Cyberpunk 2077, if I do not connect to the internet and patch the game, I would have a huge mess of a game that would crash the console, or even make me not enjoy my experience with the game as a whole. Of course I’m comparing two different eras and decades to each other, and I am aware of how easy it is to download updates for games. But this reliance of being constantly online, or having to download patches to fix the game, when issues such as the extended server maintenance happen it’s difficult to not look back and see how companies handled these issues two console generations ago.

Day 1 patches are also a big contributor to issues like these. Companies give users early access to games by paying extra, knowing that their game has been shipped out with bugs, just so that on the release date, when most players will get their game, release a big patch that will solve these issues. This affects both the digital deluxe editions, or even the standard physical editions. Which begs the question, if Day 1 they were going to have a patch readily available, why not release the base game with the patch already applied for a better user experience?

 

Another company that doesn’t have a good reputation of having a good user experience is Ubisoft. It was recently found out that if you’re using their client shop to play their games, if after 6 or more months of inactivity of your account or playing any Ubisoft title, they will de-list your game(s) from your account and if you want it back you will have to purchase the game again. This is the type of issue that is presented with only digital games, since if you have the game physically, unless you lose it, you will always be able to play that game independent of how many months or years have passed. Ubisoft was able to enforce these decisions because of their terms of service which included strict actions against these sort of circumstances, however when they started to take action, the entire gaming community spoke up against them and tried to revert these decisions made by the company.

 

If you ask me the question, “Digital or Physical?”, I would have a hard time answering it. On one hand, I like the comfortability that the digital media gives, allowing me to change software without having to worry about taking the cartridge or disk out and then replace it. But I do like the physical media more, especially when I can just stack my games on a shelf and have them as a collection that I will fondly look over for the years to come. This is especially prevalent for me, I own almost every Inazuma Eleven game physically, a series that I grew up with and currently has no way of being bought on any current system unless you rely on second hand vendors to sell you the game physically, so for me already having them, knowing that I wont have to worry about any additional downloads after the discontinuation of the DS and 3DS services, is a huge point in favour for the physical media.

 

Whilst I was typing this, Sony released a statement about the extended server maintenance, in which they explain that it was caused due to “operational issues”, which is why it took over 24 hours in some countries to use their service again. But I still beg the question of “is it necessary, for physical or digital games to be forced to connect to the PSN service even if they are a single player experience in order to be enjoyed by consumers?”

 

 

Research/References:

https://www.indy100.com/gaming/sony-is-playstation-network-down-why

PlayStation being down, as well as update as to why.

 

https://zelda.fandom.com/wiki/The_Legend_of_Zelda:_Skyward_Sword_Save_Data_Update_Channel Skyward Sword Update Channel information.

February 8

Playstation’s servers have reached a record

Not in the way you may think!

The PlayStation servers, which affect everything with regards to the online service provided by PlayStation, have been inoperable for 18 hours straight from the 7th to the 8th of February of 2025.

This is the second highest amount that the servers have been offline for, the longest amount being 23 days in 2011 when Sony experienced a data breach.

We’ve yet to know what has been the cause of this extensive time out of the servers, and Sony hasn’t clarified any information as users are slowly being able to connect to their PSN and play online.

For reference, in games like Fortnite, this server downtime has affected over a million of their users. Which has definitely caused some concerns with game developers that have compatibility with the PlayStation servers.

January 16

Pokémon as Japanese Culture:

Masuyama:

Pokemon as Japanese Culture:

The information seen below is in reference to a piece of writing by Masuyama in “Pokemon as Japanese Culture?”:

 

Pokemon’s origins can be traced back to Autumn of 1978, when Space Invaders took over the gaming world. The craze of Space Invaders was so prevalent that nearly every coffee shop in Japan was equipped with an arcade machine. This happened before the economic boom Japan experienced in the 1980’s, while American economy was beginning to decline in the aftermath of the Vietnamese war.

 

Space Invaders was so popular, that it caused a shortage of 100-yen coins. amongst the die hard fans of Space Invaders was Satoshi Tajiri, whom would become the future creator of Pokemon. He has mentioned that the origins of Pokemon lie in bug collecting, which fascinated him as a child, as well as these “Invaders” which he encountered when he was 13.

 

From that time on, Tajiri became obsessed with videogames. Not only did he play them, but he would also teach himself how to become a designer, so that he could eventually become a part of the creative process which he enjoyed so much. What set Tajiri apart, was that with his journalistic fervour, he printed his own game strategy guides.

 

In 1983, when Tajiri was 18, Namco released Xevious. The game was a revelation for him. It was a vertically scrolling shooter and a highly evolved version of Space Invaders. Tajiri became a devoted player, and he created a new magazine called “Indies”, which belonged to the still-new genre of “game strategy mini comics”. Tajiri wrote a magazine himself, ran off copies, stapled them by hand, and took them to bookstores or sent them by mail. (Online selling wasn’t yet an option)

 

The strategy guide garnered attention alongside Xevious itself, which was rising in popularity, and Tajiri began his professional career writing a column on arcade games in a popular Japanese video game magazine. From the beginning, Tajiri had a clear goal of becoming a games designer, and so while continuing his work as a writer, he would also develop games at “Indies” with his college-student friends.

 

Six years after Xevious, their endeavours bore fruit. Quinty was released in 1989 by Namco on the Famicom platform. The success of this game allowed Tajiri to create a new company by the name of GameFreak. This is also the year that Nintendo released the Game Boy. As soon as Tajiri saw the Game Boy’s “communication cable”, he began conceptualising “Pokemon”. At Game Freak, the design code for Pokemon was #002, next in line after Quinty. Pokemon took six years to make, starting in 1990.

 

Different games achieved different levels of popularity inside and outside Japan. For example the biggest global hit in the 1980’s was Namco’s Pac Man. Other examples include Space Invaders and Xevious, the two games that inspired and influenced Tajiri Which would also become a cultural sensation comparable to rock music.

 

A part of Tajiri’s idea for trading monsters came from his experience with the JRPG Dragon Quest. He tells us that when players found unusual items, they often wished they could trade them with friends.

 

Dragon Quest was a best seller in Japan, shifting millions of copies, but outside Japan, it attracted little attention. Making it three games that influenced Tajiri’s creation of pokemon huge hits only in Japan.

 

Pokemon is a standard RPG, however it has a unique feature that allows players to trade monsters through the use of cable connecting game machines. When the Game Boy was first released, Terri’s was a global hit, and the Game Boys were connected to allow real time battles. Despite this, Tajiri noticed that the name of the cable wasn’t “battle” but “communication” cable. Pokemon allowed for more than metaphorical communication, it made use of a system that created actual communication, a network game. The amazing success of Pokemon happened to coincide with the rapid spread of Internet growth in Japan, however its communication system differed vastly from games that had come before it and even from the internet itself.

 

Peer to Peer Communication:

After the web browser, the internet device that had the greatest impact was the music trading software Napster, which came onto the scene in 1999. Users connected to Napster would be able to upload music tracks from their hard drives onto the Internet and other users would be able to download them into their hard drive for free without any of the users losing the data. This differed a lot from what the world was used to with CD rentals. This method of transfer is generally referred to as “Peer to Peer P2P) communication”

 

P2P In Pokemon:

In Pokemon’s case, the P2P communication consisted only of two people who were standing in front of each other with two game boys linked by a cable, meaning that this was a primitive version of Napsters’s P2P. However, in Pokemon’s case, the data isn’t copied and pasted from one machine to the other. Rather it is Cut then Pasted onto the other machine, meaning that in this metaphorical relay the data is lost once passed.

 

One of the goals for pokemon is to complete the in-game Monster Encyclopedia, which requires the collection of every single creature in the game. Preserving the rarity of the creatures in the game is crucial to this. The uncommonness of some of the monsters Excited the interests in the players, extending the duration of enjoyment of the game, and encouraging the new type of P2P communication amongst players. The game’s producer Tsunekazu Ishihara, describes this marvelously designed communication as “not closed”.

 

Pokemon being a “not closed” game sets it apart from a majority of entertainment Media. For example, with films we see a beginning and end. While this is true for Pokemon, in which we see the credits, the game encourages you to seek out the encyclopedia by catching every Pokemon and trading the monsters with your friends, creating a circle of “communication friends.”

 

This is significant because games that came before Pokemon had never entailed such a laborious process. In fact, one of the pluses of videogames was the very fact that you could enjoy them without any interpersonal communication. But when we set out to make hand-held games into communication tools the software itself could no longer be “closed” 

 

The “not closed” communication model of both the games and cards is the single largest reason why Pokemon became such a mega-hit worldwide. The fact that the designers refrained from using the word “open” suggests that it is fundamentally different from the “open system” of the internet.

 

The writer doesn’t intend to suggest that this communication model is exclusively Japanese. However, there is a connection between the three games that have influenced Tajiri and the “not closed” system. Space Invaders and Xevious can both be enjoyed on three different levels.

Firstly, they can be played as ordinary games. Secondly, there are game secrets. In Space Invaders, the score for shooting invaders changed depending upon the number of shots used “(from our present perspective, a primitive secret indeed- and yet the designers were sure that it would not be discovered!)”. In Xevious, a hidden character was intentionally designed into the game. When the player shot into a certain pattern, one that bore no relation to the game itself, a hidden “flag” appeared, and the player relieved an extra fighter ship.

 

Thirdly, players can search for bugs.

They revel in making the game behave in ways that were not intended by the designers, and the knowledge of such bugs spreads within the community. This happened with both these games. These three levels of play include aspects that are “not closed”, as well as, in fact, “not intended”

 

Remember the rare items from Dragon Quest. The die hard players will continue playing even after the story has ended in order to find such items. Recent RPGs are specially designed so that players do not easily lose interest, but in the rudimentary RPGs of the 1980’s, there was plenty of fun to be had in the search for rare items.

These games were in a sense “un closed”, but we’re also too tight to allow cross communication.

 

Space Invaders, Xevious and Dragon Quest all present some aspects of the “not closed” concept of Pokemon. And all three were huge hits in Japan.

 

The writer suggests that perhaps the striking worldwide success of Pokemon should not be considered the result of the adoption of “Japanese Culture” on a global level as with sushi), but should be seen as two cultures meeting halfway in the 1990s, as Japan became more Westernized and the West became more open to foreign culture. Gone were the days when, in the realm of entertainment, globalisation was exclusively referred to as Americanization.

-Masuyama (Pokemon as japanese Culture)

January 15

Why is Super Mario A Landmark game? (Research)

Why is Super Mario a landmark game?

 

Ultimate History of Video Games:

“The first shipment of NES systems arrived in a neat stack that barely took up half of the trailer on which it was transported. The boxes were stored in the warehouse, and the team began the arduous task of trying to get retailers to accept Nintendo’s products. Most store owners did not want to look at video games, let alone waste floor space selling them. In fact, team members were cautioned not to use the term video game. The NES was to be sold as an “entertainment system.”-PG 296

 

“Even so, most of the 500 retailers who sold the NES that Christmas might not have taken the merchandise if it were not for a risky offer made by Arakawa himself—a money-back guarantee. Going against the wishes of Nintendo Co. Ltd. president Hiroshi Yamauchi, Arakawa authorized his sales force to say that Nintendo would buy back any merchandise that retailers wished to return. The only thing retailers provided was floor space. Nintendo lugged in the merchandise, set up the displays, and bought back any unsold product.”-PG 297

 

“Super Mario Bros. took Mario out of his single-screen setting and placed him in a huge, vivid world. Instead of simply climbing ladders and moving around on platforms, players now controlled him as he ran through a seemingly endless, brightly colored countryside filled with caverns, castles, and giant mushrooms.”-PG 299

 

“It also took Warren Robinett’s concept of hidden “easter eggs” to a new Level with entire hidden worlds. Most people continued playing Super Mario Bros. to find all of Miyamoto’s Easter Eggs long after they finished the game.”- PG 299

 

“Nintendo also had a stronger identity. In 1981, the biggest year of arcades, Donkey Kong was second only to Pac-Man in popularity.”-PG 305

 

POWER UP:

“The actual challenge of Donkey Kong was to get a high score by playing the same levels over and over again. Many other running/jumping/climbing games with a similar challenge followed Donkey Kong, but Super Mario Bros. was the first game in which simply completing the story was the actual goal of the player, and so the exhortations of this introductory text were to be taken seriously. Super Mario Bros. kept score, but nobody cared; the idea was to find out what happened when you saved the princess!” PG- 82

 

“At this point, a gamer accustomed to the brief Atari games of the era would assume that the game is nearly over and that he is moments away from rescuing the Princess. But this is far from true. In fact, there are seven more “worlds” of four levels each to traverse before the Princess is found.”-PG 86 

 

Takashi Murakami:

Quote from Takashi Murakami:

“But everyone who lives in Japan knows- something is wrong… Kawaii (cute) culture has become a living entity that pervades everything. With a population heedless of the coast of embracing immaturity, the nation is in the throes of a dilemma: a preoccupation with anti-aging may conquer not only the human heart, but also the body.

It is a utopian society as fully regulated as the science fiction world George Orwell envisioned in 1984: comfortable, happy, fashionable- a world nearly devoid of discriminatory impulses. A place for people unable to comprehend the moral coordinates of right and wrong as anything other than rebus for ‘I feel good’.”

(Meaning of the quote): People live mindless lives, where they return to being children. For Murakami the “cute” culture is a retreat to childhood because Japan cannot cope with thinking about Hiroshima and an aging society, trying to suppress the stress and anxiety they’ve had.

Takashi Murakami, Little Boy: The Arts of Japan’s Exploding Subculture, 2005

 

Pearson:

Designed by Shigeru Miyamoto, the intention of the Mario games was for the player to recreate the wonder of childhood exploration and the stumbling upon of unexpected treasures. -PG 828

 

The absurdity of a rather short and podgy New York plumber of Italian origin (complete with overalls, large nose and moustache) rescuing Princess Peach of the Mushroom Kingdom from a race of magic wielding turtles certainly resonates with a child-like imagination and Super Mario Bros. soon became a sensation -PG 829

 

History of The Japanese Video Game Industry:

“On the other hand, as is typical of the Mario series, Nintendo emphasizes the importance of game content that can be enjoyed by the whole family and that parents can buy for their children with peace of mind.” -PG 12

 

References:

Pearson, A. and Tranter, K. (2015) ‘Code, Nintendo”s Super Mario and Digital Legality’, International journal for the semiotics of law, 28(4), pp. 828–830.

Kent, S.L. (2021) The ultimate history of video games. volume 1, from pong to pokémon and beyond–the story behind the craze that touched our lives and changed the world. New York: Crown. 

Kohler, C. (2004) Power-up: how Japanese video games gave the world an extra life. Indianapolis, Ind: BradyGames.

Takashi Murakami, Little Boy: The Arts of Japan’s Exploding Subculture, 2005

Koyama, Y. (2023). History of the Japanese Video Game Industry. Springer Nature.

 

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December 1

Fortnite hit 14 Million concurrent players

During yesterday’s live event, featuring Snoop Dogg, Eminem, Ice Spice and the late Juice WRLD, Fortnite announced that they broke their record of concurrent players, which was over 14 million players.

Their previous highest number, was the transition from Chapter 4 to Chapter 5, “The Big Bang”, which had over 11 million players.

Additionally, yesterday’s event was held as a tribute to Juice WRLD, showing one of his songs “Empty Out Your Pockets” which was unreleased and seemingly recorded for this Fortnite collaboration. The overall event was done wonderfully, and a beautiful last concert for Juice WRLD after his passing in December 2019.

 

Link to the post, via X (formerly Twitter):

https://x.com/FortniteGame/status/1862950664281919658?t=kouWRrePVehTluyPUJRE-A&s=19

 

November 28

Rise of Japan in Videogames

Rise of Japan:

Some key pointers:

-Tristian Donavan “Replay” (book, gives more context than Tim can give in class)

 

-The unstoppable rise of Japan in the 1980’s in the videogame industry worldwide.

 

-1991 Sega launched Sonic that rivaled Mario, meaning that the game industry was held by two Japanese companies and designers.

 

-Nintendo became a pioneer company for Japan.

 

Two key perspectives:

-Drawing the Narrative from Tristian Donovan’s Replay. How the NES became such a wonderful console.

 

-We will look at Shigeru Miyamoto’s genius in creating landmark games which allowed Nintendo to shape culture.

 

What do JP RPG/Platform games tell us about the culture? And how does that reflect onto the wider culture of the world?

 

Reasons for the Console Market Crash:

Good reading for this would be “Replay” by Tristan Donovan.

The Console Market Crash was one of the most important moments in the history of videogames. It was a time where there was a mass production of games and home consoles of poor quality which broke the trust in consumers, making it so that the over produced cartridges that were not sold had to be disposed of (think of E.T’s commercial failure)

Because of this over saturation, the US market for video game consoles had plummeted by 97%, with the popular belief that “consoles are history” and that “Personal Computers would take over”

Another reason for the over saturation of games, which is pointed out by Bill Kunkel, who said in January 1983 that companies had “licensed everything that moves, walks, crawls, or tunnels beneath the earth. You have to wonder how tenuous the connection will be between the game and the movie Marathon Man. What are you going to do, present a video game root canal?”, which is a powerful statement and highlights the saturation of poor quality games that were used as a cash grab to capitalize on the success of the films. The best example of this was E.T, that was developed by one person in 5 weeks to meet the demands of the Christmas schedule release. The game was claimed to be of extremely poor quality and caused many parents to be enraged at retailers for selling such a horrible game.

 

Post War Era in Japan:

During the post war area in Japan there was a growth in the economic revival which lasted between 20-30 years. Because of the Hiroshima bombing, Japan was put back a couple of years when it came to technology, however it was thanks to hard work of the country, as well as some help from the US that they were able to re-build their civilization as well as their economy. Thanks to this companies were able to buy gadgets that were considered to be the latest of their time, allowing them to focus on getting consumer centered tech back in the market, and most importantly Consumer Electronics such as TV’s and Consoles.

Some of the companies were:

-Sony

-Sharp

-Toshiba

The Game and Watch:

A landmark success that occurred during the 1980’s was the “Game and Watch” handheld console. This relic of history was created when a young designer of Nintendo named Yokoi was on a bullet train and saw a business man playing on an LCD calculator and pressing buttons. The young designer pitched the idea to Nintendo’s president, Hiroshi Yamauchi. Yamauchi immediately wanted a business meeting with the CEO of Sharp Corporation, who at the time were the world’s biggest manufacturer of calculators. Within the week, Yokoi’s idea was given the “go ahead” by both Nintendo and Sharp to develop a calculator pocket sized game. This small yet effective handheld console put Nintendo ahead of the console market thanks to the leadership of Yamauchi.

Yokoi, and by extension Nintendo, believed that “Lateral thinking with withered technology” would be the best way to approach their consoles. By selling older hardware they can afford to sell it for cheaper, make more money, as well as explore the full potential with their software that the hardware was capable of. Which is why there were so many iterations of Game and Watch on the market. This business strategy is what allowed them to get ahead of the game, as well as a philosophy that they have followed and continue to follow to this day.

During 1980 and 1991 the Game and Watch sold over 44 Million units, which popularised the handheld console market.

The Nintendo Entertainment System:

The NES was a re-boxing of the Famicom, which was a seen as a home computer designed exclusively for games that could be enjoyed by everyone in the family. In 1984, just a year after it had released, it was the most popular console in Japan.

However, Nintendo of America struggled in bringing the console to the stores. Game journalists, investors and retailers were skeptical of putting a home console as well as the cartridges on shelves considering the market had plummeted. Nintendo tried their best to market the console as a “Entertainment System” rather than a “Home Console” because they believed that their console, as well as the games that they would bring to it, were much better than anything that had come before it. Before releasing the console, Nintendo invited kids to play their NES and gave them a selection of games, they did this because they knew that the primary way that they would be able to sell these consoles would be appealing to kids (which were still playing home console games in the US), and by doing so they could create games that would be enjoyed by the whole family.  They focused their primary selling in New York, since New York was such an important commercial area for the United States, if something sold there, it was guaranteed to sell everywhere else in the US.

I actually found this video on YouTube which is an interview with Gail Tilden who was working in the marketing department for Nintendo during the release of the NES in the 1980’s

Hope you enjoy the video!
https://youtu.be/Sn5v09L_uDg?si=nHHglA03DiZzrwRq

Shigeru Miyamoto:

-Shigeru Miyamoto is considered to be the most important game designer in history.

Donkey Kong for the arcades was the first game he ever designed. Donkey Kong’s mechanics mechanics play on how much we like chance, if the player gets too comfortable you may lose from the element of chance presented in the game.

-Nintendo tasked Miyamoto to design a game for the NES. He recreated his popular character “Jump-Man” to become the beloved “Super Mario” character we know today in the NES launch title “Super Mario Bros.”, which was the first game that had a scrolling background.

The original Legend of Zelda for the NES is considered to be a pioneer for videogames. It offered a diverse map of 128 different screens that allow the player to move around and travel in any direction they want, which would challenge the player in remembering the map since there wasn’t an overworld map. You could consider Legend of Zelda to be the first open world title, which is something the series would continue to build up upon following this installment. Within its first year Legend of Zelda sold over a million units, which really shows how revolutionary Nintendo, and Shigeru Miyamoto were for the console market back in the 80’s. A powerful quote from Miyamoto is “The player must feel the cold air around him when they go into a dungeon”, which is very prominent in the first installment in the Zelda series, especially with all the different designs for the dungeons. The freedom given to the player is exceptional and a never before seen within the gaming industry, which was an inspiration for many games that came after it, proving to be a highly regarded “Landmark game.”

 

In 1991, Sega released Sonic the Hedgehog for the Sega Genesis/Mega drive, which sparked the rivalry of popularity between Sega and Nintendo. This meant that the game industry was held by two Japanese companies and designers. Eventually, Sega fell behind to PlayStation and Nintendo, and now acts as a publisher and developing company for the consoles of both of these companies.

 

What do Japanese games tell us about the Japanese culture?

Quote from Takashi Murakami:

“But everyone who lives in Japan knows- something is wrong… Kawaii (cute) culture has become a living entity that pervades everything. With a population heedless of the coast of embracing immaturity, the nation is in the throes of a dilemma: a preoccupation with anti-aging may conquer not only the human heart, but also the body.

It is a utopian society as fully regulated as the science fiction world George Orwell envisioned in 1984: comfortable, happy, fashionable- a world nearly devoid of discriminatory impulses. A place for people unable to comprehend the moral coordinates of right and wrong as anything other than rebus for ‘I feel good’.”

Takashi Murakami, Little Boy: The Arts of Japan’s Exploding Subculture, 2005

(Meaning of the quote): People live mindless lives, where they return to being children. For Murakami the “cute” culture is a retreat to childhood because Japan cannot cope with thinking about Hiroshima and an aging society, trying to suppress the stress and anxiety they’ve had.

 

For additional context, read:

“Power Up”, (Chris Kolher)

“Japanese Culture through video games” (Rachel Hutchinson)

 

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