#oneaday Day 95: Yars Rising – First impressions

My copy of Yars Rising, the new game from WayForward and Atari, arrived today. I’ve been playing it for the last three hours or so and I really like it. It’s a solid exploratory platformer with a great soundtrack and the interesting wrinkle that in order to unlock new abilities, open doors and acquire upgrades, you have to play numerous variations on the Atari 2600 classic Yars’ Revenge.

I’m disappointed by how some people I know have been reacting to this game, though. Today I’ve seen people writing it off without trying it on the grounds of its anime-inspired art style, the dialogue in its trailer and even its price. (For the record, it’s £24.99, which I think is an eminently reasonable price for a good quality game with decent production values, which is what this is.) I also saw people prepared to write it off based on its first two published review scores, which both happened to be low.

This is one of those situations where, I suspect, review scores will be utterly useless. I defy anyone to play it and conclude that it is a “4/10” game, which is what those first two publications suggested. Yes, one of them was the notoriously stingy Edge magazine and can thus probably be ignored by most people. The other complains of “poor execution”, which is simply nonsense however you look at it.

Anyway, I am satisfied with what I have played so far; it is very much in line with what I thought when I tried the demo in a Steam Next Fest a while back. It’s a smooth, slick exploratory platformer with satisfyingly weighty combat, a wisecracking heroine who manages to be cocky without going full Marvel movie about it, and some interesting mechanics. The soundtrack, featuring music from some very cool artists including frequent Atari collaborator Megan McDuffee, Moe Shop and more, is excellent, and the voice acting is of very good quality.

Most of all, it just plays well. Anyone who has played a WayForward platformer will know what to expect from this one: an expansive map that frequently teases you with areas that you can’t reach yet and thus will have to come back to later. One of the best things about Yars Rising is how these areas are marked on the in-game map: not only are “blocked off” areas marked as such, they also indicate what the “problem” is when you select them. The map also updates to show you newly accessible areas when you acquire new abilities, too, so you can always quickly see at a glance any areas you might want to return to in order to investigate.

The game invites this sort of exploration pretty much from the outset. While there is always a big flashing beacon on the map indicating where the next major story event is, at any given moment there are usually some other areas you can go off and investigate. The game doesn’t specifically point you at them so in theory you could “miss” them, but anyone who has played this sort of game before knows how to be thorough, I’m sure.

Yars Rising also resists the temptation to make getting around too easy. There is a “fast travel” system of sorts in the form of the elevator in the QoTech building, but accessing each set of doors (which becomes a fast travel point from thereon) is generally behind a relatively challenging platforming sequence that you’ll have to overcome. The game strikes a good balance in this regard, though; while you will have to redo some tricky platforming sequences when backtracking or exploring, any particularly time-consuming sequences such as avoiding patterns of lasers are usually a “once and done” sort of affair, with the lasers turning off after you’ve passed through or activated the terminal beyond them.

And the Yars’ Revenge-themed hacking sequences are excellent. I was concerned in the demo that they might run out of ideas pretty quickly, but so far there have been no direct repeats. As you progress through Yars Rising, more and more individual mechanics are introduced to the hacking sequences, and the more challenging hacks (particularly those in optional areas) combine these different elements together in creative ways. Of particular interest to longstanding Atari fans will be the way in which these sequences pay homage not only to the original Yars’ Revenge, but also other Atari classics such as Missile Command and Centipede. There’s even some non-copyright-infringing Space Invaders-style sequences, which acknowledges how the port of Space Invaders to Atari 2600 was something of a “killer app” for the console in the early days.

This is a game that has been made with love and respect for both the modern exploratory platformer genre, and Atari’s heritage. It disappoints me to see how many people are refusing to even contemplate it based on something exceedingly superficial — with some coming annoyingly close to the usual casting of aspersions on anyone who likes games with an anime-inspired art style.

But anyway. I’m enjoying myself, and ultimately that’s what really matters. If you enjoy a good exploratory platformer and have a love for classic Atari, I encourage you to check it out; it’s a good time.

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

#oneaday Day 94: Streaks are unhealthy

I know, I know, it’s pretty rich saying that while I’m tracking how many non-stop days of blogging I’ve done, but my opinion stands. Streaks, as implemented everywhere from Wordle to Duolingo, are unhealthy. They’re transparent attempts to get “engagement metrics” up, designed to guilt-trip people into doing things on the assumption that getting people addicted to something is the same as encouraging them to develop a healthy habit.

My daily blogging here? Something I’m doing by choice, and not punishing myself if I happen to fail to live up to. Forget a daily lesson on Duolingo, though, and you can expect to be on the receiving end of multiple guilt-tripping notifications (assuming you haven’t turned notifications off for everything like I have) and emails with crying owls suggesting in no uncertain terms that you are an awful person for forgetting to study a foreign language today.

I tried Duolingo for a bit a few years back, and found it quite good, but eventually got annoyed with this. It’s always bugged me about Wordle, too, because it doesn’t just encourage you to play every day — it encourages you to cheat. Because you break your streak if you don’t get the word. And what person in their right mind would break their streak when they can just Google “five letter words that end in READ”? (Me, that’s who, though I am making no attempt to position myself as being in any way “of sound mind”.)

Building healthy habits is, as I’ve said elsewhere on this blog, a good thing. It is also a difficult thing, and I think the prevalence of “streaks” everywhere these days actually makes things more difficult. The original intent behind this sort of thing — incentivise and reward continued engagement — may well have been honourable, but now it just feels cynical and manipulative, with Duolingo being by far the most obnoxious implementation of it by a long shot.

Streaks, as implemented via technology these days, are designed to get you addicted to the Skinner Box mentality: to get you checking in regularly so you make Number Go Up. More often than not there’s no actual incentive to do anything beyond checking in to the service in question to keep your streak unbroken — though some sites (Duolingo again is guilty of this) also implement things like “leaderboards” to make things really unhealthy.

How do I know this is unhealthy? Because I’ve experienced it. Duolingo isn’t incentivising you to do well by guilt-tripping you into checking in every day, or even by inviting you to attempt to top the leaderboards. It’s encouraging you to game the system, because inevitably these systems are intensely, deeply fallible and can be manipulated without too much effort. And once you figure out how to do that — and a lot of people do — any value these systems might have once had in building healthy habits goes right out of the window.

If you need further evidence of how such systems are fundamentally broken, look at the PlayStation Trophies/Xbox or Steam achievements systems. In theory, these systems should enable people who are good at a game to be rewarded for that. What actually happens is that people deliberately purchase games where they can get an “easy Platinum” in order to buff up their statistics. More often than not, this takes the form of a visual novel that the person in question will just stick on fast-forward mode, ignore completely and then claim their completely pointless virtual shiny thing.

It’s the same with Duolingo, or anything else that uses such a system. Why bother with letting the things you’re learning truly sink in when you can just check in, quickly click through the answers until you get the right ones, then enjoy Number Go Up?

I’m sure there are exceptions to the rule — people who do find streaks helpful in motivating themselves. If that’s you, and you use them honestly, fair play to you. Keep it up. But I’ve seen enough of how people behave in 2024 to know that is not the norm at all. If there’s a way to cheat — even if doing so provides no real benefit whatsoever — then people will find and use it.

Now I’m off to go watch some Deep Space Nine. Wouldn’t want to break my streak, now, would I?

#oneaday Day 93: The Truly Tragic Tale of the “Woke Content Detector”

One of the most truly insufferable things about the “gaming community” over the course of the last decade has been the rise of the “anti-woke” crowd, which started to really raise its head around the same time as the Gamergate saga — and, indeed, which many people still point to as the real point behind Gamergate rather than any legitimate concerns over ethics in games journalism.

To be clear and completely transparent, around the time of Gamergate being active I may well have expressed some sentiments and concerns that might have got me lumped in with this crowd.

However, I made an effort to distance myself from the movement as a whole, because I could see it was something of a scarlet letter, regardless of whether or not an individual had legitimate, worthwhile concerns.

My issues were always to do with the games journalism side of things, with my particular focus being on reviews and articles that treated Japanese titles (particularly those which featured sexually provocative content) unfairly and from an ill-informed perspective. I steered well clear of any discussions where it was clear people were being full-on racist and sexist — i.e. objecting to a game because it had a woman in a leading role, or a non-white person appearing prominently. I was entirely concerned with how certain portions of games journalism were treating specific games — and the people who enjoyed them — like absolute shit: nothing more, nothing less.

To put it another way, I always thought the people who were objecting to “woke” content in games were being massive weirdoes, and I didn’t want anything to do with them. Where games did feature obnoxiously over-the-top “look how progressive we are!” content, I tended to just steer clear of those — or perhaps comment on them in terms of alternatives that did the same thing, but better. To date, my favourite example of this is Read Only Memories and VA-11 HALL-A. Both of these games unfold in the same “world”, with the latter being a spinoff of the former, developed by a completely different team. Read Only Memories is absolutely obnoxious about how it handles progressive themes; VA-11 HALL-A integrates them extremely well into the plot.

But I digress. I have zero time for people who object to games purely on the grounds that they contain “woke content”. Particularly when the definition of “woke content”, as defined by the Woke Content Detector group on Steam, is so broad. I invite you to take a look at their official spreadsheet of which games are and are not “woke” and have a good laugh at it, and we’ll pick out some classics below.

Starfield

A screenshot from the Woke Content Detector database. Reads "Contains overtly Pro-LGBTQ+ messaging. Contains overtly pro-DEI messaging. Pronoun selection including the option for they/them. All populated areas are equally diverse. Many important people are POC."

Here’s a prime example of what this list is actually about: being sexist, racist, transphobic and homophobic. I’m not sure much more needs to be said about this definition, other than to clarify for those who are somehow unfamiliar with Starfield that it is an open-structure role-playing game set in space, in which you play a self-insert character. Therefore having the option to select your name, gender, ethnicity and appearance makes a lot of sense. The implication of “many important people are [people of colour]” is that in The Future, we will have moved beyond white dominance and oppression of non-white people, but this is a bridge too far for the anti-woke crowd.

Civilization VI

A screenshot from the Woke Content Detector database. Reads "Contains overtly pro-DEI messaging. Contains overtly pro-climate action messaging. Race swapped Suleiman and added historically unimportant female leaders. Global warming and carbon capture mechanics."

This one is particularly hilarious. A game about running a civilisation on our planet, and considering important matters that both occurred in history and which might occur in the future is “woke” for acknowledging things like climate change. I guess we add “climate change denier” to the “sexist, racist, transphobic and homophobic” list. Some racism and sexism on open display there, too.

BioShock Infinite

A screenshot of the Woke Content Detector database. Reads "Contains overtly anti-western society and overtly pro-DEI messaging. Colombia's residents are hyper-exaggerated, racist caricatures of 19th century Americans. Heavy social commentary on racism."

Another good one. The funny thing about this one is that they clearly got the point of BioShock, but then got offended by it.

Forza Horizon 5

A screenshot from the Woke Content Detector database. Reads "Contains overtly pro-LGBTQ+ messaging. Prnoun selection including an option for they/them. Uses unlabeled presets instead of clearly defined male and female options during character creation."

I have to include this one just for how stupid it is. Forza Horizon 5, the game in which you spend your entire time in a car, is “woke” because it allows you to choose how the in-game characters refer to you. Because only big strong boys play car games, you know.

Spider-Man: Miles Morales

A screenshot from the Woke Content Detector database. Reads "Contains overtly pro-LGBTQ+ messaging. Contains overtly pro-DEI messaging. Prominently displayed pride and BLM flags. The new POC main character overshadows Peter Parker."

This one is brilliant, because it’s criticising the fact that the protagonist named in the game’s title is “overshadowing” the character who is explicitly not the protagonist. Because he’s black. Let’s not beat around the bush here: this is racism. Again.

Disco Elysium

A screenshot from the Woke Content Detector database. Reads "Contains overtly pro-LGBTQ+ messaging. Features multiple LGBTQ+ characters, including the player character. Heavy social commentary regarding communism. Whether pro or anti is unclear."

I’ll take “I played Disco Elysium and didn’t understand any of the big words” for 2,000, Alex. If you played Disco Elysium and didn’t understand whether it was pro or anti communism, you don’t deserve to be playing video games that have words in.

Final Fantasy VII

A screenshot from the Woke Content Detector database. Reads "Contains subtly pro-LGBTQ+ messaging. Contains subtly pro-climate action messaging. Forced cross-dressing. You start the game working for an ecoterrorism group."

And I have to include this one just for the giggles. Final Fantasy VII features “subtly pro-climate action messaging”. Yeah, Final Fantasy VII is real subtle about its environmental message, guys. Real subtle.

I’m utterly amazed at how committed these people are to being pathetic and weird. Because that is exactly what they’re being. There are 386 entries on their “Recommended” (i.e. “not woke”) list, while there are 746 “Not Recommended” (“WOKE!!!”) titles and 299 “Informational” (“A BIT WOKE!!!”) titles.

That’s a thousand and forty-five games that these people will refuse to consider because they might be exposed to a black person, a gay person or, heaven forbid, a woman. There’s no way you can look at that and not think it’s utterly pathetic.

Unless you’re one of them. In which case fuck off. I don’t want to know you.

#oneaday Day 92: The Dominion War

I have watched so many episodes of Star Trek: Deep Space Nine over the course of the last few days. I can’t remember the last time I was quite so hooked on a TV show to the exclusion of almost everything else — even gaming — but Deep Space Nine definitely has its hooks in deep.

Of course, part of the reason I’ve been able to enjoy so many episodes over the course of the last few days is because I’ve had a couple of days off work. Andie was having a long weekend away with some online friends, so I decided to take a couple of days off to just decompress and unwind also. And it turns out enjoying some quality TV and mostly staying away from the Internet has been exactly what I wanted and needed.

I’m currently on the third disc of season 6 of Deep Space Nine — yes, I’m doing this old-school, on DVD (not quite as old-school as when I was first watching the show on VHS, mind!) — and I think I’m into stuff I haven’t seen before. I say “I think” because the episode I just watched seemed quite familiar — or perhaps it’s just because it reminded me of another episode. I can’t be quite sure. I’m fairly convinced that I haven’t seen beyond season 5 before, but… well, I guess it doesn’t really matter. I’m enjoying it either way.

It saddens me a bit that TV isn’t made like this any more. Sure, there are Netflix series and what have you, but those are shot and budgeted in a completely different way, and it leads to quite a different feel. It’s rare for a new streaming show to last more than a couple of seasons, and some folks describe them as “8 hour movies”. One of the reasons Deep Space Nine in particular works so well is that while it is serialised and has definite arcs — particularly at this point in its run — it also isn’t afraid to spend an episode on just being a character piece, or doing something a bit weird.

This is good for the mood and helps the show feel varied. The Dominion War overarching storyline could easily have just gone unrelentingly bleak and worked well, but I feel it works even better with interludes like Worf and Dax’s wedding, or Kira dealing with the Mirror Universe counterpart of her deceased lover, or Julian contending with genetically modified humans who didn’t end up quite as well-adjusted as him.

I’m looking forward to seeing how some aspects of the series end up. Gul Dukat being utterly broken by the death of his daughter was without a doubt an incredibly significant moment for the series, so I’m looking forward to see what happens with him from there. And of course, there’s still plenty to resolve with Sisko that I suspect will continue right up until the very end.

It’s easy to see why this is such a well regarded series, and one which many people consider Star Trek’s absolute peak. I do find it quite funny that when it first started airing, some people considered it “the boring one”, though, and many of those folks didn’t come around until season 4. Part of the show’s strength is that slow build; while I’m sure it could have told a similar story over far fewer episodes, it wouldn’t be the same show without us just having the opportunity to live with these characters for so long.

I suspect I will cry at the finale, whatever form that takes. I have remained unspoiled on that for many years now, though, so I’m looking forward to finally experiencing it for the first time when I do eventually get that far.

Should probably sleep now, though. Or maybe one more episode…?

#oneaday Day 91: Let Me Be Good To You

I know that Disney is the megacorporation everyone loves to hate these days — and with good reason — but when I was a kid, I really enjoyed Disney movies. And however much of a mess modern-day Disney makes of today’s entertainment sector by attempting to monopolise all of it, it doesn’t take away from the fact that Disney’s classic movies are still a good time.

I haven’t watched any Disney movies for a while so, following a discussion on them the other day, I decided to grab a few Blu-Rays. They were like a fiver each on Amazon, so I snagged two of my all-time favourites from back in the day — Robin Hood and The Sword in the Stone — along with one that I’ve never seen but always wanted to see: Basil The Great Mouse Detective — or, as I’ve since learned it’s actually called, just The Great Mouse Detective.

Prior to today, when I got around to watching Basil The Great Mouse Detective, my sole experience with this particular Disney property was 1) the Atari 8-bit game by Gremlin Graphics, which was a rather obtuse arcade adventure sort of affair, and 2) this video, which I suspect created almost as many furries as the entirety of Robin Hood did.

Basil The Great Mouse Detective (I know that’s not what it’s called, but nearly 40 years of calling it that are a hard habit to break, so I’m not going to) follows the adventures of Basil of Baker Street, a mouse who lives in a hole beneath the home of Sherlock Holmes.

The story opens with a toymaker mouse being kidnapped by a bat called Fidget, and taken to the lair of the villainous Professor Ratigan for some initially unknown purpose. The toymaker’s daughter Olivia successfully hid herself while the kidnapping was taking place, and ends up encountering Dr. Dawson, the film’s Watson analogue, shortly after his arrival in London. Together, the pair seek out Basil of Baker Street, a renowned and somewhat eccentric detective.

The eccentricity of Basil is obviously designed to mirror that of Sherlock Holmes, and Basil The Great Mouse Detective does a great job of reflecting this. One of the first things we see Basil do is pile up a big load of cushions and then fire a pistol right into them — initially it looks like he’s just doing this for fun, much to the annoyance of his housekeeper, but before long it becomes apparent that he wanted to fire a bullet from that specific gun in order to compare its rifling markings with that of one he had retrieved from another unspecified crime scene that related to Basil’s arch-nemesis, the aforementioned Ratigan.

Basil is initially resistant to paying any attention to both Dawson and Olivia, but as soon as they mention Fidget — a known henchman of Ratigan — he takes on her case with enthusiasm. Thus begins an adventure across London that successfully incorporates elements of the classic Holmes stories — most notably the ever-reliable dog Toby, here presented as a Basset hound rather than the half-spaniel, half-lurcher mutt described in the original Holmes stories.

Basil The Great Mouse Detective hails from 1986, putting it in a category that I still think of as “more recent” Disney films despite it actually being 38 years old. Some critics point to this era of Disney as a time when their animated features contained markedly less in the way of peril and threat than earlier work from the animation studios, but I can see elements of Basil The Great Mouse Detective as being potentially scary for young kids. Fidget in particular is quite threatening despite also being a bit of a comic relief character, and he delivers a few mild jumpscares over the course of the movie.

Ratigan, too, is often cited as being quite a threatening Disney villain, showing zero hesitation or remorse for putting one of his own henchmen to death (via consumption by cat) in the relatively early moments of the movie. It’s got that classic Disney balance of appealing silliness with a dark undercurrent that really works, perhaps best exemplified by a sequence where Basil and Dawson are attached to a distinctly Heath Robinson-esque trap that, were it to go off, would not only strangle them in a mousetrap, it would also blast them with a human-sized pistol, drop an axe on them and finally crush them beneath an anvil.

I enjoyed the movie as a whole and am glad I’ve finally seen it. It felt somewhat light on musical numbers compared to some Disney films — there are only three real songs in it, with only one of them (The World’s Greatest Criminal Mind) being a traditional “song and dance” number, with the others being diegetic numbers in the form of a live performance (the above Let Me Be Good To You) and a phonograph recording (Goodbye, So Soon) that also acts as the end credits theme. That’s not necessarily a bad, thing, though; the format of Basil The Great Mouse Detective meant that excessive musical numbers would have probably dragged the pace down a bit, and the ones that were present were worthwhile and made sense. Given that the aforementioned “execution” occurs in the middle of The World’s Greatest Criminal Mind, one could argue that Disney was attempting to subvert its own formula somewhat.

Basil The Great Mouse Detective is actually the first full-length movie I’ve made time to sit down and watch for a long time, and I enjoyed it. I think I might have to invest in some more Disney Blu-Rays, as spending an hour and a half just enjoying the movie with zero distractions was a pleasant experience I wouldn’t mind having a bit more often. Plus I don’t think Andie’s seen that many Disney movies, so this might be a fun opportunity to educate her a bit!

#oneaday Day 90: Dream modding

The Dreamcast is a notoriously unreliable and temperamental console, particularly now the poor old thing is getting on a bit in years, so I’ve been meaning to look into optical drive emulators (ODEs) for a while, as I mentioned here.

Well, today I finally got together all the bits for one of these possible ODE solutions, known as GDEMU. This included the GDEMU board itself along with a mounting kit that plugs the gap left behind when you remove the Dreamcast’s original GD-ROM drive, and also allows easy access to the “disc change” button for multi-disc titles. (It also supposedly helps with airflow; having a honking great hole inside the Dreamcast supposedly isn’t great for that.)

I’d looked up instructions on how to fit a GDEMU and for the most part it seemed like a very simple job. I normally hand over anything that requires delicate use of tools to my wife as she’s much less cack-handed (and much more handy) than I am, but this looked like something I thought I could probably do myself. So I decided to be brave and to do it myself.

And you know what? It was easy. There were just a few steps to the process that went roughly as follows:

Remove three screws from the bottom of the Dreamcast
Remove the modem (it just pops out)
Remove the screw that is revealed when you remove the modem
Pop off the top of the Dreamcast
Remove three screws holding the GD-ROM drive in place
Remove the GD-ROM drive (it’s just plugged directly into a connector that sticks out from the bottom of the casing)
Screw the mounting kit to the GDEMU board (I forgot to do this, but getting the board back out to do it was easy… I then also forgot to put the button for the disc change in the mounting kit, but, again, it was easy enough to undo the work and correct the mistake)
Stick the GDEMU board into the socket the GD-ROM drive went in
Screw the GDEMU board into the Dreamcast case where the GD-ROM drive used to be
Put the case back together
Put the four screws in the base back in
Put the modem back in
Done!

Most places online also recommended putting some resistors in the power supply between the 12V pin and one of the three Ground pins. This is apparently because without the original GD-ROM drive drawing from the 12V… whatever it is, the inside can get a lot hotter than it would do normally, but this can be avoided with the resistors, which basically trick the power supply into thinking the GD-ROM drive is still drawing power. I don’t entirely understand everything about it, but I understood what I had to do, which was twist the wires on three resistors together, then poke one end in the hole with the 12V pin, and the other end in the hole with one of the ground pins.

This was the one part of the procedure I really wasn’t sure about. I haven’t done any sort of fiddling with electronic components before (outside of maybe a term’s work on very simple circuits — mostly logic gates — in secondary school Design and Technology and Science classes) so I was a bit nervous I’d poke something in the wrong hole and make things go bang. I was reassured by some people who take apart old computers and consoles all the time that it was very unlikely putting a few resistors in would make anything go bang, but I was still a bit concerned the resistors might not stay where they were supposed to be or would short-circuit something.

It took a few attempts to get it done to my satisfaction, but eventually I got the resistors in the right place and was satisfied that they were as secure as they were going to be without getting hot glue involved, and I put the whole shebang back together.

And, believe it or not, when I booted it up, it all worked first time! I was expecting something to go wrong somewhere, but no — everything went very smoothly, and I now have a Dreamcast that has a nice selection of games built right into it. No worrying about the drive failing mid-game and causing a reboot to the system menu; no worrying about discs not reading properly; no worrying about region, either.

I’m very happy with how things went, and I’m looking forward to using my Dreamcast a lot more now it’s been “revitalised” like this. It also encourages me to look into similar solutions for other consoles — particularly the Saturn. I have a Saturn that I acquired at some point (but no power supply, AV cables or controllers… or indeed games) that it would probably be fun to get loaded up with games in the same way. So I’ll probably do that at some point.

Long term I’d like to get all my classic systems hooked up with a solution like this, such as the Everdrive range for cart-based systems. As fun as it is to collect for old consoles, I’ve been burned just a few times too many by cartridges that don’t work — I have two copies of Desert Strike for SNES that don’t work in the exact same way, for example — plus I don’t really have a lot of room left for collecting, either.

There’s still a certain magic about playing games on classic hardware — and part of that, admittedly, is using original media; the clunk of the cartridge slot on consoles like the SNES in particular is a fun part of the experience. But as many of these old games are starting to run into reliability issues by virtue of their age, it’s great that we have alternative solutions that allow us to still enjoy the consoles themselves, even if the media is past its best. And for everything else, we have emulation and modern, officially licensed solutions like the Evercade.

Now maybe time for a bit of Dreamcast before bedtime, I say.

#oneaday Day 89: Under the influence

I’m not entirely sure when exactly “influencer” became a widely accepted job title, but I do vividly remember when I first heard it that I felt “…we probably shouldn’t make that a thing”. And in 2024, I stand by that. I find it horrifyingly dystopian that we live in a world where people are unironically referred to as “influencers” — and, perhaps even worse, there are people out there who see “influencers” as somehow inherently more trustworthy than traditional media.

The traditional media has its problems, of course, and it always has done. But there has always been a certain separation between editorial and commercial content — and when there isn’t, it is clearly demarcated. There are no such demarcations when it comes to “influencer marketing” — and, from where I’m sitting, there appears to be absolutely zero scrutiny or oversight of how “influencers” are doing business, with minimal obligations for them to share the fact that they’re being paid to say things.

The scourge of “influencers” is a universal one, but obviously my most direct experience with it is in the world of gaming. One of the most common criticisms thrown at old-school games journalists is that they’ve been “paid off” by publishers to do things a certain way — either to inflate a product’s review scores above what it is perceived to “deserve”, or perhaps to disparage rival products.

Having spent several years in the industry, I don’t doubt that there have been occasions where that goes on. And there have been plenty of related incidents, too, with probably the most famous being “Gerstmanngate”, where a writer was let go from Gamespot for giving a bad review to a game whose publisher had spent a considerable amount on advertising said game.

Most people would agree that a games journalist being in the pocket of a publisher is a bad thing. I don’t believe it goes on nearly as often as the most insufferable people on the Internet think it does, but I think we can all agree that if money changes hands in this way, the “journalism” on the thing in question is compromised.

And yet the same people who would take a games journalist to task for accepting money from a publisher to cover a game are all over the world of “influencers”, believing that having your face on YouTube makes you inherently more “real” and “trustworthy” than those people who hid behind all those pesky written words. And “influencers” (no, I’m not going to stop with the scare quotes, I fucking hate the term) are openly accepting paid promotional deals, then covering the products in question. Some of them remember to disclose this; not all do. But regardless of whether or not any disclosure is going on, how is that any fucking different?

I find it absolutely unfathomable that “influencers” accepting money for coverage of things is apparently just tickity-boo, whereas the exact same thing was one of the worst accusations you could throw at a games journalist. How does that make any sense whatsoever?

I feel mostly immune to influencer marketing, but it’s very clear that the younger generation in particular are very susceptible to it. And it’s dystopian. It’s horrible. And it’s one of those things that we can’t just “walk back” any more, because the influencer “industry” has become so massive over the course of the last decade or so.

I saw someone argue earlier that we’re probably overdue for a brand new “segment” of the Internet, like how we once had stuff like Telnet and Gopher alongside the World Wide Web. If the Web has become this utterly devastated late-stage capitalism wasteland, perhaps it’s time for people to move on to something else? And no, not the fucking Metaverse. Honestly, at this point, I’d welcome the ability to engage with a fully text-based Internet that wasn’t 99% controlled by advertisers. Then we can leave all the “influencers” and their mindless zombie followers to it, and build something better elsewhere.

And then wait for that to be ruined. Still, it might be fun for a few years at least, before the Brands find it.

#oneaday Day 88: Is social media marketing over?

Just recently at the day job we’ve been having some Thoughts about using social media for marketing. I won’t go into the details for obvious reasons, and I will note that everything I say here is my own opinion and no-one else’s. But I feel like the age of social media marketing is coming to a close.

To be perfectly honest, I’ve never been on board with social media marketing from a consumer’s perspective. Facebook went from being tolerable to almost unusable once The Brands™ arrived, and it’s only gotten worse year after year. And back when I was an active user of Twitter, I not only didn’t follow any Brands™, I actively went out of my way to block any that ended up in my feed through “promoted” tweets or whatever.

Y’see, I’ve always had the somewhat controversial viewpoint that social media is best used for socialising. I used to actually quite enjoy using Facebook when it was a place to interact with friends. Likewise Twitter used to be a ton of fun when it was just people hanging out and shooting the breeze. But today? Both of those platforms are nigh-unusable for different reasons. And with people jumping ship from both, I struggle to see how their usefulness as marketing tools can continue.

This comes particularly to mind after the recent news that the “live service” game Concord has taken the unprecedented step of not only ceasing its online features, but actively refunding anyone who bought the game just 11 days after it hit store shelves. The writing was already on the wall for it; reports shortly after its launch suggested it had made “just” $1 million and only about 25,000 sales; these might seem like big numbers, but they really aren’t in today’s gaming industry, particularly towards the big-budget end of things, which is the space Concord occupies.

This occurrence got me thinking: how much of Concord’s disastrous launch was down to the troubled landscape of social media today? A few years back, a big game launch like this would be accompanied by a frenzied Twitter campaign in an attempt to drive “organic” (ugh) word-of-mouth promotion. To put it in non-marketing speak, the game itself would post something on social media, then other people would share it, gradually spreading word of the game through shares, replies and retweets.

Today, we live in a world where Twitter is fast becoming a dirty word, as Elon Musk’s “X”, as Twitter is now known, is increasingly becoming prone to the “Nazi Bar Problem“, since his constant bleating about “free speech” and “wokeness” has meant pretty much the only people left there now are some of the absolute worst dregs of humanity imaginable. It’s no longer fun or useful to the vast majority of people who used to hang out there, so a lot of people have jumped ship — either abandoning social media entirely, or moving to alternative platforms such as BlueSky. So one has to wonder how much value there is in marketing to what is rapidly looking like a room full of Nazis.

The same can often feel like it’s true of other platforms that are less of a “problem”. I talked recently about the issues we had attempting to enforce rules more specifically on a Discord I help manage, and it’s hard not to think about that “Nazi Bar Problem”. We don’t have a problem with “Nazis” as such (the few who have shown inclinations in that vague direction have been shown the door) but there are a few people who have become so entrenched that they’re a problem… and it’s honestly making us wonder if the time, effort and mental health expended on said server is worth it.

Can a product or Brand™ survive without social media? The assumption has always been “no”, but like I said above, I’ve found myself actively repulsed by Brand™ presences on social media for the most part, and I’m sure I’m not the only one. Sure, there are some Brand™ accounts that post interesting things — and the one I’m in charge of I try and make an effort to use in such a manner — but are they really adding any value?

I’m not convinced they are. We are living in a peculiar time, and I don’t think anyone quite knows what’s going to happen next.

#oneaday Day 87: The most toxic person in retro gaming

One of the things that continually surprises me is quite how toxic the retro gaming community, particularly in the UK, can really be. I’m fortunate that I have only ever really encountered people who are thoroughly nice and lovely — and, even better, have been able to draw inspiration from them to make my own creative work better.

In this regard, I’d particularly like to throw some love (and some links to their YouTube channels) at, in no particular order and off the top of my head, RoseTintedSpectrum, WhatHoSnorkers, Timberwolf, Gouldfish on Games, Dudley of Yesterzine, Kim Justice, Slopes Game Room, Digitiser, More Fun Making It, Beyond the Scanlines, Gears of Games, Yawning Angel and doubtless myriad others that I’m forgetting. All of these folks are thoroughly lovely, supportive people that I am happy to have had direct contact with to varying degrees at various points over the course of the last few years. Click those links and subscribe to all of them. They do amazing work.

Sadly, there’s a really unpleasant underbelly to the retro gaming community in the UK, and a lot of it centres around an individual known variously as “George Bum”, “George Cropper” (not his real name), “Funky Spectrum” and any number of other aliases. “George” is a serial harasser who has been thrown off YouTube for his behaviour, and now festers in his own filth on his own little website (which, no, I’m not linking to), surrounded by chirruping sycophants who hang on his every shit-encrusted word — many of whom are very much old enough to know better.

I’m not pulling any punches here: “George” is an absolutely vile human being, and the way he has picked on several members of the retro gaming community for years at this point without any sort of punishment is utterly repugnant. He has particularly targeted the YouTuber Octavius with stalker-like obsessiveness, and is almost as bad with his fixation on Peter “Nostalgia Nerd” Leigh and his Norwich-based vegan bar-cum-arcade Barcadia. Most recently, he’s had Kim Justice in his sights, because he thinks her well-researched book is not as good as his AI-generated drivel that he listed on Amazon for £250.

And yet no-one does anything about him. Because there’s not really anything that can be done about this festering waste of space any more.

He’s in his element on the Twitter of 2024, which is a disgusting sinkhole full of the absolute worst people on the entire Internet — many of whom are openly spouting their garbage under their real names — although I take some small comfort from the fact that anyone with any sense has abandoned the platform long ago.

He’s been banned from YouTube for his harassment videos. (Of course, he maintains he did “nothing wrong”.) Now, at least, he’s confined to his stupid website. Sadly, as it’s self-hosted I suspect there’s not much anyone can really do about him short of actually raising a legal objection to some of the things he posts on there. And I doubt anyone wants to go through the time, energy and expense involved in doing that.

Which sucks, really, because it means this festering boil on the arse of UK retrogaming will never truly get lanced. All I can really do is encourage anyone reading this to never go anywhere near him. He is Bad News.

#oneaday Day 86: Emio – Roll Credits

I just finished Emio – The Smiling Man: Famicom Detective Club, the new Nintendo Switch release that, as the name suggests, acts as an official sequel to the two classic Famicom Detective Club games that were first released on Famicom Disk System, and subsequently remade for Switch a couple of years back. You can read my thoughts on both of them here and here.

I’ll do a “proper” writeup on the game at some point in the next few days over on MoeGamer, but suffice to say for now that it was excellent, and acts as a wonderful successor to the already very good two predecessors.

For the unfamiliar, the Famicom Detective Club series unfolds as Japanese-style adventure games. That means you spend the majority of your time selecting actions from a menu, reading a lot of dialogue and searching for the next “trigger” to move the story along. Japanese adventures are more about the plot than solving puzzles; to put it another way, they are the modern equivalent of the narrative-centric “interactive fiction” versus the mechanics-centric “text adventures”.

The first two Famicom Detective Club titles occasionally lapsed into “click on every option multiple times until something happens”, which was mildly annoying, but this new third one makes the sensible decision of highlighting important words and phrases in the dialogue which generally gives you a solid idea of what you need to do next. You can actually turn this feature off if you prefer, but honestly just leaving it on is the best way to keep the story flowing.

The story this time around concerns a dead body that has been found. The corpse is a student named Eisuke, and he appears to have been strangled. Unusually, his corpse was found with a paper bag over his head, and a creepy smiley face scrawled crudely on the bag. What then follows is your attempts (as both the self-insert protagonist from the first two games and his long-suffering coworker Ayumi) to solve the case by interviewing suspects, examining important locations and gradually piecing everything together.

In the tradition of Japanese adventure games, you’re not really “doing” much beyond simply advancing the plot, but that’s fine. There’s no “moon logic” to worry about here; it’s just about enjoying the story unfold, and occasionally demonstrating that you’ve understood what you’ve witnessed through short “Review” sequences that quiz you on the most recent happenings. There aren’t really any consequences for getting these wrong other than Ayumi giving you the stink-eye, but that will be punishment enough for many players.

I’ll refrain from saying any more about the plot for the moment for the sake of spoilers, but I will say it’s refreshing and welcome to see Nintendo going unabashedly adult with this one. It’s PEGI 18 rated with good reason; it does not pull punches, and I mean that in several respects. The game is all the better for not holding back; it drives home the fact that the case you’re investigating is very serious for a number of different reasons, and the complex motivations of the many characters you’ll encounter over the course of the plot will keep you intrigued right up until the end.

I was also impressed by how comprehensively it wrapped things up by the conclusion. It pulls a little bit of a fast one on you in this regard, but I’ll leave exactly how for you to discover.

Anyway, yes; Emio – The Smiling Man: Famicom Detective Club is proof that the Switch very much still has plenty to offer in what most people are assuming is its twilight year. And it’s yet another reminder, if one were needed, that modern gaming isn’t actually all that bad, really — so long as you steer clear of the shit bits.

More on MoeGamer at some point this week.