Tag: media

#oneaday Day 14: Sleep, Needed

In stark contrast to yesterday’s very good sleep (albeit with interruption by noisily vomiting cat), last night I slept terribly. I went to bed with a pain in my back and took some painkillers, which helped a bit, but it took me ages to get to sleep and I woke up multiple times throughout the night. There wasn’t even a good reason for it this time; Patti was, as usual, in her spot at the foot of our bed, but she wasn’t in the way or being sick. I was just waking up and then taking a long time to actually get back to sleep again.

Still, it’s the weekend now, so if I want to (I probably want to) I can have a nice lie-in tomorrow. I don’t think we have anything vastly important planned for the weekend, so we can just have a bit of nice relaxing time, I can make some videos and we can generally recharge and recuperate ahead of it all starting again on Monday.

I’m not going to the gym or swimming today as I still feel extremely stiff and achey, not helped by the poor night’s sleep. I have succeeded in my original goal, though, which was to get out of the house in the morning and do something active at least twice, and I think I will make some time over the weekend to go either swimming or to the gym, depending on their respective availability.

I’m feeling motivated to try and get things going back in the right direction, so it’s a bit frustrating that it feels like my body is just going “eh, no” right this second, but I’m sure that’s 1) a temporary thing and 2) something that I’ll have to power through in the long term. I’m willing to put in that work, but there’s also no rush to get it done. Past experience tells me that working up to things gradually is the way to go; try and do too much too soon and it’s easy to completely lose all that motivation you’d built up. And I don’t want that to happen.

Apropos of nothing, I thought I’d look back at what I was up to ten years ago today, since the long life of this blog means I can actually check such things. It appears that I was 1,615 posts deep into my original #oneaday effort, and I’d just watched a then-new show on the TV channel Dave known as Alan Davies: As Yet Untitled. I have no idea if this show is still running, but reading back over the post, I remember it being enjoyable, lightweight television that didn’t demand too much of the viewer.

Reading that makes me think how much our relationship with media has changed in just ten years. Today, I’m very unlikely to watch anything “on television” (i.e. live broadcasts), and a lot of the stuff I do watch on a day-to-day basis is via YouTube. Right now, I am watching through all of Star Trek: Deep Space Nine on DVD as a bedtime activity, though, and that’s a nice reminder of how enjoyable classic TV could be… hell, how enjoyable a show of that format still is.

In fact, I’m probably due some sort of retrospective post on Deep Space Nine and my relationship with Star Trek in general. Well, I guess that’s a topic for tomorrow sorted! For now, though, my dinner is ready so I’m off to eat and then quite possibly to just collapse into bed aftwards.

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.

2493: Japan’s Great Games, and Their Lack of Coverage

This tweet from the Editor-in-Chief of gaming news site DualShockers caught my attention earlier tonight:

As regular readers will know, I’m a big fan of Japanese games and visual novels and will frequently wax lyrical at great length on the subject of my favourite titles. Hell, I even set up a whole new website — MoeGamer — to have a convenient place to put my more in-depth commentary on games that I’ve found particularly interesting.

Over the last couple of years — in particular since I started my JPgamer column on USgamer, and subsequently moved on to my MoeGamer project after I was laid off from the site — I’ve gotten to know a fair few “faraway friends” on the Internet thanks to a mutual love of games from Japan. And all of them — including me — feel the same way: it’s sad that almost the entirety of a whole country’s output gets thrown under the bus, usually in the name of “progressiveness”, and usually with woefully little understanding of the works they have cast aside.

Sure, the Final Fantasies (except XIV) and Souls games of the world still get plenty of column inches, but the rest, as Nelva points out in his tweet, is ignored at best, and treated appallingly at worst.

I found Nelva’s tweet noteworthy because it’s the first time I recall seeing a member of the games press (aside from me) come out with sentiments like this, outside of sites that specifically dedicate themselves to this sort of thing. As such, I thought it worth talking about a bit, and to draw particular attention to a number of noteworthy developers, publishers and series that are well-regarded and regularly praised among players, but which receive less than stellar treatment from the press.

Let’s talk about the Vita

Dear old PlayStation Vita. One of my favourite platforms of all time, and declared “dead” roughly every two months by some idiot who sees that there hasn’t been a Call of Duty game on it since the atrocious Call of Duty: Black Ops Declassified.

As a handheld gaming machine, Vita is never going to match the big boys in terms of power, and it doesn’t need to: when you’re playing something on the go, aspirations of being some grand cinematic masterpiece are largely wasted on a screen the size of an envelope. And this is why we don’t get any triple-A games on the platform.

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What we do get is an absolute shitload of Japanese games. What we do get is an absolute shitload of Japanese role-playing games — a genre frequently and erroneously declared “dead” alongside the Vita by people who don’t know what they’re talking about. What we also get is a bunch of visual novels and strategy games. And this is just Japan we’re talking about, remember; all this is on top of all the great indie titles we get from Western developers.

There are a number of developers out there who put out their games on Vita as their lead (or only!) platform. And if these games got any coverage, it would be plain as day to see that the Vita is far from dead; there are plenty of great new games coming out for it on a monthly basis, many of which hail from Japan.

Let’s talk about “progressiveness”

It’s the current fashion in the games press to be as “progressive” as possible. That is to say, it’s fashionable to berate any games that feature attractive women or any kind of provocative, adult-leaning content as “problematic”, in the hope that frequent use of that word will make these critics look somehow educated and intelligent. In practice, all it does is undermine the other big argument these people make, which is that “games need to grow up”. You can have one or the other. You can treat gamers as adults and trust them to handle provocative content, or you can sanitise the medium to such a degree that everything becomes generic, inoffensive waffle.

The ironic thing about the supposed “progressive” arguments against these games — particularly against the ones that feature attractive women — is that they completely fail to explore the game on anything other than the most superficial level. It is, quite simply, “this game has women in short skirts with big boobs, so it’s bad”. This isn’t an exaggeration; this is a paraphrase of several Senran Kagura articles I’ve read from “progressive” games journalists.

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As I’ve written at great length over on MoeGamer, I find it interesting that a lot of these games from Japan actually handle some pretty weighty themes throughout, and do so sensitively and enjoyably. In some cases, games, much like anime, allow creators to explore aspects of society that are still somewhat “taboo” in parts of Japan, such as homosexual relationships.

Others set a great example by having an all-female cast, often with no mention of men or romantic entanglements whatsoever.

Others still have a point to make with their erotic or quasi-erotic content; a while back, for example, I wrote a lengthy piece about how Criminal Girls uses its S&M-themed ecchi content to reinforce the narrative’s key message about trust. Or there are works like visual novel The Fruit of Grisaia, in which its erotic content is used as part of the characterisation process, particularly when it comes to the character Amane, who is an aggressively sexual individual for reasons that become apparent later in her narrative arc.

In damning the majority of Japan’s cultural output on the grounds of “progressiveness”, the self-proclaimed “progressives” are ironically missing out on some of the most progressive games out there.

Let’s talk about Falcom

Let’s talk a bit about Falcom first of all. Falcom is a developer who has been around since pretty much the dawn of gaming, with its long-running Ys series arguably playing a defining role in the modern action RPG.

Of perhaps even greater note, meanwhile, the most recent installments in the Legend of Heroes series — Trails in the Sky and Trails of Cold Steel — are absolute masterworks in how to blend the best bits of Western and Eastern RPGs. They’re well-written with excellent characterisation (though admittedly too wordy for some), they have some of the most astonishingly detailed worldbuilding I’ve ever seen in a game through a combination of their visuals and their texts, and they’re simply great games, to boot. And yet, it’s rare to hear them mentioned, even by self-professed JRPG enthusiasts in the press.

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Why? Well, at least partly because they were on PSP and Vita as their lead platforms, though Trails in the Sky’s two currently available localised chapters have made the jump to PC since then. It goes back to what we said about the Vita before; it’s a self-fulfilling prophecy. If you don’t cover the games, the platform withers, though at least in the case of the Trails series, there’s the formidable combination of XSEED’s enthusiastic social media team and plenty of fans who are more than happy to promote the series via word of mouth.

But it saddens me that there are probably a whole lot of people out there who have no idea that these games exist, or have no idea quite how good they are. That, surely, is the press doing these games a great disservice.

Let’s talk about Neptunia

And Idea Factory in general, while we’re on.

Idea Factory and its label Compile Heart have been very prolific over the last few years, and it’s fair to say that in the twilight of the PS3 era it took a while for them to find their feet. Titles such as Trinity Universe and Hyperdimension Neptunia were very much inferior to much of the platform’s other fare in technical terms, though those who played them will happily attest that they are both overflowing with charm to more than make up for their technological shortcomings.

Unfortunately, some people have never got past a bad experience they had with a game a few years back, and seemingly outright refuse to cover new titles from a company that has grown astronomically in popularity over the last few years — and, moreover, a company that has clearly learned from its mistakes, with each new game being better than the last by a considerable margin.

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This is most clearly demonstrated by the Neptunia series, which has gone from unknown niche-interest JRPG to full-on cultural phenomenon over the course of the last six years or so. People online love Neptunia. There’s fan art everywhere, there are role-players on Twitter, there are mods for popular Steam games to insert the characters, there are people using Source Filmmaker to create their own Neptunia dioramas and videos — and, of course, there are the games, which tend to enjoy solid sales on console platforms (typically Vita, though the most recent mainline installment jumped to PS4) and then again a few months down the line when they hit PC.

Neptunia games still aren’t the most technologically advanced games on the market, but what they have always had since day one is an absolute ton of soul — not to mention the aforementioned progressiveness thanks to homosexual characters and a strongly capable all-female main cast — and something which is very much underexplored in gaming as a whole: satirical humour. Their developers know what the players want from a Neptunia game, and they provide it. And they are widely loved as a result.

Coverage? Some idiot on Kotaku writing about how the animated Live2D character sprites in the dialogue sequences freak them out. And little else.

I love Neptunia, as you know. But even if I didn’t, it would seem very strange to me not to acknowledge something that is so popular on the Internet at large that it’s frequent meme fodder. And yet that’s exactly what happens with today’s games press: it doesn’t fit the unwritten criteria, so it doesn’t get explored.

Let’s talk about overlooked games

I played through the visual novel Root Letter recently and had a great time with it. I only knew about it because it happened to catch my eye one day when I was browsing the publisher’s other works. I’ve barely seen a peep about it on other websites. I, meanwhile, wrote a bunch about it here.

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In the case of Root Letter, the press can’t even play the progressive booby card to refuse to cover it: Root Letter has no ecchi content whatsoever, instead adopting an art style that features hand-drawn characters and “painted” backdrops of real locations in Japan. On top of looking beautiful, it’s the start of a new series from a fairly major publisher in Japan (Kadokawa) and, judging by the speed we got an English version over here, it looks likely that we’re going to see the other installments shortly after their native versions, too. Not only that, it’s noteworthy in that it focuses not on a group of teenagers as many other Japanese works do, but instead on a group of 33-year olds.

Let’s talk about why this happens

We all know why this happens: clicks. What games critic has time to cover obscure Japanese games when they could be raking in the clicks by posting meaningless, needless “guide content” for Watch Dogs 2 or Call of Duty? I know, I’ve been there, done that.

The thing is, this approach to content strategy becomes a vicious cycle. These games remain popular at least partly because they’re always plastered all over the major gaming sites, and the relentless pursuit of This Tuesday’s Article On The Big Game That Came Out Last Week does damage to gaming criticism as a whole because it gives needless amounts of attention to titles that already have a ton of attention on them thanks to their astronomical marketing budgets.

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What I’d really like to see is more sites making a specific effort to go out of their way to cover games that are a little more off the beaten track, but which still have cultural significance of some sort — whether it’s the popularity of something like Neptunia, or the self-conscious maturity of Root Letter — and helping to broaden the medium for everyone. Some sites already make an effort to cover Western indie games in this regard, and while there are occasionally some questions to be asked over whether certain games would be covered if the developer and the writer weren’t friends with one another, I feel it’s more important to note that this is a start.

While we’re on, what I’d also like to see is a complete end to the mockery of Japanese games in the press, particularly by those who clearly have no intention of attempting to engage with a game. No-one should be mocking anyone else’s taste — particularly those in positions of power as “tastemakers”; live and let live.

The insufferable “progressive” crowd are always going on about “diversity”, so what I would very much like to see is an acknowledgement of Japan in 2016 as part of that diversity. There’s still a rich flow of quality games coming out of that country on a monthly basis, and as Nelva noted in that tweet that sparked off this whole entry, very few of them that don’t have Souls or Fantasy in their title get a look-in. Wouldn’t it be great to see that change?

I’m not going to hold my breath, mind you. In the meantime, well, I’ll do what I can with MoeGamer — so please, show your support if you like what you see.

2077: Narrative Media

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Since I’ve become particularly interested in Japanese popular media, I’ve often found myself pondering which particular aspect is my favourite — in other words, what do I feel is the “best” means of enjoying a story that, in many cases, spreads its tendrils across a number of different forms of media with varying degrees of success?

There’s not really an easy answer to that, but I feel my own personal attitude towards it is inclined towards whatever the original version of the work was composed in, where available. This isn’t a hard and fast rule, by any means — on balance, I think I slightly prefer the anime of High School DxD to the manga, for example, and there are a number of interesting spin-off games that tell a completely different story to an anime or manga series, making them worthwhile in their own right — but I do tend to find myself preferring to experience a story as originally intended.

Part of the reason for this is enjoying a story in its original medium means that you don’t “miss out” on anything. In theory, anyway; that theory runs that a creative work is composed for a specific medium, and then adapted to other media at a later date. The adaptation process often involves editing, changing and even cutting content from the original, usually as a means of ensuring that the important beats of the story fit into what may be a more restrictive format. Consider an indefinitely running manga series that is adapted into 20-minute anime episodes, for example; you’re going to lose some detail, like it or not, unless you want the pace of the show to slow to a crawl. (Some long-running shows do indeed take this rather leisurely pace to their ongoing storyline, but for the most part, manga-to-anime adaptations tend to try and get through a significant amount of printed content over the course of 12-13 episodes.)

That said, different media are more or less appropriate for different ways of exploring material. Anime, as the most visually flexible of these media, allows you to outright depict things happening without having a narrator explain things (as in a visual novel, manga or light novel) and take a more subtle approach, implying things rather than making them explicit. At the other end of the spectrum, a novel relies almost entirely on the reader’s imagination, perhaps stimulated a little by illustrations here and there. The nature of text means that the inner thoughts and feelings of characters can be explored in much more detail than in an anime, and even from multiple perspectives.

Visual novels, meanwhile, tend to unfold from a single first-person narrative perspective. This allows for in-depth exploration of a specific character and their responses, feelings and attitudes towards various situations — as if you “were” that character. It’s not quite the same as a full-on game where you take full control of a character, mind; most visual novels give you relatively limited choices as to how they proceed, and the protagonist otherwise has a mind of their own: you’re just along for the ride. Some visual novels do experiment with multiple perspectives — The Fruit of Grisaia’s various routes each feature a sequence where the main heroine of that route narrates an important event in their lives, be it to the reader or to protagonist Yuuji; Deus Machina Demonbane, meanwhile, features a first-person protagonist narrator, but occasionally slips into third-person to depict things happening elsewhere when appropriate. For the most part, though, when you come to the end of a visual novel, the character you almost certainly understand the best is the protagonist.

Video game adaptations — i.e. those that aren’t visual novels — present their own challenges by allowing the player to control iconic characters and perhaps make them behave in ways that aren’t necessarily in keeping with their character as depicted in other media. This is partly a matter of attitude, though; someone who is already particularly engaged with a series and comes to a video game adaptation after reading the manga/visual novel/light novel or watching the anime may well find themselves “method acting” as the character they find themselves in full control of, even if the game mechanics do provide the opportunity for them to do unexpected and strange things.

In other words, I don’t really have a concrete answer for the question. At the moment, I’m particularly enjoying reading The Fruit of Grisaia’s visual novel, and after hearing how the anime adaptation packs the VN’s many hours of narrative and interesting happenings into just a single season, I feel that the VN is probably the best means of experiencing this story in full detail. At the same time, I’m enjoying the video game of Sword Art Online, the manga of Monster Musume, the anime of Himouto! Umaru-chan — there really isn’t a straightforward answer as to which one is “best”.

It sometimes pays to explore a single work in different media, though; the unwritten rules that “the book is usually better than the film” and “video game adaptations are universally terrible” don’t always apply!

#oneaday Day 995: Cultural Victory

Can you have too much culture? Can the sum of human creative endeavours add up to too much for someone to take in?

Well, first of all, those are two different questions. The answer to the second one, at least, is “yes”; the former? I’m not so sure.

We’re already at a point where there is so much Stuff in the world it’s impossible to keep on top of it all. Whatever media you’re into, be it books, movies, TV shows, music or games, there’s enough Stuff out there to keep you entertained probably for the rest of your life in just one of those formats, let alone if you, like most people, spread your time between several. Even if you spend your time focusing entirely on one genre within a single medium, you’ll never get to the bottom of the pile. You’ll never “finish” culture. You’ll never see everything there is to see.

Depending on your outlook, this is either a fantastic thing or incredibly depressing news. For many, there’s a degree of “shame” over not having caught up on things that are supposedly “canonical” or “essential” for everyone to have read/seen/played/whatever. The very term “pile of shame” (from which the Squadron of Shame takes its name) is used to refer to one’s backlog of entertainment that has been purchased but not consumed — or, in some cases, the definition is stretched a little to include Stuff that the owner of said pile intends to consume at some point in the future, but perhaps hasn’t quite got around to just yet.

With books, it’s fine. Books are passed down from generation to generation; republished and republished. Today, we can keep a book alive forever by converting it to a digital format and scattering it to the four corners of the Internet. Sure, you lose some of the joy of turning paper pages and that distinctive musty smell they have, but at least the important bit — that’s the work printed on those pages, lest you forget — is immortalised. You can read it on your computer; on your tablet device; on your e-reader; on your phone. You can annotate it and share your thoughts with other people around the world in an instant. Books are just fine.

Music, too, has proven itself to be pretty timeless over the years — for the most part, anyway. Throughout history there has been plenty of “disposable” music, but the true greats endure for years. Look how long the works of Bach and Mozart have lasted — people are still listening to, performing and studying these pieces hundreds of years after they were first composed. In more recent years, look at how the music of artists such as Elvis Presley and the Beatles is still interesting and relevant today. In very recent years… well, it remains to be seen which artists (if any) will leave a lasting legacy on culture, but there will almost certainly be some. (And if there’s any justice, it won’t be anyone who has ever won or been involved with The X-Factor.)

Movies, too, have become increasingly timeless with the improvements in technology over the years. While once a movie only lasted as long as the medium on which it was physically printed, now, like books, we can archive and keep movies forever. Sure, some moviemaking techniques now look antiquated and are unpalatable to modern audiences, but those truly interested in the full history of the medium can trawl back as far as they wish and see how it has developed.

Games, though, are arguably a bit more tricky, as they have an inherent “expiry date” due to the numerous proprietary technologies involved. While emulation technology is getting better all the time, it’s still not perfect, and the legal grey areas surrounding it make it something that some people prefer to shy away from altogether. When you consider “PC” games, too, there’s even titles that are ostensibly on the same platform that will no longer run on more modern technology. Fortunately, there are places like GOG.com who aim to keep these titles alive for modern audiences, but eventually even their remastered, tweaked versions will “expire” as technology makes the next big leap forward. What happens when computers become wearable and we don’t use TVs any more? Will we still be able to play classic titles designed for the flat screen?

With all this, it’s easy to wonder how you can possibly get through all those things that you’re “supposed” to watch/read/see. The answer is surprisingly simple: don’t. Accept the fact that you’re never going to read Great Expectations; you’re never going to see Citizen Kane; you’re never going to listen to anything by The Smiths; you’re never going to get caught up on the Assassin’s Creed series. Cherry-pick the stuff you’re interested in, finish what you start, and don’t feel obliged to jump in to things just because they’re brand new and everyone is talking about them right now. Get to them when you have time to appreciate them rather than rushing through them in the ultimately futile attempt to feel “relevant”.

Crucially, enjoy (or at least appreciate) the culture you consume, whatever medium it’s in. Your tastes are your own, and no-one has the right to try and change them. People can share their own opinions, sure, and these may help sway your thoughts one way or the other, but ultimately your feelings about the things you like and dislike are entirely up to you. There’s no “correct” opinion; no gold standard of cultural awareness you need to aspire to; no “checklist” to complete. The sooner you recognise this fact, the sooner you can get on with working your way through that “pile of shame” — because there’s some great stuff in there that you haven’t discovered yet. And the stuff that is shiny and new right now will still be here in a few years time.

Take your time. Enjoy it. It’s the least you can do for the people who have invested their time, money, blood, sweat and tears into entertaining you.

 

#oneaday Day 952: 伝説のブログ

I’ve been pretty much immersing myself in Japanese culture recently thanks to the various games I’ve been playing. Between Yakuza 3, School Days HQ and the Persona 4 anime that I’ve just started watching in preparation for Persona 4 Arena’s delayed European release, it’s been super-Eastern around here, to the extent that it actually felt a bit strange to boot up Guild Wars 2 earlier and hear people speaking English.

I would like to learn Japanese. I have been saying this for years, but worrying about it being difficult has stopped me on several occasions. I have, however, now found a decent iOS app (Human Japanese) that walks you through both the spoken and written forms of the language, so I will use that to give myself a good introduction and then see where I need to go after that. I am trying to devote a few sessions per week — ideally each day, but that’s not always practical — to studying. So far I have learned how to write the hiragana for the vowels, which is more hiragana than I have ever learned. I would type some to prove it, but I have no idea how to type Japanese characters on a computer as yet (except by copy and pasting from Google Translate, which is how I got the title for this post), so we’ll cross that bridge at a later time.

What I’ve found, however, is that through immersing myself in Japanese media, I’ve actually picked up a surprising number of words and phrases. Okay, I can’t spell them, write them in Japanese script or, in many cases, even say them properly, but I recognise plenty of words and phrases. Words like “densetsu” (legend), which I first came across when I heard the Japanese name of Secret of Mana — Seiken Densetsu, literally Legend of the Holy Sword. For quite a while I didn’t know that “densetsu” meant “legend” but I picked it up somehow, meaning that when someone in School Days HQ mentioned a “legendary break room” in the subtitles, I deduced that the part of the Japanese sentence that meant that bit was densetsu no kyuukeishitsu. (I know Romanji sucks, but it’s all I’ve got right now, yo!) I knew that the “no” after “densetsu” meant that “legend” was being used to describe another word (essentially the equivalent of tweaking a noun to become an adjective in English) so therefore I figured that kyuukeishitsu means “break room”. And sure enough, it does. Hurrah for apparently having the right kind of mind to work out language.

There’s a few other phrases I’ve picked up from Japanese media, too, some of which might even be useful. I can say hello in various ways (konnichiwa, osu! (tatakae! Oueeeeeendaaaaaaaa– wait, no)), good morning (ohayou!), sorry (gomen nasai), yes (hai), no (iie, pronounced confusingly similar to someone saying “yeah” hesitantly), goodbye (sayonara — if you’ve never studied any Japanese before I was as surprised as you are that it’s an actual word in another language rather than a made-up one) and express gratitude before a meal (itadakimasu, apparently bellowed by everyone before diving into one’s bento if School Days HQ is anything to go by). Oh, and strawberry (ichigo). And laughing like a shy schoolgirl (ufufufufu!).

Now all I need to be able to do is 1) incorporate these snippets and phrases into actual Japanese conversation and 2) be able to figure out how to write them in scary squiggly script. Both of those things will probably involve a lot of practice, so if I start talking about the densetsu no bento next time I’m having lunch with you, gomen nasai.

#oneaday Day 773: Off the Beaten Path

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The astute among you who follow my gaming posts (which, yes, I’m aware constitute an overwhelming majority of these entries — I am a passionate gaming enthusiast and an occasionally-professional games writer, after all) will be well aware of the fact that over the last few years, I’ve been drifting further and further away from the “mainstream” in terms of the titles I’ve been playing. This initially wasn’t a particularly conscious decision, but rather a reaction to the fact that I just wasn’t enjoying myself with the supposedly “big” titles of the day. I haven’t made it through any Halo games except the original and Reach, for example, and my few forays into Call of Duty have left me feeling by turns underwhelmed and insulted. Similarly, I’ve given up all hope of ever making it through the Assassin’s Creed series since it seems as soon as I think about playing through the older titles, Ubisoft goes and announces another one. You know, like they did today. Bastards.

I can’t quite pin down exactly when this shift in attitudes happened, but I do know that I’ve come across some truly remarkable games in the process. One of the most memorable of these is Recettear: An Item Shop’s Tale, which I picked up as part of one of Steam’s characteristically generous Indie packs during one of the service’s many sales, and promptly played all the way through for 40 hours. This was something of a difference from my expectation, which was that the game would be a shallow, social game-style experience with little depth and no long-term appeal. How pleasantly surprised I was when it turned out to be quite the opposite — deep, fun, well-written (kudos to Carpe Fulgur’s wonderful translation efforts — we’re talking PS1-era Working Designs-quality work here) and immensely satisfying to play. And not an Achievement in sight, either.

The attitude that I’ve decided to take as a result of discovering brilliant titles like Recettear and numerous others like it a little way off the “beaten path” is to simply say “fuck it” to the mainstream, and explore the things that I’m interested in, rather than the titles which the media makes it seem you’re “supposed” to be interested in. It’s been a very long time since I consulted a review prior to purchasing a new game, instead relying on a combination of word-of-mouth, intuition and simple, immediate, visceral reactions to screenshots, descriptions and other media.

This philosophy has also been born from the original ideals of the Squadron of Shame way back in the 1up days. Our original remit as a group was as follows, and I quote directly from the original 1up club page, which still stands today:

Games of Shame. You know you have them. They sit in your closet, collecting dust: Little jewels that you always tell yourself you are going to play, but never get around to. Well, that’s about to change, soldier. You’ve been drafted to join the Squadron of Shame. Here we, the elite members of the 1UP Radio boards, paratroop into the bargain bins and rescue the unappreciated games that deserve to be saved. From there we battle through the trenches as a squad. At the end of the day, we take a moment to break down what made the whole experience worth fighting for by sharing war stories, reflections, and cigars. But the fight isn’t just on the front of retro games: Any game deemed “fit for duty” by command can be put on the pile. At the end of the day, the reason we fight isn’t just to discover new experiences, it’s to answer that simple and fundamental question: “Why do we play?” Now suit up. The pile awaits.

I’ve pretty much stuck by those ideals as the years have gone by, always preferring to check out things that are outside of the mainstream, far from the things that everyone is talking about. I can’t help but feel you can have too much of a good thing in terms of game coverage, and this is a problem which is only compounded by the explosive growth social media has enjoyed over the last few years. By the time a big-name game comes out, there are very few surprises left due to the constant PR trickle of new screens, exclusive reveals, teaser trailers, live-action videos, behind-the-scenes developer diary videos, blog posts, interviews, features, podcasts, multiplayer betas and all manner of other things besides. And when the game does come out, everyone is talking about it on Twitter and Facebook, putting you at serious risk of spoilers — or at the very least, of a feeling of “saturation”.

So rather than bitch and moan about the state of the mainstream, the iron-fist rule of unscrupulous PR agencies and publishers destroying interesting, outlet-unique coverage and games that I have little interest in playing, I’m simply going to ignore stuff that doesn’t interest me and focus on things which sound intriguing. (I’m aware that this post may well constitute bitching and moaning about the state of the &c &c but… but… FUCK YOU, that’s what. WAIT I DIDN’T MEAN IT, COME BACK, I STILL LOVE Y—)

And, subsequently, I’ll cover them myself, right here. I may be late to the party on some titles, but in many cases, things don’t stop being relevant just because of their age, particularly with the number of HD remasters, portable remakes and backward-compatible devices we’ve seen recently. Providing these games with a little exposure here — “little” being the operative word, since I’m well aware of the relatively miniscule amount of traffic this blog generates, and am perfectly happy with that fact — will make me feel better, because then I then know that there’s someone out there (me) appreciating and giving some much-needed attention to titles which maybe don’t have a massive marketing budget or an omnipotent PR organisation managing and coordinating all their coverage. And, as small as my audience here is, if I write something, then there will be people reading about these titles, too. And if just a few of those people think “hmm, that does sound interesting” then I can feel like I’ve done a good job somewhere along the line.

So if I blog about something which sounds interesting and you decide to check it out for yourself, be sure to let me know. I’d love to hear your reactions to titles such as Katawa Shoujo, To The Moon, Recettear, Xenoblade Chronicles, The Last Story and numerous others. Over the course of the next few days/weeks/months, I’m intending to catch up on a variety of PSP titles, starting with Corpse Party and following with the portable Persona remakes. So watch out for those entries soon, and be sure to let me know your thoughts on those games if you’ve also sampled their charms.

And if you’re excited for Mass Effect 3, Assassin’s Creed III or, God forbid, the rumoured Call of Duty: Black Ops 2, then don’t let me stop you being excited — I’d actually love to hear about those games, from you, too. Just be aware I probably won’t be joining you in playing them!

#oneaday Day 739: I’m Flickin’ Me Net

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I mentioned it briefly yesterday, but I feel some good, old-fashioned enthusing about Netflix is in order. I know, I know, you American types have been enjoying its streamtastic charms for a very long time now, and us Brits have been watching enviously for the whole time (and occasionally trying to do clever things to see if we can get signed up) — but now, we have it too.

And it’s awesome.

As I’ve noted on some post back in the dim and distant history of this blog, I’m not huge on movies. It’s not that I don’t like them, it’s that I’d rather spend two hours at a time doing something else. I’m not sure why this is. Perhaps there’s something in my brain that sets me up to enjoy interactive, rather than passive entertainment — I’ll happily sit and play one game for hours at a time, after all. But that doesn’t explain why I might take a new TV show discovery and devour large proportions of a season at once (see: Community). That’s no more interactive than a film, and yet I have no qualms in doing that.

I think my main bugbear with movies has historically been their perceived “value” when buying them to put on your shelf. I have a bookcase in front of me at the time of writing — look, it’s over there — that is almost filled with DVDs. (The bottom two shelves are console games.) Of those DVDs, the only ones that I think I have watched more than once or twice are the TV show box sets. The movies I’ve kept around… well, I’m not sure why, really, since I certainly haven’t watched Human Traffic for a very long time, and my copy of Hot Fuzz actually remained shrink-wrapped for a considerable period, too (it was cheap in HMV, then it was on TV, so I didn’t really need to watch the DVD). I guess there’s some sort of curious feeling of “attachment” to many of these movies, like I remember the time I bought them and associate them with a particular period in my life. As such, it’s never really occurred to me to get rid of them, even though I rarely watch them.

The age of Netflix, however, has me rethinking this. Now for a few quid a month I have instant access (assuming I have an Internet connection) to a pretty huge library of movies and TV shows. Some are complaining that the selection is a little limited at this time — and perhaps it is if you’re a big film buff, but it’s certainly more than satisfactory for me at the moment. And the reason I mention the “perceived value” vs “time constraints” thing above is that I’ve been more than happy to just sit and watch a movie on Netflix, because I know that I haven’t spent £[x] on it, and have to feel obliged to enjoy it.

It’s the same for the TV shows, as it happens. I’ve been meaning to check out Twin Peaks for a very long time, for example — even more so since I played Deadly Premonition — but never got around to picking up the DVD set. It always seemed a bit expensive for something that was — to me, anyway — an unknown quantity. Would I like it? (As it happens, I love it, 90s hairstyles and all) Would it be worth the money, or would I be stuck wishing I’d spent my £[x] on something better?

This consideration is now irrelevant. Like Spotify allows me to check out music that I might not have felt inclined to buy outright, Netflix allows me to broaden my tastes in film and TV shows without any risk of feeling like I’ve wasted my money. And through the “creepy” (no it’s not) autoshare to Facebook facility, I have plenty of opportunity to check out what my friends are watching, start some discussions about it and become more “well read” in the media of TV and film.

So, then, fellow Brits; if you have a decent Internet connection and like watching people perform for you inside your TV, PC, iPad or iPhone, I suggest you get yourself signed up for a free trial. For me, it’s been worth it purely for the iPad compatibility — Netflix on iPad in bed has revolutionised insomnia.

#oneaday, Day 22: Make Love, Not Hate

On the Internet, opinions exist in a binary state for many people. There is your opinion (1), and there is everyone else’s opinion (0). Sometimes other people’s opinions coincide with your own, meaning they can join you in the happy 1 gang, while the 0-toting losers get to stand over there being Wrong.

It’s strange, though, really, isn’t it? People develop such strong feelings about particular issues, and these opinions spread virally very quickly via all forms of the media. I remember reading about this in A-level Sociology and forget all the names and dates of studies concerned, but since this isn’t an essay I’m not going to go and look them up. What I do know is that nowadays, such opinions spread far quicker than they have ever done before thanks to the immediacy of online social interactions, meaning that in some cases people may end up feeling that they should change their opinions on things in order to remain somehow “credible”.

‘Twas ever thus, of course, with the school bullies always listening to the most badass music out there whilst the flute-playing pansies amongst us voluntarily listened to—or even played—classical music. (Guess which of the two categories I was in, though I didn’t play the flute. Flutes are for girls.) One group tended to kick the shit out of the other on a fairly regular basis, and it was usually a pretty one-sided battle.

You shouldn’t start actively hating something just because other people say so, though. You should take pride in your tastes, however idiosyncratic or separate from the supposed “norm” they are.

Let’s take a few examples of Things I Like That Should Be Embarrassing To Admit But Really Aren’t, Honestly, No, Stop Looking At Me Like That And Please Don’t Unsubscribe, Think Any Less Of Me Or Be Any Less Likely To Do Nice Things For Me (Like Buy Me Cake, Give Me A Big Wet Snog Or Make Me A Delicious Roast Dinner) Should The Opportunity Come Up.

Okay. I can do this.

(takes deep breath)

I like Robbie Williams. I also enjoy the comedy of Michael McIntyre, the radio show of Chris Moyles, the bubblegum pop music of MIKA and think Ke$ha’s album is a work of quirky genius that I believe I have described as “sounding like Kelly Clarkson being forcibly inserted into a NES” on several occasions. I voluntarily bought both Dead or Alive Xtreme games and played them a lot, and not just for the bazongas involved, I enjoyed the dumbass illogical “dating sim” mechanics that were in there too. I follow Katy Perry on Twitter and find her music cheerfully uplifting. And I own two Spice Girls CDs.

Tastes change over time, of course, but who’s to say that I’m “wrong” for liking any of those things just because the popular opinion is to hate them and deride those who enjoy them? I’m just as guilty as anyone else, of course; I find myself hating shows such as The X-Factor, Strictly Come Dancing and the like irrationally and automatically. I loathe Call of Duty. I would rather gouge my own eyes out than watch anything involving Piers Morgan (I think we can all agree on that one, surely).

The world would undoubtedly be a nicer place where everyone could feel more confident in themselves if our personal preferences stopped being scrutinised so much, and assumptions made based on those preferences. Take the recent announcement of Final Fantasy XIII-2, for example, a sequel to one of the most controversial Final Fantasy games there has ever been. Not because of the content, but because of the gameplay, which wasn’t to everyone’s liking. There are people out there who assume that because Final Fantasy XIII wasn’t to their taste, XIII-2 is going to be shit as well. Justifications range from “Square have lost their way” (well, perhaps, but can’t they pick it up again?) to “it’s the same team, of course it’s going to be rubbish” (because everyone is always universally good or universally bad?) and it’s nonsense. Nonsense I tell you!

Basically, do your blood pressure a bit of good and start concentrating on the things you like a bit more. Tell people how much you like them, by all means. But let’s all make a pact to stop making people feel bad about things that you, personally, “hate”.

Unless it’s terrorism, AIDS or Piers Morgan. You can hate those as much as you like.

#oneaday, Day 210: Literacy

Well, tonight was the night we recorded the first episode of the all-new Squadron of Shame SquadCast. And we think you’re going to like it a lot.

There’s going to be a lot more community involvement in the whole thing, too. This is led by the Squawkbox, a communal blog where anyone with a WordPress account can contribute and join the discussion. But there’s nothing to stop people blogging about the things we talk about, either. In fact, it’d be awesome to see some lengthy written thoughts about the things we discuss.

So I thought I’d kick that off with some material related to a discussion we had on the show. Not to spoil anything, but it’s an interesting topic.

The question is that of being “literate” in a medium versus that of being “well-read”. On the podcast, we particularly focused on gaming, as you might expect. You’ll find the conclusions we came to on the podcast itself. See, I like to tease.

But it’s true for any medium, and not just books, either. My old friend Ed “Roth Dog” Padgett (follow him on Twitter just to stop him moaning, too, if you would) is most certainly well-read in the medium of movies, for example. He knows what makes a “good” or a “bad” movie. He knows about different directors, actors, genres, stylistic approaches, all manner of things I could never even begin to understand right now because I am merely literate in the medium of movies. I know what makes a decent structure of a movie, and I know what I enjoy. But I don’t watch movies that often, and as such there may be some things that I don’t appreciate in the same way that others do.

Take my recent reaction to the movie Predators. I thought Predators was a festering pile of horseshit, yet many people whom I’ve spoken to about it since claimed to rather enjoy it. Does this mean that I’m “wrong”? No; it simply means that my reaction is different to other people. In the case of a lot of those people, misty-eyed nostalgia over the original Predator films probably played a part. And in some cases, they quite possibly genuinely liked the generic, sprawling mess that was that movie. I have only ever seen Predator once and I’m not even convinced I’ve ever seen Predator 2. I think I have. But I can’t remember.

I’ll freely admit that I’m not particularly well-read when it comes to movies. I’ve never seen Citizen Kane, Clockwork Orange or Rocky Horror Picture Show. I haven’t seen the vast majority of Arnie’s output. I can name about three directors off the top of my head. I struggle to name a “favourite movie”. But I can at least appreciate a decent movie when I see one.

With books, it’s the most literal kind of, well, literacy. You can read. Or you can be well-read. If you can read, there may be stuff you enjoy. Perhaps you enjoy Mills and Boon romance novels, but only for the naughty bits. Perhaps you like the cheesiest kind of epic fantasy there is. Perhaps you like a diverse range of stuff.

In every medium, everyone has the opportunity to become “literate”, and to understand that medium on a level that is sufficient to make it accessible and enjoyable. But it takes a lot more work to become truly “well-read” and to understand what the “canonical” titles in that medium are. And in media as diverse as these, it’s entirely likely that everyone has their own opinions on what the “canon” might include.

So, anyone interested enough to comment, then: pick a medium that you feel particularly “well-read” in, and give us some examples of what you think might be “essentials”—the “canon” for that medium. I’m intrigued to hear some responses.