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Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now.

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INTRODUCTION

Published in 2017, Carol Dyhouse’s Heartthrobs: A History of Women and Desire examines how certain cultural trends can influence what women may find attractive or stimulating in a male character. By using popular archetypes such as the Prince Charming, the bad boy, and the tall dark handsome stranger, Dyhouse seeks to explain why these particular men appeal to the largest demographic beyond mere superfluous infatuation. In one chapter titled “Dark Princes, Foreign Powers: Desert Lovers, Outsiders, and Vampires”, she touches upon the fascination most audiences have with moody and darkly seductive vampires. Dyhouse exposits that the reason for this fascination is the inherent dangerous allure of taming someone—or something—so dominating and masculine, perhaps even evil, yet hides their supposed sensitivity behind a Byronic demeanour.

This is simply one example of how the general depiction of vampires in mainstream media has evolved over time. Because the concept itself is as old as the folklore and superstitions it originates from, thus varying from culture to culture, there is no right or wrong way to represent a vampire, desirable or not. The Caribbean Soucouyant is described as a beautiful woman who sheds her skin at night and enters her victims’ bedrooms disguised as an aura of light before consuming their blood. In Ancient Roman mythology there are tales of the Strix, an owl-like creature that comes out at night to drink human blood until it can take no more. Even the Chupacabra, a popular cryptid supposedly first spotted in Puerto Rico, has been referred to as being vampiric because of the way it sucks blood out of goats, leaving behind a dried up corpse.

However, it is a rare thing to find any of these vampires in popular media. Instead, most modern audiences are shown Dyhouse’s vampire: the brooding, masculine alpha male in both appearance and personality. A viewer may wish to be with that character, or they might wish to become just like that character.

This sort of shift in regards to creating the “ideal” vampire is most evident in how the image of Dracula has been adapted, interpreted, and revamped in order to keep up with changing trends. In Bram Stoker’s original 1897 novel of the same name, Dracula is presented as the ultimate evil; an ancient, almost grotesque devil that ensnares the most unsuspecting victims and slowly corrupts their innocence until they are either subservient to him (Renfield, the three brides) or lost to their own bloodlust (Lucy Westenra). In the end, he can only be defeated through the joined actions of a steadfast if not ragtag group of self-proclaimed vampire hunters that includes a professor, a nobleman, a doctor, and a cowboy. His monstrousness in following adaptations remains, but it is often undercut by attempts to give his character far more pathos than the original source material presents him with. Dracula has become everything: a monster, a lover, a warrior, a lonely soul searching for companionship, a conquerer, a comedian, and of course, the final boss of a thirty-year-old video game franchise.

Which brings us to the topic of this essay; not Dracula per say, but his son. Even if someone has never played a single instalment of Castlevania or watched the ongoing animated Netflix series, it is still most likely that they have heard of or seen the character of Alucard through cultural osmosis thanks to social media sites such as Twitter, Instagram, Reddit, and the like. Over the thirty-plus years in which Castlevania has remained within the public’s consciousness, Alucard has become one of the most popular characters of the franchise, if not the most popular. Since his debut as a leading man in the hit game Castlevania: Symphony of the Night, he has taken his place beside other protagonists like Simon Belmont, a character who was arguably the face of Castlevania before 1997, the year in which Symphony of the Night was released. Alucard is an iconic component of the series and thanks in part to the mainstream online streaming service Netflix, he is now more present in the public eye than ever before whether through official marketing strategies or fanworks.

It is easy to see why. Alucard’s backstory and current struggles are quite similar to the defining characteristics of the Byronic hero. Being the son of the human doctor Lisa Țepeș, a symbol of goodness and martyrdom in all adaptations, and the lord of all vampires Dracula, Alucard (also referred to by his birth name Adrian Fahrenheit Țepeș) feels constantly torn between the two halves of himself. He maintains his moralistic values towards protecting humanity, despite being forced to make hard decisions, and despite parts of humanity not being kind to him in turn, yet is always tempted by his more monstrous inheritance. The idea of a hero who carries a dark burden while aspiring towards nobility is something that appeals to many audiences. We relate to their struggles, cheer for them when they triumph, and share their pain when they fail. Alucard (as most casual viewers see him) is the very personification of the Carol Dyhouse vampire: mysterious, melancholic, dominating, yet sensitive and striving for compassion. Perceived as a supposed “bad boy” on the surface by people who take him at face value, yet in reality is anything but.

Then there is Alucard’s appearance, an element that is intrinsically tied to how he has been portrayed over the decades and the focus of this essay. Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now. Parts will include theoretical, analytical, and hypothetical stances, but it’s overall purpose is to be merely observational.

What is Castlevania?

We start this examination at the most obvious place, with the most obvious question. Like all franchises, Castlevania has had its peaks, low points, and dry spells. Developed by Konami and directed by Hitoshi Akamatsu, the first instalment was released in 1986 then distributed in North America for the Nintendo Entertainment System the following year. Its pixelated gameplay consists of jumping from platform to platform and fighting enemies across eighteen stages all to reach the final boss, Dracula himself. Much like the gameplay, the story of Castlevania is simple. You play as Simon Belmont; a legendary vampire hunter and the only one who can defeat Dracula. His arsenal includes holy water, axes, and throwing daggers among many others, but his most important weapon is a consecrated whip known as the vampire killer, another iconic staple of the Castlevania image.

Due to positive reception from critics and the public alike, Castlevania joined other titles including Super Mario Bros., The Legend of Zelda, and Mega Man as one of the most defining video games of the 1980s. As for the series itself, Castlevania started the first era known by many fans and aficionados as the “Classicvania” phase, which continued until the late 1990s. It was then followed by the “Metroidvania” era, the “3-D Vania” era during the early to mid 2000s, an reboot phase during the early 2010s, and finally a renaissance or “revival” age where a sudden boom in new or re-released Castlevania content helped boost interest and popularity in the franchise. Each of these eras detail how the games changed in terms of gameplay, design, and storytelling. The following timeline gives a general overview of the different phases along with their corresponding dates and instalments.

Classicvania refers to Castlevania games that maintain the original’s simplicity in gameplay, basic storytelling, and pixelated design. In other words, working within the console limitations of the time. They are usually side-scrolling platformers with an emphasis on finding hidden objects and defeating a variety of smaller enemies until the player faces off against the penultimate boss. Following games like Castlevania 2: Simon’s Quest and Castlevania 3: Dracula’s Curse were more ambitious than their predecessor as they both introduced new story elements that offered multiple endings and branching pathways. In Dracula’s Curse, there are four playable characters each with their own unique gameplay. However, the most basic plot of the first game is present within both of these titles . Namely, find Dracula and kill Dracula. Like with The Legend of Zelda’s Link facing off against Ganon or Mario fighting Bowser, the quest to destroy Dracula is the most fundamental aspect to Castlevania. Nearly every game had to end with his defeat. In terms of gameplay, it was all about the journey to Dracula’s castle.

As video games grew more and more complex leading into the 1990s, Castlevania’s tried and true formula began to mature as well. The series took a drastic turn with the 1997 release of Castlevania: Symphony of the Night, a game which started the Metroidvania phase. This not only refers to the stylistic and gameplay changes of the franchise itself, but also refers to an entire subgenre of video games. Combining key components from Castlevania and Nintendo’s popular science fiction action series Metroid, Metroidvania games emphasize non-linear exploration and more traditional RPG elements including a massive array of collectable weapons, power-ups, character statistics, and armor. Symphony of the Night pioneered this trend while later titles like Castlevania: Circle of the Moon, Castlevania: Harmony of Dissonance and Castlevania: Aria of Sorrow solidified it. Nowadays, Metroidvanias are common amongst independent developers while garnering critical praise. Hollow Knight, Blasphemous, and Bloodstained: Ritual of the Night are just a few examples of modern Metroidvanias that use the formula to create familiar yet still distinct gaming experiences.

Then came the early to mid 2000s and many video games were perfecting the use of 3-D modelling, free control over the camera, and detailed environments. Similar to what other long-running video game franchises were doing at the time, Castlevania began experimenting with 3-D in 1999 with Castlevania 64 and Castlevania: Legacy of Darkness, both developed for the Nintendo 64 console. 64 received moderately positive reviews while the reception for its companion was far more mixed, though with Nintendo 64’s discontinuation in 2002, both games have unfortunately fallen into obscurity.

A year later, Castlevania returned to 3-D with Castlevania: Lament of Innocence for the Playstation 2. This marked Koji Igarashi’s first foray into 3-D as well as the series’ first ever M-rated instalment. While not the most sophisticated or complex 3-D Vania (or one that manages to hold up over time in terms of graphics), Lament of Innocence was a considerable improvement over 64 and Legacy of Darkness. Other 3-D Vania titles include Castlevania: Curse of Darkness, Castlevania: Judgment, and Castlevania: The Dracula X Chronicles for the PSP, a remake of the Classicvania game Castlevania: Rondo of Blood which merged 3-D models, environments, and traditional platforming mechanics emblematic of early Castlevania. It is important to note that during this particular era, there were outliers to the changing formula that included Castlevania: Portrait of Ruin and Castlevania: Order of Ecclesia, both games which added to the Metroidvania genre.

Despite many of the aforementioned games becoming cult classics and fan favourites, this was an era in which Castlevania struggled to maintain its relevance, confused by its own identity according to most critics. Attempts to try something original usually fell flat or failed to resonate with audiences and certain callbacks to what worked in the past were met with indifference.

By the 2010s, the Castlevania brand changed yet again and stirred even more division amongst critics, fans, and casual players. This was not necessarily a dark age for the franchise but it was a strange age; the black sheep of Castlevania. In 2010, Konami released Castlevania: Lords of Shadow, a complete reboot of the series with new gameplay, new characters, and new lore unrelated to previous instalments. The few elements tying it to classic Castlevania games were recurring enemies, platforming, and the return of the iconic whip used as both a weapon and another means of getting from one area to another. Other gameplay features included puzzle-solving, exploration, and hack-and-slash combat. But what makes Lords of Shadow so divisive amongst fans is its story. The player follows Gabriel Belmont, a holy warrior on a quest to save his deceased wife’s soul from Limbo. From that basic plot point, the storyline diverges immensely from previous Castlevania titles, becoming more and more complicated until Gabriel makes the ultimate sacrifice and turns into the very monster that haunted other Belmont heroes for centuries: Dracula. While a dark plot twist and a far cry from the hopeful endings of past games, the concept of a more tortured and reluctant Dracula who was once the hero had already been introduced in older Dracula adaptations (the Francis Ford Coppola directed Dracula being a major example of this trend in media).

Despite strong opinions on how much the story of Lords of Shadow diverged from the original timeline, it was positively received by critics, garnering an overall score of 85 on Metacritic. This prompted Konami to continue with the release of Castlevania: Lords of Shadow—Mirror of Fate and Castlevania: Lords of Shadow 2. Mirror of Fate returned to the series’ platforming and side-scrolling roots with stylized 3-D models and cutscenes. It received mixed reviews, as did its successor Lords of Shadow 2. While Mirror of Fate felt more like a classic stand-alone Castlevania with Dracula back as its main antagonist, the return of Simon Belmont, and the inclusion of Alucard, Lords of Shadow 2 carried over plot elements from its two predecessors along with new additions, turning an already complicated story into something more contrived.

Finally, there came a much needed revival phase for the franchise. Netflix’s adaptation of Castlevania animated by Powerhouse Animation Studios based in Austen, Texas and directed by Samuel Deats and co-directed by Adam Deats aired its first season during July 2017 with four episodes. Season two aired in October 2018 with eight episodes followed by a ten episode third season in March 2020. Season four was announced by Netflix three weeks after the release of season three. The show combines traditional western 2-D animation with elements from Japanese anime and is a loose adaptation of Castlevania 3: Dracula’s Curse combined with plot details from Castlevania: Curse of Darkness, Castlevania: Symphony of the Night, and original story concepts. But the influx of new Castlevania content did not stop with the show. Before the release of season two, Nintendo announced that classic protagonists Simon Belmont and Richter Belmont would join the ever-growing roster of playable characters in their hit fighting game Super Smash Bros. Ultimate. With their addition also came the inclusion of iconic Castlevania environments, music, weapons, and supporting characters like Dracula and Alucard.

During the year-long gap between seasons two and three of the Netflix show, Konami released Castlevania: Grimoire of Souls, a side-scrolling platformer and gacha game for mobile devices. The appeal of Grimoire of Souls is the combination of popular Castlevania characters each from a different game in the series interacting with one another along with a near endless supply of collectable weapons, outfits, power-ups, and armor accompanied by new art. Another ongoing endeavor by Konami in partnership with Sony to bring collective awareness back to one of their flagship titles is the re-releasing of past Castlevania games. This began with Castlevania: Requiem, in which buyers received both Symphony of the Night and Rondo of Blood for the Playstation 4 in 2018. This was followed the next year with the Castlevania Anniversary Collection, a bundle that included a number of Classicvania titles for the Playstation 4, Xbox One, Steam, and Nintendo Switch.

Like Dracula, the Belmonts, and the vampire killer, one other element tying these five eras together is the presence of Alucard and his various forms in each one.

Masculinity in 1980s Media

When it comes to media and various forms of the liberal arts be it entertainment, fashion, music, etc., we are currently in the middle of a phenomenon known as the thirty year cycle. Patrick Metzgar of The Patterning describes this trend as a pop cultural pattern that is, in his words, “forever obsessed with a nostalgia pendulum that regularly resurfaces things from 30 years ago”. Nowadays, media seems to be fixated with a romanticized view of the 1980s from bold and flashy fashion trends, to current music that relies on the use of synthesizers, to of course visual mass media that capitalizes on pop culture icons of the 80s. This can refer to remakes, reboots, and sequels; the first cinematic chapter of Stephen King’s IT, The Dark Crystal: Age of Resistance, and both Ghostbusters remakes are prime examples—but the thirty year cycle can also include original media that is heavily influenced or oversaturated with nostalgia. Netflix’s blockbuster series Stranger Things is this pattern’s biggest and most overt product.

To further explain how the thirty year cycle works with another example, Star Wars began as a nostalgia trip and emulation of vintage science fiction serials from the 1950s and 60s, the most prominent influence being Flash Gordon. This comparison is partially due to George Lucas’ original attempts to license the Flash Gordon brand before using it as prime inspiration for Star Wars: A New Hope and subsequent sequels. After Lucas sold his production company Lucasfilms to Disney, three more Star Wars films were released, borrowing many aesthetic and story elements from Lucas’ original trilogy while becoming emulations of nostalgia themselves.

The current influx of Castlevania content could be emblematic of this very same pattern in visual media, being an 80s property itself, but what do we actually remember from the 1980s? Thanks to the thirty year cycle, the general public definitely acknowledges and enjoys all the fun things about the decade. Movie theatres were dominated by the teen flicks of John Hughes, the fantasy genre found a comeback due to the resurgence of J.R.R. Tolkien’s classic works along with the tabletop role-playing game Dungeons & Dragons, and people were dancing their worries away to the songs of Michael Jackson, Whitney Houston, and Madonna. Then there were the things that most properties taking part in the thirty year cycle choose to ignore or gloss over, with some exceptions. The rise of child disappearances, prompting the term “stranger danger”, the continuation of satanic panic from the 70s which caused the shutdown and incarceration of hundreds of innocent caretakers, and the deaths of thousands due to President Reagan’s homophobia, conservatism, and inability to act upon the AIDS crisis.

The 1980s also saw a shift in masculinity and how it was represented towards the public whether through advertising, television, cinema, or music. In M.D. Kibby’s essay Real Men: Representations of Masculinity in 80s Cinema, he reveals that “television columns in the popular press argued that viewers were tired of liberated heroes and longed for the return of the macho leading man” (Kibby, 21). Yet there seemed to be a certain “splitness” to the masculine traits found within fictional characters and public personas; something that tried to deconstruct hyper-masculinity while also reviling in it, particularly when it came to white, cisgendered men. Wendy Somerson further describes this dichotomy: “The white male subject is split. On one hand, he takes up the feminized personality of the victim, but on the other hand, he enacts fantasies of hypermasculinized heroism” (Somerson, 143). Somerson explains how the media played up this juxtaposition of “soft masculinity”, where men are portrayed as victimized, helpless, and childlike. In other words, “soft men who represent a reaction against the traditional sexist ‘Fifties man’ and lack a strong male role model” (Somerson, 143). A sort of self-flagellation or masochism in response to the toxic and patriarchal gender roles of three decades previous. Yet this softening of male representation was automatically seen as traditionally “feminine” and femininity almost always equated to childlike weakness. Then in western media, there came the advent of male madness and the fetishization of violent men. Films like Scarface, Die Hard, and any of Arnold Schwarzenegger’s filmography helped to solidify the wide appeal of these hyper-masculine and “men out of control” tropes which were preceded by Martin Scorcese’s critical and cult favourite Taxi Driver.

There were exceptions to this rule; or at the very least attempted exceptions that only managed to do more harm to the concept of a feminized man while also doubling down on the standard tropes of the decade. One shallow example of this balancing act between femininity and masculinity in 80s western media was the hit crime show Miami Vice and Sonny, a character who is entirely defined by his image. In Kibby’s words, “he is a beautiful consumer image, a position usually reserved for women; and he is in continual conflict with work, that which fundamentally defines him as a man” (Kibby, 21). Therein lies the problematic elements of this characterization. Sonny’s hyper-masculine traits of violence and emotionlessness serve as a reaffirmation of his manufactured maleness towards the audience.

Returning to the subject of Schwarzenegger, his influence on 80s media that continued well into the 90s ties directly to how fantasy evolved during this decade while also drawing upon inspirations from earlier trends. The most notable example is his portrayal of Robert E. Howard’s Conan the Barbarian in the 1982 film directed by John Milius. Already a classic character from 1930s serials and later comic strips, the movie (while polarizing amongst critics who described it as a “psychopathic Star Wars, stupid and stupefying”) brought the iconic image of a muscle-bound warrior wielding a sword as half-naked women fawn at his feet back into the collective consciousness of many fantasy fans. The character and world of Conan romanticizes the use of violence, strength, and pure might in order to achieve victory. This aesthetic of hyper-masculinity, violence, and sexuality in fantasy art was arguably perfected by the works of Frank Frazetta, a frequent artist for Conan properties. The early Castlevania games drew inspiration from this exact aesthetic for its leading hero Simon Belmont and directly appropriated one of Frazetta’s pieces for the cover of the first game.

Hammer Horror & Gender

Conan the Barbarian, Frank Frazetta, and similar fantasy icons were just a few influences on the overall feel of 80s Castlevania. Its other major influence harks back to a much earlier and far more gothic trend in media. Castlevania director Hitoshi Akamatsu stated that while the first game was in development, they were inspired by earlier cinematic horror trends and “wanted players to feel like they were in a classic horror movie”. This specific influence forms the very backbone of the Castlevania image. Namely: gothic castles, an atmosphere of constant uncanny dread, and a range of colourful enemies from Frankenstein’s Monster, the Mummy, to of course Dracula. The massive popularity and recognizability of these three characters can be credited to the classic Universal Pictures’ monster movies of the 1930s, but there was another film studio that put its own spin on Dracula and served as another source of inspiration for future Castlevania properties.

The London-based film company Hammer Film Productions was established in 1934 then quickly filed bankruptcy a mere three years later after their films failed to earn back their budget through ticket sales. What saved them was the horror genre itself as their first official title under the ‘Hammer Horror’ brand The Curse of Frankenstein starring Hammer regular Peter Cushing was released in 1957 to enormous profit in both Britain and overseas. With one successful adaptation of a horror legend under their belt, Hammer’s next venture seemed obvious. Dracula (also known by its retitle Horror of Dracula) followed hot off the heels of Frankenstein and once again starred Peter Cushing as Professor Abraham Van Helsing, a much younger and more dashing version of his literary counterpart. Helsing faces off against the titular fanged villain, played by Christopher Lee, whose portrayal of Dracula became the face of Hammer Horror for decades to come.

Horror of Dracula spawned eight sequels spanning across the 60s and 70s, each dealing with the resurrection or convoluted return of the Prince of Darkness (sound familiar?) Yet these were not the same gothic films pioneered by Universal Studios with fog machines, high melodrama, and disturbingly quiet atmosphere. Christopher Lee’s Dracula and Bela Lugosi’s Dracula are two entirely separate beasts. While nearly identical in design (slicked back hair, long flowing black cape, and a dignified, regal demeanor), Lugosi is subtle, using only his piercing stare as a means of intimidation and power—in the 1930s, smaller details meant bigger scares. For Hammer Horror, when it comes time to show Dracula’s true nature, Lee bares his blood-covered fangs and acts like an animal coveting their prey. Hammer’s overall approach to horror involved bigger production sets, low-cut nightgowns, and bright red blood that contrasted against the muted, desaturated look of each film. And much like the media of 1980, when it came to their characters, the Dracula films fell back on what was expected by society to be ‘masculine’ and ‘feminine’ while also making slight commentary on those very preconceived traits.

The main theme surrounding each male cast in these films is endangered male authority. Dracula and Van Helsing are without a doubt the most powerful, domineering characters in the story, particularly Helsing. As author Peter Hutchings describes in his book Hammer & Beyond: The British Horror Film, “the figure of the (male) vampire hunter is always one of authority, certainty, and stability (...) he is the only one with enough logical sense to know how to defeat the ultimate evil, thus saving the female characters and weaker male characters from being further victimized” (Hutchings, 124). The key definition here is ‘weaker male characters’. Hammer’s Dracula explores the absolute power of male authority in, yet it also reveals how easily this authority can be weakened. This is shown through the characters of Jonathan Harker and Arthur Holmwood, who differ slightly from how they are portrayed in Stoker’s novel. While Dracula does weaken them both, they manage to join Helsing and defeat the monster through cooperation and teamwork. In fact, it is Harker who lands one of the final killing strikes against Dracula. However, the Jonathan Harker of Hammer’s Dracula is transformed into a vampire against his will and disposed of before the finale. His death, in the words of Hutchings, “underlines the way in which throughout the film masculinity is seen (...) as arrested, in a permanently weakened state” (Hutchings, 117).

This theme of weakened authority extends to Holmwood in a more obvious and unsettling manner. In another deviation from the source material, Lucy Westenra, best friend to Mina Murray and fiancé to Arthur Holmwood, is now Holmwood’s sister and Harker’s fiancé. Lucy’s story still plays out more or less the same way it did in the novel; Dracula routinely drains her of blood until she becomes a vampire, asserting his dominance both physically and mentally. This according to Hutchings is the entirety of Dracula’s plan; a project “to restore male authority over women by taking the latter away from the weak men, establishing himself as the immortal, sole patriarch” (Hutchings, 119). Meanwhile, it is Helsing’s mission to protect men like Arthur Holmwood, yet seems only concerned with establishing his own dominance and does nothing to reestablish Holmwood’s masculinity or authority. Due to the damage done by Dracula and the failings of Helsing, Holmwood never regains this authority, even towards the end when he is forced to murder his own sister. His reaction goes as follows: “as she is staked he clutches his chest, his identification with her at this moment, when she is restored to a passivity which is conventionally feminine, suggesting a femininity within him which the film equates with weakness” (Hutchings, 117).

So Van Helsing succeeds in his mission to defeat his ultimate rival, but Dracula is victorious in his own right. With Jonathan Harker gone, Lucy Holmwood dead, and Arthur Holmwood further emasculated, he succeeds in breaking down previous male power structures while putting himself in their place as the all-powerful, all-dominant male presence. This is the very formula in which early Hammer Dracula films were built upon; “with vampire and vampire hunter mutually defining an endangered male authority, and the woman functioning in part as the site of their struggle (...) forged within and responded to British social reality of the middle and late 1950s” (Hutchings, 123).

Alucard c. 1989

As for Castlevania’s Dracula, his earliest design takes more from Christopher Lee’s portrayal than from Bela Lugosi or Bram Stoker’s original vision. His appearance on the first ever box art bears a striking resemblance to one of the most famous stills from Horror of Dracula. Even in pixelated form, Dracula’s imposing model is more characteristic of Christopher Lee than Bela Lugosi.

Being his son, it would make logical sense for the first appearance of Alucard in Castlevania 3: Dracula’s Curse to resemble his father. His 1989 design carries over everything from the slick dark hair, sharp claws, and shapeless long cloak but adds a certain juvenile element—or rather, a more human element. This makes sense in the context of the game’s plot. Despite being the third title, Dracula’s Curse acts as the starting point to the Castlevania timeline (before it was replaced by Castlevania: Legends in 1997, which was then retconned and also replaced by Castlevania: Lament of Innocence in 2003 as the definitive prequel of the series). Set nearly two centuries before Simon Belmont’s time, Dracula’s Curse follows Simon’s ancestor Trevor Belmont as he is called to action by the church to defeat Dracula once he begins a reign of terror across Wallachia, now known as modern day Romania. It is a reluctant decision by the church, since the Belmont family has been exiled due to fear and superstition surrounding their supposed inhuman powers.

This is one example of how despite the current technological limitations, later Castlevania games were able to add more in-depth story elements little by little beyond “find Dracula, kill Dracula”. This began as early as Castlevania 2: Simon’s Quest by giving Simon a much stronger motivation in his mission and the inclusion of multiple endings. The improvements made throughout the Classicvania era were relatively small while further character and story complexities remained either limited or unexplored, but they were improvements nonetheless.

Another example of this slight progress in storytelling was Castlevania 3’s introduction of multiple playable characters each with a unique backstory of their own. The supporting cast includes Sypha Belnades, a powerful sorceress disguised as a humble monk who meets Trevor after he saves her from being frozen in stone by a cyclops, and Grant Danasty, a pirate who fell under Dracula’s influence before Trevor helped him break free from his curse. Then there is of course Adrian Fahrenheit Țepeș who changed his name to Alucard, the opposite of Dracula, as a symbol of rebellion against his tyrannical father. Yet Castlevania was not the first to conceptualize the very character of Alucard; someone who is the son of Dracula and whose name is quite literally the backwards spelling of his fathers’. That idea started with Universal’s 1943 venture Son of Dracula, a sequel to the 1931 classic that unfortunately failed to match the original’s effective atmosphere, scares, and story. In it, Alucard is undoubtedly the villain whereas in Dracula’s Curse, he is one of the heroes. Moral and noble, able to sway Trevor Belmont’s preconceptions of vampiric creatures, and with an odd sympathy for the monster that is his father. Alucard even goes as far as to force himself into an eternal slumber after the defeat of Dracula in order to “purge the world of his own cursed bloodline” (the reason given by Castlevania: Symphony of the Night’s opening narration).

When it comes to design, Castlevania’s Alucard does the curious job of fitting in with the franchises’ established aesthetic yet at the same time, he manages to stand out the most—in fact, all the main characters do. Everyone from Trevor, Sypha, to Grant all look as though they belong in different stories from different genres. Grant’s design is more typical of the classic pirate image one would find in old illustrated editions of Robinson Crusoe’s Treasure Island or in a classic swashbuckler like 1935’s Captain Blood starring Errol Flynn. Sypha might look more at home in a Dungeons & Dragons campaign or an early Legend of Zelda title with a large hood obscuring her facial features, oversized blue robes, and a magical staff all of which are commonplace for a fantasy mage of the 1980s. Trevor’s design is nearly identical to Simon’s right down to the whip, long hair, and barbarian-esque attire which, as mentioned previously, was taken directly from Conan the Barbarian.

Judging Alucard solely from official character art ranging from posters to other promotional materials, he seems to be the only one who belongs in the gothic horror atmosphere of Dracula’s Curse. As the physically largest and most supernaturally natured of the main cast, he is in almost every way a copy of his father—a young Christopher Lee’s Dracula complete with fangs and cape. Yet his path as a hero within the game’s narrative along with smaller, near missable details in his design (his ingame magenta cape, the styling of his hair in certain official art, and the loose-fitting cravat around his neck) further separates him from the absolute evil and domination that is Dracula. Alucard is a rebel and an outsider, just like Trevor, Sypha, and Grant. In a way, they mirror the same vampire killing troupe from Bram Stoker’s novel; a group of people all from different facets of life who come together to defeat a common foe.

The son of Dracula also shares similar traits with Hammer’s Van Helsing. Same as the Belmonts (who as vampire hunters are exactly like Helsing in everything except name), Alucard is portrayed as one of the few remaining beacons of masculinity with enough strength, skill, and logical sense who can defeat Dracula, another symbol of patriarchal power. With Castlevania 3: Dracula’s Curse, we begin to see Alucard’s dual nature in aesthetics that is automatically tied to his characterization; a balance that many Byronic heroes try to strike between masculine domination and moralistic sensitivity and goodness that is often misconstrued as weakly feminine. For now though, especially in appearance, Alucard’s persona takes more from the trends that influenced his allies (namely Trevor and Simon Belmont) and his enemy (Dracula). This of course would change drastically alongside the Castlevania franchise itself come the 1990s.

Gender Expression & The 1990s Goth Scene

When a person sees or hears the word “gothic”, it conjures up a very specific mental image—dark and stormy nights spent inside an extravagant castle that is host to either a dashing vampire with a thirst for blood, vengeful ghosts of the past come to haunt some unfortunate living soul, or a mad scientist determined to cheat death and bring life to a corpse sewn from various body parts. In other words, a scenario that would be the focus of some Halloween television special or a daring novel from the mid to late Victorian era. Gothicism has had its place in artistic and cultural circles long before the likes of Mary Shelley, Edgar Allan Poe, Bram Stoker, and even before Horace Walpole’s The Castle of Otranto, a late 18th century novel that arguably started the gothic horror subgenre.

The term itself originated in 17th century Sweden as a descriptor of the national romanticism concerning the North Germanic Goths, a tribe which occupied much of Medieval Götaland. It was a period of historical revisionism in which the Goths and other Viking tribes were depicted as heroic and heavily romanticised. Yet more than ever before, gothicism is now associated with a highly specific (and in many ways personal) form of artistic and gender expression. It started with the golden age of gothic Medieval architecture that had its revival multiple centuries later during the Victorian era, then morphed into one of the darkest if not melodramatic literary movements, and finally grew a new identity throughout the 1990s. For this portion, we will focus on the gothic aesthetic as it pertains to fashion and music.

Arguably, the advent of the modern goth subculture as it is known nowadays began with the 1979 song “Bela Lugosi’s Dead” from Northampton’s own rock troupe Bauhaus. The overall aesthetic of the song, accompanying live performances, and the band itself helped shaped the main themes of current gothicism including, but not limited to, “macabre funeral musical tone and tempo, to lyrical references to the undead, to deep voiced eerie vocals, to a dark twisted form of androgyny in the appearance of the band and most of its following” (Hodkinson, 35-64). This emphasis on physical androgyny in a genre that was predominantly focused on depictions of undeniable masculinity was especially important to the 80s and 90s goth scene. Bauhaus opened the gates in which other goth and post-punk bands gained popularity outside of underground venues, including The Cure, Siouxsie and the Banshees, and Southern Death Cult. Much like Bauhaus’ “twisted form of androgyny”, these other bands pioneered a romantic yet darkly feminine aesthetic which was then embraced by their fans. It wasn’t until the producer of Joy Division Tony Wilson along with members from Southern Death Cult and U.K. Decay mentioned the word “goth” in passing that this growing musical and aesthetic subculture finally had a name for itself.

The goth movement of the 1990s became an interesting mesh of nonconformity and individual expression while also emphasising the need for a mutual connection through shared interests and similar aesthetics. Unique social outsiders looking for a sense of community and belonging—not unlike Stoker’s vampire hunting troupe or the main cast of Castlevania 3: Dracula’s Curse. Paul Hodkinson author of Goth: Identity, Style and Subculture describes the ways in which goths were able to expand their social networking while making the subculture their own. In order to gain further respect and recognition within the community, “they usually sought to select their own individual concoction from the range of acceptable artefacts and themes and also to make subtle additions and adaptations from beyond the established stylistic boundaries” (Hodkinson, 35-64). This was one of the ways in which the goth subculture was able to grow and evolve while maintaining some typical aesthetics. Those aesthetics that had already become gothic staples as far back as classic Victorian horror included crucifixes, bats, and vampires; all of which were presented by young modern goths, as Hodkinson puts it, “sometimes in a tongue-in-cheek self-conscious manner, sometimes not” (Hodkinson, 35-64).

The vampire, as it appeared in visual mass media of the time, was also instrumental to the 90s gothic scene, reinforcing certain physical identifiers such as long dark hair, pale make-up, and sometimes blackened sunglasses. This was especially popular amongst male goths who embodied traditional gothic traits like dark femininity and androgyny, which had already been long established within the subculture.

As always, television and film did more to reinforce these subcultural trends as recognizable stereotypes, usually in a negative manner, than it did to help people embrace them. In media aimed towards a primarily teenage and young adult demographic, if a character did not possess the traditional traits of a hyper-masculine man, they instead fit into two different molds; either the neurotic geek or the melodramatic, moody goth. However, there were forms of media during the 90s that did manage to embrace and even relish with no sense of irony in the gothic aesthetic.

Two films which helped to build upon the enthusiasm for the vampire were Francis Ford Coppola’s lavish adaptation of Stoker’s novel titled Bram Stoker’s Dracula starring Gary Oldman in the titular role of Dracula and another adaptation of a more recent gothic favourite among goths, Anne Rice’s Interview with the Vampire with Brad Pitt and Tom Cruise. The majority of the male goth scene especially emulated Oldman’s portrayal of Dracula when in the film he transforms into a much younger, more seductive version of himself in order to blend in with society, everything down to the shaded Victorian sunglasses and the long flowing hair; a vision of classic, sleek androgyny combined with an intimidating demeanor without being overly hyper-masculine.

Primarily taking place during the 18th and 19th century, Interview with the Vampire (the film and the original novel) also encouraged this very same trend, helping to establish European aristocratic elements into the gothic aesthetic; elements such as lace frills, finely tailored petticoats, corsets, and a general aura of delicacy.

Going back to Hodkinson’s findings, he states that “without actually rendering such categories insignificant, goth had from its very beginnings been characterized by the predominance, for both males and females, of particular kinds of style which would normally be associated with femininity” (Hodkinson, 35-64). However, it is important to acknowledge that the western goth subculture as described in this section, while a haven for various forms of gender expression, placed heavy emphasis on thin, white bodies. Over the years, diversity within the community has been promoted and encouraged, but rarely do we see it as the forefront face of gothicism.

The Japanese Goth Scene & Ayami Kojima

Modern gothicism was not limited to North America or Europe. In Japan, the subculture had evolved into its own form of self-expression through clothing and music that took inspiration from a variety of 18th and 19th century themes (mostly originating from European countries). Yet despite the numerous western influences, the eastern goth community during the 1990s and early 2000s embraced itself as something unique and wholly Japanese; in other words, different from what was happening within the North American movement at the same time. To refresh the memory, western goth culture focused primarily on the macabre that included completely black, moody wardrobes with an air of dark femininity. Japanese goth culture maintained those feminine traits, but included elements that were far more decadent, frivolous, and played further into the already established aristocratic motifs of gothicism. This created a new fashion subculture known as Gothic Lolita or Goth-Loli (no reference to the Vladimir Nabokov novel Lolita or the themes presented within the text itself).

In Style Deficit Disorder: Harajuku street fashion, a retrospective on the history of modern Japanese street fashion, the Goth-Loli image is described as “an amalgam of Phantom of the Opera, Alice in Wonderland, and Edgar Allan Poe” (Godoy; Hirakawa, 160). It was an aesthetic that took the western notion of “gothic” to higher levels with a heavier emphasis on opulence and an excessive decorative style—think Gothic meets Baroque meets Rococo. Teresa Younker, author of Lolita: Dreaming, Despairing, Defying, suggests that during the early years of the Gothic Lolita movement, it acted as a form of escapism for many young Japanese individuals searching for a way out of conformity. She states that “rather than dealing with the difficult reality of rapid commercialization, destabilization of society, a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons”. One pioneer that helped to bring the Goth-Loli image at the forefront of Japanese underground and street fashion the likes of Harajuku was the fashion magazine Gothic & Lolita Bible. Launched in 2001 by Index Communication and Mariko Suzuki, each issue acted as a sort of catalogue book for popular gothic and lolita trends that expanded to art, music, manga, and more.

According to Style Deficit Disorder, during this time when Gothic & Lolita Bible had helped bring the subculture into a larger collective awareness, the Goth-Loli image became “inspired by a yearning for something romantic overseas (...) and after taking on the “Harajuku Fashion,” ended up travelling overseas, while remaining a slightly strange fashion indigenous to Japan” (Godoy; Hirakawa, 137). Then came KERA Maniac, another magazine launched in 2003 that had “even darker clothing and international style points and references, such as features on the life and art of Lewis Carroll, Japanese ball-jointed dolls, or interviews with icons like Courtney Love” (Godoy; Hirakawa, 140). The fashion trends that both Gothic & Lolita Bible and KERA Maniac focused on also found popularity amongst visual kei bands which were usually all male performers who began sporting the very same ultra-feminine, ultra-aristocratic Goth-Loli brands that were always featured in these magazines.

Similar to traditional Kabuki theatre, “this visual-kei placed great importance on the gorgeous spectacle created onstage” (Godoy; Hirakawa, 135). One particular visual kei performer of the early 2000s that became Gothic & Lolita Bible’s biggest and most frequent collaborator was Mana. Best known for his musical and fashion career, Mana describes his onstage persona, merging aristocratic goth with elegant gothic lolita, as “either male or female but it is also neither male nor female. It is both devil and angel. The pursuit of a middle ground” (Godoy; Hirakawa, 159).

Opulence, decadence, and femininity with a dark undertone are all apt terms to describe the image of Japanese gothicism during the 90s and early aughts. They are also perfect descriptors of how artist Ayami Kojima changed the face of Castlevania from a franchise inspired by classic horror and fantasy to something more distinct. As a self-taught artist mainly working with acrylics, India ink, and finger smudging among other methods, 1997’s Castlevania: Symphony of the Night was Kojima’s first major title as the lead character designer. Over the years she worked on a number of separate video games including Samurai Warriors and Dynasty Warriors, along with other Castlevania titles. Before then, she made a name for herself as a freelance artist mainly working on novel covers and even collaborated with Vampire Hunter D creator Kikuchi Hideyuki for a prequel to his series. Kojima has been dubbed by fans as “the queen of Castlevania” due to her iconic contributions to the franchise.

Kojima’s influences cover a wide array of themes from the seemingly obvious (classic horror, shounen manga, and East Asian history) to disturbingly eclectic (surgery, body modification, and body horror). It is safe to assume that her resume for Castlevania involves some of her tamer works when compared to what else is featured in her 2010 artbook Santa Lilio Sangre. Yet even when her more personal art pieces rear into the grotesquely unsettling, they always maintain an air of softness and femininity. Kojima is never afraid to show how the surreal, the intense, or the horrifying can also be beautiful. Many of her pieces include details emblematic of gothicism; skulls, bloodied flowers, the abundance of religious motifs, and lavish backgrounds are all commonplace, especially in her Castlevania art. Her models themselves—most often androgynous men with sharp cheekbones, flowing hair, and piercing gazes—look as though they would fit right into a gothic visual kei band or the pages of Gothic & Lolita Bible.

Castlevania: Harmony of Despair was the final Castlevania game Kojima worked on, as well as her last game overall. It wasn’t until 2019 when she reappeared with new pieces including promotional artwork for former Castlevania co-worker Koji Igarashi’s Bloodstained: Ritual of the Night and a collaboration with Japanese musician Kamijo on his newest album. Her work has also appeared in the February 2020 issue of TezuComi, depicting a much lighter and softer side of her aesthetic. Ayami Kojima may have moved onto other projects, but the way in which she forever influenced the Castlevania image is still being drawn upon and emulated to this day.

Alucard c. 1997

There were actually three versions of Alucard during the 1990s, each of which were products of their time for different reasons. The first example is not only the most well known amongst fans and casual onlookers alike, but it is also the one design of Alucard that manages to stand the test of time. Ayami Kojima redesigned a number of classic Castlevania characters, giving them the gothic androgynous demeanour her art was known for. Most fans will say with some degree of jest that once Kojima joined Konami, Castlevania grew to look less like the masculine power fantasy it started as and more like a bishounen manga. No matter the differing opinions on the overall stylistic change of the series, Kojima’s reimagining of Alucard for Castlevania: Symphony of the Night is undoubtedly iconic. His backstory has more or less remained the same, carried over from Castlevania 3: Dracula’s Curse. After killing his father Dracula, Alucard, unable to fully process his actions or his bloodline, decides to force himself into a centuries long slumber in order to rid the world of his dark powers. Symphony of the Night begins with the Byronic dhampir prince waking up after nearly 300 years have passed once Dracula’s castle mysteriously reappears in close proximity to his resting place. The only difference this time is there seems to be no Belmont to take care of it, unlike previous years when Dracula is resurrected. Determined to finish what was started during the 15th century, the player takes Alucard on a journey throughout the castle, which has now become larger and more challenging than past incarnations.

Despite being somewhat of a direct sequel to Dracula’s Curse, Symphony’s Alucard is not the same dhampir as his 80s counterpart. Gone are any similarities to Bela Lugosi or Christopher Lee; now Alucard bears more of a resemblance to Anne Rice’s own literary muse Lestat de Lioncourt from her ongoing Vampire Chronicles. Instead of slicked back dark hair, thick golden locks (which were originally black to match his father) cascade down Alucard’s figure, swaying with his every pixelated movement. Heeled leather boots, a black coat with gold embellishments along with an abnormally large collar underneath a flowing cape, and a high-collared cravat replace the simplistic wardrobe of 80s Alucard—from a traditional, minimalist goth mirroring his father’s masculinity to an extravagant, aristocratic goth with his own intense, almost macabre femininity.

With the early Metroidvanias came the inclusion of detailed character portraits designed by Ayami Kojima which would appear alongside a dialogue box to further establish the illusion of the characters speaking to each other. Symphony of the Night was one of the first titles where players got to see Alucard’s ingame expression and it looked exactly as it did on every piece of promotional poster and artwork. The same piercing glare, furrowed brow, and unshakeable inhuman determination, the sort that is also reflected in his limited mannerisms and character—all of which are displayed upon an immaculate face that rarely if ever smiles. Just by looking at his facial design nearly hidden behind locks of hair that always seems meticulously styled, it is clear that Alucard cannot and will not diverge from his mission. The only moment in the game when his stoic facade breaks completely is when he faces off against the Succubus, who tempts Alucard to give into his vampiric nature by disguising herself as his deceased mother Lisa. Yet even then he sees through her charade and, depending on the player’s ability, quickly disposes of her.

Despite his delicate feminine features, emotional softness is not one of Alucard’s strongest suits in Symphony. Though for someone in his position, someone who must remain steadfast and succeed in his goal or else fail the rest of humanity, where little else matters, Alucard’s occasional coldness (a trait that would return in recent Castlevania instalments) makes sense. There is a scene near at the climax of the game where he exposits to the other main protagonists Richter Belmont and Maria Renard about how painful it felt to destroy his father a second time, but he reframes it as a lesson about the importance of standing up against evil rather than an admission of his own vulnerability. However, he does choose to stay in the world of mortal humans instead of returning to his coffin (depending on which ending the player achieves).

The second 90s version of Alucard is a curious case of emulation, drawing inspiration from both Kojima’s redesign and other Japanese art styles of the 1990s. Castlevania Legends was released for the Game Boy the exact same year as Symphony of the Night and acted as a prequel to Dracula’s Curse, following its protagonist Sonia Belmont as she traverses through Dracula’s castle alongside Alucard and becomes the first Belmont in history to defeat him. It was then retconned after the release of Castlevania: Lament of Innocence in 2003 due to how its story conflicted with the overall timeline of the series. As with most of the earliest Game Boy titles, the ingame graphics of Legends are held back by the technological limitations, but the box art and subsequent character concepts reveal the game’s aesthetic which seems to take the most inspiration from other Japanese franchises of the decade. The biggest example would be Slayers, a popular comedic fantasy series that included light novels, manga, and anime. Legends Alucard is portrayed in this particular animated style, yet his design itself is very similar to how he looks in Symphony of the Night with only minor exceptions.

The third and arguably most obscure 90s Alucard comes from the animated children’s show Captain N: The Game Master, a crossover that brought together popular Nintendo characters like Mega Man, Kid Icarus, and Simon Belmont. The episodes were presented as traditional monsters of the week, meaning each one focused on a brand new story or environment usually taken from Nintendo games. One episode that aired in 1993 centered on Castlevania and featured a comedic and parodied version of Alucard. Although the episode took elements from Dracula’s Curse, Alucard was meant to be a stereotypical representation of rebellious 90s youth, i.e. an overemphasis on skateboarding and “radical” culture. A colorful, kid-friendly version of the character that was never meant to be taken seriously; much like the rest of the show.

Out of the three variations, Ayami Kojima’s Alucard is the one that made the biggest and longest lasting impact on Castlevania. Redesigning an iconic franchise or character always comes with its own risks and gambles. In the case of Symphony of Night, the gamble made by Kojima—and by extension Konami and director Koji Igarashi—paid off. Unfortunately, the same cannot be said regarding Alucard’s next major change as a character and an image.

Lords of Shadow

“What motivates a man to confront the challenges that most of us would run from?” This is a question put forth by Castlevania: Lords of Shadow, the first attempt by Konami to reinvigorate and inject new life into the Castlevania brand name by completing rebooting the universe. Starting from scratch as it were. Originally, Lords of Shadow seemed to have no connection to the Castlevania franchise. Announced by Konami during a games convention in 2008, this was meant to give more attention and not distract from the upcoming Castlevania: Judgment. However, merely a year later at Electronic Entertainment Expo, it was revealed that Lords of Shadow was in fact the next major step that Konami was taking with Castlevania. From its announcement and early trailers, the game was already generating a healthy amount of media buzz due to its updated graphics, design, and gameplay. Having Konami alumni, video game auteur, and creator of the critically acclaimed Metal Gear series Hideo Kojima attached to the project also helped to generate initial hype for this new phase of Castlevania (though it should be noted that Kojima was only credited as a consultant and advisor for the Lords of Shadow development team). After nearly a decade of near hits, substantial misses, and a lack of focus for the franchise, Castlevania had once again become one of the most highly anticipated upcoming games. To quote gaming news and reviews website GamesRadar+ at the time, “this could be a megaton release”.

And it was—so to speak. As mentioned in previous sections, the first Lords of Shadow did relatively well, garnering critical and commercial success. By November of 2010, nearly one million copies had sold in North America and Europe alone. While not a monumental achievement or a record breaker, Lords of Shadow soon became the highest selling Castlevania game of all time. But enough time has passed since its release and nowadays, fans look back upon this reinvented Castlevania timeline pushed by Konami with mixed feelings, some more negative than others.

The main criticism is that when it comes to gameplay, environment, and story, Lords of Shadow changed too much from its original source material. Change is not always a terrible thing especially in regards to long-running franchises and Castlevania had already gone through one massive upheaval with Symphony of the Night. Although the difference is how well that dramatic change was executed and how players reacted to it. For many, Lords of Shadow felt less like the game it was supposed to be emulating and more like other action hack-and-slashers of the time. The gameplay didn’t feel like Castlevania, it felt like Devil May Cry. Elements of the story didn’t feel like Castlevania, they felt like God of War. Each boss fight didn’t feel like Castlevania, they felt like Shadow of the Colossus (a frequent comment made by fans). Despite the familiar elements from past games that made their way into this new instalment, for many, Lords of Shadow was too little of Castlevania and too much of everything else that surrounded its development. Meanwhile, the afformented familiar elements seemed like attempts at fanservice in order to make sure that longtime fans felt more at home.

Does the game and its following sequels still hold any merit in terms of aesthetic and story? They do, especially when it comes to its style. Lords of Shadow, its midquel Mirror of Fate, and the sequel Lords of Shadow 2 are not unappealing games to look at. When examining the concept art of characters, enemies, and environments, one could argue that the Lords of Shadow series has some of the most visually striking Castlevania art in the series. The monster designs in particular take on a much grander, ambitious, and menacing presence that take inspiration from various mythological and biblical sources, the best example being Leviathan from Lords of Shadow 2.

By the 2010s, AAA video games in general were going through a sort of golden age with titles such as Assassin’s Creed 2, Batman: Arkham Asylum, and Red Dead Redemption among many others. Not only were the stories and gameplay mechanics improving by ten folds, so too were the graphical capacities that each game could uphold. Due to technological advancements, Castlevania had the chance to become more detailed and fleshed out than before. The locations of Lords of Shadow and its sequels, which ranged from gothic castles, to modern decrepit cities, to fantastical forests, grew lusher and more opulent while the monsters evolved past the traditional skeletons of the series into far more imposing nightmarish creatures.

The first game along with Mirror of Fate kept themselves fairly grounded in their respective environments. Nearly every character looks as though they firmly belong in the gothic fantasy world they inhabit. Gabriel Belmont and the rest of the Brotherhood of Light are dressed in robes reminiscent of medieval knights (with a few non-historical embellishments) while the vampiric characters of Carmilla and Laura dress in the same manner that typical vampires would. However, a new location known as Castlevania City was introduced in Lords of Shadow 2, modelled after a 21st century metropolitan cityscape. Characters with designs more suited to God of War or Soul Calibur intermingle with NPCs dressed in modern clothing, further highlighting the clash of aesthetics. While this is not the first time Castlevania has featured environments populated with humans, the constant shifting between a dark urban landscape with more science fiction elements than fantasy and the traditional gothic setting of Dracula’s castle can feel like whiplash.

The Lords of Shadow timeline was an ambitious attempt by Konami to try and give fans a Castlevania experience they had not seen before. New concepts that were previously unexplored or only alluded to in past games were now at the forefront. Yet the liberties that each game took with established Castlevania lore, both in terms of story and design, were perhaps too ambitious. The biggest example is the choice to have the Belmont protagonist turn into Dracula through a combined act of despair and selflessness, but Alucard went through a number of changes as well. Transforming him from the golden-haired aristocrat of the 90s and 2000s into an amalgamation of dark fantasy tropes.

Alucard c. 2014

After the success of Castlevania: Symphony of the Night, Alucard reappeared in a number of following titles, most of which depicted him in his typical black and gold wardrobe. There were exceptions, including Castlevania: Aria of Sorrow and its direct sequel Castlevania: Dawn of Sorrow where he adopts the alias of Genya Arikado, an agent for a futuristic Japanese organization dedicated to stopping any probable resurrections of Dracula. Because of this need to appear more human and hide his true heritage, Genya’s appearance is simple and possibly one of Ayami Kojima’s most minimalistic character designs; a black suit, shoulder length black hair, and the job is done. In Dawn of Sorrow, Alucard briefly appears as himself, drawn in a less detailed anime style that softens his once intensely stoic expression first seen in Symphony. The next exception is Castlevania: Judgment, a fighting game where characters from separate games and time periods are brought together to face off against one another. Konami brought on Takeshi Obata (who by then was famously known for his work on Death Note) as the lead character designer and in many regards had a similar aesthetic to Ayami Kojima, creating lavish gothic pieces that were heavily detailed and thematic.

Like Kojima, Obata was given free range to reconceptualize all of the characters appearing in Judgment with little to no remaining motifs from previous designs. This included Alucard, who dons a suit of silver armor and long white hair to match it. Judgment’s Alucard marked a turning point for the character in terms of appearance; a gradual change that was solidified by Lords of Shadow.

This is where things get complicated. While Castlevania could be considered a horror series solely based on its references, aesthetic, and monsters, nearly every iteration whether it comes down to the games or other forms of media tends to veer more towards the dark fantasy genre. Edward James and Farah Mendleson’s Cambridge Companion to Fantasy Literature describe the distinction between traditional horror and dark fantasy as a genre “whose protagonists believe themselves to inhabit the world of consensual mundane reality and learn otherwise, not by walking through a portal into some other world, or by being devoured or destroyed irrevocably, but by learning to live with new knowledge and sometimes with new flesh” (James; Mendleson, 218). While horror is a genre of despair, directly confronting audience members with the worst of humanity and the supernatural, “the protagonist of dark fantasy comes through that jeopardy to a kind of chastened wisdom” (James; Mendleson, 217).

Dark fantasy is ultimately a genre of acceptance (i.e. characters accepting a horrible change or embracing the world they have been forcibly thrown into), but it also represents a rejection of traditional tropes implemented by the works of Tolkien or the Brothers Grimm, thus defining itself by that very same act of rejection. An example of this is the theme of failure, which is common in many dark fantasy stories. There are far more unhappy or bittersweet endings than happy ones while the construction of the classic hero’s journey hinges more on all the possible ways in which the protagonist could fail in their quest.

Going off from this definition, the Lords of Shadow timeline fits squarely into the dark fantasy genre, especially concerning its two leading men. We already know that Gabriel Belmont sacrifices his humanity in order to become Dracula, but what happens to his son borders on a Greek tragedy. Before the “deaths” of Gabriel and Maria, they had a son named Trevor who was immediately taken into the care of the Brotherhood of Light and kept away from his father in order to protect him. Years later when Trevor is an adult with a family of his own, he vows to defeat Dracula for bringing shame and dishonor upon the Belmont bloodline. Yet when their eventual confrontation happens, Dracula easily beats Trevor who, on the verge of death, reveals the truth about his connection to the lord of vampires. In a desperate act of regret, Dracula forces Trevor to drink his blood and places him into a coffin labeled “Alucard” where he will seemingly rest for eternity.

Time passes and Trevor Belmont—now transformed into the vampire Alucard—awakens, just as he did at the beginning of Dracula’s Curse and Symphony of the Night. During his disappearance, his wife Sypha Belnades was killed by Dracula’s creatures, orphaning their son Simon Belmont. The two eventually meet and work together to stop Dracula, but Alucard cannot bring himself to tell Simon the truth.

Despite a well-deserved happy ending in Lords of Shadow 2 (he and his father reconcile before going off to presumably live a peaceful life), the character of Trevor/Alucard is built upon the same themes of failure and learning to accept terrible change found within dark fantasy. His design is especially reminiscent of one of the darkest and most tortured protagonists in the genre, Michael Moorcock’s Elric from his Elric of Melniboné series. First appearing in the June 1961 issue of Science Fantasy, he stands out amongst most sword and sorcery heroes, different from the hypermasculinity of Conan the Barbarian for his embittered personality, philosophical motifs, and memorable design. Elric is constantly described as looking deathly pale with skin “the color of a bleached skull; and the long hair which flows below his shoulders is milk-white” (Moorcock, 3) and a body that needs a steady stream of potions in order to function properly or else he will gradually grow weaker, nearer towards the edge of death—more a corpse than a human being.

Lords of Shadow Alucard is very much like a walking corpse as well. His long hair is the same milk-white tone as Elrics’, his skin is deprived of any real color, and his open chest outfit reveals a body that is both robust yet emaciated. Moorcock’s Elric was the prototype for many other white haired, pale faced, otherworldly antiheroes in fantasy that came afterwards and the darkly ethereal aesthetic that reflected his constant state of self-loathing and tragedy was the most ideal fit for this new version of Alucard. Both fail as traditional fantasy heroes, both abhor their physical states, yet both learn to embrace it at the same time.

A Brief History of Modern Animation

Before we move onto the final iteration of Dracula’s son, let us first acquaint ourselves with an artistic medium that has not been fully discussed yet. This essay has gone into detail concerning the aesthetics of video games, fashion, filmmaking, and music, but where does animation fit in? Since 1891’s Pauvre Pierrot, the only surviving short film predating the silent era with 500 individually painted frames, animation has evolved into one of the most expressive, diverse, and groundbreaking art forms of the modern age. There were earlier methods that fit into the animation mold before Pauvre Pierrot including but not limited to shadow play, magic lantern shows, and the phenakistoscope, one of the first devices to use rapid succession in order to make still images look as though they were moving. Throughout the 20th century, with the help of mainstream studios like Warner Bros. and of course Walt Disney, the medium quickly began to encompass a variety of techniques and styles beyond a series of drawings on paper. Some of the more recognizable and unique styles are as followed:

Digital 2-D animation

Digital 3-D animation

Stop-motion

Puppetry

Claymation

Rotoscoping

Motion capture

Cut-out animation

Paint-on-glass

The most common forms used in film and television are traditional hand drawn and digital 3-D, sometimes merged together in the same product. There has been much debate over which animation technique has more artistic merit and is more “authentic” to the medium, but the reality is that there is no singular true form of animation. Each style brings its own advantages, challenges, and all depends on how it is being used to tell a specific story or evoke a feeling within the audience. For example, the 2017 semi-biographical movie Loving Vincent is animated in a nontraditional style with oil paints in order to create the illusion of a Vincent Van Gogh painting that has come to life. As Loving Vincent is about the influential painter himself and his tragic life, this animation technique works to the film’s advantage. If the story had used a more traditional form like 2-D or 3-D, it might not have had the same impact. Another example like the film A Scanner Darkly starring Keanu Reeves uses a somewhat controversial technique known as rotoscoping, which entails tracing over live action scenes in order to give it a realistic yet still animated feel. A Scanner Darkly is a futuristic crime thriller meant to evoke a sense of surrealism and discomfort, making the uncanniness of rotoscoping the perfect fit for its artificial atmosphere.

Throughout its history, animation has gone through a number of phases corresponding to political, artistic, and historical events such as propaganda shorts from Walt Disney during World War II and the rise of adult-oriented animators who rode the wave of countercultural movements during the late 1960s and early 70s. Animation meant for older audiences was especially coming into its own as most audiences had become more comfortable associating the medium with the family friendly formula perfected by the Disney company. The only other western mainstream animation studio that could stand toe to toe with Disney while also dabbling in mature subject matter at the time was Warner Bros. and its juggernaut Looney Tunes, which even then was mostly relegated to smoking, slapstick violence, and mild suggestive material. Meanwhile, the works of Ralph Bakshi, arguably the father of elevated adult animated features, dealt with everything from dark humor, sexuality, profanity, and complex themes most of which delved into pure shock value and were highly offensive in order to make a statement. There were later exceptions to this approach including Bakshi’s own adaptation of Tolkien’s Lord of the Rings, Wizards, and Fire and Ice, a high profile collaboration with Frank Frazetta, in which both films utilized rotoscope animation to create unique, fantasy-based experiences for mature viewers.

With the right amount of funds and creativity, other countries began developing their own animated features with distinct styles that reflected the culture, social norms, and history in which they originated from. The 1960s are referred to as “the rise of Japanese animation”, or as it came to be known worldwide as anime, thanks to iconic characters of the decade like Astro Boy, Kimba the White Lion, and Speed Racer. The longest running anime with over 7,700 episodes to date is Sazae-san, based on the popular 1940s comic strip of the same name. Western audiences commonly associate modern anime with over the top scenarios, animation, and facial movements while having little to no basis in reality when it comes to either story or character design.

While the Walt Disney company was steadily losing its monopoly on the animation industry with financial and critical disappointments (making room for other animators like Don Bluth) until it's renaissance during the 1990s, the 1980s turned into a golden age for ambitious, groundbreaking anime projects. Not only were films like Akira, Grave of the Fireflies, Barefoot Gen, and Nausicaä of the Valley of the Wind among many others, appealing to a wide variety of audiences, they were also bold enough to tackle mature, complex subject matter with a certain degree of nuance that complimented each film’s unique but often times bizarre or surreal styles. Akira watches like a violent cyberpunk splatterfest with extreme body horror and juvenile delinquency, yet its borderline exploitative methods serve a larger purpose. Akira takes place in a bleak, dystopian Japan where Tokyo has been rebuilt after its destruction in 1988, setting up an allegorical story that directly confronts government experimentation and the fallout of nuclear warfare.

Artists of all mediums have always influenced one another and the impact that anime has had on western animation continues to this day whether through passing tongue-in-cheek references, taking inspiration from common anime tropes while also depicting them through a western lens, or shows that feature a heavily emulated anime style like Avatar: The Last Airbender and its successor The Legend of Korra. Then there are shows that completely blur the lines between western animation and anime, with the ultimate distinction usually coming down to where it was originally developed (i.e. North America or Japan).

Alucard c. 2017

The overall aesthetic and image of Netflix’s Castlevania is built upon a number of different influences, the majority of which come from Japanese animation. Executive producer and long time Castlevania fan Adi Shankar has gone on record saying that the show is partially “an homage to those OVAs that I would watch on TV (...) and I was like, “This is beautiful, and it’s an art form”. He has also directly compared the show to those golden age-era ultra violent anime features of the 80s and 90s, including titles such as Akira, Ghost in the Shell, and Ninja Scroll. Director Samuel Deats, another avid Castlevania fan, has mentioned the long-running manga series Berserk along with its 1997 anime adaptation as one of the animation team’s primary inspirations numerous times, explaining in further detail in a 2017 interview with io9: “I pulled out my ‘I love the Berserk manga, Blade the Immortal’ and all that. That dark fantasy style of storytelling, character design, how gorey it gets… I put together a bunch of drawings and sketches, and a few color images that channeled all of that”.

Watching Castlevania, the aesthetic references to Berserk are obvious. Both series merge together medieval fantasy elements with gruesome horror but they are also similar in their particular animation styles. One director from Korean studio MOI Animation who partnered with Powerhouse Animation collaborated on the feature length film Berserk: The Golden Age—The Egg of the King along with its two sequels. But the biggest inspiration for the design of Castlevania, especially when it comes to its characters, is Ayami Kojima herself.

From the pre-production phase, the team at Powerhouse knew they wanted Kojima’s art to be the main basis of how the finished product would look and feel. According to Samuel Deats, “In the back of everyone’s heads, we knew that we wanted to heavily reference the style Ayami Kojima used in the Castlevania games. We wanted to bring the same shade-before-image sort of thing”. However, due to the sheer amount of details and embroidered style of Kojima’s aesthetic, many of her original designs had to be simplified into 2-D animated forms (just as they had to be reduced into pixelated form for Symphony of the Night).

Alucard’s animated design is the best example of this simplification process, but it took some trial and error in order to arrive at the finished product. When Castlevania was originally planned as a movie, his design veered closer to the otherworldliness and corpse-like aesthetic of Lords of Shadow Alucard—something that looked as far from a human being let alone a dhampir as possible. Following the years of stifled development until Netflix picked up the project, Powerhouse opted to fall back on Kojima’s artwork for sheer iconography and recognizability.

On the one hand, animated Alucard’s facial expressions are identical to his game counterpart with the exception of a few liberties taken; same determined scowl, same intensely golden eyes, and same lush eyelashes (there’s even a note from his character sheet specifically stating that they must cast shadows for close-ups). Most of all, the same feminine androgyny of Kojima’s work. But there are just as many omitted details from Alucard’s updated model as there are those that were carried over from the original design. When compared to Symphony of the Night, his wardrobe seems to be severely lacking in excessive ornaments, instead opting for a sleek black coat with simple gold embellishments, knee high boots with a slight heel, and a white shirt with an open v-neckline. Despite these supposedly easy changes and evocation of Kojima’s art style, Alucard is still one of the more difficult characters to animate as stated by Deats: “I mean, Alucard has to be just right. You can’t miss an eyelash on him without it looking weird”.

For the most part, it shows in the final product. There are moments when the animation goes off model (as is the case with most 2-D animated shows for time and budgetary reasons), but rarely is Alucard drawn from an unflattering angle. The other reason for his change in design is the fact that Castlevania takes place three centuries before the events of Symphony of the Night. Because of the story constraints and console limitations, players were not given an in-depth look at Alucard’s character beyond his quest to defeat Dracula and the guilt he felt afterwards. It would make sense that his demeanor differs from the stoic nature of how he reacts to certain situations three hundred years later. As a result, Alucard is given a toned-down design to reflect what he might have been like as a younger, brasher, and more immature version of himself.

This immaturity and juvenile nature of his visual image comes through in his portrayal. While the show is in its third season, we will primarily focus on season two as when compared to the others, it revolves around Alucard’s personal journey towards an important aspect of his long established character the most; namely, the reason for his rebellion against Dracula and his eventual act of patricide. Because Alucard only appears as a silhouette in episode one then makes his full introduction during the last fifteen minutes of the final episode, season one gives the audience a very limited idea of his character. What we do get from Alucard is the same impression that Symphony of the Night left fans with: someone who is determined, intensely fixated on his goal, and is willing to use any means to accomplish it—even if it involves striking a tentative truce between a vampire hunter and a scholar of magic. Season two expands upon this, showing an Alucard who is soft-spoken, careful in his mannerisms, more feminine than masculine, yet always rises to the occasion whenever he needs to match Trevor Belmont’s own crassness. For all of his grace, Alucard’s high emotions coupled with an unchecked immaturity (especially in the presence of Trevor) show how ill-equipped he is when dealing with human interactions.

One other piece of evidence that adds to this chink in Alucard’s carefully crafted metaphorical armor is the goal of stopping his father. Throughout small interactions and moments of dialogue, the truce struck between him, Trevor, and Sypha eventually develops into more of a friendship, yet Alucard continues to suffer from extreme tunnel vision, going as far as to chastise his two companionships whenever they get too distracted or unfocused from their mission. This character flaw is also touched upon in Castlevania: Grimoire of Souls when characters remark upon Alucard’s (otherwise referred in the game as Arikado) overly serious nature. A flaw that does more to unintentionally push others away rather than any attempt to bring them closer to him.

When Alucard finally achieves his goal of killing Dracula, it leaves him feeling hollow. He doesn’t quite know how to fully process this ultimate decision, maintaining a delicate sense of composure on the outside while in the presence of others. It’s only when Alucard is left alone does he allow the emotions of everything that has just happened to overwhelm him in a moment of genuine vulnerability that was only alluded to in previous scenes.

Conclusion

Despite the show being renewed for a fourth season, the future of the Castlevania franchise in general remains uncertain. There’s been no talk of any other past games being set for rerelease, Grimoire of Souls continues to make sporadic updates to its gacha system rather than its story mode, and Konami has since chosen to take a step back from developing video games in favour of manufacturing pachislot machines. Symphony of the Night and Bloodstained: Ritual of the Night creator Koji Igarashi has mentioned in past interviews that should Konami somehow make a return to Castlevania, he would be willing to direct a new instalment. But at the present time, rumors have remained rumors and there are no signs of a new official Castlevania game in the near future whether developed by Konami or an outside company.

No matter what direction Castlevania takes in the years to come, it seems as though Alucard will always follow it, just as Dracula and the Belmonts will as well. This is his franchise as much as it is theirs thanks to continued fan popularity. He’s taken many forms in the past thirty years and become the visual representation of certain trends, yet one thing about him never changes: he is still Dracula’s son, the opposite of his father. He can be cruel, powerful, cold, and everything else a Byronic hero should be yet he can also reject his masculine inheritance in both character and aesthetic.

Above all else, the human side of Alucard is greater than the monstrous side.

References

Bannister, Matthew. White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Burlington: Taylor & Francis, 2017.

Castlevania Wiki | Fandom. https://castlevania.fandom.com/wiki/Castlevania_Wiki

Dyhouse, Carol. Heartthrobs: A History of Women and Desire. Oxford: Oxford University Press, 2017.

Godoy, Tiffany; Hirakawa, Takeji. Style Deficit Disorder: Harajuku Street Fashion, Tokyo. San Francisco: Chronicles Books, 2007.

Hodkinson, Paul. Goth: Identity, Style and Subculture. Bloomsbury Fashion Central, 2002.

Hutchings, Peter. Hammer and Beyond: The British Horror Film. Manchester: Manchester University Press, 1993.

James, Edward; Mendlesohn, Farah. The Cambridge Companion to Fantasy Literature. New York: Cambridge University Press, 2012.

Kibby, M.D. Real Men: Representations of Masculinity in the Eighties Cinema. Sydney: Western Sydney University Thesis Collection, 1997.

Kojima, Ayami. Santa Lilio Sangre. ToÌ"kyoÌ" : Asukashinsha, 2010.

Metzger, Patrick. “The Nostalgia Pendulum: A Rolling 30-Year Cycle of Pop Culture Trends.” The Patterning. WordPress.com, 2017. https://thepatterning.com/2017/02/13/the-nostalgia-pendulum-a-rolling-30-year-cycle-of-pop-culture-trends/

Moorcock, Michael. Elric of Melniboné. New York: Ace Fantasy, 1987.

Narcisse, Evan. “The Animation Studio That Made Castlevania Explains Why It Was A Dream Project.” io9. Gizmodo, 2017. https://io9.gizmodo.com/the-animation-studio-that-made-castlevania-explains-why-1797476526

Younker, Terasa. “Japanese Lolita: Dreaming, Despairing, Defying.” Standford Journal of East Asian Affairs, 2012, 97-110.

#castlevania #alucard #alucard castlevania #adrian fahrenheit tepes #castlevania netflix #castlevania symphony of the night #ayami kojima #konami #my writing #i'm sending my baby out into the world...... be gentle

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gallusrostromegalus · 6 years

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I’ll cop to being, at best, a casual anime fan and an incidental nintendo fan like some sort of goose that got lost on migration and decided to stay for the catchy musical score but I’ve had a thought that’s been making me laugh for like 20 min now:

Replacing any Shonen Protagonist with Legend of Zelda’s Protagonist Horrible Klepto Gremlin and Professional Fightboy, Link.

Doesn’t matter which link beyond “what’s funniest in this particular scenario”. Maybe a specific Link, maybe an amalgamation of all Links into a superpowered multidimensional agent of Chaos. A HyperLink, if you will.

Then plop that bad boy down into the start of any Shonen anime and watch it go completely off the rails.

Juevenile Delinquent With A Heart Of Gold Link (really, could you imagine Link in a middle school setting? not for more than five minutes before he jumps out of the Designated Protagonist Window at the back of the classroom) dives in front of a car to save a small child’s life. Botan, the grim reaper in the form of a blue-haired anime hot chick, comes to explain his peculiar situation, only for him to get up halfway through the speech about Karma becuase he still, somehow, has half a heart left, baffling everyone.

Local Weirdo Link hangs out in a graveyard every night graverobbing Communing With The Spirits, until Some Nerd keeps getting him into weird situations and eventually he ends up on a plane to America to participate in some kind of tournament for godhood. They get all the way to the third round before anyone realized Link doesn’t have a spirit companion, he’s his own Kickass Sword Dude.

Famously Young Orphan Link attempts an arcane ritual to bring his mother back, only to be confronted with a Manifestation of all Knowledge In The Universe, who then attempts to take his limbs and a sibling. Link, who has kicked several gods and the actual spacetime continum in the dick before, does not stand for this Malarkey

Chronically Ill superhero Toshionori Yagi is looking for someone to take up the quirk One For All and is impressed by the courage of a young maniac attempting to protect the people of the town from a monstrous villain whilst armed with a pointed stick, and takes him on as his apprentice. Link, surprised to be starting with the Triforce of Power this time, is agreeable to this, and attends superhero high school in hopes of locating the triforces of Courage and Wisdom.

Related question: Is Link Literate? I know him through fragmentary playthroughs of Breath of The Wild, the one with the bird, and the one with the boat and I honestly don’t know if he can read.

Professional Monster Ass-Kicker and Sword Collector Link arrives in The Seritei and promptly goes after the Tall Dude With The Elaborate Hair That Monolouges About Power on the assumption he’s found Ganondorf again, and gives Zaraki Kenpachi the fight of his life.

The residents of the Village hidden in the lead poisoning Leaves avoid the blond boy with the rap sheet of misdemeanors a mile long and constant nonsensical yelling, assuming his strange ways are due to the fox spirit the previous Mayor of Murdertown stuffed into his intestines as a baby. Several Hundred Episodes, a completely destroyed chunin exam and a lot of screaming later, Kyubei comments “No, he’s Just Like That.”

Seto Kaiba, Professional Rich Bitch: “IT’S TIME TO DUEL!!” Seto Kaiba, about to learn what Consquences are “...What are you doing with that sword?”

The only Shonen Anime Link doesn’t completely send off the rails one way or another is the orginal Dragonball, becuase accepting an extensive and bizzare fetchquest from a random blue-haired chick is 100% in-character for any and all Links.

#Legend of Zelda #I know eaxtly nothing about what I'm talking about #long post #profanity #yyh #Shaman king #FMA #BNHA #Bleach #Naruto #yugioh #Dragonball #Anime

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keisuke-akm · 4 years

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Craving more Akigure content since anime is currently in a drought, more headcanon a please? uwu

Missing akigure as well haha ;w;

Well, let’s go ♥ :

eating habits :

-Even if we would think Shigure is the whiny one about food, always asking for something he is craving, he is actually isn’t picky, whereas Akito, if she don’t want to eat something, she won’t. It’s a bad habit she took from the time she had a god complex, since nobody told her she had to make an effort. However, instead of screaming on people who did food she don’t like, she just won’t touch her plate. So Shigure bought some snack for her to eat before going to bed, in case she don’t eat at all.

-Akito is not picky on vegetables, it’s more meat and fish she don’t like. She only eat her egg half boiled. She don’t like to chew. Shigure on the opposite, like meat raw. He don’t like fish because each time he eat one, he end up having way too much fishbone and it spoilt his appetite.

-She often tease him about his luck with fishes, especially when are invited in a reception and that the main dish is fish.

-When they are invited in reception or in restaurant for official meeting, the politeness ask people to finish their plates. However, it’s often too much for Akito, so when nobody is looking, Shigure take what’s left in her plate in his and eat everything.

-She is shocked by how much he can eat, he often laugh it’s his dog stomach.

Sleeping habits:

-Akito sleep a lot, she goes sleep early (around 10 p.m when they don’t have sexual activities) and she would wake up late if they didn’t have any alarm. She can take naps during the afternoon as well, always when it’s summer. Shigure at the difference go to sleep really late, past 1 a.m and he totally isn’t a morning person. Also, when he done more than half of his work, he allow himself to join Akito in her nap.

-I think I already said this headcanon, but i really love it ♥; Shigure always wrap his arms around Akito during his sleep to the point she can’t move nor turn around. She is stuck. It became worse when Shiki came in the picture because he is like his father and she find herself being a human pillow for her husband and son.

-Their favorite sleeping position is spooning. She fall asleep on his arm and he, the nose in the crook of her shoulder, where he can smell her scent the best. He really love it when it’s still dampened from shower.

-It’s a specialized maid who is in charge to wake them up the morning, because they tend to ignore the alarm. Once they got Shiki, the boy took this role.

-Akito tend to daze in the eyes empty for one minute before getting completely awake while Shigure is more to beg for ‘5 more minutes’ in the pillow.

Leisure activities :

-Of course, when Shigure have free time, he wants to read a bit of see his friends. When he is reading, he likes having Akito around. Like her napping of doing something. He knows it’s stupid, but it kind of reassure him to know she is safe.

-Before having Shigure in, Akito never listened music out of traditional song play during new year banquet, because maids told her it’s loud and it’s bad for her. Shigure kind of suspected it but he was still shocked. He installed his cd players and they spent a whole afternoon to do nothing but listen songs, in aim to find something she would like.

-However, Shigure is more a person to listen old songs like Sachiko Nishida; Akito often catch him humming ‘Acacia no ame ga yamu toki’ (When the rain of Acacia stop; it’s a melancholic love song about a person wondering if the loved one would think about you if you were to disappear. It’s really popular). When Shiki was born, he would always sing him Michiyo Azusa’s “Konnichiwa Akachan” (Hello baby; it’s a song about a mother singing to her baby how happy she is to have her baby and how they make her and their father happy). Akito, with Saki, Tohru and Mine influence is more into popular song, she really like Perfume, her favorite is Natural ni Koishite (be naturally loving; it’s a simple love song. Shigure saw her moving her hips in rhythm when she sorting out paperworks when Kyary Pamyu Pamyu‘s ‘Ninja Re bang bang’ was on radio. She still denies. They both agree to say that Kenshi Yonezu is one of the best singer of the decade.

-They don’t like sport, however, they don’t mind taking a walk for hours, especially in nature. Akito don’t like walking in city much, the pollution is bad for her health. So they often go and walk around field roads and at the beach. However, they won’t go near of Shigure’s old house forest, it bring Akito way too many bad memories about Tohru falling off the cliff.

-They watch movies really casually. They don’t go in cinema, so they prefer watching the movies scheduled on tv. Akito devotes a hellish hate toward ads. Shigure tried to buy movie dvds, but it ended up forgotten and they never watch it.

-They don’t play much video games, but they are both nintendo only players. Akito is all about Animal Crossing (the island she made on new horizon have zodiac characters, but she quickly found new villagers and let them go. Her favorite is Fang). Shigure is really a casual player and it’s more Zelda and Mario. He also never finish game.

-Shigure still write from time to time, but it’s really short stories when he have nothing else to do, when his imagination run wild. However, since he achieved his dreams, he find himself not having idea to write about anymore haha. He was sad about it. Akito noticed it and instead of saying something, she just went and hugged him. At this moment, he thought that even if he lost his inspiration for writing, he was really happy. When Akito got pregnant, his inspiration came back and he written so many stories for children.

That’s all I have for the moment, maybe ask me later, i will give you more haha ♥

#akigure #akito sohma #shigure sohma #ask #saturday ask #fruits basket spoiler #headcanon #akigure headcanon

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bltngames · 4 years

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SAGE 2020: Indie Games

SAGE may closed more than a day ago, but thankfully, the website remains up for those who still want to download its games. So even though this article is technically very late, nothing listed here is out of date. The event may be over, but the games live on! Which is honestly a relief, because I think doing ten games per article is taking its toll on me. Normally, when I’d write for TSSZ, I’d do somewhere in the realm of 5-7 games per article, and even that would eventually burn me out. After writing about 20 games this year, I was clearly starting to feel like I was running out of steam. Oh well. We live and learn. Here’s another ten games!

There’s one more article left after this, a sort of “honorable mentions” round-up that will feature much shorter blurbs as I blow through way more games way faster. If I didn’t talk about your game here in these three articles, now’s your chance to let me know so I can say something about it in the final article.

Anyway, onwards to our ten indie games.

Victory Heat Rally

I’m all for any game channeling the spirit of Sega’s old SuperScaler arcade technology, and Victory Heat Rally is all about that. Everything about this game seems so MY AESTHETIC that my only complaint is that I’m hungry for more. A lot more. This demo is a simple time trial on one race track and I’m itching to sink my teeth into literally anything else this game has to offer. There is an older demo from back in April with more content, but it’s running on a different version of the code base -- this newest demo is significantly improved both in terms of visuals and control. I really don’t have anything else to say about it. There’s not much here, but what’s here is charmingly retro in the style of Sega’s Power Drift, but cuter and even more colorful.

Sondro Gomez: A Sunova Story

I had been interested to revisit Sondro Gomez after playing the first demo last year, but I don’t know if I just wasn’t in the right mood for it this year or what, but I kind of bounced off the game this time. To my memory, Sondro Gomez is a kinda-sorta side game in the Kyle & Lucy universe. You may remember Kyle & Lucy as one of a growing number of games coming out of the Sonic fan gaming community trying to break out as an original title. A while ago, the developers announced a partnership with Stealth to use the Headcannon engine to make the game with, something that extended to Sondro Gomez here. The problem is, it feels kind of weird now, and I can’t quite put my finger on why. I think it’s the little stuff -- you don’t get a lot of positive feedback when attacking using your whip (the sound is a bit quiet), and the difficulty balancing errs on the side of caution. I died a couple times in my time playing this newest demo, but I wouldn’t characterize Sondro Gomez as a game that feels challenging. Some of that probably has to do with the fact this is still just a demo, which means you spend a long time fighting the same four enemy types in every single level. There’s a lot of charm to the story and the characters it involves, but that only takes you so far when it feels like you’re doing the same things over and over in the actual levels, you know? Either way, the touched up visuals and the new boss fights are welcome. Interested in seeing what the full release looks like next year.

Delta Gal

In retrospect, a Mega Man Legends fan game seems like a no-brainer, doesn’t it? Where Delta Gal has a leg up is in controls. Even considering the era Mega Man Legends was released in, it had very awkward controls. Delta Gal’s response is to embrace standard third person action game controls with a mouse and a keyboard. Now, there is controller support, but even once you get it set up, you have button layout presets like “Bad” and “Almost Good.” Honestly, if you can, just play it with a keyboard and mouse. The demo offers about 30-40 minutes of gameplay, with a bit of the town, a forest section, a cave, and one whole dungeon. Visuals nail the best parts of the Mega Man Legends low-fi aesthetic, colors are vibrant, and the pixel art textures look very good. The town is full of characters with lots of personality, too. A particular favorite being the guy who runs the junkyard who likes to show off by flexing his muscles but then ultimately chickens out when it comes to exploring the cave he discovers. The only downside I’d say is the sound design. The game sounds okay, but some of the music is a little bland, and certain sound effects lack the right kind of punch. Granted, this style of sound design isn’t easy, so I can empathize with the developers in that respect. Honestly, it doesn’t really detract from anything at all, so maybe it’s not even worth bringing up. Either way, good stuff, and I’m looking forward to the full release.

Bun n’ Gun

Here’s a cute little game about a bunny in the old west. I’m absolutely in love with the visuals and the music here, but the gameplay is… interesting. Bun isn’t a typical shooter or platformer, thanks to the fact that he appears to only have one arm, which is occupied by his gun. Now you wouldn’t think this would matter, as it’s pretty easy to design a game around only having to jump and shoot, and that’s fair enough. But there’s a strange heft to this character. It takes them a little bit to pick up speed, and it takes them a bit to slow down, and there’s an unmistakable, split-second delay between pushing the jump button and actually jumping. I know enough about this kind of game development that a delay between pushing a button and actually jumping has to be a deliberate design decision, and I split on whether or not I like it. I don’t think I hate it, because it’s pretty easy to get used to the way it feels, but it does mean you’re working with a handicap when it comes to split-second movements. Given the bunny seems to only have one arm, though, perhaps that’s the point. Either way, it’s cute. Give it a look.

Shield Cat

I feel like I’ve been over-using the word “charming” to describe games at SAGE this year, but you know what? Shield Cat is charming as heck. People also tend to think it’s reductive to describe things by comparing them to something that already exists, but I say nuts to that, too. Saying “It’s like…” is an easy shorthand, and besides, if somebody is saying your project is like one of their favorite games, it just means they’re giving you praise and might lack the words to accurately describe that praise. Thing is, that’s actually kind of hard to do with Shield Cat. The nearest relative to this game would be The Legend of Zelda, but Shield Cat honestly plays very little like Zelda, beyond having a top-down perspective. Secret of Mana, maybe, with the stamina meters? I don’t know. Regardless, this is a charming (!!!) top down action game where you roam around exploring an overworld and solve light puzzles. It controls well and the aesthetics are nice. Can’t really get much better than that, though I do have to wonder what it is you’re supposed to be doing in this game. It took me about 30 minutes to see everything available in this demo, but there’s no story setup and only the smallest pieces of what could be considered a dungeon. What’s on offer here is interesting enough that I find myself wanting to know more about this world. For example, it’s called Shield Cat, but clearly you’re some kind of ferret. What’s that about? Guess we’ll have to wait and see.

Prototype N

I’ve sat here staring into the void wondering what to write about for this game for a long time, because it’s one of those demos that’s just… a solid and fun game that nails exactly what it’s going for. I would say that Prototype N leans a little too far towards the easy side of things, but the third level provided in the demo ramps the challenge up enough to be just about perfect. And, really, that’s it. That’s the game. You get two softer introductory levels to get you acclimated to the controls (which are similar to Mega Man, but different enough not to be a direct clone) and one “real” level to actually give you a bit of a work out. There’s nothing else to really say. This has the vibe of a 1993 or 1994 Capcom game, or maybe something from Data East. Every single part of this game’s presentation is laser-focused on that aesthetic, and it pulls it off flawlessly. Sound design, music, visuals, it’s a bullseye. This game fell out of a time machine in the best way possible. Definitely give it a look.

Yan’s World

From a game that nails the SNES aesthetic to this, a game which pays tribute to the Virtual Boy… but not really? I actually became aware of Yan’s World many years ago through a mutual Discord, and it always looked interesting, but simultaneously a little confusing, something that still mostly holds true to this day. Per the game’s own Kickstarter sales pitch, Yan’s World is “stylized as a lost title for Nintendo's Virtual Boy.” I can get down with that, but the game almost instantly breaks its own rule because Yan’s primary method of attack is to shoot a missile from his head that can only be aimed using the mouse. As such, Yan’s World doesn’t have controller support, even though one of the stretch goals currently listed on their Kickstarter page is to make a version that can be played on real Virtual Boy hardware. And, honestly, what’s the deal with this game’s whole… everything else? Why is this kid an onion? Why are the platforms made out of clocks? Why does all of Yan’s dialog make him seem like he’s sort of pissed off when he’s got such a big happy smile? There’s a bit of a hand-wave to suggest the entire game takes place inside of a dream, and for once that actually means throwing logic out the window, I guess. Oh, the missile is a pillow? Fine, whatever. Use it to blast this demonic apple, and then threaten to kill an innocent NPC. It’s a dream! Despite how little sense that makes, it… kind of works? The sprites are big and lovely, the game controls well, and the level design is plenty creative. I can’t fault the game for that, it’s just trying to figure out everything wrapped around the game that feels so bizarre.

Cosmic Boll

I don’t know if I really understand what’s going on in Cosmic Boll, but I love to play it just the same. This plays like if Treasure made Dragon Ball Advance Adventure while strung out on cocaine. The end result is pure hyperactive chaos. There is a whole complicated combat system at play here, and a very lengthy in-depth tutorial when you first start the game, but you can figure out a lot of it by just skipping the tutorial and playing the game for real. You can get by pretty easily by just mashing buttons and seeing what happens, and that’s not a complaint, because a lot happens in this game. Like, constantly. It never stops, it never really slows down. You’re always zipping around, spinning and flipping and punching soldiers, explosions everywhere, collectibles everywhere, just utter madness. It’s Sonic the Hedgehog plus Devil May Cry plus Gunstar Heroes and all of it is mixed up in ways you probably don’t expect. All of this is to say that Cosmic Boll is messy and cool and fun and you should probably play it.

Brock Crocodile

This is a game I’ve seen a lot of around social media, and it’s nice to finally be able to try it. Weirdly enough, this is the first game all SAGE that has flat out refused to see my controller. For the last few years at SAGE, I’ve been using a Playstation DualShock 4, which typically causes me all kinds of headaches with games expecting an Xbox controller. This year, I’ve been using an 8bitdo SN30+. These things are designed primarily to be used on the Switch, but using a controller macro, you can change it to Xbox or Playstation modes. The “Xbox” mode has served me well so far, but Brock here fails to let me use the controller at all. Fortunately, with only three buttons, Brock manages to be mostly playable on a keyboard. That being said, a lot of this game feels a little bit off. The camera is kind of swimmy, as it's almost constantly in motion trying to get a better angle on what's around you. Brock himself doesn't have a smooth acceleration curve either -- it's more like shifting gears in a car, where you reach one top speed and then click up into the next highest speed. That can work, but Brock changes gears much too quickly and without much feedback, making it look like one jerky acceleration curve instead of two. And then there’s the visuals. Level art looks great, character portraits look great, but I’ve never been the biggest fan of the sprites I’ve seen in this game. Take Brock himself, for example: he’s got insanely thick thighs for some reason but the rest of his body looks thin and wispy, and he stands with kind of weird posture. The good news is, despite these complaints, Brock Crocodile is actually really fun to play. You eventually get used to the game’s control quirks, and the level design and included boss fight are excellent, striking that perfect balance where they aren’t too easy but don’t feel unfairly difficult, either. Plus, even though the cutscenes aren’t skippable (annoying as I was dealing with controller issues), the writing is snappy and the dialog is funny. It may not be perfect, but there’s still a lot to like here.

Marble Launcher

Here’s one of those games where you can tell the creator is just starting out making games. And that’s great! These sorts of endlessly complex, winding mazes are exactly the kind of levels I started making when I first got into game development when I was 16 or 17 years old. One could spend hours searching every nook and cranny in these levels, which is simultaneously awesome and exhausting. Thankfully, near as I can tell, nothing FORCES you to go exploring, so if you’d rather just finish the game, it’s easy enough to head straight for the goal. Gameplay is extremely simple, otherwise. You’re a marble, you can attack enemies by bouncing off of their heads, and you have a slam move. That’s it. You might think that with this being a marble game, you’d get real rolling ball physics, but all you get is simple platformer controls. They’re good enough, especially considering how esoteric the shape of the levels can get, but it’s hard not to be a little disappointed. Still, it’s not a bad little game for what it is. Controls a bit better than some of my earliest attempts at game development, too.

Thirty games total! That’s a lot of games to talk about. And there’s still more to come, so stay tuned for that.

#sage #sonic amateur games expo #writing #review slew #indie games #victory heat rally #sondro gomez #delta gal #bun n' gun #shield cat #prototype n #yan's world #cosmic boll #brock crocodile #marble launcher

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vespiiqueen · 4 years

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List 5 things that make you happy, then put this in the ask box of the last 10 people who reblogged something from you (if you want !! 💛💖)

Wow I rambled a lot with this but i can't add cuts bc I'm on mobile rn DHSISHSJ sorry :"))))

1. Ik Ik "haha how cringe are you" of me to say, but honestly? Homestuck. Homestuck helped me in a time of need and when i so desperately wanted something to latch onto. Finally, I caved into my friends telling me to read it-- and it's been a blast!! The epilogues / hs^2 make me feel kinda sad though, because so much of what I loved about the original was yeeted through the nine circles of hell and into the trash. I love Y/ffany's (I call her Yippi tho) design, the art is really pretty at times, Harry is a major dork, I LIVE for seeing Vrissy bc honestly?? Her design is 10/10, very early 2000s emo style and I also live for that. Tavros is cute and a nerd and I think that's swell!

But in terms of story and how any of this happens, it makes me sad to see it happen. If Vriska could return as Vrissy, why not OTHER beta trolls? Where's my Eridan fish man, writers?? Give me the boy or perish by my fury.

2. Also super "haha how cringe are you" but,,, murder cats (Warriors), esp the early 2005-2015 amvs and stuff. I remember watching Flightfootwarrior's "I Will Not Bow" Scourge amv for HOurs and having no clue what was happening, but all these edgy kitties were KITTIES! It's introduced me to a lot of music I still listen to to this very day (Imagine Dragons, Young/the entirety of Hollywood Undead, Breaking Benjamin). And yknow what?? This new arc is absolute chaos, but in the good way.

I'm an "OG Fan". I prefer the first arc, The Prophecies Begin, to almost any of the other arcs. I just could never get into the other arcs-- not to say I haven't read them, I HAVE and the Fire Scene was probably one of my favorite moments beside grumpy Jaypaw, god complex Lionblaze, and fear the gods Hollypaw. I thought the build-up for it was SUPER satisfying. Gray Wing is my baby and I fully embellish in the Gray Wing is Silverpelt theory.

This new arc is definitely something new for the universe. While I didn't read aVoS (but I may do that if i can find the files for it), and so I don't know the major events of it other than what I've seen M.A.P.'s (Multi-Animator Projects, for clarification,,, bc unfortunately that term is also something disgusting). There's fucking cat possession and all the Clans questioning their belief system, yo. Shit be on fire.

Also the Imposter is 100% Ashfur, that's canon now, yeah??? Also im sorry but fuck Root x Bristle that's the dumbest shit I have ever seen. Give me Root x Shadow or face the wrath of my dragon plushies.

RiverClan is my Clan and my gov assigned warrior name is Fireshell 🌟🌟

3. As much as I hate the author,,,,, Harry Potter. It's been a major part of my life for as long as I can remember. I can never really remember why, but I've always just loved it- the movies, the books, the extra little merch that would pop up in my local Walmart. Of course my favorite character is Draco Malfoy. I could go on and on and ON about how I think his character arc was SHIT and JKR didn't have the balls to make him a confident gay man that was always implied through the text (at least, my lesbian ass thought it was implied but i may just be projecting, idk). I could ramble about Draco for HOURS and what I think his character SHOULD have been and how his parents are horrible (more specifically, Lucius bc Narcissa [?] Actually showed a few good moments), and a child should never have to pay for their parents sins.

Oh noo, Draco's a villain because he's a victim of major abuse and peer pressure? He's a villain because a literal child can be horrible and they'll always always always stay as a horrible little fiend?? Fuck that. He's a child.

Unlike manchild grease pan Snape, who was a racist piece of shit and shouldn't have became a fucking school teacher but it's okay because he was ~~~in love~~~. No, fuck you, he was a creep. James Potter n Co may have been a little posh bitch to you, Snape, but that's no fucking excuse to continue to bluntly be a little cunt all the way into adulthood. You're an adult who flatly changed your PATRONUS to imitate Lily's. You have no excuse. And Harry went and named his child after you LIKE JESUS CHRIST, DID RON'S SISTER NOT HAVE A SAY IN THE NAMES TOO?????

I also fully adore the idea that Muggles can run into Hogwarts and their patronus can 100% be a made up, fantasy creature. Imagine you learn the patronus spell and suddenly fucking ARCEUS comes from your wand. Imagine learning the spell and CHTULU (i did not spell that right but im so tired) comes from your wand-- an entire ass fucking Lovecraftian, Eldrith horror is just the embodiment of you. What if it was a fucking Homestuck character like Vriska? How fucking METAL would that be?? Hskajssowjjsjs get on it fandom.

4. Hee hee very evident by my url but Pokemon is another major thing of mine. While vespiquen isn't my favorite (that title goes to Hydreigon), it is definitely up there!

I've ALWAYS enjoyed the idea of Pokemon. You run around, training up these fight monsters and collecting them. I remember playing my sister's Ruby version on her flip-up Gameboy. I couldn't even read but I ran around catching god only knows how many of the same pokemon wherever she was. Apparently, I had fought for hours in the same area and leveled her Blaziken up to lvl 50 something and left her lvl 30s in the dust LMAO.

I got my first game when it was Pearl/Diamond. It was Pearl, and it still holds a very fond place in my heart. I could barely read, I could barely write-- I had named my Turtwig something along the lines of "MmorpHy" and my player boy "ZbsibJ". Yes I remember the names slightly. I really didn't get far-- I barely got to the first gym but I was just so happy to play it.

I eventually lost the game, as a 5 year old would do, but I can still vividly remember what was happening when the game arrived. I had just came back from the dentist and was quite tired from fighting the dentist bc I was super scared. Mom suddenly handed me a box and said it was mine-- my overseas (at that time) dad had bought me Pearl and my sister Diamond, because I lost my shit about it when he visited one time.

Well, tdlr, I played it for about five minutes while struggling to stay awake against the loopy gas they made me take. I fell asleep listening to Twinleaf Town's soundtrack. Every time I play a rom of Pearl and I get to where the player's house fades in and I hear that first tune of the song, I get a huge smile on my face and cry-- as.. Weird as it sounds.

A few years later, I had gotten Pokemon Black bc I liked Reshiram on the cover. Now, this one I could actually READ when playing, but I don't remember a lot of things about it. I probably lost this one too, as a 8/9 year old would do. I DO remember, I chose Snivy and my sister chose Tepig (hrmm there's a theme here of grass/fire goin on......) and vibing to the music. I was so amazed by the sprites moving, I just kept getting into encounters to see the sprites move (oh boy, no one tell younger 7-9 y/o me about Zelda......oh wait....)

Playing Pokemon NOW, as a 17 year old """gifted""" chick, I stil have very fond memories. I recently beat Pokemon Black again and GOD the OTS SLAPS. I fucking adore the soundtrack-- the track that plays when you battle a trainer, the low health dings being turned into a legit song that also slaps, the battle! gym leader themes-- and oh my gOd, the legendary theme is amazing? It really tells you just how glorious these pokemon are supposed to be. It's not intimidating like Groudon/Kyroge/Rayquaza's themes. It's not action packed like Palkia/Dialga's is, it's not filled with tension like Giratina/Arceus's is-- but it radiates the GLORY that the beasts portray. And I live for that. (Also, Kyurem's version is my favorite because it glitches in the beginning and that's rly cool)

P/D/P and BW/BW2's stories, imo, are some of the greatest ones. Yeahhh, US/USUM's is cool and I haven't played XY nor SwSh-- but the ones I can find memorable are PDP and BW/BW2. I love N. I love Barry. They're my sons. Ghetsis is fucking terrifying, Cyrus needs a hug. Giratina scared the piss out of me when I was younger, which was NOT helped by Giratina and The Sky Warrior.

I think my favorite movies are the gen 4 ones. The Rise of Darkrai having a tear-jerking theme for such a mysterious pokemon (i still tear up when i hear Ocarion), Giratina being spiteful is a mood and Shaymin was cute, Arceus being angry is also a mood. Yeah, Pokemon 4Ever made me cry my eyes out over Celebi, Mewtwo Returns made me again cry because Mewtwo accepting who he is, I remember how vastly different the BW movies are-

I just. I have a lot of memories with the series, even if Gamefreak and Nintendo kinda do the series dirty a lot (your top-grossing thing and you made That monstrosity for the Switch? How dare you.). It's comforting to be stressed and pull up my roms for the games and to play them. Mystery Dungeon is incredibly fun to play, Pokemon Ranger is really fun with the concept (Shadows of Almia continues to kick my ass to this very day and FUCK the Jungle Relic, I hate the Water Challenge fucking gyarados bullshit). I remember the pokemon I got for MD (I got Time, my sis got Darkness) was Mudkip, if that is any help.

I love my little fictional pixel monsters.

5. Yup, someone told tiny 7-9 y/o me about console games. The legend of Zelda. My first Zelda game was Twilight Princess on the Wii and BOY did I play the fucking SHIT out of that game.

Honestly, looking back and looking at playthroughs now-- I still love TP. Twilight Princess is still one of my top favorite Zelda games-- yes, even after playing OoT, Majora's Mask, Wind Waker, Skyward Sword, the anniversary four swords edition for the DS where you could play by yourself (Nintendo pls bring that back, I don't have friends to play it with ;-;), Phantom Hourglass- ect.

Something about Twilight Princess grabbed me by the head and yeeted me into the world. I can remember playing it for hours with little to no breaks. I, a tiny 9 y/o, had gotten the hang of the controllers and managed to get past the tutorial quite easily. And then, I was launched into the game and I wasn't stopping for NOTHING. Mom and Dad would have to force me to save and get off to go and eat dinner. THAT sucked.

I had done everything on my own up until the first temple, the forest temple. Not where/when you saved the dumb kid, but when you were saving the spirit's light. Theeeeeeennn I got stuck on the fucking Forest Temple for deadass six months straight. I'd play for hours, running around in circles, unable to figure out where to go, and because I didn't grasp the temple's purpose of being that way- I'd get angry and get off. It wasn't until dad looked up a walkthrough and talked me through what I was supposed to do that I learned how to get through temples.

I had gotten to the last little fight with Ganondorf before the Wii broke and i could no longer play. Despite the Wii being broke and we got rid of it, I was ADAMANT on keeping the game, and I kept that game for YEARS. It was an original copy out of a sealed box, and I eventually lost it when I left it accidentally at my now ex-friend's house.

She had a Wii and I went "hey I have a Wii game!" And I brought my Zelda over. Worst fucking choice of my goddamn life. Mom called me to come home and said I couldn't sleep over like the original plan was, and that was it. My ex-friend stashed my Zelda and I never saw it again. And, even if I wanted to-- I couldn't get it back, which makes me upset. We had a BAD falling out. She likely doesn't even remember it's there, or sold it to the local game junkie kid who buys ALL games.

But I still love the game. Midna was amazing, and I loved how snarky she was and she has a very cute design! The game's OST is fucking phenomenal. Midna's Desperate Hour makes me cry bc goddamn it really sells how serious that situation is. I love Hyrule Field's theme in this game. I love the Twilight Realm's song. Zant was fucking hilariously scary. Ganondorf's design in this game scared the piss out of me when I was younger.

Midna and this game's Link and Zelda are def my favorites. Yeah yeah, Sheik is cool and all I Guess but dhsushwishs Midna holds the special place in my heart. She was totally my gay awakening BUT

For other game antagonists, I adore Ghirahim-- let's go you funky little queer-coded villain. Skull Kid was great, I love the entire dynamic of him. Prankster lost soul stumbles upon Majora's Mask and the mask makes him act out due to powers-- which, I actually took very heavy inspiration from for one of my OCs. The moon falling to Hyrule was a fucking terrifying looming threat.

But the game series holds a place, and I've yet to be able to play BoTW-- although, I'm fairly certain I'll like it. The playthroughs I've watched of it are all fairly decent! I just. Gotta save up enough money to buy it haha.

Dang guess I gotta go watch a Twilight Princess playthrough again.

Honorable Mentions:

Avatar: the Last Airbender, specifically Book 3

my OCs definitely make me happy, they're my children and I'd ramble A LOT longer if given the chance WHEEZE

My friends, but I didn't add them here bc it's more fictional stuff, I presume

Baking. I love to bake cupcakes.

Painting is fun. I'm an artist and goddammit im going to use painting as an excuse to make a mess.

Fire. I rly like fire, down to a pyromaniac level. However, i hate the fires that happened to my home town, the Great Smokey Fires of 2016-- THAT pissed me off. How dare you burn mountain landscapes to the ground. Perish.

History. I'm a history nerd.

I'm also a science nerd.

But fuck math, I cannot comprehend math to save my life.

For some reason, I rly like learning how the human body works??? like did you know, organs are actually sticky when touched by a bare hand?? Did you?? How fucking cool is that.

Bakugan. I love Bakugan, esp the DS game. I love my Darkus Leonidas. Give me back the online world, you peasants-- I want my Darkus Dragonoid. (Also fuck all my friends from when I was in kindergarten- my theory that Alice was Masquerade was somewhat correct.)

#admin ace #admin ace speaks #communistvriska #inbox tag #homestuck #warrior cats #harry potter #pokemon #legend of zelda

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evanwhosjusthere · 5 years

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(Cancelled) The Legend of Zelda (2007) by Imagi Animation Studios

Back in 2007, Imagi, the studio behind TMNT (2007) and Astro Boy (2009), made an in-house pitch for an animated Legend of Zelda movie. Unfortunately the pitch never went anywhere and Imagi went under in 2010. It along with Imagi’s Gatchaman, Gigantor/Tetsujin 28-go and numerous other films were canned. In 2013, an animator named Adam Holmes uploaded the lost pitch to his portfolio along with other Imagi projects and a side by side comparison of the pitch in question.

The designs in the pitch seem to be based on Ocarina of Time with the darker, moody atmosphere seemingly inspired by Twilight Princess. It’s also dated March 28th, 2007. Imagi’s first worldwide release, TMNT, came to theaters March 23, 2007. Meaning that this pitch was being developed and finalized when TMNT was already being prepared for a worldwide release. More potential proof comes from an observation this commenter on this article brings up, in how some of the the designs in the pitch look very similar to designs in TMNT (ex: Zelda=April O Neil, Ganondorf=Max Winters).

See for yourself:

This could potentially confirm that Imagi probably planned on Zelda being their next film after TMNT’s suprise success at the box office.

Some sources say that this was pitched to Nintendo but they declined, but I couldn’t find any hard sources on that. But knowing that Nintendo locked their IP films right behind lock and key after the Mario movie fiasco I wouldn’t be surprised if they declined. With Nintendo and Illumination Animation collaborating on the 2022 Mario movie under the umbrella of Universal Studios, I wouldn’t be surprised if after the Mario movie is successful a Zelda movie is on the table. But did you know that wasn’t the only movie based on a Nintendo property that could’ve come out in the mid-2000s? Stay tuned for more on this spur of the moment mini series.

#the legend of zelda #tloz #nintendo #movie #film #video game movies #cancelled movies #animation #cancelled #lost media #zelda #legend of zelda movie #video games #imagi #imagi animation studios #tmnt

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liugeaux · 5 years

Text

The Master of Blasting

Months ago, once I realized my Retron had a save-state feature, something got into me. I realized I could go back to old retro games and actually finish them. Sure, I played 100s of games in the 8 & 16-bit eras, but I’ve never been that good at anything with a steep difficulty. Most games of the late-80s, early 90s were punishingly tough and typically, without cheat codes I never got to see the end of them.

After playing through all the old Donkey Kong Country games and Sonic the Hedgehog 1, I turned my eye towards a peculiar series I had only dabbled in before, Blaster Master. With the release of Blaster Master Zero on Switch, I was extra interested in diving into the well-regarded B-tier NES original.

With a little research, I found that a total of 8 Blaster Master games have been released...that’s when the classic Sergio completist kicked in. I convinced myself that I shouldn’t play the new Switch games until I’ve completed all of the retro titles. When I began my journey I didn’t realize it would be such a headache. Here’s my run-through of all the Blaster Master Games.

1988 - Blaster Master (NES)

Ah, the original. This little game has a charm to it that most games of the late 80′s don’t have. It was clearly inspired by Nintendo published games like Metroid and Zelda. Blaster Master’s key gimmick is the ability to play as the armored tank Sophia the 3rd or as an on-foot character named Jason, the pilot of the tank. As needed, Jason jumps out of the tank and enters human-sized doors.

Blaster Master is a 2D platformer, but once Jason enters a door, the game switches to an overhead perspective for navigation through maze-like dungeons. None of the mazes are particularly hard to solve, but all of the game’s bosses are found in these dungeons. As a kid, having a game that completely switched perspectives was rad. I never owned it as a child, but I vividly remember my time with it through rentals and such.

This first game is super hard and I found myself using known glitches to get past the game’s harder boss sequences. In true Metroidvania-style, there’s heavy backtracking throughout Blaster Master and if you don’t know where you’re going getting to the next level can be quite annoying. Having played the whole game, I can finally say that despite a super strong first impression, Blaster Master isn’t that great.

It's WAY too hard and by the halfway point the luster had worn off the unique gameplay. For some reason, this is the point where I decided to dive headfirst into the rest of the Blaster Master games. I’m a glutton for punishment I guess.

1991 - Blaster Master Boy (Game Boy)

Prior to playing the original, I had no idea there were so many titles in this series. I definitely didn’t know there were multiple portable entries. Blaster Master Boy is less a Blaster Master game and more a Bomberman game. Technically its a sequel to the Bomberman spin-off Robo-Warrior. A quick trip over to Youtube can confirm that the gameplay and music are lifted directly from Robo-Warrior. To add even more confusion, in Japan, Robo-Warrior was called Bomber-King, Blaster Master Boy was Bomber-King Scenario 2 and it wasn’t even published by the same company.

Because of this weirdness, I didn’t spend too much time with Blaster Master Boy. It also didn’t help that there isn’t a decently priced copy anywhere on the internet.

1993 - Blaster Master 2 (Genesis)

Five years after the original, Blaster Master returned to the console market with Blaster Master 2. It was a Sega Genesis exclusive and the only title in the series released in the 16-bit era. Playing this immediately after the original really made it quite hard. The controls aren’t as precise and the difficultly level is somehow ratcheted up. Blaster Master 2 is a more straight forward platformer without the backtracking of a traditional Metroidvania.

Unlike the first game, when you enter the human sections of the game, you don’t start a top-down sequence. Instead, the pilot levels are 2D platform shooter areas. All of these seem half-baked, clunky and compared to the game’s contemporaries, quite sad. Fortunately, top-down gameplay wasn’t completely abandoned, before the end of each level there’s an odd top-down sequence, where you pilot Sophia. This mechanic never returns in future games, but taking the rest of the game into consideration, it really isn’t terrible.

Unfortunately, there’s not much good to say about Blaster Master 2, It hits most of the design notes that the first one hits but the entire experience feels like it was made by a completely different team. Funny enough, after saying that, I looked it up and Blaster Master 2 was, in fact, made by a completely different team. Ha!

The game’s only saving grace is its vivid color pallet and solid sprite design. Like the first game, the music solid, but unless you’re taking a trip through the whole series like me, Blaster Master 2 can be skipped.

2000 - Blaster Master: Enemy Below (Game Boy Color)

It took Sunsoft awhile to get around to the Blaster Master series again, but in 2000 they came out swinging. Blaster Master: Enemy Below was released for Game Boy Color and of all the games on this list, it is the game that most resembles the original. Much of the art is designed to look nearly identical to the NES games’, even down to a nearly pixel-perfect recreation of the SOPHIA tank.

The top-down Jason segments return as does the extreme difficulty and fantastic soundtrack. It’s hard to really complain about the execution of this title. It was clearly an attempt at just trying to make the closest thing they could to the original and in many ways, it is a tighter and more consistent experience. Unfortunately, that’s also a strike against it. Enemy Below doesn’t bring anything new to the table. The bosses are basic re-hashes of the originals, the levels feel like a “lost levels” DLC pack and the game being portable doesn’t really encourage innovation.

I guess the coolest thing I can say about Enemy Below is that it's still available for purchase. On the 3DS Virtual Console, you can pick up Enemy Below for about $5. At that price, it’s easy to recommend, especially since it comes with built-in save-state functionality.

2001 - Blaster Master: Blasting Again (Playstation)

Also, released in 2000 (in Japan, 2001 in North America), is the weirdest game in the series to date, Blaster Master: Blasting Again. For those of you too young to remember, the Playstation/N64 era of video games was full of 2D series trying their hand at 3D games. Blasting Again is an egregious example of this frustrating industry trend. You still pilot a tank, with all the same features, like homing missiles, and hover, but you’re dropped into a fully realized 3D world with painfully bad anime cut-scenes.

The “Jason” sequences are still here, but they too are 3D and mundanely boring. Also, with this being an official sequel to the original, you play as Jason’s son Roddy, not Jason. Much of the music from earlier in the series is remixed, and rerecorded, so not all is lost in the odd one-off. Unfortunately, the antiquated tank controls and punishing difficulty makes Blasting Again hard to recommend. I was able to play it on PS3 with no issues, but the toggle switch for the digital and analog controls was initially hard to find.

I ended up sinking about 40 hours into finally beating this tragedy. I wasn’t able to use save states and despite it being objectively bad, I grew to love it’s janky and unfair presentation. As a whole, these games have really tested my ability to control my anger, but Blasting Again was the first one to truly get all the way under my skin.

2010 - Blaster Master: Overdrive (WiiWare)

Notice, I have yet to say any of these games are good, that’s because they aren’t. What they have is a charm to them that conjures the aura of the scrappy beginnings of gaming and the forced appreciation of only owning 4 games that had no checkpoints. Thus far, despite initial misgivings, I’ve enjoyed my time on this journey. Blaster Master: Overdrive is where that joy ended. The fun I was having with the series was taken out back, brutally beaten, and left to die in the town square as an example to anyone daring to play this absolute nightmare.

Overdrive starts innocently enough. It does it’s best to try and evoke the gameplay and tone of the original and for what it's worth the art style isn’t terrible. The Sophia and Jason gameplay loops are in-tact and even the gun-upgrades are more important than ever. Where Overdrive falls apart is its difficulty and embarrassing lack of control options.

I’m sure most of you are at least familiar with the Wii-Remote. With this being a Wii-Ware only game, it could only be played with the Wii-Remote. The real downside is that the developer either ran out of time or opted not to explore the myriad of control options the Wii offered. There’s no classic controller support, no Gamecube controller support, there’s not even a way to map buttons to a nun-chuck. You are stuck playing with the Wii-Remote turned sideways.

This wouldn’t be that big of a deal if they had found a better way to implement strafing into the controls. To strafe, the player must hold the B button. That’s the button underneath the Wii-Remote. In a world where the player is using the remote like an old-school NES controller, B button usage is a legit finger-bending-nightmare. Couple this broken control scheme with punishing difficulty and you have the perfect recipe for rage-quitting. I‘m not proud of my behavior during my time with this game and let’s just say I own 1 less Wii-Remote now.

The last thing I want to say about Overdrive is less about the game itself and more about its availability. The Wiiware marketplace is 100% closed, which means there’s no legit way to purchase this game, outside of buying someone’s Wii who had already bought it. This is an ominous foreshadowing of things to come. I would have paid for this game. Hell, I’m deep enough into this BM adventure I would have paid a premium to play this dumb game, but Nintendo’s shut-down of the Wii-Ware shop is a low-key attack on game preservation that us archivist, CANNOT forget. *steps off of soap-box*

2017 - Blaster Master Zero (Switch/Steam)

With the release of Blaster Master Zero, the series got the most attention it’s had since the original game. Most of that attention was because Zero was basically a launch game for the Switch. The best way to describe Zero is to say that it’s developer Inti’s attempt to take the Blaster Master formula and actually make a decent game. For the most part, they succeed. Oddly enough, almost 30 years later, Zero is the first legitimately good Blaster Master game.

Much like Enemy Below, Zero tries its hardest to evoke the look of the original NES game. Some refer to games like this as pixel art, others refer to it as lazy...I float somewhere in the middle on it. It was great playing a Blaster Master game with a proper controller where the mechanics actually work. However, it was frustrating seeing a game, based on a design aesthetic that hit its ceiling in the late 80s, try to beautify itself. Many attempts were made to make the design stand out, but it just kept hitting the ceiling established by its predecessors.

Alternately, by Inti making the game super-playable, the flaws of the older games stand out even more than before. Typically, good Metroidvania’s have an intuitive way of hinting at where you need to go next or a good way of telling you what access you’re new power-ups give you. Due to Zero’s obsession with evoking the original, that intuitive gameplay is replaced with a red box on the map screen. This turns the game into a “drive to red box, shoot things, drive to next red box and shoot more things, experience”, rather than the naturally explorative nature of other games in its genre. The anime story seemed unnecessary from the start, but I’m sure someone will enjoy it.

While playing Zero I honestly asked myself, “Is this game way easier than the older games, or can I finally control this little tank properly?” I’m sure the real answer is somewhere between those two extremes, but ultimately Zero was a blast, albeit WAY too easy. I’m really looking forward to seeing how the sequel improves upon this wonderful jumping-off point. However, I’m positive I’ll be disappointed that more wasn’t done to bring the series into the modern 2D-platforming space.

2019 - Blaster Master Zero 2 (Switch)

Zero 2 is very much a sequel to Zero. In true anime fashion, the story immediately gets super self-serious and consequently superfluous. I’m sure some players will love the dialog between protagonist Jason and all of the various anime-faced characters, but that’s not what I’m here for. Needless to say, the story gets involved in ways other Blaster Master games haven’t. That’s not a strike against it, it’s just a characteristic that may not actually matter.

All previous mechanics are intact here and new ones are introduced almost immediately. If Zero was truly the first good Blaster Master game, then the refinements introduced in Zero 2 make it...wait for it...THE BEST BLASTER MASTER GAME EVER MADE! It controls well, the levels are interestingly built, and where previous sequels in the series lacked innovation, Zero 2 is full of cool and weird, new stuff. The bosses are fresh and interesting, the Jason sequences have been enhanced with a brand new counter mechanic and the space travel segments add a level of depth not seen in previous games.

I hate that I’m being so positive about the game. It’s been so much fun talking shit about Blaster Master games. Unlike the previous game, developer Inti found a way to modernize the gameplay and still make a genuinely challenging experience. I had trouble with multiple bosses, but never did I feel like the game was unfair, or something was broken. Many of the additions to the story also benefited the gameplay. Something as simple as making the Frog from the original game the reason Jason can immediately leave dungeons serves both the story and gameplay.

This has been a long journey, and the real hero is Inti Creates. Hopefully, Zero and Zero 2 have done well. The work put in by Inti deserves praise. They have perfected a formula that’s been pending since 1988. Both titles are only $10 on the Switch shop, and at that price, you are basically stealing them. Anyone with a Switch has no reason not to pick at least one of them up and check it out.

As for the series itself...I have very mixed feelings. There are very few good Blaster Master games. It's a series that trades in loose nostalgia for a widely forgotten NES game. From that, a bunch of often half-hearted sequels were developed trying to capitalize on the little bit of cache the original game still has. I don’t regret my time with the series and I think more titles deserve the Blaster Master treatment, but subjectively, I wouldn’t recommend anyone pick up any games outside of the original and the 2 newest Switch titles.

#blaster master #blaster master zero #blaster master enemy below #blaster master blasting again #blaster master overdrive #blaster master 2 #blaster master zero 2 #blaster master boy

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the-delta-42 · 5 years

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The Shield

@linkeduniverse fic, all Linked Universe characters belong to @jojo56830. All Zelda character property of Nintendo

Wild let’s slip to Riju and Buliara how Time go into Gerudo town in his Hyrule, and now has to watch the painful results.

Wild’s face twisted into a grimace as Liana collided with the sand in the Oasis. The Link’s had been resting in the Gerudo desert, while Wild and Hyrule went into Gerudo Town to gather supplies and restock on ammunition. Hyrule had been waylaid by a stand selling roasted meats, so Wild had made his way to meet with Riju and Buliara and made idle small talk with the two.

“Did the Hero of Time ever visit the Gerudo?” Wild remembered asking, making Buliara lean on her claymore.

“A few times, according to legend” Said the Chieftain’s bodyguard, “Worked with the Exalted Nabooru to defeat Ganon when it first turned up.”

Wild was quiet, making Riju and Buliara look at him.

“Why do you ask?” Riju questioned, making Wild look at her.

“I’m travelling with a group of men, other Heroes, believe it or not,” Said Wild, looking between the two, “One came with me to restock, the others are at the Oasis. One got into a Gerudo settlement by defeating all the guards. Well, I say defeated, he says humiliated, but he was given a token to prove his worth to the Gerudo from where he’s from.”

Wild didn’t notice how quiet everything had become until he had finished talking. Riju had a look of horror, making Wild turn and face Buliara, who was gripping her sword so tightly that Wild would see her knuckles slowly turning white.

“Oh really?” Said Buliara, “I’d very much like to meet this Voe.”

Wild and Hyrule slowly lead the best Gerudo warriors to the Oasis, each one decked out in their best gear, while Hyrule seared holes into Wild’s head.

“He’s going to kill us.” Whispered Hyrule, shaking his leg every two steps.

“I hope not.” Said Wild, as Riju looked between the two.

“What’s so bad about this Voe?” Riju asked, noting how tense the two became.

“Well, he’s not bad, per say,” Said Hyrule, scratching the back of his head, “It’s just that he’s really, what’s the word? Stern?”

Wild shrugged, making Hyrule continue, “He seems really difficult to please, the only one who’s come close to beating him is Twilight, and even then, he still lost to Time.”

As soon as the group entered the Oasis, someone let out a loud wolf whistle, followed by a smack. Wild and Hyrule looked over towards the water, where Warrior stood rubbing the back of his head, while the newest addition to the group stood a foot behind him, shaking her hand to get rid of the stinging sensation.

The group had stumbled across Linkle in the middle of Faron, with the girl looking down at her compass, when the girl had power walked into Time, falling back onto her butt after the collision took place. The group had set up camp while Time questioned the girl, before calling Sky over and had her attempt to draw the Master Sword. The group didn’t expect her to be able to draw the Sword.

Until she did. Wild snickered at the memory of Warrior fainting. The rest of the group had quickly brought Linkle up to speed with their quest. Wild was brought from his musings by the sound of Time’s voice breaking the silence.

“Please tell me you two haven’t been arrested.” Said Time, the war paint on his face slightly smeared and the bags under his eyes the only tell of the trick that the War god had played on the Hero of Time, giving him a realistic vision of Time killing the other members of the party. Time had kept his distance from the group, until Linkle turned up.

Buliara strode forwards, “Which one of you is the one known at ‘Time’?”

Time sighed, before he got to his feet, “Alright, what is it?”

Buliara glared at him, Time simply raised an eyebrow.

“You told your party members that you managed to get into Gerudo settlement by humiliating the guards.” Said Buliara, “I intend to see you put your rupees where your mouth is.”

Time was silent, before he slowly turned and glared at Wild and Hyrule. Hyrule simply pointed at Wild and slowly edged away.

Wild was rooted to his place as Time’s eyes boar into him. Time slowly pulled his gaze from Wild, his gaze returning to the Gerudo.

“Let me guess,” Said Time, his tone dryer than the desert, “you want me to fight some Iron Knuckles.”

Buliara’s face curled into a sneer, “I intend to subject you to the full might of the Gerudo.” Buliara slammed the point of her sword into the ground.

Time’s other eye brow rose, before he looked at the sky, “Not tonight, surely, you’ve just travelled across several yards of Sand and the sun is setting, and if I remember correctly, the desert is a terrible place after dark.” Said Time, as Wind and Twilight came up behind him, “Perhaps you should rest for the night and have the challenge tomorrow morning.”

“We have food.” Said Wind, quickly drawing level with Time and the Gerudo, “Legend is teaching us a new game, but he thinks Four is cheating.” Wind grabbed Riju’s arm and quickly dragged the girl over to the small circle, Wild quickly stepping in front of Buliara, before she could bring her claymore down on the boy’s head.

“Don’t worry,” Said Wild, hoping to placate the woman, “Wind wouldn’t hurt anyone, he just hasn’t been around anyone his own age in a while.”

Everyone was on edge, until Buliara lowered her sword and turned a fierce glare towards Time.

“Fine, we will fight tomorrow.” Said Buliara, her eyes narrowing at Time, “I trust you won’t run off in the middle of the night.”

Time’s expression went cold, “The only thing that would send me fleeing, is no longer alive.”

Wild looked at the other hero, only to flinch when he was on the receiving end of Time’s glare and Twilight’s hand cuffing him on the back of the head.

The night passed quickly, almost too quickly for Wild’s liking, and by that time a large crowd had gathered to witness The Gerudo guards fighting an old man in some form of battle armour.

The first one to be sent into the area where they were to fight Time was Barta, which lasted the grand total of five seconds, before Time had kicked Barta out of the ring with a swift kick to the chest.

“I thought you said the Voe was ninety.” Said a Gerudo standing behind Wild.

“That’s what I was told, I didn’t realise that he was younger than that.” Said another, as Kotta was knocked to the ground, after Time had grabbed the shaft of her spear and used it against her.

Leena opted for a more aggressive approach, charging at Time with that full force of a stampeding buffalo. Time simply side stepped her, before grabbing her arm and spinning around, Leena attempted to knock Time off balance, before she was punched in the face and thrown into Kotta and Barta.

Babi’s approach to the fight was vastly different to Leena’s, opting to play a game of Cucco, to see who would break first. Neither moved, until Babi thrust her spear forwards, in an attempt to skewer the Hylian onto the end. Again, Time side stepped and grabbed her arm, before throwing her onto the growing pile of beaten warriors.

Marta threw her spear at Time, before she grabbed one from the floor. For a brief moment, Time was caught off guard and was nearly knocked over. Luckily for him, he was able to knock Marta to the ground and place his foot between her shoulder blades.

“I have no idea what you were trying to accomplish.” Said Time, speaking for the first time during the battles.

Smaude tried to sneak up behind Time, only for him to grab her arm and throw her at her fellow Guards. Liana stepped forwards, unsheathing her sword and shield and charging at Time. Time and Liana exchanged blows and parried each other’s attacks, until Time knocked her sword from her hand and gave a firm kick to the chest. Wild’s face twisted into a grimace as Liana collided with the sand in the Oasis.

Liana quietly conceded defeat, before Teake stepped forwards, following Liana’s example, with the exception that Teake was dodging most of Time’s attacks, before she was knocked onto her back, as the flat side of Time’s sword hit her.

Buliara stepped forwards, before she charged at Time. Time, who looked as if he wasn’t even breaking a sweat, charged at Buliara as well. Both blades clashed against each other, Time and Buliara somehow predicting each other’s attacks as they happened. Buliara lasted longer than the others before her, until Time knocked her legs out from underneath her.

Buliara hit the sand, everything quiet. A lot of emotions passed through Buliara’s head, shame, anger, fear. None of them pleasant. Time looked down at her, before offering her and hand up. Time looked up into the sky, noticing that it would be dark soon.

“Anyone else wish to try their luck before the day ends?” Questioned Time, as a small Gerudo, no more that five-foot-tall, marched into the ring.

Wild’s and Buliara’s eyes bugged, as Riju stood before Time, hands on her hips and a sword and shield on her back.

“I wish to try.” Said Riju, looking up at Time, trying not to feel intimidated at his imposing stature.

“I don’t fight children.” Said Time, turning away from the girl.

“Why, Because you’re scared one might actually beat you?” Snarked Riju, making Time stop in his tracks, before he spun around and marched up towards Riju.

“Fine, but the first time you hit the ground, its over.” Said Time, readying his sword, Riju doing the same.

Riju charged forwards, ducking under Time’s sword, before implanting her foot into Time’s groin. The next thing anyone knew was Time was kneeling down, with his face the painted picture of silent pain. Everyone was silent, trying to process the fact that a teenaged five-foot-tall girl had taken down an adult seven-eight-foot-tall man.

Time took a deep breath in, before looking at Riju.

“Well done, my lady.” Said Time, as he picked up his sword and looked down at the girl.

“So, is there a prize?” Riju joked, making Time look upwards, before he walked over to his pack.

“Well, I’ve been carrying this for years,” Said Time, walking towards Riju with a bundle of items wrapped in a cloth, “they once belonged to a friend of mine, I believe she wouldn’t object to you having these.”

Time handed the bundle to Riju, who placed it on the floor and unwrapped the bundle, her eyes going wide at the sight of two beautiful looking scimitars, each with the name Nabooru inscribed onto the blade. The second part of the bundle was a mirror shield with the Gerudo symbol inscribed onto the mirror part of the shield.

Riju looked up at Time, who smiled and said, “May the old pass to the new.”

Riju leapt to her feet and grabbed Time in a strong hug, before taking the swords and shield to Buliara, who still seemed to be in shock of Time beating her. Riju showed Buliara the arms, making her jaw drop open, before she slowly turned her head to look at Time.

“Got everything?” Asked Time, looking at his group. Twilight nodded and the rest of the group got to their feet.

“Where are we going? I could navigate!” Said Linkle, making everyone wince. Time only laughed.

Before Wild could depart, he heard a Gerudo say something to their friend, “Just imagine having his children.”

Warrior laughed, making them look at him, “I wouldn’t try it, he’s a married man and is very loyal to his wife.”

The Gerudo pulled a ‘fair-enough’ face, before she turned to her friend again. Wild felt a hand on his shoulder.

Wild looked up and saw Buliara, who was frowning, “You could’ve warned us that we were going to fight the Hero of Time.”

“Would you have believed me?” Asked Wild, looking up at the Gerudo.

“Fair point.” Said Buliara, before giving Wild a small shove, “Your party is leaving you behind.”

Wild spun around and quickly took off after them, shouting about how they could’ve told him they were leaving.

Riju was quiet, before Buliara looked down at her, “I’m in trouble, aren’t I?”

“Ducking under a blade and kicking someone in the crotch is not a viable battle practice.” Said Buliara, “But no, you’re not in trouble. In fact, I think it’s time you learnt how to fight properly.”

Riju suddenly grinned, clutching the bundle closer to her chest.

The party of Heroes stopped for a rest at Outskirt Stable, Time having made them walk to the Stable after the Gerudo Stable, Warriors thought that Time was cradling his wounded pride.

Time took a deep breath in, looking down at the Stable from the cliff behind it, as a familiar presence appeared behind him.

“You know, kid,” Said Nabooru, the ghostly flames surrounding her, “if I knew you were that easy to take down, I would’ve tried it myself.”

Time snorted, making the Spirit grin, before she exhaled.

“It happens soon, doesn’t it?” Nabooru questioned.

“I have no idea what you’re talking about.” Retorted Time, his hand folding together behind his back.

“You and I both know that is a lie, Link.” Said Nabooru, “You have gazed into the darkness of time and worlds, you saw your own future, your own past, all the times you could’ve died, and all the timelines created from them. You know when you’re going to die, and die properly, not get saved at the last minute by a fairy or have just enough red potion to survive the battle. You have a literal God residing within you, a massive dick, both figuratively and literally, but someone who would never cause permanent damage. You knew, that when you started this mission it would be one of your last. I can only tell because I’m a sage. Zelda knew, but given how she’s been acting as of recent, I’m not sure she would care.”

“She does,” Said Time, looking down at the stable, “She can’t show how concerned she is due to her position, her father’s death is still fresh with her and the splintering of the Gerudo, one side that wishes war, is causing peace problems and the council is trying to hinder her at every turn.”

Nabooru was silent, before saying, “It’s okay, to admit when you’re afraid, Link. No one will judge you for it.”

Time was quiet, “I’m not afraid of dying. I’m afraid of the children I will leave behind. I’m afraid of my wife, who is hoping to see me home. I’m afraid of how Ganondorf will take the news that one of his greatest obstacles is gone.”

Nabooru pulled a strange frowning face, “Well, that went deep awfully quickly.”

Time smiled, before looking at Nabooru, “Don’t you have some guards to annoy?”

“Thanks for reminding me.” Said Nabooru, before she vanished into thin air.

Time sighed, as he looked down upon his future as they slept, before he too walked down and took a rest, as their journey, while a bit long lasting, would not end soon.

A/N: Should I add a keep reading link to this?

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recentanimenews · 5 years

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Ni No Kuni: Wrath Of The White Witch Is A Charming RPG That Made Me Sob

A few weeks ago, my son was born. And if you've ever been a parent or have been around infants in general, you spend a majority of your time together playing a game called "Oh my god are they breathing?" Night and day, you feed and change and watch them, checking for the tiny rise and fall of their chests as they sleep, unaware that you're currently the most paranoid person on the planet hovering above them. But, despite my constant half-sleep, I fell in love with this stinky little potato person and have found myself firmly becoming a Dad Guy, a guy that gets emotional at the slightest mention of love or children or parents or a combination of those three things.

So maybe I wasn't in the best state to play Ni no Kuni: Wrath of the White Witch, a game that starts with a child losing his mother. Or maybe I WAS in the absolute best state to play through it, because y'all, I have sobbed through portions of this game.

Recently re-released for the Nintendo Switch, Ni no Kuni: Wrath of the White Witch concerns a young boy named Oliver who lives in Motorville. After being rescued from an automobile accident by his mother, his mother tragically passes away from a heart problem, leaving Oliver distant and depressed. However, he's soon visited by his doll-come-to-life named Drippy who tells him that he has to save another world from a sorcerer. Oliver doesn't seem so hyped about being the Chosen One until he finds out that every person in his world has a "soulmate" in the other one, and that he might be able to bring his mother back by visiting a great sage that looks a lot like her.

From the beginning, the wonderful art style of the characters and the setting seemed remniscient of the work of Studio Ghibli, and it turns out that my Anime Spider Sense wasn't lying because Studio Ghibli collaborated with developer Level 5 to create the animated sequences. Level 5 used Ghibli as inspiration when designing just about everything else, too, and I'd consider this a wise decision as Wrath of the White Witch looks both unique amongst its RPG peers and classically Ghibli. So even when you're running around the overworld, trying to dodge (or run into battle with) monsters, the experience is sublime. I don't fully recommend using "IT'S LIKE YOU'RE ACTUALLY PLAYING KIKI'S DELIVERY SERVICE" when telling others about this game, but I also don't don't fully recommend it.

So, I've established that the game is gorgeous (and written by Akihiro Hino, who directed Dragon Quest VIII, one of my favorite Dragon Quest games), but how does it play? Well, here's where it might divide people. When you collide with a monster, the battle area is free to roam around in, as you control human characters and one of many "familiars" that you can switch in and out. Each character and each Familiar has their own set of customizable attacks and abilities (which you gain as you level up or complete certain objectives,) so you'll want to mix and match to take on all beasties. For instance, Oliver is great from a distance, but he'll get eviscerated up close. So you'll want to consistently pair him with Familiars that are a bit...punch-in-the-face-ier.

At first, this system feels a bit chaotic, but you soon get the hang of it as battles are plentiful. Then, as the difficulty moves up, the chaos returns and I was forced to get the hang of it yet again. Eventually, I stabilized into being perfectly mediocre at monster fightin', but every once in a while, I found myself overwhelmed, as if my skill level, the game's battling system, and the AI of the enemies weren't lining up. Again, this isn't so much a con as it's just a battle system that takes time to get used to. It's good, and can have a lot of depth, but you have to be willing to practice a bit to feel like you're mastering the art of the Familiars.

As for the characters that you're not locked in combat with on a regular basis, they run the spectrum from delightfully designed and enchanting in personality, to just kind of Garden Variety Ghibli Cute. Oliver is a pretty standard child protagonist, and the main villains Shadar and the titular White Witch almost looked like Nintendo 64 Legend of Zelda characters (and I mean that in the best of ways).

Oliver's human allies are fun but not totally memorable, and they often left me wishing we got more characters like King Tom, the giant cat ruler. Plus, bosses like the Guardian of the Woods and Moltaan set the bar pretty high, design-wise, so going through a roll call of standard RPG supporters when it came to the people that Oliver pals around with was fairly disappointing at times.

But none of this was enough to lose me, as the core of Wrath of the White Witch is about Oliver growing up through helping people. And buddy, that is a theme that I can get behind. See, Oliver has the ability to restore pieces of people's hearts, helping the downtrodden and distressed to continue on, whether their motivations are touching or comical. So in this way, Wrath of the White Witch tells a story about not just loss, but moving on from loss and contributing to the world in positive ways. This is where a lot of my aforementioned crying took place, not just because I have a son now and I can't fathom being taken away from him, but because there's so much there that I want to impart to him.

Wrath of the White Witch doesn't provide a lesson plan for helping someone through grief. Grief is often unknowable and personal and affects us in a variety of weird, unexpected ways. However, it does provide a portrayal of grief that is aspirational, where we cope with it even without knowing that we're coping. Where we continue to help those around us because the good people around us are all we have. Where, even when we've lost what's most important to us, we're still important to others.

Though I'm not the biggest evangelist of Studio Ghibli, I'm so glad that they're around to give us movies that don't talk down to the younger part of their audience. And I'm glad that I got the chance to play Ni no Kuni: Wrath of the White Witch, an RPG that I needed right now.

REVIEW ROUNDUP:

+ Beautiful visuals that are either created by Studio Ghibli, or Ghibli-inspired

+ Wonderful themes about grief, loss, and redemption

+ Exploring the world and its various areas is never tiring

+/- Battle system is extremely fun, but takes some getting used to

- Some of the side character designs feel uninspired in comparison to the rest of the game

You can pick up Ni no Kuni: Wrath of the White Witch for the Nintendo Switch here!

Have you played Ni no Kuni: Wrath of the White Witch? What was your favorite aspect of it? Ever played any other Level 5 games? Let us know in the comments!

-----------------------------

Daniel Dockery is a writer and editor for Crunchyroll. You should follow him on Twitter!

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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maximelebled · 6 years

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Growing Pains - Zelda, Tony Hawk, The Sims, games and related memories from my formative years

This blog post is about my personal history with video games, how they influenced me growing up, how they sometimes helped me, and more or less an excuse to write about associated memories with them.

This is a very straightforward intro, because I’ve had this post sitting as a draft for ages, trying to glue all of it cohesively, but I’m not a very good writer, so I never really succeeded. Some of these paragraphs date back at least one year.

And I figured I should write about a lot of this as long as I still remember clearly, or not too inaccurately. Because I know that I don’t remember my earliest ever memory. I only remember how I remember it. So I might as well help my future self here, and give myself a good memento.

Anyway, the post is a kilometer long, so it’ll be under this cut.

My family got a Windows 95 computer when I was 3 years old. While I don’t remember this personally, I’m told that one of the first things I ever did with it was mess up with the BIOS settings so badly that dad’s computer-expert friend had to be invited to repair it. (He stayed for dinner as a thank you.)

It was that off-white plastic tower, it had a turbo button, and even a 4X CD reader! Wow! And the CRT monitor must have been... I don’t remember what it was, actually. But I do once remember launching a game at a stupidly high resolution: 1280x1024! And despite being a top-down 2D strategy, it ran VERY slowly. Its video card was an ATI Rage. I had no idea what that really meant that at the time, but I do recall that detail nonetheless.

Along with legitimately purchased games, the list of which I can remember:

Tubular Worlds

Descent II

Alone in the Dark I & III

Lost Eden

Formula One (not sure which game exactly)

Heart of Darkness

(and of course the famous Adibou/Adi series of educational games)

... we also had what I realize today were cracked/pirated games, from the work-friend that had set up the family computer. I remember the following:

Age of Empires I (not sure about that one, I think it might have been from a legitimate “Microsoft Plus!” disc)

Nightmare Creatures (yep, there was a PC port of that game)

Earthworm Jim (but without any music)

The Fifth Element

Moto Racer II

There are a few other memorable games, which were memorable in most aspects, except their name. I just cannot remember their name. And believe me, I have looked. Too bad! Anyway, in this list, I can point out a couple games that made a big mark on me.

First, the Alone in the Dark trilogy. It took me a long time to beat them. I still remember the morning I beat the third game. I think it was in 2001 or 2002.

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There was a specific death in it which gave me nightmares for a week. You shrink yourself to fit through a crack in a wall, but it’s possible to let a timer run out—or fall down a hole—and this terrifying thing happens (16:03). I remember sometimes struggling to run the game for no reason; something about DOS Extended Memory being too small.

I really like the low-poly flat-shaded 3D + hand-drawn 2D style of the game, and it’d be really cool to see something like that pop up again. After the 8-bit/16-bit trend, there’s now more and more games paying tribute to rough PS1-style 3D, so maybe this will happen? Maybe I’ll have to do it myself? Who knows!

Second, Lost Eden gave me a taste for adventure and good music, and outlandish fantasy universes. Here’s the intro to the game:

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A lot of the game is very evocative, especially its gorgeous soundtrack, and you spend a lot of time trekking through somewhat empty renders of landscapes. Despite being very rough early pre-rendered 3D, those places were an incredible journey in my young eyes. If you have some time, I suggest either playing the game (it’s available on Steam) or watching / skimmering through this “longplay” video. Here are some of my personal highlights: 25:35, 38:05, 52:15 (love that landscape), 1:17:20, 1:20:20 (another landscape burned in my neurons), 2:12:10, 2:55:30, 3:01:18. (spoiler warning)

But let’s go a couple years back. Ever since my youngest years, I was very intrigued by creation. I filled entire pocket-sized notebooks with writing—sometimes attempts at fiction, sometimes daily logs like the weather reports from the newspaper, sometimes really bad attempts at drawing. I also filled entire audio tapes over and over and OVER with “fake shows” that my sister and I would act out. The only thing that survived is this picture of 3-year-old me with the tape player/recorder.

It also turns out that the tape recorder AND the shelf have both survived.

(I don’t know if it still works.)

On Wednesday afternoons (school was off) and on the week-ends, I often got to play on the family computer, most of the time with my older brother, who’s the one who introduced me to... well... all of it, really. (Looking back on the games he bought, I can say he had very good tastes.)

Moto Racer II came with a track editor. It was simple but pretty cool to play around with. You just had to make the track path and elevation; all the scenery was generated by the game. You could draw impossible tracks that overlapped themselves, but the editor wouldn’t let you save them. However, I found out there was a way to play/save them no matter what you did, and I got to experiment with crazy glitches. 85 degree inclines that launched the bike so high you couldn’t see the ground anymore? No problem. Tracks that overlapped themselves several times, causing very strange behaviour at the meeting points? You bet. That stuff made me really curious about how video games worked. I think a lot of my initial interest in games can be traced back to that one moment I figured out how to exploit the track editor...

There was also another game—I think it was Tubular Worlds—that came on floppy disks. I don’t remember what exactly lead me to do it, but I managed to edit the text that was displayed by the installer... I think it was the license agreement bit of it. That got me even more curious as to how computers worked.

Up until some time around my 13th or 14th birthday, during summer break (the last days of June to the first days of September for French pupils), my sister and I would always go on vacation at my grandparents’ home.

The very first console game I ever played was The Legend of Zelda: A Link to the Past on my cousin’s Super Nintendo, who also usually stayed with us. Unlike us, he had quite a few consoles available to him, and brought a couple along. My first time watching and playing this game was absolutely mind-blowing to me. An adventure with a huge game world to explore, so many mysterious things at every corner. “Why are you a pink rabbit now?” “I’m looking for the pearl that will help me not be that.”

Growing up and working in the games industry has taken the magic out of many things in video games... and my curiosity for the medium (and its inner workings) definitely hasn’t helped. I know more obscure technical trivia about older games than I care to admit. But I think this is what is shaping my tastes in video games nowadays... part of it is that I crave story-rich experiences that can bring me back to a, for lack of a better term, “child-like” wonderment. And I know how weird this is going to sound, but I don’t really enjoy “pure gameplay” games as much for that reason. Some of the high-concept ones are great, of course (e.g. Tetris), but I usually can’t enjoy others without a good interwoven narrative. I can’t imagine I would have completed The Talos Principle had it consisted purely of the puzzles without any narrative beats, story bits, and all that. What I’m getting at is, thinking about it, I guess I tend to value the “narrative” side of games pretty highly, because, to me, it’s one of the aspects of the medium that, even if distillable to some formulas, is inherently way more “vague” and “ungraspable”. You can do disassembly on game mechanics and figure out even the most obsure bits of weird technical trivia. You can’t do that to a plot, a universe, characters, etc. or at least nowhere near to the same extent.

You can take a good story and weave it into a number of games, but the opposite is not true. It’s easy to figure out the inner working of gameplay mechanics, and take the magic out of them, but it’s a lot harder to do that for a story, unless it’s fundamentally flawed in some way.

Video games back then seemed a lot bigger than they actually were.

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I got Heart of Darkness as a gift in 1998 or 1999. We used to celebrate Christmas at my grandparents’, so I had to wait a few days to be back home, and to able to put the CD in the computer. But boy was it worth it! Those animated cutscenes! The amazing pixel art animations! The amazing and somewhat disturbing variety of ways in which you can die, most of which gruesome and mildly graphic! And of course, yet again... a strange and outlandish universe that just scratches my itch for it. Well, one of which that forged my taste for them.

I can’t remember exactly when it happened or what it was, but I do remember that at some point we visited some sort of... exposition? Exhibit? Something along those lines. And it had a board games & computer games section. The two that stick out in my mind were Abalone (of which I still have the box somewhere) and what I think was some sort of 2D isometric (MMO?) RPG. I wanna say it was Ultima Online but I recall it looking more primitive than that (it had small maps whose “void” outside them was a single blueish color).

In my last two years of elementary school, there was one big field trip per year. They lasted two weeks, away from family. The first one was to the Alps. The second one was... not too far from where I live now, somewhere on the coast of Brittany! I have tried really hard to find out exactly where it was, as I remember the building and facilities really well, but I was never able to find it again. On a couple occasions, we went on a boat with some kind of... algae harvesters? The smell was extremely strong (burning itself into my memory) and made me sick. The reason I bring them up is because quite a few of my classmates had Game Boy consoles, most of them with, you know, all those accessories, especially the little lights. I remember being amazed at the transparent ones. Play was usually during the off-times, and I watched what my friends were up to, with, of course, a bit of jealousy mixed in. The class traveled by bus, and it took off in the middle of the night; something like 3 or 4 in the morning? It seemed like such a huge deal at the time! Now here I am, writing THESE WORDS at 03:00. Anyway, most of my classmates didn’t fall back asleep and those that had a Game Boy just started playing on them. One of my classmates, however, handed me his whole kit and I got to do pretty much what I wanted with it, with the express condition that I would not overwrite any of his save files. I remember getting reasonably far in Pokémon before I had to give it back to him and my progress was wiped.

During the trip to the Alps, I remember seeing older kids paying for computer time; there was a row of five computers in a small room... and they played Counter-Strike. I had absolutely no idea what it was, and I would forget about it until the moment I’m writing these words, but I was watching with much curiosity.

The first time I had my own access to console games was in 2001. The first Harry Potter film had just come out, and at Christmas, I was gifted a Game Boy Advance with the first official game. I just looked it up again and good god, it’s rougher than I remember. The three most memorable GBA games which I then got to play were both Golden Sun(s) and Sword of Mana... especially the latter, with its gorgeous art direction. My dad had a cellphone back then, and I remember sneakily going on there to look up a walkthrough for a tricky part of Golden Sun’s desert bit. Cellphones had access to something called “WAP” internet... very basic stuff, but of course still incredible to me back then.

I eventually got to play another Zelda game on my GBA: Link’s Awakening DX. I have very fond memories of that one because I was bed-ridden with a terrible flu. My fever ran so high that I started having some really funky dreams, delirious half-awake hallucinations/feelings, and one night, I got so hot that I stumbled out of bed and just laid down against the cold tile of the hallway. At 3 in the morning! A crazy time! (Crazy for 11-year-old me.)

(The fever hallucinations were crazy. My bedroom felt like it was three times at big, and I was convinced that a pack of elephants were charging at me from the opposite corner. The “night grain” of my vision felt sharper, amplified. Every touch, my sore body rubbing against the bed covers felt like it was happening twice as much. You know that “Heavy Rain with 300% facial animation” video? Imagine that, but as a feverish feeling. The dreams were on another level entirely. I could spend pages on them, but suffice to say that’s when I had my first dream where I dreamed of dying. There were at least two, actually. The first one was by walking down a strange, blueish metal corridor, then getting in an elevator, and then feeling that intimate convinction that it was leading me to passing over. The second one was in some Myst-like world, straight out of a Roger Dean cover, with some sort of mini-habitat pods floating on a completely undisturbed lake. We were just trapped in them. It just felt like some kind of weird afterlife.)

I also eventually got to play the GBA port of A Link To The Past. My uncle was pretty amused by seeing me play it, as he’d also played the original on SNES before I’d even been born. I asked him for help with a boss (the first Dark World one), but unfortunately, he admitted he didn’t remember much of the game.

We had a skiing holiday around this time. I don’t remember the resort’s or the town’s name, but its sights are burned in my memory. Maybe it’s because, shortly after we arrived, and we went to the ski rental place, I almost fainted and puked on myself, supposedly from the low oxygen. It also turned out that the bedroom my parents had rented unexpectedly came with a SNES in the drawer under the tiny TV. The game: Super Mario World. I got sick at one point and got to stay in and play it. This was also the holiday where I developed a fondness for iced tea, although back then the most common brand left an awful aftertaste in your mouth that just made you even more thirsty.

We got a new PC in December of 2004. Ditching the old Windows 98 SE (yep, the OS had been upgraded in... 2002, I think?). Look at how old-school this looks. The computer office room was in the basement. Even with the blur job that I applied to the monitor for privacy reasons, you can still tell that this is the XP file explorer:

A look at what the old DSLR managed to capture on the shelf reveals some more of the games that were available to me back then: a bunch of educational software, The Sims 2, and SpellForce Gold.

I might be misremembering but I think they were our Christmas gifts for that year; we both got to pick one game. I had no idea what I wanted, really, but out of all the boxes at (what I think was) the local Fnac store, it was SpellForce that stood out to me the most. Having watched Lord of the Rings the year prior might have been a factor. I somewhat understood Age of Empires years before that, but SpellForce? Man, I loved the hell out of SpellForce. Imagine a top-down RPG that can also be played from a third-person perspective. And with the concept of... hero units... wait a second... now that reminds me of Dota.

Imagine playing a Dota hero with lots of micro-management and being able to build a whole base on new maps. And sometimes visiting very RPG-ish sections (my favorites!) with very little top-down strategy bits, towns, etc. like Siltbreaker. I guess this game was somewhat like an alternate, single-player Dota if you look at it from the right angle. (Not the third-person one.)

I do remember being very excited when I found out that it, too, came with a level editor. I never figured it out, though. I only ever got as far as making a nice landscape for my island, and that was it!

A couple weeks after, it was Christmas; my sister and I got our first modern PC game: The Sims 2. It didn’t run super well—most games didn’t, because the nVidia GeForce FX 5200 wasn’t very good. But that didn’t stop me or my sister from going absolutely nuts with the game. This video has the timestamp of 09 January 2005, and it is the first video I’ve ever made with a computer. Less than two weeks after we got the game, I was already neck-deep in creating stuff.

Not that it was particularly good, of course. This is a video that meets all of the “early YouTube Windows Movie Maker clichés”.

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Speaking of YouTube, I did register an account there pretty early on, in August of 2006. I’ve been through all of it. I remember every single layout change. I also started using Sony Vegas around that time. It felt so complex and advanced back then! And I’m still using it today. Besides Windows, Vegas Pro is very likely to be the piece of software that I’ve been using for the longest time.

I don’t have a video on YouTube from before 2009, because I decided to delete all of them out of embarassment. They were mostly Super Mario 64 machinima. It’s as bad as it sounds. The reason I bring that up right now, though, is that it makes the “first” video of my account the last one I made with the Sims 2.

But before I get too far ahead with my early YouTube days, let me go backwards a bit. We got hooked up to the Internet some time in late 2005. It was RTC (dialup), 56 kbps. my first steps into the Internet led me to the Cube engine. Mostly because back then my dad would purchase computer magazines (which were genuinely helpful back then), and came with CDs of common downloadable software for those without Internet connections. One of them linked to Cube. I think it was using either this very same screenshot, or a very similar one, on the same map.

The amazing thing about Cube is not only that it was open-source and moddable, but had map editing built-in the game. The mode was toggled on with a single key press. You could even edit maps cooperatively with other people. Multiplayer mapping! How cool is that?! And the idea of a game that enabled so much creation was amazing to me, so I downloaded it right away. (Over the course of several hours, 30 MiB being large for dialup.)

I made lots of bad maps that never fulfilled the definition of “good level” or “good gameplay”, not having any idea how “game design” meant, or what it even was. But I made places. Places that I could call my own. “Virtual homes”. I still distinctively remember the first map I ever made, even though no trace of it survives to this day. In the second smallest map size possible, I’d made a tower surrounded by a moat and a few smaller cozy towers, with lots of nice colored lighting. This, along with the distinctive skyboxes and intriguing music, made me feel like I’d made my home in a strange new world.

At some point later down the line, I made a kinda-decent singleplayer level. It was very linear, but one of the two lead developers of the game played it and told me he liked it a lot! Of course, half of that statement was probably “to be nice”, but it was really validating and encouraging. And I’m glad they were like that. Because I remember being annoying to some other mappers in the Sauerbraten community (the follow-up to Cube, more advanced technically), who couldn’t wrap their heads around my absolutely god awful texturing work and complete lack of level “design”. Honestly, sometimes, I actually kinda feel like trying to track a couple of them down and being like, “yeah, remember that annoying kid? That was me. Sorry you had to deal with 14-year-old me.”

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At some point, I stumbled upon a mod called Cube Legends. It was a heavily Zelda-inspired “total conversion”; a term reserved for mods that are the moddiest mods and try to take away as much of the original foundation as possible. It featured lots of evocative MIDI music by the Norwegian composer Bjørn Lynne. Fun fact: the .mid files are still available officially from his website!

This was at the crossroad of many of my interests. It was yet another piece of the puzzle. As a quick side note, this is why Zelda is the first series that I name in the title of this post, even though I... never really thought of myself as a Zelda fan. It’s not that it’s one of the game series that I like the most, it’s just that, before I started writing this, I’d never realized how far-reaching its influence had been in my life, both in overt and subtle ways, especially during my formative years.

And despite how clearly unfinished, how much of a “draft” Cube Legends was, I could see what it was trying to do. I could see the author’s intent. And I’m still listening to Bjørn Lynne’s music today.

The Cube Engine and its forums were a big part of why I started speaking English so well. Compared to most French people, I mean. We’re notoriously bad with the English language, and so was I up until then. But having this much hands-on practice proved to be immensely valuable. And so, I can say that the game and its community have therefore had long-lasting impacts in my life.

I also tried out a bunch of N64 games via emulation, bringing me right back in that bedroom at my grandparents’ house, with my cousin. Though he did not have either N64 Zelda game back then.

The first online forum I ever joined was a Zelda fan site’s. There are two noteworthy things to say here:

It was managed by a woman who, during my stay in the community, graduated from her animation degree. At this stage I had absolutely no idea that this was going to be the line of work I would eventually pursue!

I recently ran into the former head moderator of the forums. (I don’t know when the community died.) One of the Dota players on my friends list invited him because I was like “hmm, I wanna go as 3, not as 2 players today”. His nickname very vaguely reminded me of something, a weird hunch I couldn’t place. Half an hour into the game, he said “hey Max... this might be a long shot, but did you ever visit [forum]?” and then I immediately yelled “OH MY GOD—IT IS YOU.” The world is a small place.

Access to the computer was sometimes tricky. I didn’t always have good grades, and of course, “punishment” (not sure the word is appropriate, hence the quotes, but you get the idea) often involved locking me out of the computer room. Of course, most times, I ended up trying to find the key instead. I needed my escape from the real world. (You better believe it’s Tangent Time.)

I was always told I was the “smart kid”, because I “understood things faster” than my classmates. So they made me skip two grades ahead. This made me enter high school at nine years old. The consequences were awful (I was even more of the typical nerdy kid that wouldn’t fit in), and I wish it had never happened. Over the years, I finally understood: I wasn’t more intelligent. I merely had the chance to have been able to grow up with an older brother who’d instilled a sense of curiosity, critical thinking, and taste in books that were ahead of my age and reading level. This situation—and its opposite—is what I believe accounts for the difference in how well kids get to learn. It’s not innate talent, it’s not genetics (as some racists would like you to believe). It’s parenting and privilege.

And that’s why I’ll always be an outspoken proponent for any piece of media that tries to instill critical thinking and curiosity in its viewer, reader, or player.

But I digress.

Well, I’ve been digressing a lot, really, but games aren’t everything and after all, this post is about the context in which I played those games. Otherwise I reckon I would’ve just made a simple list.

I eventually got a Nintendo DS for Christmas, along with Mario Kart DS. My sister had gotten her own just around the time when it released... she had the Nintendogs bundle. We had also upgraded to proper ADSL, what I think was about a ~5 megabits download speed. The Nintendo DS supported wi-fi, which was still relatively rare compared to today. In fact, Nintendo sold a USB wireless adapter to help with that issue—our ISP-supplied modem-router did not have any wireless capabilities. I couldn’t get it the adapter work and I remember I got help from a really kind stranger who knew a lot about networking—to a point that it seemed like wizardry to me.

I remember I got a “discman” as a gift some time around that point. In fact, I still have it. Check out the stickers I put on it! I think those came from the Sims 2 DVD box and/or one of its add-ons.

I burned a lot of discs. In fact, in the stack of burned CDs/DVDs that I found (with the really bad Sims movies somewhere in there), I found at least three discs that had the Zelda album Hyrule Symphony burned in, each with different additional tracks. Some were straight-up MIDI files from vgmusic.com...! And speaking (again) of Zelda, when the Wii came out, Twilight Princess utterly blew my mind. I never got the game or the console, but damn did I yearn badly for it. I listened to the main theme of the game a lot, which didn’t help. I eventually got to play the first few hours at a friend’s place.

At some point, we’d upgraded the family computer to something with a bit more horsepower. It had a GeForce 8500 GT inside, which was eventually upgraded to a 9600 GT after the card failed for some reason. It could also dual-boot between XP and Vista. I stuck with that computer until 2011.

We moved to where I currently live in 2007. I’ve been here over a decade! And before we’d even fully finished unpacking, I was on the floor of the room that is now my office, with the computer on the ground and the monitor on a cardboard box, playing a pirated copy of... Half-Life! It was given to me by my cousin. It took me that long to find out about the series. It’s the first Valve game I played. I also later heard about the Orange Box, but mostly about Portal. Which I also pirated and played. I distinctly remember being very puzzled by the options menu: I thought it was glitched or broken, as changing settings froze the game. Turns out the Source engine had to chug for a little while, like a city car in countryside mud, as it reloaded a bunch of stuff. Patience is a virtue...

But then, something serious happened.

In the afternoon of 25 December 2007, I started having a bit of a dull stomach pain. I didn’t think much of it. Figured maybe I’d eaten too many Christmas chocolates and it’d go away. It didn’t. It progressively deteriorated into a high fever where I had trouble walking and my tummy really hurt; especially if you pressed on it. My parents tried to gently get me to eat something nice on New Year’s Eve, but it didn’t stay in very long. I could only feed myself with lemonade and painkiller. Eventually, the doctor decided I should get blood tests done as soon as possible. And I remember that day very clearly.

I was already up at 6:30 in the morning. Back then, The Daily Show aired on the French TV channel Canal+, so I was watching that, lying in the couch while waiting for my mom to get up and drive me to my appointment, at 7:00. It was just two streets away, but there was no way I could walk there. At around noon, the doctor called and told my mom: “get your son to the emergency room now.”

Long story short, part of my intestines nuked themselves into oblivion, causing acute peritonitis. To give you an idea, that’s something with a double-digit fatality rate. Had we waited maybe a day or two more, I would not be here writing this. They kind of blew up. I had an enormous abcess attached to a bunch of my organs. I had to be operated on with only weak local anaesthetics as they tried to start draining the abscess. It is, to date, by far the most painful thing that has ever happened to me. It was bad enough that the hospital doctor that was on my case told me that I was pretty much a case worthy to be in textbooks. I even had medical students come into my hospital room about it! They were very nice.

This whole affair lasted over a month. I became intimately familiar with TV schedules. And thankfully, I had my DS to keep me company. At the time, I was pretty big into the Tony Hawk DS games. They were genuinely good. They had extensive customization, really great replayability, etc. you get the idea. I think I even got pretty high on the online leaderboards at some point. I didn’t have much to do on some days besides lying down in pain while perfecting my scoring and combo strategies. I think Downhill Jam might’ve been my favorite.

My case was bad enough that they were unable to do something due to the sad state of my insides during the last surgery of my stay. I was told that I could come back in a few months for a checkup, and potentially a “cleanup” operation that would fix me up for good. I came back in late June of 2008, got the operation, and... woke up in my hospital room surrounded by, like, nine doctors, and hooked up to a morphine machine that I could trigger on command. Apparently something had gone wrong during the operation, but they never told me what. I wasn’t legally an adult, so they didn’t have to tell me. I suspect it’s somewhere in some medical files, but I never bothered to dig up through my parents’ archives, or ask the hospital. And I think I would rather not know. But anyway, that was almost three more weeks in the hospital. And it sucked even more that time because, you see, hospital beds do not “breathe” like regular beds do. The air can’t go through. Let’s say I’m intimately familiar with the smell of back sweat forever.

When I got out, my mom stopped by a supermarket on the way home. And that is when I bought The Orange Box, completely on a whim, and made my Steam account. Why? Because it was orange and stood out on the shelf.

(As a side note, that was the whole bit I started writing first, and that made me initially title this post “growing pains”. First, because I’m bad at titles. Second, because not that I didn’t have them otherwise (ow oof ouch my knees), but that was literally the most painful episode of my entire life thus far and it ended in a comically-unrelated, high-impact, life-changing decision. Just me picking up The Orange Box after two awful hospital stays... led me to where I am today.)

While I was recovering, I also started playing EarthBound! Another bit of a life-changer, that one. To a lesser extent, but still. I was immediately enamored by its unique tone. Giygas really really really creeped me out for a while afterwards though. I still get unsettled if I hear its noises sometimes.

I later bought Garry’s Mod (after convincing my mom that it was a “great creative toolbox that only cost ten bucks!”), and, well, the rest is history. By which I mean, a lot of my work and gaming activity since 2009 is still up and browsable. But there are still a few things to talk about.

In 2009, I bought my first computer with YouTube ad money: the Asus eee PC 1005HA-H. By modern standards, it’s... not very powerful. The processor in my current desktop machine is nearly 50 times as fast as its Atom N280. It had only one gigabyte of RAM, Windows 7 Basic Edition, and an integrated GPU barely worthy of the name; Intel didn’t care much for 3D in their chips back then. The GMA 945 didn’t even have hardware support for Transform & Lighting.

But I made it work, damn it. I made that machine run so much stuff. I played countless Half-Life and Half-Life 2 mods on it—though, due to the CPU overhead on geometry, some of those were trickier. I think one of the most memorable ones I played was Mistake of Pythagoras; very surreal, very rough, but I still remember it so clearly. I later played The Longest Journey on it, in the middle of winter. It was a very cozy and memorable experience. (And another one that’s an adventure wonderful outlandish alien universe. LOVE THOSE.)

I did more than playing games on it, though...

This is me sitting, sunburned on the nose, in an apartment room, on 06 August 2010. This was in the Pyrénées, at the border between France and Spain. We had a vacation with daily hiking. Some of the landscapes we visited reminded me very strongly of those from Lost Eden, way up the page...

So, you see, I had 3ds Max running on that machine. The Source SDK as well. Sony Vegas. All of it was slow; you bet I had to use some workarounds to squeeze performance out of software, and that I had to keep a close, watchful eye on RAM usage. But I worked on this thing. I really did! I animated this video’s facial animation bits (warning: this is old & bad) on the eee PC, during the evenings of the trip, when we were back at our accomodation. The Faceposer tool in the Source SDK really worked well on that machine.

I also animated an entire video solely on the machine (warning: also old and bad). It had to be rendered on the desktop computer... but every single bit of the animation was crafted on the eee PC.

I made it work.

Speaking of software that did not run well: around that time, I also played the original Crysis. The “but can it run Crysis?” joke was very much justified back then. I had to edit configuration files by hand so that I could run the game in 640x480... because I wanted to keep most of the high-end settings enabled. The motion blur was delicious, and it blew my mind that the effect made the game feel this smooth, despite wobbling around in the 20 to 30 fps range.

Alright. It’s time to finish writing this damn post and publish it at last, so I’m going to close it out by listing some more memories and games that I couldn’t work in up there.

Advance Wars. Strategy game on GBA with a top-down level editor. You better believe I was all over the editor right away.

BioShock. When we got the 2007 desktop computer, it was one of the first games I tried. Well, its demo, to be precise. Its tech and graphics blew my mind, enough that I saved up to buy the full game. This was before I had a Steam account; I got a boxed copy! I think it might have been the last boxed game I ever bought? It had a really nice metal case. The themes and political messages of the game flew way over my head, though.

Mirror’s Edge. The art direction was completely fascinating to me, and it introduced me to Solar Fields’ music; my most listened artist this decade, by a long shot.

L.A. Noire. I lost myself in its stories and investigations, and then, I did it all again, with my sister at the helm. I very rarely play games twice (directly or indirectly), which I figure is worth mentioning.

Zeno Clash. It was weird and full of soul, had cool music, and cool cutscenes. It inspired me a lot in my early animation days.

Skyward Sword. Yep, going back to Zelda on that one. The whole game was pretty good, and I’m still thinking about how amazing its art direction was. Look up screenshots of it running in HD on an emulator... it’s outstanding. But there’s a portion of the game that stands tall above the rest: the Lanayru Sand Sea. It managed to create a really striking atmosphere in many aspects, through and through. I still think about it from time to time, especially when its music comes on in shuffle mode.

Wandersong. A very recent pick, but it was absolutely a life-changing one. That game is an anti-depressant, a vaccine against cynicism, a lone bright and optimist voice.

I realize now this is basically a “flawed but interesting and impactful games” list. With “can establish its atmosphere very well” as a big criteria. (A segment of video games that is absolutely worth exploring.)

I don’t know if I’ll ever make my own video game. I have a few ideas floating around and I tried prototyping some stuff, though my limited programming abilities stood in my way. But either way, if it happens one day, I hope I’ll manage to channel all those years of games into the CULMINATION OF WHAT I LIKE. Something along those lines, I reckon.

#video games

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eggoreviews · 6 years

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Top 10 Switch Exclusives

With Nintendo finally pulling themselves out of the mild rut they found themselves in with the Wii U, the Switch is now producing games of monumental quality, so I’m here to take you through the top ten essential Switch exclusives for those of you who just don’t know which games to pick!

Note: I’m including Wii U ports here bc the Switch did them better and they’re still Nintendo so u know

10. Octopath Traveler

One of the many fruits of Nintendo and Square Enix’s growing partnership, Octopath Traveler is an adorable, retro-style JRPG that released on the system in mid-2018. The game features turn-based combat and eight playable characters that vary massively from each other in their personalities and backgrounds, meaning the game always has a fresh perspective. Overall, this is a creative but somewhat underrated title for the Switch that you should definitely pick up if you’re a fan of RPGs.

9. Donkey Kong Country: Tropical Freeze

The latest entry in the DK series brings all of the bright colours, charm and difficulty in glorious HD on the Switch. While this was ported over from the Wii U, it’s certainly a worthy port to say the least. For fans of challenging platforming, Donkey Kong will tick all the boxes for someone who enjoys fun, colourful gameplay that will sometimes make you want to tear your hair out in frustration. Though, if you want things to be slightly less hard, the brand new funky mode lets you play as Funky Kong (but to be honest with you, it’s still hard. I know I keep mentioning it’s hard but I just really need to drive that home).

8. Bayonetta 2

The critically acclaimed hack ‘n’ slash series Bayonetta, while it began on the Xbox 360, is now a Nintendo exclusive, and the sequel to the already mind-blowing first game is definitely something to behold. The fast-paced, combat heavy gameplay is perfect for the Switch and, of course, Bayonetta as a character is as brilliant as ever. So if you’re someone who would enjoy fighting massive demon creatures as a semi-naked, sassy witch then boy is the franchise for you.

7. Super Mario Party

It’s the game that everyone’s citing as ‘the one that made Mario Party good again’. That’s right, the latest iteration of Mario Party on the Switch has ditched the weird car system that made it not into a board game, and now it’s a board game again! Perfect for any small awkward friend group or big party you misjudged and brought a Switch to, this game comes packed with 80 new minigames. Which is a lot. So if you like Mario and party, then pick this up. Prepare for lots of motion controls.

6. Xenoblade Chronicles 2

Another one for JRPG fans, it’s the latest entry in the series that made a name for itself for having anime-style protagonists with weird British accents, it’s Xenoblade 2! Another one of Nintendo’s charming, unique series, Xenoblade boasts an array of memorable characters, a polished, enjoyable combat system and a story just weird enough to be placed alongside most other JRPGs. Throw on top of that a solid DLC add-on in Torna and you’ve got yourself one fine viddy game experience that will definitely swallow up a couple hundred hours of your life.

5. Splatoon 2

The Splatoon series is one of Nintendo’s newest, shiniest IPs that sees their first and hugely successful foray into an online shooter. Splatoon subverts everything we know about the online shooter genre, which now seems to be over-saturated with gritty, laggy messes with little depth and has given us a genuinely fun and colourful game. A variety of game modes, weapons and customisation options for your Inkling bolster this game’s addiction factor and, on top of that, the recent Octo expansion throws in a genuinely solid single player campaign to boot. This is one basically everyone needs to try.

4. Super Smash Bros. Ultimate

The latest and greatest in Nintendo’s flagship fighting series, Ultimate was basically dropped on us at E3 and gave us all a heart attack. If you somehow haven’t heard, Ultimate brought back every single veteran to the series, as well as a solid handful of new characters, plus DLC coming this year that includes Joker from Persona 5 and a plant. If that hasn’t piqued your interest, I don’t think anything will. One of the most ridiculously fun multiplayer experiences you will ever have is waiting for you in this game, especially when playing locally with friends, and the new spirits system has helped to conceive an equally amazing single player campaign, World of Light. This game is oozing with fun and intense love for the gaming industry and you can really tell how much hard work they put into this. Go play it.

3. Mario Kart 8 Deluxe

Quite possibly the definitive multiplayer experience, Mario Kart has been a staple of most people’s get-togethers since the first entry on the SNES. And much like Smash, Nintendo have created the series’ best entry in 8. Ported over from the Wii U, this game includes all of the DLC plus some new characters and karts, so for some reason you can now play as Link in Mario Kart! Cool! I don’t think anyone knows how to feel about this! The point is, it’s fun so you should probably play it.

2. Super Mario Odyssey

Odyssey is hotly contested to be one of the best 3D Mario games since 64, but even if that somehow isn’t true, you can’t deny how wonderfully unique it is. Each kingdom brings something new to the table; a lush, interesting environment in each one. With so many highlights to pick, from the brilliant puzzles to the new Cappy possession system to the boss fight with the massive dragon, Odyssey is packed full of content and collectibles to keep you coming back. Plus, the festival sequence in New Donk City? I want to play that bit forever.

Before I reveal the top pick that might seem glaringly obvious now, here are some other games that didn’t quite make the 10 but are also v much worth your attention!

Kirby: Star Allies

Pokemon Let’s Go Pikachu/Eevee

Captain Toad: Treasure Tracker

New Super Mario Bros. U Deluxe

Hyrule Warriors: Definitive Edition

1. The Legend of Zelda: Breath of the Wild

I mean, what else was it going to be? Zelda came roaring through the gates when the Switch was finally released and boy, did it deliver. Being the first Zelda game to delve properly into open world, an intense amount of love and detail was poured into every single moment of this beautiful game. Following the themes of lost memories and friendship, you travel across the vast land of Hyrule as Link trying to recover the memory of who he was 100 years ago. And each combat, each encounter, each visit to literally anywhere will leave you laughing, crying or anything in between. This was a game so powerful, it immediately became my favourite game of all time. I know there are a lot of people out there whose hearts are still with Ocarina, but for those new to the series who want a genuinely amazing, heartfelt experience, let Breath of the Wild swallow your whole life. As sinister as that sentence sounds, you really won’t regret it.

Thanks for reading! Let me know your favourite Switch game down below, if you wanna. Hope u find some money in one of your pockets that you didn’t know about.

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smashmusicideas · 6 years

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June 25: How the Ultimate Trailer Works So Well

Amongst all the thoughts and discussion regarding Super Smash Bros. Ultimate, I don’t think any individual element of the game - even more than the confirmation of Ridley - warranted the level of adoration and excitement as not just the inclusion of every Smash character ever, but the short “Challenger Approaching” trailer explaining that.

So I decided I’d take some time and analyze it for how it works. Hoo boy, did that take longer than I expected.

youtube

For ease (and because I’m, well, lazy), I’ll be splitting this up into bullet points. I should also note that I’m avoiding a lot of stage analysis except in certain cases, largely because the emphasis on fighters is the focus. Also, this is quite long, so a “read more” tag is needed for this one.

Before the video: Sakurai adds this whole “character numbering” element, which is odd. Most viewers less familiar with this scheme (which has mostly always existed within the series) assumed this indicated the total number of characters from the start, but more than that it inherently acknowledges cut characters, something Sakurai tries to avoid as to not make their fans feel worse. No matter who is watching, it’s odd, and sets up the actual video in a way that feels odd.

00:02 - 00:15: We see Battlefield, something which since Brawl has always functioned as a focal point for the series - kind of in the way Mario does, too, which is why he appears here. Traditionally, Mario is also the character who reflects the visual direction of each game the most, so his “Brawl meets Smash For“ art style confirms it as a new game, one that will marry multiple iterations of Smash.

0015 - 00:28: Kirby, Samus, and Bowser are all Smash staples (two from the first game, one from Melee). They’re also not in numerical order, telling us to not expect things in a “normal” way. They also more clearly show a few returning stages, Castle Siege and Green Greens in particular, and Giga Bowser seems to function in a far new way.

00:28 - 00:34: Link is also one of the central Smash characters, but his drastic redesign tells us further that this will be a new iteration - one that will look to more recent games, at least in part (we also see a new Breath of the Wild stage, alongside Temple). Keep in mind that he gets a huge amount of time to emphasize this.

00:34 - 0:44: We see a lot of Donkey Kong (including a change to his Giant Punch), but it’s Falco’s appearance in 00:42 that’s surprising. He’s typically and understandably a hidden character; showing him off is kind of bizarre. For most viewers, it’ll just seem nice for a beloved character to return, but for the more attentive first-time viewers it is somewhat odd and continues the off-kilter vibe of Sakurai’s introduction.

00:44 - 00:48: Marth casually shows off the new changes to Shield Breaker, just like with DK earlier. Further indication that old fighters will have, to quote Sakurai from a decade ago, a “slightly different flavor this time around,” and that it won’t simply be an expanded port of Smash for Wii U (this emphasis will continue throughout the video and into Nintendo’s continued promotion of the game.

00:48 - 00:52: New Zelda! Not really new Sheik! Their having their default costumes implies they will remain separate fighters, and Zelda’s in particular bucks a trend of Zelda and Link’s costumes coming from the same game.

00:52 - 00:54: Our first post-Melee fighter, Villager, shows a new ability. His appearance also begins to move us from the more classic Smash fighters into a wider variety of ones new and old.

00:55 - 00:58: Meta Knight and Mewtwo. Notable for the former being the first Brawl character in general and the first one shown, and for the latter being the first Pokémon representative - before Pikachu, even. Mewtwo also looks like it did in Smash For, an indication the DLC would not be ignored.

00:59 - 01:01: And here comes Sonic - with a new version of Super Sonic and a returning Green Hill Zone in tow - as the biggest guest fighter out there, though that doesn’t confirm whether less established third party content would be joining him.

1:02 - 1:08: Peach and Pikachu, each with slight new changes in how Toad and Volt Tackle work. It’s notable how long it took to get to either of them, though their being more famous leads nicely into...

1:09 - 1:15: the Ice Climbers! Their return is such a big moment it’s hard to notice we’ve also got a returning Summit (and Living Room), and they unsurprisingly get a whopping six seconds to show off how they look in HD.

1:16 - 1:21: And from a beloved, long lost fighter to a highly desired new one, Nana and Popo formally introduce Inkling, with both a male and female design in tow. We get a good look at how diverse their weapon selection is, alongside a new Splatoon stage.

1:22 - 1:27: Pretty much the only thing we need to see with Falcon is the Punch, while Zero Suit Samus and Wii Fit Trainer show that even the less “iconic” of the cast aren’t going to be ignored. Given Boxing Ring’s centrality to Smash For, its being so prominent here makes sense.

1:28 - 1:30: here’s where things get weirder. The Ice Climbers coming back makes sense, but the Pokémon Trainer? I don’t really think it’s vague on whether the switching mechanic will return (he’s in the back, so...), but it’s out of the blue in a way none of what we’ve seen here is. That it only lasts about two seconds makes it all the more shocking.

1:31 - 1:36: Ness and Lucas. A little surprising for the former, given his traditionally being a hidden fighter, and more so for the former, who was last in the series as DLC.

1:36 - 1:41: The DLC concern becomes even more noticeable now, with Ryu fighting yet another normally hidden fighter: Ganondorf, surprisingly sporting the classic Ocarina of Time design Melee used. It implies a far greater amount of changes than what we were initially expecting, and assures the less confident of us that even third party DLC will not be ignored.

1:41 - 1:44: And look who else is looking new, but Ike, who’s reverted to the design Brawl used...except he isn’t. While the Inklings were expected to have male and female versions, this is the first indication we’ll have more pronounced alternate costumes for specific characters.

1:45 - 1:51: Cloud’s inclusion is another important one at this point, because compared to other guest fighters, the possibility of his return seemed far more up in the air. He gets a lot of airtime, space that comfortably confirms his two outfits and Omnislash, a great flashy move to send us into the big moment.

1:52 - 1:55: If Cloud’s return wasn’t a sure thing, than Snake’s was a pipe dream for fans (myself included). Having one go to the other is smart, because after him, Ice Climbers, and Pokémon Trainer, Snake‘s chances feel so much more possible. And it works so well. We don’t see an attack, or anything, because we don’t need to. It’s Snake, on Shadow Moses Island. That’s enough for us, until...

1:56 - 2:01: “EVERYONE IS HERE!” really just speaks for itself, but I’d also like to note the small feature of Snake running right after the words appear. It’s subtle, but it’s a flash of energy leading to the rest of the video (an energy that is supported by the music, which becomes far more intense up until the end). And it’s important to him be behind the words, because by this point a viewer is processing them, recognizing the totality of what that means.

2:02 - 2:04: And to prove how serious that claim is, Jigglypuff - the last of the original cast (minus Luigi and Yoshi) - brings back Pichu, likely the very fighter most people would think of after hearing that “everyone is here”: “even Pichu?” That the joke character of Melee has returned is proof of the claim, an example of how insane and wild this project is planning to be. But despite how notable it is, the two Pokémon are onscreen for only two seconds.

2:15 - 2:18: Truthfully, the next few reveals are less exciting. Roy is the fifth DLC character revealed to return, but Olimar, Diddy, and Lucario are all fairly normal. But it’s with Lucina that we get yet another oddity. She’s 21ε - an indication that something different was being done with the then-called “clone characters.” It’s yet another indicator that Smash is going to be different, and in rather unexpected ways.

2:26: It’s not a big detail, but Dr. Mario lacks the Epsilon, indicating that he’s different from how he used to be (given that he, Lucina, and Dark Pit are associated as the Echoes of the previous iteration of Smash, it stands to reason people might look for that on him, too).

2:30 - 2:32: And there’s Dark Pit literally one shot after Doc, with the Epsilon. It’s important to keep it all in mind more easily. I also think it’s notable that Palutena’s moveset isn’t shown at all in here; it’s one more thing about which Sakurai’s been coy.

2:39 - 2:42: It’s important, I think, to have the two versions of Link show up together; it highlights how they’ve both functioned as spinoffs of one of Nintendo’s (and Smash‘s) most important heroes. By this point, Young Link is the final character (again, other than Luigi and Yoshi) who came from a game before Brawl; he’s important as one more reminder of this game’s scope.

2:46 - 2:49: And if there were any fighters whose fate would seem as up in the air as any third party character, it’d be the Mii Fighters. And yet, they’re all here, too. And like with Palutena, we see no customization or anything beyond some very basic attacks.

2:55 - 2:56: Despite not being a huge surprise, Pac-Man’s new Final Smash (or new version of Super Pac-Man, technically) is fast, really fast. And that’s good because it kicks up the pace right to the finish. Like, it’s weirdly intense to watch at that point.

3:00 - 3:03: Wolf! While calls for him were probably not as loud as those for Snake and the Ice Climbers, he has remained a beloved Smash character and a fighter people really wanted. Having him here is good for a bunch of reasons - he was the last newcomer in Brawl, his style works really well for this point in the video - but probably the most is that people really wanted him back especially. And holding off on that until now helps emphasize this game’s scope.

3:04 - 2:08: Mega Man needed to be the final main shot for a lot of reasons. He’s a beloved gaming and Smash character, he’s got name recognition, and especially because his Final Smash is the best way to send off us. It’s just this huge blast that keeps up the momentum right until the end.

3:11: And we have the title. “Ultimate” really is perfect word for this, a video that is pretty much just about the history and power of Super Smash Bros.

3:16 - 3:20: ...But it also wouldn’t be Sakurai without some goofing around, so we let the air out of all this pomposity with some silliness from Luigi and Yoshi. I think it makes sense for more reason than Sakurai often using those two for mirth. The Brawl trailer had all this bombastic, dark energy...but then Wario showed up and farted. The first Smash For trailer seemed exciting and crazy...and then Wii Fit Trainer appeared; almost all the character trailers after it had stingers afterwards, mostly goofy ones. It’s a good and important statement that Smash will always be goofy and weird. And you got that in some individual shots (Dedede and Wario, for instance), but it’s a deliberate anticlimax that mocks you, but only slightly, for all the energy you’ve hopefully gotten from what is a very long trailer, all things considered.

So, what have we learned, aside from me realizing I need to come up with shorter topics for this blog? I think it’s that you could have made this announcement any way. Sakurai could’ve just shown the character selection screen, Nintendo could’ve put it out in a press release, or they could’ve just not mentioned it entirely (though that’d be insane given that “everyone is here!” is the game’s tagline). But a video was the best way to do it. And I think this way was the best video they could’ve realistically made. Every fighter gets to show off a ton of personality in a couple seconds, and by basing the whole video around being before or after Snake, it can position the ideal fighters in a way that lets viewers slowly realize how much grander this is going to be than they realized. It’s all just great design in general, and more than just a really cool trailer that showed things off.

(Link to my writings on Super Smash Bros. Ultimate)

#Super Smash Bros. Ultimate #Super Smash Bros.#Masahiro Sakurai #Nintendo Direct #E3 2018

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aion-rsa · 3 years

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30 Best Nintendo Switch Games

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After four years of the Wii U, we were eagerly anticipating its successor. While there were plenty of great games on the doomed platform, the Wii U just never caught fire with the public at large. But four years into the Switch’s lifespan, and Nintendo has turned things around dramatically.

Instead of winding things down, the Switch shows no signs of slowing down, with plenty of excellent third party games in its library, as well as more than a few innovative titles from the Big N as well. The platform has also been a great way to bring underrated Wii U gems to a broader audience of Switch adopters. With a rumored 4K upgrade on the horizon, there’s a good chance that the Switch may even have another four years ahead of it,

But for now, these are the very best games available for the portable-console hybrid:

30. Untitled Goose Game

2019 | House House

Anyone who’s even been to a pond can attest to one simple fact: Geese are dicks. Untitled Goose Game lets you finally live out the fantasy of being one of nature’s most annoying creatures, flapping, honking, and generally being a nuisance to the residents of a fair English town. The only thing missing is the goose poop covering everything in sight.

Untitled Goose Game is a short but sweet experience inspired by classic stealth games that adds just enough charm and innovation to make it one of the best indie games on the platform.

29. Dark Souls Remastered

2018 | FromSoftware

There’s not much more that can be said about Dark Souls that hasn’t been said about this revolutionary action RPG title already. Its tough-as-nails difficulty, foreboding atmosphere, and esoteric storytelling have made it a fan-favorite and critical darling.

The Switch port doesn’t change much. It’s actually a visual downgrade from the Xbox One and PlayStation 4 versions without the benefit of 4K resolution, but being able to play Dark Souls on-the-go more than makes up for that. This may not be the best version of Dark Souls, but the gameplay still stands up, and like a lot of Switch ports, being able to finally play the game on a handheld makes it a worthy pick up.

28. Mario + Rabbids: Kingdom Battle

2017 | Ubisoft

“What if Mario starred in an XCOM game?” might sound like the basis for some very ambitious fan fiction, but somehow Ubisoft pulled it off with Mario + Rabbids: Kingdom Battle. The Rabbids actually fit into the Mushroom Kingdom pretty well and the Rabbid impersonations of Mario and company are hilarious.

Even if Mario games aren’t typically your cup of tea, the tactics featured in this turn-based strategy title add a layer of difficulty rarely seen in the plumber’s resume. If you aren’t careful, the corrupted Rabbids will repeatedly hand you your ass on a platter.

27. Captain Toad: Treasure Tracker

2018 | Nintendo

The Captain Toad levels were the best parts of Super Mario 3D World, one of the few well-reviewed Wii U exclusives that haven’t yet made it to the Switch. Captain Toad: Treasure Tracker delivered more of what people loved, this time for the 3DS.

Ignoring traditional Mario-style platforming for isometric puzzles that bar jumping, getting all the stars in every level of Captain Toad is genuinely challenging but rarely frustrating. Captain Toad also stands out as one of the better Wii U ports for the Switch, thanks to a number of new levels, although many of them are only available as paid DLC.

26. Starlink: Battle for Atlas

2018 | Ubisoft

Starlink: Battle for Atlas is a fun space shooter bogged down by a confusing and frankly unnecessary toys-to-life gimmick. The basic premise equates to a sort of smaller scale No Man’s Sky, but with highly customizable ships and weapons.

The big draw for the Switch version is exclusive Star Fox content, missions that feel like the animal-themed space combat game people have wanted from Nintendo for years. They’re certainly better than Star Fox Zero. The retail version even comes with awesome Arwing and Fox McCloud toys.

With gamers largely burned out on the toys-to-life phenomenon, Starlink didn’t exactly light up the sales charts, but it did sell best on the Switch and is scratching that Star Fox itch.

25. Hollow Knight

2018 | Team Cherry

Nintendo basically created the Metroidvania genre, but the company has been remarkably stingy about releasing new 2D Metroid games. Thankfully, Hollow Knight is here to fill the void with its insect-filled underground world. While there have been many takes on the Metroidvania formula over the years, a Tim Burton-esque aesthetic gives Hollow Knight a unique edge over the rest of the field.

Of course, Metroidvanias are only as strong as their maps, and Hollow Knight’s giant, secret-filled levels are easy to get lost in for hours. And then there’s the Dark Souls-inspired combat, which requires both patience and skill to master. We can’t wait for the sequel.

24. Xenoblade Chronicles 2

2017 | Monolith Soft

Xenoblade Chronicles 2 is not for casual gamers. The main story alone takes more than 60 hours to complete and you’re looking at well over 100 hours of gameplay if you dig into the side content. Its systems, particularly the Pokemon-style Blade system, aren’t very user-friendly and require time to truly understand. But for those who are willing to keep with it, or who enjoy complex stories and mastering all the intricacies of a JRPG, there are few games of this caliber available on the current crop of consoles. And none of them are on the Switch.

23. The Legend of Zelda: Link’s Awakening

2019 | Nintendo

The Legend of Zelda: Link’s Awakening is arguably the very best game for the original Game Boy, held back only by the portable’s lack of buttons and color. The Switch-exclusive remake easily rectifies those issues, and improves on this classic with so much more, including customizable dungeons and a delightful new art style inspired by children’s toys.

The core Link’s Awakening experience remains as enjoyable as it first was back in 1993, with the deceptively small Koholint Island giving way to nine labyrinthine dungeons and some of the best puzzles in the entire series. This is a great example of a remake done right.

22. Stardew Valley

2017 | ConcernedApe

There’s something oddly relaxing about farming games that Stardew Valley taps into better than any other game in the niche genre. Maybe it’s the especially calming music, the charmingly well-written characters, or just being able to live out your agricultural dreams at your own pace. Whatever the exact reason, Stardew Valley has garnered millions of fans since its original release.

Part of the appeal is the regular updates. Just when you think you’ve seen everything, ConcernedApe will add new content to keep the game fresh. And while Stardew Valley is a fantastic experience on any of the numerous platforms it’s currently available on, being able to play it anywhere on the Switch arguably makes it the definitive version.

21. New Super Mario Bros. U Deluxe

2019 | Nintendo

The Switch’s success has allowed many Wii U games to enjoy a second life. With their brief levels, Mario games have always been perfect for handhelds, and with its pitch-perfect controls and heavy nods to Super Mario Bros. 3, New Super Mario Bros. U is arguably the best side-scrolling Mario game of the last decade. The Switch port even includes all of the New Super Luigi U content previously only available as DLC and a new playable character, Toadette.

20. The Elder Scrolls V: Skyrim

2017 | Bethesda Game Studios

We probably didn’t need another version of Skyrim, and the Switch port doesn’t look that much better than the original 2011 release, but as with other ports of older games, the ability to play one of the greatest RPGs anywhere is a good reason to double (or triple) dip. And there are a few cool unlockables though amiibos, like the Master Sword.

It’s impossible to ignore such a classic RPG on the Switch, especially now that you can play it on your lunch break or on the bus. But seriously, Bethesda, you can stop porting Skyrim now. Get to work on The Elder Scrolls VI and maybe bring that to the Switch.

19. Pokemon Let’s Go, Pikachu/Eevee

2018 | Game Freak

The Pokemon franchise has been around so long at this point that the Let’s Go games are actually the second remakes of the original 1996 Red and Blue games. That’s okay though, as even the last remakes were released on the Game Boy Advance in 2004. By 2018, it was time for a new coat of paint.

Let’s Go freshens things up with modern 3D graphics, wild Pokemon that are now visible in the overworld, and Mega Evolutions from more recent games. The biggest change is the most divisive: motion controls for catching Pokemon. It can be a little silly at first, but it actually adds to the game’s charm.

18. Luigi’s Mansion 3

2019 | Nintendo

Luigi has long played second fiddle to his more famous brother, but after three spooky solo games, he’s built up a successful franchise in its own right that ranks up there among Nintendo’s best. If the previous Luigi’s Mansion games had a flaw, it’s that they got a little repetitive. Luigi’s Mansion 3 thankfully fixes that problem with a massive 17-story hotel with plenty of puzzles to solve and ghosts to trap. And while Luigi’s Mansion 3 is a fantastic single player experience, what really gives it legs is its co-operative modes for 2-8 players, making it the best ghostbusting game since, well…Ghostbusters.

17. Octopath Traveler

2018 | Square Enix

Square Enix’s love letter to 16-bit RPGs might just be better than the classics. Octopath Traveler boasts an innovative battle system that tweaks the typical turn-based formula and unique “HD-2D” graphics that are unlike anything else in the genre. It’s easy to lose several hours playing in portable mode or at home on a big screen. And while the story drags a little bit at times, it’s still worth playing to the end to see how the tales of all eight protagonists play out.

16. Astral Chain

2019 | PlatinumGames

PlatinumGames’ streak of creating the best and most unique action games in the industry continues with Astral Chain. Everything that has made the developer’s past titles like Bayonetta and Nier: Automata instant classics is on full display here, from the massive set pieces to the bonkers anime-inspired story of humanity making its last stand against an interdimensional threat.

And while you’d think those previous efforts pushed combat in an action game to its limits, Astral Chain’s innovative gameplay finds way to introduce new twists to the Platinum secret sauce. Here, you control both your main character and a fully customizable tethered Legion to maximize combos. This is the perfect game to tie you over until Platinum finishes up Bayonetta 3.

15. Bayonetta 2

2018 | PlatinumGames

The first Bayonetta was a sexy, stylish take on action-adventure hack and slash games, with some of the smoothest combat around and a badass protagonist. Bayonetta 2 doesn’t mess with the winning formula but adds more combat options and some of the most ridiculous setpieces ever put in a game, like a battle on top of a moving fighter jet. If you’re looking for something a little less family-friendly on the Switch, look no further than this hectic action game.

14. Donkey Kong Country: Tropical Freeze

2018 | Retro Studios

The original Donkey Kong Country trilogy is a highlight of the 16-bit era, but in hindsight, it was more beloved for its graphics than its gameplay. It was only once Retro Studios took over the series that the franchise began to live up to its potential, with super smooth platforming and levels more creative than even some of Nintendo’s Super Mario games.

While Retro’s first Donkey Kong Country game on the Wii was a little too punishing, Tropical Freeze got the balance between challenging and frustrating just right. The game was originally released on the Wii U, and the Switch port adds Funky Kong as a playable character. This is an excellent platformer to play with a friend, too!

13. Super Mario 3D World + Bowser’s Fury

2021 | Nintendo

Super Mario 3D World is a top-notch Mario game, so it was always a shame that it released on a platform as underwhelming as the Wii U. The genius of the game is how it so perfectly combines the best elements of 2D and 3D Mario games. Levels have clear beginnings and endings, and ultimately you just need to climb the flag pole at the goal, but there’s also plenty of room for exploration to track down every last green star. Plus, the cat suit is one of the weirdest and best power-ups in any Mario game.

Everything that made the original Wii U release a must-have remains the highlight of the Switch port, but the addition of Bowser’s Fury, a new adventure where Mario and Bowser Jr. must quickly complete missions before the arrival of a giant, enraged Bowser, makes this one well worth a double dip.

12. Pokemon Sword and Shield

2019 | Game Freak

Sword and Shield may not be the best games in the long-running Pokemon series. Arguably, the lack of some older Pokemon (even after two big expansions) is a pretty big mark against it, but the eighth generation still has a lot going for it thanks to more streamlined gameplay, a massive open-world, and the fact this is the first time a mainline Pokemon game can be played on a home console. That’s something that fans have been clamoring for since the series’ inception back in 1996.

So no, you can’t quite “catch ‘em all,” but you can still have a great time battling the gym leaders of Galar in the seemingly never-ending quest to become the very best.

11. Sid Meier’s Civilization VI

2018 | Firaxis Games

Despite the Switch’s early success, it’s still home to relatively few third-party console exclusives, but Civilization VI alone almost makes up for that deficit. This is an uncompromising PC port with 24 different civilizations available from the get-go, and all of the features from the original version. It also works great with either a controller or touchscreen controls. If you’re looking for a 4X strategy game on the Switch, Civilization VI is the one.

10. Diablo III: Eternal Collection

2018 | Blizzard Entertainment

Diablo III is one of the best games of the last decade. The Switch port is late to the party, but if you really want to slay demons on the go and don’t have a laptop handy, this is the perfect way to play the classic action RPG.

The Switch version adds a handful of Legend of Zelda items, including a Ganondorf costume. It’s not an earth-shattering exclusive, but it’s an easy excuse to sink a few more hours into this game.

9. Fire Emblem: Three Houses

2019 | Nintendo

Nintendo is still mostly known for accessible games that appeal to a wider audience. But then there’s Fire Emblem, a series of hardcore tactical RPGs where every battle can mean permanent death for you and your allies. While still true to its roots, Three Houses takes some liberties with the typical Fire Emblem gameplay. There are still plenty of battles to be fought, but the first half of the game largely takes place at a monastery where you’re a teacher preparing your students for war. And the long-used “weapon triangle” has mostly been replaced with the need to equip the best weapons for each character, adding a new layer of strategy.

As if all that didn’t make for dozens of hours of gameplay, the ability to choose which of the titular three houses you belong to has radically different consequences for the game’s story. It takes a very long time to experience everything that Three Houses has to offer.

8. Super Mario Maker 2

2019 | Nintendo

Super Mario Maker 2 is the definitive Mario game, building on its already near-perfect predecessor with new power ups, a world maker, and assets from Super Mario 3D World. The star of the show is the almost endless supply of user created levels that constantly surprise with twists on other genres and some of the most fiendishly difficult levels ever devised. And if you’re the creative type, the course maker remains one of the most intuitive modes in any game, allowing you to design perfectly playable new levels in just a few minutes.

Even if making Mario levels isn’t you’re thing, Super Mario Maker 2 includes a surprisingly fun story mode of 100 original levels that stand toe-to-toe with anything else in the legendary franchise.

7. Hades

2020 | Supergiant Games

Rarely do story, gameplay, and atmosphere mesh together as well as they do in the rogue-lite Hades. You play as Zagreus, the prince of the Underworld, with the simple goal of escaping from the monotonous life you’re forced to lead under your apathetic father. You’ll die a lot during this quest, but each time you’ll get a little stronger and gain new abilities from the gods of Olympus that keep the experience fresh. Hades knows exactly how to leverage its setting, perfectly capturing each deity’s unique personality and abilities.

The rogue-lite gameplay is also well suited for short bursts of gameplay or marathon sessions, making it a perfect fit for the Switch, which is currently the only home console its available on. It’s easily the best third-party game on the system, and one of the best reasons to pick up a Switch if you haven’t already.

6. Mario Kart 8 Deluxe

2017 | Nintendo

Mario Kart 8 is the best kart racing game ever made. That was true with the original Wii U release and it’s true of the Switch port, which includes all previously released DLC and adds a few new characters and a completely reworked battle mode. Each and every track has its own challenges and the addition of anti-gravity racing is a nice update to the formula.

With tracks and characters from F-Zero, The Legend of Zelda, and Animal Crossing, Mario Kart 8 also feels like the most complete Nintendo racing game of all time. There’s really no reason for a Switch owner not to have this one in their collection.

5. Splatoon 2

2017 | Nintendo

Nintendo has never developed a multiplayer shooter like Call of Duty or Halo. Odds are it never will. But the Splatoon series is just as good as those shooters, especially the second installment. Like with the original, the focus of Splatoon 2 is to use a variety of paint-spraying weapons to cover as much of each level as possible. It’s actually a lot more fun and creative than most of the high-profile shooters out there.

Splatoon 2 adds quite a few new levels, weapons, and unlockables. There’s also a sizable single-player mode, and a ridiculously fun cooperative mode called Salmon Run. If that’s not enough content, Nintendo released the lengthy Octo Expansion DLC in 2018. A copy of Splatoon 2 could occupy a Switch gamer for months.

4. Animal Crossing: New Horizons

2020 | Nintendo

For a lot of people, Animal Crossing isn’t just a game. It’s life. New Horizons was always highly anticipated, but its release at the beginning of the Covid-19 lockdowns made it a much-needed escape for millions of people. Birthdays, graduations, and weddings couldn’t be held in-person, so many were celebrated within New Horizons. Even President Biden and Hong Kong democracy activists set up their own islands.

Even without the specter of Covid-19, New Horizons would still be one of the best games on the Switch. Nintendo has been perfecting the franchise for two decades now, but this version of Animal Crossing is easily the best yet, allowing for near-limitless customization of your own little world. And yet you’re still free to play at your own pace, without any of the pressure of the outside world. The ultimate appeal of Animal Crossing continues to be that it allows us to live our ideal lives.

3. Super Mario Odyssey

2017 | Nintendo

Is Super Mario Odyssey the best 3D Mario game? It’s hard to argue otherwise. Odyssey borrows its level structure and progression system from the beloved Super Mario 64, which Nintendo had largely ignored for the last two decades. Several new twists on the traditional 3D platforming formula, like the ability to throw your new hat buddy Cappy at enemies to take control of them, make Super Mario Odyssey feel incredibly fresh. There probably won’t be another platformer this good on the Switch.

2. Super Smash Bros. Ultimate

2018 | Nintendo

Super Smash Bros. has remained wildly popular since it debuted in 1999, and there’s always been a lively debate about which title is the best in the series. Melee arguably has the best mechanics, while Brawl’s Subspace Emissary boasts the most complete story mode. The Wii U game looks fantastic, but the Ice Climbers and Snake were sorely missed.

Ultimate tries to satisfy the fans of each game by including every character who’s ever appeared in the series (plus a few new ones), more than 100 stages from throughout the Nintendo universe, a deep adventure mode called World of Light, and interesting tweaks to even the oldest characters in the roster. If Ultimate isn’t the perfect installment of Smash Bros., we don’t know what is.

Further Reading: Super Smash Bros. Characters Ranked

1. The Legend of Zelda: Breath of the Wild

2017 | Nintendo

Breath of the Wild is the perfect marriage of traditional Legend of Zelda 3D gameplay and innovative new systems. The world and story are unmistakably Hylian, yet the game puts a major focus on exploration and experimentation to an extent never before seen in the series.

Yes, the number of weapons have been cut down drastically, but the handful of abilities — like freezing time and creating ice blocks — create even more ways to complete the game’s challenges and traverse its world. And you will want to explore every last inch of Hyrule’s beautifully realized world.

For almost two decades, Zelda games closely following the formula established by Ocarina of Time, one of the greatest games ever made. Breath of the Wild throws out almost all of the concepts that Ocarina pioneered and redefines Zelda as something more open-ended and exciting that will hopefully continue to evolve over the next few years.

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