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aurelliocheek · 5 years ago

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Albion Online: Against all odds

Are you one of those people who believe that you can’t develop a sophisticated online role-playing game with a PvP focus in Germany? Well, it looks like you were wrong.

It‘s a grey, wet and cold morning as we stand at the gates of the Berlin development studio Sandbox Interactive. At the entrance, we are welcomed by a Christmas tree, and inside it is warm and cozy. „You‘re too early,“ are the first words of Head of Operations Christoph Hombergs. Immediately we are led into the spacious conference room, past impressive artworks and lots of screens on the walls, where you can watch players doing what they are supposed to do – and sometimes not supposed to do – in Albion Online. We‘re here to find out how hard it is for a small Indie developer in Germany to bring a game to market – in a genre that makes most gamers click away.

Welcome to Sandbox Interactive, a young German studio that dared to launch an online role-playing game with a focus on player conflicts in times of Themepark MMO weariness. Funded solely with private capital and the sale of start-up packages, without any publisher support in the background. In recent times, virtually nobody from German-speaking countries has taken up such a challenge. Of course, there are still old-established gems like Tibia, which was published and maintained by the Regensburg developer CipSoft in 1997. But these titles are unknown to most – we have to admit this shamefully, too, when Robin Henkys, CEO of Sandbox, points it out to us a few minutes later. Nobody is currently developing an online role-playing game in Germany that is both visually and mechanically up to date. Because Albion is beautiful, wonderful even, and we would love to talk with the designers about their approach in creating this rich world. But first, we‘re interested in how Albion Online was developed.

Making Games: The story of Sandbox Interactive is rather unusual for a German development studio. Robin: That‘s right. Albion Online or rather Sandbox is based on the idea of a PvP-driven MMO by our main founder who wanted to create the game by means of initial financing and was therefore looking for developers to help him. The Berlin-based Bitfield team had just developed an engine for Nintendo DS and applied for the job. Their approach was that it would be too risky to develop the game immediately on a large scale behind closed doors. Instead, they wanted to develop a simple prototype within a short amount of time, which could be quickly tried and tested. Then they would evaluate the feedback, before taking the next step. Our main founder liked this approach, and the prototype was built in 2012, initially as a small 2D game without any mobs and reduced to the idea that the players would collect resources, build items and battle each other. This was when Sandbox Interactive was born. In order to test the prototype, we invited select guilds at a very early stage – these people had been playing online RPGs like Ultima Online, Everquest, Dark Age of Camelot and other MMOs for over 20 years together. One of our co-founders, for example, is a huge fan of Dark Age of Camelot and still had a lot of contacts within the community, which helped a lot. It was important for us to get players who would still remember old MMOs such as Everquest, which demanded your utmost attention. These guilds tested the prototype, invited friends, and provided a lot of feedback. As a result of this, the project became bigger and bigger over time.

Making Games: This sounds like a highly unusual game production. Robin: Yes, it was very much unlike a „normal“ game production where a big production schedule is created at the beginning, detailing all steps and dates of the production and the required financial means. In our case, we realised very soon that the initial capital would be used up quickly, but also that, on the other hand, a lot of players were interested in the game. As a result, we set up an early-access program where players could pay to participate in our early alpha. The original plan was to make Albion a „free-to-play“ game, but due to the great reception by the players and the high demand for early access we switched to „buy-to-play.“ This obviously makes a lot of things easier. Cheaters and bots can be controlled better because a ban has completely different consequences than in a F2P game. It‘s simply more painful to lose an account you paid for. The „quality“ of the players is higher with this approach because people invest money from the start and are thus much more involved. But of course, this also means that the expectations for the product rise.

I joined the team at the start of the early-access phase as the core team didn‘t have an experienced designer and was looking for somebody who had made some game design decisions in his life before (laughs). I had just finished Drakensang Online then and was really excited about the idea of Albion Online. At the time, Albion Online was a result of wild brainstorms which somehow already worked but had no structure yet. Over the past few years, we fine-tuned these ideas and put them together in a game which met our players‘ high expectations.

In the early-access phase, we sold over 200,000 starter packs which are between 30 and 100 US dollars each. Our private investor supported us with initial funds of 700,000 euros and gave us some more money in between, for example for the marketing for the early-access phase.

On release day, the floodgates opened and people rushed to claim territories and progress as quickly as possible. The DDoS attacks put a temporary brake on that momentum.

Making Games: How did you start out after your founder gave you the green light? Robin: At the beginning, we were all working from a small, affordable flat in an old building in Berlin-Friedrichshain. At times, we were over 15 people, working desk-on-desk in a 2-bedroom flat, before we moved into our first „real“ office on the top floor of a huge building complex in Berlin (originally built and operated as a brewery) in 2015, just in time for the early-access phase. After a very successful start of the early-access phase, we settled down in today‘s offices in the Prenzlauer Berg area of Berlin in 2016.

By the way, the internet in Germany‘s start-up city Berlin is a topic of its own. In a big city like Berlin, you would expect that you can get a proper, reasonably-priced internet connection without a problem. The best regular internet connection we could have got in our previous location in 2015 was a 16,000 DSL connection with an upstream of 1,500. Now try to upload a new game version or a time-sensitive patch to an American server… First, we thought about fiber-optic connection, but it would have been way too expensive, and it also doesn‘t make sense in a rented office space. After a while, we ended up with microwave internet which also caused some problems though. We had to ask our landlord to allow us to put a small wire from the window of our office all the way up to a tower on top of our office building. Up there we had set up a microwave antenna on a very unstable construction. The wire was wrapped openly around the tower, but at least we had fast internet. In our current location, we finally have a 1-gigabit glass-fibre connection. You can download any game you want from Steam within 12 minutes (laughs). How can a small indie start-up get a proper internet connection that lets you upload a patch within a few minutes? That‘s absolutely an issue you shouldn‘t underestimate when you develop an MMO in Germany. We really had some bad experiences in this respect.

Making Games: Which were the biggest problems you faced when developing Albion Online? Robin: We realised very soon that we had a lot of knowledge about certain things, and hardly knew anything about others. Regarding the things we knew little about, we kept asking other developers and freelancers for advice and help. For example, when we started developing the net code, none of us said: „Here is my idea, I‘ll just give it a try!“ Instead, we talked to various companies and experts about it before we even got started, and it wasn‘t until we had a useful concept which a lot of experts considered to be a solid base that we wrote the first net code lines. However, not everything went smoothly with the net code. After the start of the early-access program, we regularly released new versions of Albion, reset everything after a few months, modified the world again, introduced new features and constantly used our players‘ feedback to check what the game was missing the most. We could have done that for a lot longer, but over time our players gradually lost patience. Luckily, at the time we had a version which we were happy with and wanted to launch without any concerns. We only had to make some minor changes, no problem. That‘s what we thought. But there was this one aspect in the backlog, which we managed to avoid the whole time since it would have taken a lot of time and money to implement and would have delayed the launch. I‘m talking about proper DDOS protection – a system to prevent a Distributed Denial-of-Service attack on our data centre in Washington D.C.

Making Games: But isn‘t this the most important aspect when developing an online RPG? Robin: Yes, it is. Obviously, it was very important for us, too. Prior to development we did a lot of research on this topic and learned that it would take a lot of time and money since, in all honesty, we didn‘t know anything about it. We are game developers, which means we are not specialised in operating and maintaining servers and data centres. Unlike us, most MMO developers have their own data centres and thus full control of their servers, while our computers are hosted by IBM. On the one hand, of course, that‘s very comfortable since IBM is doing the entire hosting. On the other hand, we‘re not authorised to integrate certain technical solutions there. The problem with IBM and other hosts are: 98 percent of the companies need DDOS protection against TCP-based protocols to guarantee smooth operation of their websites. Albion Online, on the other hand, requires UDP protection, and a lot of hosting companies are struggling to react to UDP attacks quickly because they probably lack the necessary know-how and practical experience – or both. And as mentioned already, it wasn‘t an option to simply set up an adequate hardware firewall at IBM. After a lot of thinking, we then decided to launch Albion Online without any such precautions. Well, and then in the first week after launch, we received an email saying: „Send us ten bitcoins; otherwise we will switch off your game. And to prove that we‘re not joking, we‘ll take your game offline at 12 o‘ clock.“

Each update comes with its own distinctly-themed artwork. Since the release in July 2017, there have already been five updates, with a sixth coming soon.

Making Games: So, the game was offline at 12 o‘ clock? Robin: Exactly. Funnily, this happened after a first bigger ban wave against real money traders in the game. Therefore, we assume that this effort to blackmail us had something to do with that ban wave, but of course we couldn‘t prove it. But the timing was spot-on, and at that moment we knew that we had underestimated the problem and had to invest a ton of money and time to get proper DDOS protection. In short: Instead of doing it comfortably during the beta phase we were now facing the problem of having to do it during live operations and under massive time pressure. This took up the entire first month after the start of Albion Online, and we had to fly in an expert who earned heaps of money by setting up a solution for us within a very short time. The lesson we learned was that it cost a lot of time and money and that we should have done it earlier. But if you as an independent developer are used to save money wherever you can, you think twice before spending this amount of money.

Making Games: Did nothing else go wrong? Robin: Yes, but this was the only real big mistake we have made during development so far. Of course, other things went wrong, too, for example for the launch we switched to much more powerful server hardware. We didn‘t want to make the same mistake as almost all other MMOs on the first day, which was to mess up the launch of Albion Online with completely overstrained hardware. Among other things, we moved our database server from a mid-range computer to a state-of-the-art computer. However, that computer had a new raid controller which, in combination with our database, caused a short glitch after 18 hours of live operation. This caused our database to collapse and the game to crash. It took us two weeks to find out that it was all down to the raid controller. Our database runs on Windows, however apparently 95% of all companies run theirs on Linux. Nobody noticed that there were driver issues with Windows since Albion Online was a very unique piece of software.

Christoph: I would also add payment security, which taught us a lesson, too. Especially if you don‘t work with a one-stop service provider like Xsolla but do everything yourself instead – the indie way. The topic may not be quite as exciting as let‘s say a wizard who defeats three creatures at once with a fiery blast, but it‘s a topic that should really not be underestimated and be treated with respect during the development process. We definitely learned a lot in this regard.

Making Games: Was it never an option for you to work with bigger companies for matters like that? Or was it simply too costly? Christoph: At the time when Xsolla, for example, entered the business, we had already come so far, and we‘re already so familiar with our own systems that it wasn‘t an option for us anymore.

Making Games: Let‘s talk about one of the most important aspects of MMOs: quality assurance during live operations. How does your team handle that? Robin: It was always important to us that the quality assurance is done by the team itself. We don‘t have a huge QA department where 30 people can test the game to its core, and the development team passes on all responsibility like maybe Ubisoft does it for a major game. In our case, all developers are responsible for themselves that everything they put in the game works properly and doesn‘t cause critical bugs. Of course, we have a final QA process, but it‘s a lot smaller and rather community-driven. We also rely on our players to give us honest and comprehensive feedback.

Making Games: Does this cause more exploits for your game than for others? Robin: We secure everything thoroughly through our server, which is actually not that common for MMOs. With Asian MMOs, the client often does a lot of those things. In our case, it‘s completely different. Right at the start of the project, we agreed that the client would only receive the same information that the players see on the screen. In that case, you can‘t build things like radar tools or something like that. There are certain things through which you can only properly secure with great technical effort and which are in conflict with what you want to allow. Speedhacks are one example. Our players often tell us to set up speedhack protection. The problem is that you have to trust the client to a certain extent that they have sent certain commands to the server at a certain time. Otherwise players with a high ping of 150 or more would constantly be reset. Including error messages from the server that the player‘s actions were illegal. Hacks aimed at this problem are very hard to prevent if you want to allow people with a high ping to play the game properly. All in all, we have only small exploit issues though, which is definitely owed to the competence of our developers.

Our Tech Director David brought the protection from exploits and security issues to our attention pretty much on day one. It even reaches a point where we have seen some people really try to manipulate each variable we have in the game through false signals. Every element which can somehow be hacked in the game will indeed be hacked by someone. We are very happy that the number of incidents to this day can be counted on one hand and that we were always able to handle the situation in a way that it didn‘t do major damage. There has never been a dupe bug, for example, which would negatively affect the economy in the game. We have always spotted these things early on and contained the damage by immediately banning the respective accounts.

Sandbox Interactive has about 30 permanent employees, plus numerous freelancers. Meanwhile the offices are much more spacious than at the beginning.

Making Games: Do you first try to contact those people, or do you ban them right away? Robin: We first ban, then talk. If we did it differently, people would immediately move all items, and the problem would be out there in the game world. Therefore, we first need to freeze all assets and the account before we talk to them. We did the same thing during the beta already. At the start of the beta, there was a very obscure bug which allowed someone to log in twice by adding a space to the end of the password during the second log-in process. This person then had one and the same character twice in the game world, transferred all items from one character to the other, and then did the same thing all over again and again. When this came to our attention, I logged into the game as a game master, moved right beside him and said: „You know that you just did something wrong. Give me all your stuff. Otherwise you‘ll get kicked out of the beta.“ The funny thing was that this guy immediately started to negotiate with me, like „Can I at least keep 100 million?“, which we refused, of course (laughs). That was somewhat funny and probably the only case where we didn‘t ban the account right away.

Christoph: Fortunately, thanks to our committed community, we are often made aware of exploits in more „discrete“ ways before any bigger problems arise. There is always somebody who spots something somewhere and takes it to us very, very quickly. In almost every MMO these days you have professional exploiters who sell ingame currency for real money. But these people attack user accounts in the first place, meaning they take advantage of weak passwords or hack email addresses to get access to the accounts.

Robin: During early access, we had a phase when presumably Chinese hackers brought a large number of user accounts under their control. In all cases, users had clicked on dubious links or used typical passwords like „123456“ or „password.“ We quickly put an end to that by introducing a two-step authentication process.

Of course, today there are still some cases where accounts get hacked because someone logs in from an internet cafe or shares their account with someone else. We‘ve experienced some dramatic stories, for example that of Team Casualty. In Albion Online, there are large guild battles which are sort of carried out in seasons. In the last season, guild Team Casualty was comfortably in the lead. But an officer of Team Casualty had shared his account with another person who then dropped a bunch of territories in the middle of the season and also took all guild possessions with him. However, the affected person could not file an official complaint with us because he knew that account sharing wasn‘t allowed. What amazed us all was that the guild quickly got up on their feet again and managed to still win the season, even though all guild assets had been stolen and they basically needed to start from scratch.

Making Games: Did you confiscate the assets? Christoph: No, we didn‘t. After all, the account owner never contacted us officially. It was just stupid of him to share the account.

Robin: We refer to this as a meta game: typical infiltration incidents that happen in a lot of MMOs, which take place outside the game world and where competitors are deliberately undermined and eliminated through moles in their own ranks. In a game like Albion Online where players battle each other, it‘s invaluable to you know your enemy‘s plans and their allies. It‘s a very important aspect within the community; we don‘t interfere with that. In the case of hacks, we take immediate and radical measures, but if people are so naïve as to give another person the access data to their account … well, that‘s tough luck.

Christoph: Play stupid games, win stupid prizes.

Making Games: Let‘s talk about technology – why did you decide to go with Unity? Robin: There were several reasons. One was obviously the cross-platform aspect. In 2012, for example, no other engine developer on the market had that much to offer yet as far as cross-platform was concerned. This was really important to us since nobody knew at the time what direction the market was moving in. The headlines were full of things like „In five years‘ time nobody will play on a traditional PC anymore“, and tablets and consoles were the devices of the future. That‘s why we decided that our engine had to be capable of cross-platform. Unity was the most advanced one in this respect, very popular and comparably cheap.

Making Games: Was writing your own engine ever an option? Robin: No, that was never an option. But we don‘t use Unity quite as much as most other companies which make use of many of the additional features. We only use the rendering, so just the graphics part. The level loading code, for example, was completely written by us; the server is completely free from Unity. If we were crazy, we could set up a completely Unity-free client. And yet, Unity is a real benefit for us because since day one we can run Albion on Windows, Linux, Mac, Android and iOS without having had to face major problems during updates. We don‘t take this for granted – regarding the number of assets, the level complexity or the data volume, Albion is probably one of the most complex Unity projects ever. We are often the first ones who would write to Unity‘s support about things like „Your hierarchy isn‘t working well if you have 50,000+ objects in the scene“ (laughs) – something most other teams simply don‘t have in their projects.

But there is another reason why we chose Unity. Especially if, like in our case, you quickly want to develop and test a prototype, it doesn‘t make sense to build your own engine. The Unreal engine would have been an alternative, but the terms back then weren‘t nearly as good. Maybe that has changed by now, but we have run Albion on Unity for so long now that it‘s not an option anymore to switch technologies. It would probably take us two years until we‘d be ready again to produce new content for the players. Unlike other companies, we don‘t make a new game every three to five years; we will probably manage Albion for the next 15 years. In that case it just makes more sense if you don‘t have to look after every update for all sorts of platforms as well, which is something you have to do when you have your own engine. With Unity, we get all these updates for free; bug fixes, performance improvements plus new features like enhanced shadow rendering. If we had our own engine, it would take us a lot of effort to build everything ourselves, and at some point we‘d fall far behind with our technology since we wouldn‘t be able to handle it with a team of our size. Especially in the mobile sector where things are constantly changing.

But despite all these benefits, there are also some things which we don‘t like about Unity. For years, there has been a problem with the garbage collection, for example, which causes micro stuttering in our rendering. And yet, we are still better off with Unity than with all other options which are available to indie developers like us.

Making Games: It‘s interesting that Sandbox Interactive chose to work without a publisher. What was the reason? Robin: It was a conscious decision right from the beginning. A lot of indie studios start searching for a major distributor as soon as possible. Not only did we want to develop an MMO in Germany, right from scratch with a team that didn‘t even exist at the time. We also wanted to do the distribution on our own, without anyone in between. That‘s a huge effort, and we‘re very happy that our small team managed to establish Albion Online and leave a mark on the „gaming map.“ We have over 70 payment methods in our webshop through which we run all our operations. We have come to realise though that we have our limits when it comes to publishing operations. That‘s where big game publishers have an advantage. Even if you don‘t need their services like us, in terms of performance marketing we are in direct competition to the well-oiled marketing machines of the major publishers. They have a pool of people who constantly analyse their campaigns, and that‘s where we have to ask ourselves: Do we expand on our own publishing skills, or should we start looking for partners to help us out with the marketing. We‘re currently at a point where we have to make this decision since an online game like Albion lives and dies on online marketing. Like all others, too, we have to compete for the players‘ attention, especially in the sandbox MMO segment. There are quite a few games like Albion, for example, Crowfall, Ashes of Creation, Chronicles of Elyria, or Legends of Aria. Despite the competition, we have done quite well and have practically completed one full MMO life cycle. We founded our company in 2012, had a pre-financed development phase, an early-access phase, then the buy2play launch; we now count almost half a million players and have run our live operations for one and a half years. If somebody had told me that a few years ago – I wouldn‘t have believed it.

Robin Henkys is the Game Director for Albion Online and CEO at Sandbox Interactive

Robin previously lead the game design of Drakensang Online (Bigpoint) and the level design of Drakensang: River of Time (Radon Labs), based on the “Dark Eye” pen&paper license. Robin studied Games Computing at the University of Lincoln (UK).

Christoph Hombergs is the Head of Operations at Sandbox Interactive

Christoph started working for Sandbox Interactive as a Community and Content Manager in 2015, after previously writing for a gaming blog. As the company grew, so too did his responsibilities. Now, he oversees all communications and operational topics for Albion Online. Before diving into the games industry, he studied English and German literature.

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chancerbxh434-blog · 7 years ago

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Best Mmorpg Games On Roblox Things To Know Before You Buy

10 Greatest MMORPGs For Android 2018

© 2018 MMO GAMES, adspree media GmbH. The most effective PVP-focused MMOs : For if you'd rather kill one other participant than one other monster. This listing incorporates the most effective-trying upcoming MMOs of 2018 which are set for a North American launch. If you happen to're not fascinated in the type of granular play provided by games like Black Desert Online, then this game's focus on all out struggle in opposition to other players may appeal to you. Stories and quests that put different Elder Scrolls games to shame. To make issues easy, we've damaged this checklist down into classes that actually get on the coronary heart of what makes each of those video games exemplary. It is a list of the perfect mmog video games of all time for any console or system, including cowl artwork photos when obtainable. Guild Wars 2 provides yet one more halfway level between full-on action-fight games like Black Desert On-line and rotation-based video games like WoW. Available on PS4, LAPTOP, and Mac (yup, Mac customers are lastly getting some love), FFXIV brings the story-rich world and historical past from the only player video games to an enormous, massively multiplayer world. After a slightly bumpy launch (which in equity happened to a lot of the games on this checklist) in January of last year, Blade and Soul quickly righted the ship and established itself as one of many premier titles within the action-MMO area. Out of all the MMO video games on here, Bless looks prefer it has the most potential for achievement in 2018. The concept of taking the concept Blizzard so masterfully crafted with Diablo and delivering it as an MMO is not mandatory a new one, however it's one which few games have managed to engineer. A sequence of occasions centered on the venerable city of Neverwinter have reshaped the world of Faerun, and Cryptic Studios capitalizes on this exciting transitional period in considered one of this years best new free-to-play MMOs. Tera is a Korean MMO that is extensively considered to be a cheerful medium between the extremely-difficult combo techniques of games like Black Desert On-line and the relative simplicity of games like WoW or LOTRO. It is maybe because of this that it stays some of the fashionable and updated video games within the MMO style. WoW has extra gamers than any of the opposite games on this record, so it stands to cause that it needs to be right here. You can't discuss MMORPGs with out mentioning RuneScape, one of many oldest and most infamous MMORPGs round. This location-primarily based MMO brings the epic fantasy to life wherever you might be. Not like so many entries within the MMO style, Guild Wars 2 does not attempt to finest World of Warcraft at its own https://concept.journals.villanova.edu/user/viewPublicProfile/3418 sport, as a substitute putting out in fascinating new instructions with divergent ideas about how on-line video games ought to play. I am cautiously optimistic concerning the Secret World revamp, and Funcom retains its MMORPGs online for years so I by no means have to fret about that. This recreation has loads of ambition — and in all honesty, it seems as if it might need too much ambition, making an attempt to be an extremely-reasonable simulation MMO. This makes LOTRO top-of-the-line selections for solo MMO gamers. You can't write a listing of one of the best MMOs in 2017 with out together with World of Warcraft. The most recent enlargement, launching on the finish of January, promises new story content around an unexplored sector of the Alpha Quadrant, and a handful of recent limited time events and mini-video games. For roughly a decade now, Lord of the Rings On-line has sought to bring Tolkien's lore-rich fantasy universe to life within the form of a story-focused MMO - and so they've performed so quite successfully, for my part. The very best half is you could join a Wing with pals and fly in a squad of three, taking over different online gamers of NPCs dotted across the galaxy. RuneScape is a browser-based mostly MMOG with a large give attention to participant freedom. Farming (of the agricultural http://edition.cnn.com/search/?text=mmorpg games somewhat than loot selection, though the latter is actually present as nicely), match three puzzle video games, pet battles, a Vegetation vs. Zombies mini-sport, and an unbelievable wealth of different content material in iterative patches and full blown expansions continues to make sure WoWs place on the prime of the heap.

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someguyranting1 · 7 years ago

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Why Do So Many People Love SAO? The Art of Mass Appeal

Hey! It’s okay! You are allowed to like Sword Art Online. I feel like I needed to explain that before somebody gets the wrong idea and thinks this is just me saying, “I don’t understand how somebody likes an anime that I don’t like!”

I just want to put this on the record: You’re not a bad person for liking SAO. You don’t have shit taste, and you’re not stupid. There are plenty of legitimate reasons to like this show, and, for this review, we’re going to be exploring what those reasons are because any show that can reach over a million people has to be doing something right.

No, this isn’t going to boil down to an insulting and reductive conclusion, like, “Thirsty weebs need wish fulfillment,” although I do think that is part of it for some people. This is a serious, analytical look at the series. The mechanics of mass appeal have always fascinated me, and SAO’s lacking qualities in other departments make it easier to isolate those mechanics than it would be looking at something like FMA.

You really can’t understate the impact that SAO has had on popular culture. It takes a lot of brand recognition for an American product to get a shot on network television, let alone a Japanese one. Much as critics like to downplay popularity as a measure of quality, success like that doesn’t just come down to random luck.

That said, luck is a major factor. SAO is often lauded for its great premise, but that’s only half the story. The most obvious factor in SAO’s whirlwind success is that it hit on the right premise, at the right time. When SAO came out in 2012, eSports and Free-to-Play games were becoming huge in the public eye. League of Legends had overtaken WoW as the most-played PC game of the year, and WoW’s death grip on the MMO market had loosened enough so that the landscape of online worlds was becoming more expansive and varied than it had ever been before. It was the perfect time to release any story about hardcore gaming, hardcore MMO gaming in particular, and with the Hunger Games phenomenon just starting to “catch fire” thanks to the first movie’s release, the market was hot for death game stories in particular. Add to that the exploding popularity of the then-new Game of Thrones and Walking Dead, and any series with a similar sense of lethality was bound to do well. Just look at how many articles at the time compare Attack on Titan and SAO to those two shows.

On top of that, anime was about to blow up in a big way in the West. Crunchyroll came to my attention in Fall of 2011, when they acquired the rights to Fate/Zero. I was hooked enough on the series from watching it on their ad-supported site to bite the bullet on a subscription just to get one episode ahead, and I don’t think I’m the only one. From 2011 to 2012, Crunchyroll began offering a serious value proposition by doubling their seasonal anime library, and becoming the go-to place for basically everything coming out of Japan by the Summer of 2012. It might not have been Fate/Zero specifically, but between huge series like HunterxHunter and quality niche stuff like Space Brothers and Kids on the Slope, the streaming service finally had enough content to pull in and sustain a hundred thousand subscribers by September of 2012, and two hundred thousand by March of 2013. Crunchyroll had become the service of choice for the then-niche community. SAO hit right in the middle of the surge in anime’s Western popularity, right at the point when Crunchyroll had enough content to be worth a subscription, but before it became totally unreasonable to watch everything on the service.

As one of the biggest fish in a rapidly-expanding pond, SAO both benefited from and helped spur on the service’s growth. Since it was one of the most popular shows on the service, Crunchyroll naturally put it at the forefront of their marketing push, which only increased its brand caché among anime fans and casuals alike. At this point, SAO was huge in Japan, and within the niche of Western anime fandom. It had proved its market viability enough to become a flagship title for the recently revived and redesigned Toonami block on Cartoon Network in Spring of 2013, and it was both relevant and popular enough to be added to Netflix in 2014, right in time to hype up the second season.

Anime had become a massive wave, washing over popular culture. Like 2013’s Attack on Titan, SAO had the good fortune to start riding that wave while it was still small, and go all the way to the top. The two series’ similar tone, and similar lethality, meant that fans of one were likely the fans of the other, and the cross-pollination only helped them both.

However, if good timing and an enticing premise were all it took for a show to embed itself in the popular culture, we’d be staring down Season 3 of The Unlimited Hyoubu Kyousuke right now. As much as it pains me to admit it, SAO does do some things very right when it comes to its execution that primed it for its whirlwind success. One of the biggest factors in this regard is the look of the show. A1 Pictures has faced a lot of criticisms from anime YouTubers and critics in general for the uniform look of its productions, and indeed, it can get pretty tiring to see the same faces, in nearly identical art styles, over and over again. However, that’s not going to be a problem for the casual anime fan, whose only seen a few dozen series. Their shows might look pretty similar, but they all look polished and professional, assuming they’re given enough time in production. They might not look or feel as nice as something from Ufotable, Kyoto Animation, or Bones, but they can get most of the way there in less time with a smaller budget, and that’s impressive. People like things that feel polished and professional.

If you haven’t seen a million shows like it before, SAO looks really clean and cohesive. It looks like what you expect a good anime to look like. The lineart is sharp and crisp, the characters blend with the environments well (at least, when the characters aren’t moving), and you can freeze on almost any frame and use it as a pretty decent wallpaper, which is all that many casual anime fans look for in a show’s visuals.

A1’s visual style is also very versatile. Its characters look cool, but they’re still very expressive. The girls can be moe cute, the heroes can look badass and youthful, and the adults can look old and hardened, and they all exist within the same world. Despite its “same-face syndrome” problem when put next to other A1 anime, SAO’s main cast has impressively diverse and easily recognizable character designs.

On the subject of design, while I do think that SAO would be a crappy game in real life, I will credit it for looking very visually appealing. The environments are super varied and interesting, from the flower dungeon, to the ice peak where they fight the dragon, to the trippy cave system where they find the Gleam Eyes. As VR spectacles go, this world would be a hell of a draw. The show’s visuals can really pop with vibrant colors, without looking too silly, and those can be muted down for more serious scenes without it looking incongruous with the rest of the show. SAO manages to sell moe, horror, action, and even Looney Tunes-esque cartoon comedy at times, and it all feels like roughly part of the same series.

That highlights one of the show’s other big strengths: plot variety. Because of the longtime scale of its storyline and the way that its setting creates a sort of blank slate for adventure, it can dabble in lots of different plot concepts, and even genres. One episode might be a short tragedy about Kirito watching all of his friends die, while the next is a cute story about saving a little girl’s pet and beating up some cackling Team Rocket villains, and that can be followed with a two-parter murder mystery, and after that, why not, let’s go on a side quest for crafting materials that blossoms into a short unrequited love story.

None of these individual stories have to be particularly great, hell, they don’t even have to make much logical sense because each one is so different from the last that it’s kind of fun to watch just for the surprise of finding out what they’re going to do next. Even if you really hate one storyline, you can rest assured that something new is on the horizon within an episode or two, and there’s a good chance that at least one of the many things the show tries will work for you.

Because Kirito’s character arc is about learning to open up to other people, all of those different plots feel like they’re moving the central plot forward, or at least a little, even if they’re really just filler. That results in a show that feels like it’s moving forward at a good pace. Emphasis on “feels” because if you look at the actual storytelling and logical structure of events, it’s an absolute mess. Just look at the final fight between Kirito and Kayaba Akihiko, it just comes out of nowhere on Floor 75 and it doesn’t work at all. However, if you’re just sitting down for entertainment, how a show feels to watch is paramount, and what sense it makes doesn’t matter so much.

Just to be clear, I’m not saying that it’s dumb to enjoy a show on that level. There’s value in sitting down, turning your brain off, and simply being entertained for the sake of relaxation. Analyzing anime can feel like work. For some, it is work. In SAO, it feels like at least one really important thing happens every single episode, and there’s usually a really cool-feeling action scene every two or three episodes to keep the excitement up. As a result, the show has momentum. Once you start watching, it’s very easy to keep watching without getting bored or confused. The show is consumable, like popcorn or other A1 Pictures shows like Gate.

The show suffers, a lot, when it loses this forward momentum, which I think is a big part of why even fans of the series acknowledge that the Fairy Dance arc kinda sucks. Kirito has a clear goal there, with an obvious solution in trying to rescue Asuna, which means that any diversion from that goal, like going off to fight a random guy in PvP, feels like a true waste of time. Furthermore, Kirito’s character is entirely static during that storyline. He doesn’t grow or change at all. Neither does Asuna, nor anyone aside from Suguha, and even then, only kind of. Therefore, even when the story is moving forward, it feels kind of flat.

Gun Gale fixes this problem in a kind of artificial way of giving Kirito sudden onset PTSD to get over, but it does help the story feel more substantial, and fans reacted positively to that. When it does work, even if it doesn’t actually have any idea where it’s going, SAO’s story moves forward with a bold sense of confidence and purpose.

Speaking of boldness, SAO also excels at setting a strong tone for whatever is happening in its story at any given time, particularly early on. Not necessarily the most appropriate tone, but a tone that is powerful and striking nonetheless. The monsters feel scary and intimidating, the comedy feels fun and lighthearted, the romance feels heartwarming and intimate, and deaths feel tragic and poignant. If you’re not invested in the story and characters, a lot of this can feel cloying and emotionally manipulative, but until something happens to take you out of that (like Yui’s death did for me), watching SAO is an emotional rollercoaster.

A big part of that is Tomohiko Ito’s direction. He is really good at placing the camera and cutting in a way that draws out the maximum possible emotion from any given scene. He needs to work with great source material, like Erased or Gin no Saji to really shine, but even working with Reki Kawahara’s leavings, he does a good job. The use of reflections in windows while Kirito listens to Sachi’s last message to him is legitimately incredible filmmaking.

The emotional impact of the series is further enhanced by the work of Yuki Kajiura, Tomohiko Ito’s most favorite composer, who also crafted the amazing soundtrack of Erased, as well as Tsubasa, Madoka Magica, Fate/Zero, Kara no Kyoukai, and some of the Xenosaga video games. Yuki Kajiura is one the most singularly talented composers working in the anime industry today, and it’s hard to understate just how much of an impact I think she’s had on the perceived quality of SAO. Her compositions for the show give it an air of cinematic quality, but they also feel distinctly, and very appropriately, video game-y. In particular, I’d argue that she is the primary reason that people say SAO has good action scenes. Her compositions make fights that are actually pretty stilted and janky, outside of a few sakuga cuts, feel incredibly bombastic and slick. When SAO’s music kicks up, it gets your pulse pounding, and it’s hard to resist getting caught up in it or even humming along to that memorable hook. Watch these fights without the music, and they kinda suck.

Kajiura’s abilities don’t just improve the action scenes, though. Her work is an integral part of that emotional roller coaster effect, heightening the emotion of each scene and connecting the emotional beats so that the shifts in tone feel less jarring than they might otherwise feel. She makes the scary scenes feel scary, the sad scenes feel much, much sadder, and the romantic scenes feel powerful and moving. That brings us to the big reason that I think people love SAO.

Most of the things I’ve talked about so far aren’t totally unique to SAO, and though they are important factors in getting people interested and keeping them invested in what’s going on, they’re not enough on their own to make people care so much that they’ll tell me to kill myself when I badmouth it. To evoke that kind of emotional response, a show really needs to get its audience to say, “Fuck yeah!”

The thing that makes a lot of people say that, myself included when I first watched SAO, is the fact that Kirito and Asuna get together in Episode 10, after several episodes of buildup where other characters notice they have a thing for each other, and it’s just really cute. That’s just not a thing that happens in anime. Even in shows with a clear OTP relationship, nine times out of ten the romance will be drawn out to its breaking point, and the characters will only hook up right at the end of the story, which isn’t just a lazy way to create an emotional arc, it’s tedious to watch.

The “will they, won’t they” is a story we’ve seen a million times, while the equally interesting story about what happens after, the trials and tribulations of actually dating and being in love, is almost never touched upon. You can justify that in a romance anime where the story is about characters sorting out their feelings and finally getting together (Toradora does that and it’s just about perfect), but even there, after a while you start to crave shows that buck that trend, like Ore Monogatari, My Little Monster, and Golden Time.

Also, with shows that have other things driving the plot, there’s really no excuse. There are few things that could really improve on Fullmetal Alchemist, but Winry and Ed hooking up earlier in the story would probably be one of them. Look at how many people loved Mikasa’s confession to Eren at the end of Attack on Titan Season 2. That was beautiful!

It’s a very pleasant surprise to see two main characters of a show like SAO commit to a monogamous relationship this early in the plot, and I think that most people who love the series do so because, in this respect, it doesn’t waste their time. This plot turn changes a lot of story dynamics, too, since Kirito and Asuna can be explicitly motivated by their love for one another, and that love can be made much deeper than the obvious mutual crushes that drive shows less willing to pull that trigger. For a story so driven by its emotional content, that one change makes SAO feel very different from just about everything else a casual fan is likely to have seen, and from what you would probably expect going into the show.

Now if you’re like me, and you think a lot about story structure and plot logic, that effect of that change doesn’t really last. Reki Kawahara is totally unwilling to abandon his harem anime nonsense, so every arc sees Kirito introduced to a new hot girl who wants to jump his bones. In terms of narrative structure, that really undercuts the importance of his commitment to Asuna.

However, if you’re just watching the show to enjoy a show, then it feels very substantial, to the point that fans get very mad at me when I call this harem anime a harem anime, in the same way that all of the deaths early on make the show feel very lethal and dangerous, so long as you don’t realize that all of the key characters have plot armor. If you do buy into it, the scenes of Kirito and Asuna being a couple and enjoying each other’s company are extremely emotionally satisfying. By the same token, if Yui doesn’t bug you the same way she bugs me, her relationship with Kirito and Asuna is adorable. Hell, Asuna and Kirito’s romance is the only part of the movie that I think really works. To get more cynical for a moment, for the segment of the audience that does use this show as pure escapist wish fulfillment, the fact that Kirito can have an emotionally fulfilling relationship with his wife, while still being chased by hotties all because he’s so dang good at video games that he’s basically invincible, those aspects only improve the show for you.

However, I don’t think that most people who love SAO love it for those reasons. I think they love it because it managed to get them deeply invested in its main characters through one very bold plot turn, and once you care about those characters, seeing Kirito be an unstoppable badass stops being eye-rolling, and starts being cool and fun. I think they love SAO because the world that it creates seems like a very appealing place on the surface to spend time in, and you can imagine yourself being one of the NPCs going off and doing something that’s not vital to Kirito’s plotline, like that guy who’s fishing, for some reason. I think they love SAO because it came at the right time in their lives, right when they were getting into anime. If you’ve seen hundreds of anime, then yeah, parts of it are going to feel played out, but if you’ve seen just a handful, SAO is going to feel fresh, and new, and exciting.

Considering that it’s at the forefront of the anime fandom, even today, I think it will be among many people’s first anime for many years to come, and I think that ties into why so many of us so passionately hate this show as well. Because when we discovered it, it had all of this promise and potential, but at one point or another, be it a poorly-executed death or a very, very poorly-executed rape scene, it let us down profoundly, and we were left unable to enjoy this thing that, at one point, seemed like it could be so great, that was, at one point, so enjoyable for us. That disappointment is a lot more cutting than the overt and unsurprising terribleness of something like The Asterisk War or Akashic Record.

But not everyone was disappointed in it in the same way. While I do think it’s fundamentally poorly made, SAO does some things right that are going to be more important for some people than the things it does wrong are for me.

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mysteriouslyatomicparadise-blog · 7 years ago

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Unedited Putin Meeting Exposes A Missed Opportunity For Megyn Kelly As well as The U.S.A..

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these-thoughts-are-pervasiv-blog · 8 years ago

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World Of Warships Aimbot Download

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damagekyle-blog · 8 years ago

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Kingsroad Cheat

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In the present economy jam packed with kingdoms in peril it may be tough for creators to make a coin bot that stays out an over-used configuration. At a later point, people will most likely be ranked depending on how appropriately she or he finished the instance as well as be recognized with gems will update their supply slot machines, open chests and reset their proficiency bushes. Person in charge combats may also be worth noting, as they are substantial and imposing which may have particular spells within their technique having them reduce wishes appropriate scheduling and method. A chance to make your hero how you like helps make the game play the game a lot of completing. Preaching about gear, Kingsroad Gold Hack also contains an entertaining forging and enchanting approach that's fairly simple to realize. obtain an item of your more advantageous standing, no matter which the amount of item it's. About i must fall behind a nameless hero, this concept has dropped stagnant as of late, but it could have been more advantageous when there might be a lovely bit of twist or angle that have an generally exhausted story. changed as to the people imagine fit and slim. |Athletes have to grind their characters independently to attain quantities. Purchasing a undoubtedly heavy forging and enchanting approach would absolutely make replaying the finished dungeons Excluding obtaining the advantage of having what supplements are offered from forging diverse kinds of supplements all together, having one’s individuality grow belonging to the not one person to some hero is a thing that people would divulge hours directly on hours on. Acquaintances can be asked, for no more than 3 for average co-op, and 4 for prevent coliseum combats. You may buy proficiency points with gems. The basic storyline will probably be your california king is still wiped out and monsters principle the ground. Because you get new weaponry, armor, and perk-bestowing baubles, you'll equip the most effective designs on your individuality then put up for sale or create while using remainder. I am just somewhat considerably less astounded employing the writing and selling and buying techniques. I burnt off numerous medical food stuff working to potency through the use of quite a few quantities with an underpowered sword. |Additionally, a sizable much of products i finished up getting set up plus the average duration of the sport, out of the pay for-to-open chests. The 3 dimensional graphic have a lovely "realistic dream" rely on them, conversely i skilled a lot of panel ripping and herky-jerky digicam panning, especially if i attempt to suffer from entirely-panel manner. Place the security belonging to the hearth lurking behind because you struggle to get around the players of evil from dominating modern society. visceral overcome with lots of opponents. -bucks outlet technique is as well intrusive. Water damage and mold and mildew bonus deals are additive.

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