Official Nintendo Magazine (June 09) Opinions

July 1st, 2009

A while ago I scrutinized Australian multiplatform games magazine Hyper for clinging to norms that would only see the publication into a slow, barbecued demise. It’s only fair then that I do the rounds and examine other examples of copy that fills Australian news agencies. I want to begin this critical crusade of print media by looking at Official Nintendo Magazine (Australia). Later I hope to re-examine Pixel Hunt alongside retrogaming e-zine Retroaction, before concluding with supposed EDGE killer GamesTM.

Official Nintendo Magazine (Australia) – June 2009

magazine

General Impressions

A follow up to the heavily flawed, but much adored Nintendo Magazine System, how could I refuse? ONM live ups to the Nintendo Seal of Quality lost somewhere on every front page. The magazine’s aesthetic tastefully match the new sanitized look Nintendo are going for, and the writing isn’t too bad either. The team clearly makes use of their prescribed relationship to the brand by bagging plenty of exclusive interviews, covering the digital distribution areas well, while prioritizing the best art assets. The writing is fine - falling in line with a standard good quality UK games magazine, appealing to the average enthusiast Nintendo fan more so than the expanded audience as might be infered by the neutral-esque design. The magazine’s standard journalistic fair teamed with exclusive content which make this a priority read for Nintendo fans looking for fitting copy with a wide coverage of their platforms. The magazine portions WiiWare, DSiWare and Virtual Console coverage much more evenly than other publications both online and in print, which I heatedly admire.

Overall the standard Ninty fan can’t go wrong with ONM, it’s a much more cleanly written, professional publication than NMS and covers all fronts quite admirably.

Criticisms of the June Issue

Standard fair might sound decent enough (and rest assure, this magazine is not poor by any means), but in my mind publications like this and Hyper are given a greater stature than their content earns them. While - like Hyper - I enjoyed the clean read, and have no problems recommending this to players that are solely fans of the Nintendo products, there’s plenty of holes as well as a couple of suspicions.

Usually magazines not sponsored by the brand or system they’re covering (ie. unofficial) make a holler and fuss about conflict of interest issues with these rival magazines. Basically they’re accusing their competitors of unflinching bias. Although their whiny jealousy is annoying, they do hold a weight of truth. Starting from the editor’s introduction, over the page into the news and then into previews and even reviews, the magazine can’t help but consistently remind the reader of the benefits of Wii MotionPlus. Sure, it makes sense for the MotionPlus to be a talking points in the Red Steel 2 and Grand Slam Tennis previews, but when you’re spruiking the add-on in reviews unrelated to the device, it’s annoying!

Reviewer Chris Scullion seems to have a problem criticizing the games he writes about, constantly using softeners to lower his tone when he wants to discuss a game’s weaknesses. This was most evident in the Pokemon Platinum review and other parts of the magazine as I recall. The softener “if we’re honest” doesn’t really say much, shouldn’t you always be honest to your readers?

On the topic of reviews, the crew seems obsessed with percentages. Take for example the way…oh look, Chris Scullion, makes a point to fret over what percentage he’d assign Punch-Out!! before he reached the unlocked World B mode. Further, in face-cringing fashion, the magazine even has a ‘Settling Scores’ segment in their review index, where readers propose their own score for a game in lieu of what the OMN crew awarded. It’s really petty.

The bulk of their featured content such as their 31 Reasons to Start Stockpiling Nintendo Points…NOW! as well as several news and previews pieces were well matched with good developer interviews. The Red Steel preview is thin information spread out into a feature piece. Fortunately the screenshots and interview make up for this in part. The Zelda feature is extensive, but doesn’t capture the spirit nor all of the significant details for each game, maybe they should have allowed more text on the page. By the way, I like the IGN logos in some of the Zelda screenshots. Did you try MobyGames, no tags there?

It must be some hip trend that I’m unaware of -  in the same vein as that Hyper issue I covered some months ago, ONM included a flip-over segment at the back of the magazine. Argh, I hate it when they make me flip the magazine! The flipped content comprises of a 100 Greatest Nintendo Games Ever List! feature The main problem with such mammoth lists is that within the limit of 25 pages, you’re essentially providing a list and very little explanation as to the significance of each title. Couple with a bloated number of page filling images, and it’s a rather pointless piece. Conversely I could have just said that they ranked Mario Kart Wii as the 4th best game ever released on a Nintendo platform and  you would have believed me.

Oh, the Dragon Quest guide was filled with noting but common sense too, not sure why they included it.

Lastly, I noticed that in the Australian magazine, the Pikmin 2 review states “With Australia being a nation of Wii owners”, yet this is a simple copy edit of the review featured in the ONM UK, evidence here. This is simply a ruse to throw readers away from the indiscriminate fact that ONM Australia is simply ONM UK with some edits shifted in. The cracks become obvious very quickly with the overall British flavour of writing teamed with obvious British references (.co.uk). Furthermore the most useful thing the Australian website offers is a link to the feature packed UK website. Crafty eh? Unexpected? No.

Additional Readings

Column: Game Mag Weaseling - GameSetWatch

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Metal Gear Solid Novelization Break down (Part #2 Tangible Differences)

May 12th, 2009

liquid-snake-art-drawing

Finally, Part #2 is just a run down of all of the differences between the Metal Gear Solid game and novel. As mentioned in part #1, author Raymond Benson occasionally deviated or intervened with the core plot, this post is a breakdown of all those changes, large and small. Some changes such as general narrative techniques are discussed in my review of the novel.

Spoilers from the entire series below

Les Enfants Terribles Chapter

The most significant difference between game and novel starts right at the beginning. The very first chapter of the book takes place at Snake’s birth; the Les Enfants Terribles project. The United States President is requested to witness the birth at a secret underground bunker in Mexico. Jim Houseman is also present, and the mysterious Dr Clark (ie. Paramedic) is discussing the procedure with Houseman and the President. The President is rather stressed by the whole ordeal. He seems disapproving of the project and states that he inherited it from the former president. The base (located specifically in the Carlsbad area) has been used for experiments before. Regarding the twins, Clark states that “neither is better, one is just dominant”. The President chose the dominant twin (Liquid) to stay in America, Dr Clark didn’t follow his wishes. The future of the remaining Big Boss cell samples were left in doubt.

Arrival – First Meeting with Ocelot

-the novel depicts Snake taken captive at his home before being brought into meet Colonel Campbell and Naomi on the submarine. This as well as the complete mission briefing is sliced in as Snake’s thoughts before being fired towards the missile base.

-Snake requests Master Miller be taken out of retirement to aid him on this mission, the third chapter details the murder of Miller at his home.

-the codec is actually strapped to Snake’s wrist, like a watch

-Snake comments on the rats at the facility

-Snake doesn’t digest cigarettes in his stomach, rather he steals them from a guard

-Snake takes a Socom pistol in with him though, it also already has a suppressor

-Snake also uses chaff grenades as a method of distraction (irrelevant to the security cameras)

-and has a penlight on his shoulder

-the book name troubled security guard and reoccurring staple Johnny Sasaki, where he isn’t named in the game until the credits

-Ocelot actually discusses his first meeting with Big Boss as in MGS3

-brief interludes of Naomi’s actions, this occurs several times in the novel, where she cries or thinks to herself, often after Ninja enters and exits the main storyline

-after Ocelot retreats, the (cut scene) sequence with Snake and Ninja is extended significantly, Snake uses his infrared goggles and Snake swinging off girders

-after the battle, the narrative ponders post-traumatic stress and how Snake has improved his senses since the events of the MSX titles

Ocelot Battle – Mantis Battle

-Snake wishes to himself that his sneaking suit would blend into the background; lame MGS4 joke

-the mine detector is now the ArmsTech Pathtracker 3000

-many references to Master Miller drills and techniques, goes into specifics of these techniques and the mentality behind them, another commonly occurring difference in the novel

-in the snowfield, the novel talks about the pain Snake is going through and the frosty weather

-Snake receives the level 3 key card from the gunner in the tank

-extended backstage discussion with Ocelot, Liquid and Raven at the end of the battle

-brief conversation between guards in the Nuclear Warhead Storage Building

-the codec watch has a built in camera that Snake used in the storage building

-Snake receives first call from Master Miller who tells him that he’ll need to acquire the Nikita missile launcher

-guard in B4 of Nuclear Storage Building is at his desk, not patrolling

-electrified switchboard is on the left, not right

-the Ninja attack on Otacon’s offices is extended, has a bit of dialogue and the guards getting coffee

-Snake takes Pan Card 4 from wounded soldier

-Otacon doesn’t hide in locker, he hides in another room

-a reference to Otacon’s sister (MGS2) is made

-Meyrl is found complete in her underwear and also has her own sniper rifle

Mantis Battle

As in the graphic novel, the Mantis battle is completely reworked. For starters, the Commander’s Room has a different arrangement and a quick cut to Otacon sneaking around preludes the battle. The key difference is how Mantis creates a series of hallucinations for Snake such as making his gun holster feel unbearably hot, tricking Snake with a fake Master Miller and leading Snake into a theme park (Kiddie Land) that he visited in Oregon as a child. This eventually takes Snake into a hall of mirrors area with Big Boss pleading for the deactivation codes and bursting in front of Snake. Snake breaks out of the hallucinations and defeats Mantis by forcing him to multi-task and then pulling his gun from the holster and shooting Mantis, accompanied by silly taunts (“Game Over Freak”). *cringe* *cringe* *cringe*

Mantis then peers into Snakes future and reveals a scene where Snake has a gun in his mouth (MGS4).

Mantis Battle – Hind D Battle

-the layout of the cavern is different

-Snake flashbangs the wolves (they’re not called Stun Grenades)

-Snake uses Meryl’s sniper rifle instead of retreating to the armory

-once Snake believes he has “defeated” Wolf, he walks to the vase of the Communications Tower to check and is then captured, Meryl’s body was taken away later (instead of when Snake returned from the armory, which didn’t happen in novel)

-Wolf put her arm in a sling

-Ocelot’s torture chamber dialogue is different

-Ocelot says that Johny used to be a technician before brain washed by Mantis (this is reference to his role in MGS4)

-Snake escapes captivity by clinging to the ceiling rather than hiding under the bed/using tomato sauce

-Snake spots two of Donald Anderson’s bodies

-Miller pre-emptively spills the beans on a mole within the unit

-Deepthroat warns Snake of the planted bomb rather than Campbell

-Snake finds a rope at the base of the Communication Tower

-alarm goes off at the 5th floor rather than at the entrance to the tower

-page 206 contains a 9/11 reference

-the Hind D battle is surprisingly short 1-2 pages

Elevator Action – Metal Gear Rex

-the lights in the elevator where Snake is ambushed go out

-no codec discussion on weight within the elevator

-Snake exits the elevator at the 8th floor, what ever happened to that broken stairwell?

-Snake spots a parachute on the snowfield

-Sniper Wolf is hiding in a tree, instead of behind it

-Miller doesn’t use dates to prove Naomi’s narrative about her father is false

-Snake tries to shoot down Vulcan Raven from top of containers with PSG1

-ends up blowing Vulcan up with C4 and Claymore mines that leaked from one of the broken containers

-slight suggestion of the Patriots involvement on p238 “It couldn’t be…”

-guesses made with models numbers to the various pieces of Metal Gear Rex

Metal Gear Rex – End

-Snake literally climbs MG Rex with the aid of wheely stairs and jumps from Rex’s head to the raised platform by the control centre

-the whole layout of the Control Room is changed, basically as in “final battle”, no stairs or rails at all, just an empty room, control centre, moat and Rex

-spotlight from the control room

-Snake has to literally swim around the sludgy moat

-Snake over hears conversation on supposed hostages being held in an underground bunker by guards when heating the key, asks Otacon about it

-he also picks up the Stinger from within the underground base

-Snake also wears heat resistant gloves

-an electronic transmitter is what changes Liquid’s voice to Miller’s

-no gas released in the control room

-Liquid pilots Rex during the big reveal, the conversation is completely different and not held on the platform

-Snake again adopts “Master Miller tactics” through the battle with Rex

-Snake and Grey Fox have conversation in the hall/entrance to the control room rather than behind a large shipping container

-the Grey Fox sequence is replayed out, in different sequence

-Wires are attached from Meryl to the time bomb

-Snake doesn’t recover his sneaking suit, instead taking a fur coat from one of the guards

-After Liquid dies, Otacon appears and they open this hidden bunker with the hostages in by using C4

-Campbell tells Snake that Meryl is actually his daughter (MGS4 reference)

-Corney interplay between Campbell and Snake is added at the end

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Likening Games to Music (Videos)

March 11th, 2009

They may appear foreign on the surface, but the inherent qualities of music and video games are arguably quite similar. To prove this, I thought it’d be fun then for me to take – what I consider to be – a couple of meaningful music tracks and directly contrast them against their approximate video game counterparts. Pretty self explanatory huh?

Slight Disclaimer: Some of these songs feature comfronting material, themes and a little bit of language.

Angel – Massive Attack

Massive Attack are a widely acclaimed trip-hop/abstract, musical pact that produce provocative music which is highly sensory, intimate and personal. Each track they write seemingly relates to some abstract form of emotion or issue with deep emotional issues – birth, a mother’s anxiety over losing her children, cloning, love between anyone etc. I selected Angel and Inertia Creeps for this experiment, so starting with Angel (the easiest of the two) let’s try and relate the experiences created by the music with similar experiences in video games.

http://www.youtube.com/watch?v=ygw2zmEVsvc

Angel is a slow burn of energy, a build up, a rush and then a hasty warm down. The name of the song, soullessness of the lyrics, pictures in the video clip and insensate singing all converge at this one idea of some mysterious being in pursuit, some sort of angel perhaps.

The momentum of the song paces itself like many euphoric experiences – think of a few, go on. In terms of games, the flow is very akin to a standard boss battle. You begin in search for a way to damage the boss, you then discover how and continue to exploit that approach. The intensity of the battle increases as your life diminishes and the boss becomes more aggressive. Finally you initiate the final blow and the boss is defeated, you can relax.

The angel part itself is thematic rather than structural. The video clip depicts a man being followed and eventually chased by a mass of people. The same theme of hurried pursuit echoed by the strained in the music is present in games like Resident Evil 3: Nemesis and the Clock Tower series, both which centralize around escaping from the pursuit a dangerous foreign being.

Inertia Creeps - Massive Attack

http://www.youtube.com/watch?v=zZB4B5Wdcis

The second Massive Attack song is furthermore unsettling and even more difficult to interpret. You may wish to read the lyrics which can be found here. My interpretation is that this song is related to some twisted murder or rape with interjections of psycho sexual undertones as sung out by the lead. He is in fact the perpetrator of these terrible acts, and the song is a frustrated description of what took place with intimate details clued along.

The closest game experience that I can relate this to is Silent Hill 2, which I haven’t played but have heard much about. The game’s narrative seems equally subjective, with similar psycho sexual themes regarding the protagonist and his obsession to find his supposively deceased wife. The nurses are a good metaphor for this, but I don’t know enough about the game to say much more. It’s on the shelf though. >_<

My Name Is – Eminem

http://www.youtube.com/watch?v=CmdRauWVbwg

God I love this song,  it’s mastery of annoying and smart arsery - hate the soft radio edit though. The lyricalism obviously carries a lot of weight, but so too does the simple background loop and occasional added sound effects. Like a lot of Eminem’s work, as much as you may loathe him, he does make a strong point. Trying to interpret whether his words are somewhat justified is another matter of untangling his own hypocrisy and mangled identity. It’s brilliantly destructive in that sense.

Eminem’s self referential announcement to the world is similar to cult hits, ill of convention such as Wario Ware, Bishi Bashi Special among many others. The back cover of Wario Ware Inc. Mega Party Game$! on the Gamecube has Wario speech-bubbled stating “Hey! Buy my game!” followed by a paragraph of Wario self wankery. Its the same unabashed love for oneself that the song emits. The game itself is full of this too.

Segagaga is another title of the same vein, while Wario Ware is similar in pieces to Eminem’s introduction to the music world, Segagaga is self referential through and through. Released only in Japan, late in the Dreamast’s life cycle, Segagaga sees you, a young boy saving the ailing Sega corporation from financial ruin.

Paralyzer – Finger Eleven

http://www.youtube.com/watch?v=BYGCT4AQIR0

The Canadian hard rock five-some bang out some pretty rocking tunes. Paralyzer is probably my favourite track from the band. The clip is typically high production, a staple of Wind Up Records with a style that matches the sense of lyrics. I love the wicked dance posse too.

Like many radio rock songs of this nature, there isn’t particularly much that distinguishes this song from similar productions. At the same time the song is fresh, modern and catchy. It reminds me a lot of action games that steal heavily on existing mechanics but hide their unrestrained borrowing with polish or a decidedly new premise. New games built on familiar foundation. Uncharted: Drake’s Fortune, The Club or Dead Space.

Jack Johnson – Go On

jack-johnson-sleep-through-the-static

You can go ahead and listen to the whole album if you like. ‘Go on’ is the track of interest, but the following playlist is also okay.

All At Once
Sleep Though the Static
If I Had Eyes
Go On
Monsoon
Losing Keys

Jack Johnson’s music is beautifully melodic, almost soothingly so, with clever, sometimes completely non-caring lyrics.

The pacifist intent behind these songs almost clashes with gameplay itself. Born and still evolving from the arcades, conflict is more often than not the catalyst for gameplay in videogames. Very few games rely on anything but conflict to constitute themselves. I guess this example is a bit of an anomaly then? Not so. Harvest Moon and Animal Crossing are grounded on similar terms. Both Jack Johnson’s music and the worlds created by these two game are filled only with the trivial conflicts of day to day life. Both media teach you the trade of the simple life. They are born detached from serious drama or threat.

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