61 Frames Per Second : dead or alive

Whatcha Playing: Dead or Alive Xtreme 2

Joe Keiser — Fri, 27 Mar 2009 16:00:00 GMT

When I tell you that I am playing Dead or Alive Xtreme 2 I know that the first thing you think of is “there’s only one reason to play that game in 2009.” But it’s not what you think, honest. Yes, it’s an archaic collect-a-thon that was excoriated by the press for a variety of reasons both just and unjust. But the Xtreme series actually does manipulate the player in fascinating ways. Xtreme 2’s failure to appeal also speaks to the failure of some modern gaming conventions, and specifically suggests that maybe Achievements shouldn’t be mandatory on every title under the sun. If we can all disregard the nauseating breast physics for a second (and I understand this is very, very difficult) I’ll try to explain.

I’ve always held that the Xtreme games are actually doing something insidious behind all of the cheesecake and ridiculously proportioned girls. Yes, they try to appeal to the part of the male brain stem that will always be twelve years old. But when this testosterone-filled player actually starts playing the game it actually goes the other way. This is not a game where you just ogle women, it’s a game that makes young men carefully consider the fashion implications of a new floral hat. It’s a game that forces the player to think about at nearly all times their relationships with everyone else on the island, and how to nurture those relationships by understanding the wishes of others. This is effectively boys playing with Barbie, a project that uses the prospect of bikini-clad women as a carrot while it does the work of feminizing the player. It is a great trick, and I bow to Itagaki for perpetrating it so successfully.

Unfortunately, I think the smoke and mirrors Team Ninja employed to such great success in the first Xtreme were a reason for Xtreme 2’s failure. Most people did not see Xtreme 2 as an elaborate mind game. They saw it as a guilty pleasure. A really guilty pleasure. A pleasure so guilty that maybe they didn’t want it to be broadcast to their friends/co-workers/family that they were playing it for hours a day. This desire runs pretty contrary to the basic feature set of Xbox Live, and is exactly the reason it took me two years to chip away at my shame and finally put it in my console.

But it gets worse. The achievements in DOAX2 do not have that nice pro/con dichotomy most achievements share, that feeling of pride mixed with just a twist of shame. It’s all shame in DOAX2. Every achievement is related to buying swimsuits, with even the easiest ones requiring a pathological devotion to voyeurism. By the time you’re getting to the mid difficulty achievements, Itagaki’s joke has not only been lost on you but has revealed a latent mental illness. And then Xbox Live broadcasts it to the world.

As a result, I’ve been playing the game in fear of getting an achievement accidentally, and what that might say about me to my Live friend’s list. Now I do like achievements, and I think their ubiquity in 360 games has value. But it also creates a layer of structure that isn’t appropriate for all games. What if something like Shadow of the Colossus gave your achievement points for every colossus you felled? Wouldn’t that kind of positive stimulus weaken that game’s intent?

Related Links:

Team Ninja’s Post-Itagaki Future
Where Will You Go, Tecmo? What Will Happen to Our Love?
The 61FPS Review: Ninja Gaiden 2 Part 2

Sailing the Internet Seas, Historical Preservation, and The Great Rumble Roses vs. Silent Hill vs. Metroid Dance Party Throwdown

John Constantine — Thu, 26 Feb 2009 23:30:00 GMT

Beware! Sail too far to the east, brave soul, and you will come upon that most dangerous of seas. The sky changes to a sickly fresh bruise color, all angry purple and yellow, and the waves will toss madness and froth against the bow. Even the sturdiest ship, the steadiest mind, will be shaken by the foul humors waiting for them beyond the horizon. Ye have been warned. Beware! Beware the internet!

I got lost in an internet vortex this afternoon. It all started innocently enough. Smooth sailing, reading Multiplayer’s interview with Steve Papoustis about Dead Space: Extraction. This led to Matt Hawkins’ Fort 90, and that’s when things started to veer off course. For anyone unfamiliar, Matt’s one of NYC’s great games journalists, but he’s also a madly prolific renaissance man. Fort 90 is a dangerous place, dense with images and text. It’s an easy place to lose your bearings, and that’s what happened to me. Matt linked to the Garry’s Mod work of one MrWhiteFolks. MrWhiteFolks made some spectacular high resolution images of No More Heroes character models stripped of their cel-shading. Very cool stuff. He also made this:

Oh there’s more. Much more.

The internet vortex is perilous, but when you’re hounding for anything and everything related to the videogame landscape, it reveals riches just like MrWhiteFolks’, erm, folk art. That’s what you call this right? That’s what you call it when Heather from Silent Hill 3 dance battles Pyramid Head from Silent Hill 2 in front of the assembled casts of Halo, Metroid, Rumble Roses, Dead or Alive, Gears of War, and Resident Evil 4?

I would like to close with pointing everyone to Edge’s recent feature on preserving videogames’ cultural history. It’s so easy to lose yourself bouncing between one article, one review, one preview, one speedrun, one ROM hack, one actual game to the next that it’s hard enough to process it all when you’re experiencing it in the moment. How do we even begin to preserve things like MrWhiteFolks’ creations? Do we preserve them? Are they important parts of gaming’s history?

Bet you’re all as lost as I am now.

Related links:

10 Years Ago This Week: Silent Hill
Resident Evil Arguments that Need to Die
Metroid Prime Trilogy Retrospective

Rock Star Designer Fallout: Team Ninja’s Post-Itagaki Future

John Constantine — Mon, 03 Nov 2008 22:00:00 GMT

While the videogame-designer-as-rock-star phenomenon is still a growing factor across the game development landscape, it’s had a recognizable poster boy for close to a decade. The be-sun-spectacled Tomonobu Itagaki is gaming’s very own Noel Gallagher, a mouthy, arrogant source of great quotes with a spotty creative track record, but who’s inarguably responsible for a couple of masterpieces. He’s also a magnet for controversy. Even beyond his inflammatory comments about rival game franchises, namely Tekken and Devil May Cry, Itagaki has been at the center of multiple legal entanglements with his former publisher, Tecmo. First, it was charges of sexual harassment. Then, this past June, Itagaki quit Tecmo after shipping Ninja Gaiden 2 and immediately sued the publisher for not delivering on promised pay bonuses.

This is the problem with the rock star designer phenomenon. In the aftermath of Itagaki’s departure from Tecmo, everyone in the industry was asking what’s next for Itagaki and what is his beleaguered publisher – Tecmo’s president resigned shortly after Itagaki left and they were nearly acquired by Square-Enix after that, before agreeing to merge with Koei – going to do without him. No one really asked what Team Ninja, the team that Itagaki founded, was going to do without their public face. How does a development team recover when their image, an identity that’s secured them a devoted audience more than the games they’ve made, has walked away?

Well, the verdict’s still out on that one. Gamasutra’s Christian Nutt sat down with Itagaki’s successors, Yosuke Hayashi – Hayashi directed the Playstation 3 port of Team Ninja’s first Ninja Gaiden, a game publicly panned by Itagaki – and Hitoshi Hasegawa, and Team Ninja’s future is still an unknown. Both Hayashi and Hasegawa put on a brave public face, discussing this console generations’ still-growing potential, the team’s satisfaction in their work, and their enthusiasm for those machines. But neither commit to specific, new projects, nor what they might be interested in doing with the new creative freedom that comes from an auteur’s departure.

I wonder if it even matters, really. Do people buy Dead or Alive and Ninja Gaiden games because of Team Ninja and Itagaki’s reputation or because of those brands? Considering the emphasis Microsoft has put on Itagaki and the team’s name since the Xbox 360’s launch, you have to think that it’s at least a factor. Personally, I think that Tecmo will continue to sell these franchise games with or without the Team Ninja name on them. But I’ve been wrong before.

What do you think, everyone? Is Team Ninja hurt by the loss of their rock star?

Related links:

Game Designers: Rockstars, Auteurs, Dweebs?
Where Will You Go, Tecmo? What Will Happen to Our Love?
The 61FPS Review: Ninja Gaiden 2
Where is Shuichi Sakurazaki, Creator of Ninja Gaiden?
Watcha Playing: Ninja Gaiden - Dragon Sword
Whatcha Playing: The New Adventures of the Nintendo DS

The Ten Videogames That Should Have Been Controversial, Part 3

John Constantine — Fri, 20 Jun 2008 17:13:00 GMT

Mike Tyson's Punch-Out!!

We cite Punch-Out!! here not for starring Mike Tyson (a controversial figure, even before his rape conviction), but for the degree to which it epitomizes a trend that would dominate gaming in the late-'80s and early-'90s: the "beat up stereotypes from around the world" gameplay model. Granted, most of Punch-Out!!'s characters are too ludicrous to really offend; it's hard to imagine Pacific Islanders getting all up in arms about King Hippo being kind of a jackass. That said, the sight of cross-eyed Piston Honda babbling "Sushi, Kamikaze, Fujiyama, Nipponichi!" as a mid-match battle cry is a little unsettling. — PS

Persona 3

I’ve written about Persona 3’s disturbing imagery before: “It’s always strange when games filled with truly troubling imagery go unnoticed by the most vocal anti-game pundits. Persona 3, Atlus’ exceptional RPG in the long running Shin Megami Tensei series, has been released not once but twice in the past twelve months without eliciting even a peep out of Joe Lieberman or Focus on the Family. For those unfamiliar with the game, the reason Persona 3 might ruffle some feathers is its protagonists, a team of troubled high school students who control guardian spirits to battle demons. And oh yeah, they release these spirits by shooting themselves in the head.” Seriously! Teens! Shooting themselves repeatedly in the FACE! No one even said anything about all the teens shooting themselves in the face. — JC

Metroid II: Return of Samus

Metroid II is about xenocide; your goal is to slaughter an entire alien species. Yes, there are many games about destroying evil alien species. Usually, though, said species are attacking the Earth or something. Or they're at least competent to make moral decisions. Metroids are space jellyfish. They're not evil, they're just hungry. And the series storyline establishes pretty clearly that the Space Pirates are breeding the things for their own evil ends. Exterminating the Space Pirates would be one thing, but the Metroids are mere low-functioning animals. As you proceed through the game, you watch a steadily declining count of how many of the poor little bastards you have left to vaporize. Imagine if this thing was set in a nature preserve. — PS

Fable

Peter Molyneux may not have delivered on his promise of creating the greatest role-playing game of all time with Fable but it was still a remarkably forward thinking game. Consider this: Fable was released in the United States on September 14th, 2004, a mere four months after Massachusetts started issuing same-sex marriage licenses and two months before senatorial, congressional, and presidential elections where constitutionally banning same-sex marriage was a tent pole issue. I applaud Molyneux for creating a game where a man can fall in love and marry another man. But I am shocked that Fable didn’t cause videogame content to be another talking point that election season. — JC

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The Ten Videogames That Should Have Been Controversial, Part 2

John Constantine — Fri, 20 Jun 2008 17:12:00 GMT

Call of Duty 4: Modern Warfare

Call of Duty 4 is a game obsessed with realism, its depiction of combat situations and the tools of war meticulous to an almost terrifying degree. Early in the game, you are placed in the gunner’s seat of an AC-130 Spectre over a Ukrainian field, the night vision view of an aerial assault looking no different than an Iraq war newscast, the radio confirmation of kills unsettlingly casual; a game so realistic that it mimics a soldier’s detachment from killing. It’s strange then that the game, for all its incessant specificity, sends the player to kill Arab soldiers in “the Middle East”, and not an actual nation. Call of Duty 4: Modern Warfare has sold over seven million copies in a war-weary United States in under a year. Am I the only one who finds this sort of depersonalization unsettling? — JC

Mick and Mack: Global Gladiators

Fast-food promotional games are pretty fucked up, as a whole. Selling this nasty grub to kids via smiling cartoon characters and hop-and-bop platforming — well, it may not cross over into "immoral", but it's certainly sleazy. The 1992 McDonald's promo-piece Mick and Mack: Global Gladiators, however, crosses that line by hopping onto the kid-friendly environmentalism in vogue at the time. (See also Captain Planet, Sonic the Hedgehog, etc.) The problem here is that McDonald's' own environmental record was far from clean; as a massive distributor of factory-farmed beef, the company was (and is) directly responsible for a huge amount of pollution, deforestation and energy wastage. Bastards were cutting down the same sparkling-green rainforests through which their grinning shills were merrily traipsing. — PS

Heavenly Sword

It might seem strange that we’ve chosen to single-out Heavenly Sword as our example of an absurdly over-sexualized female protagonist. Dead or Alive, a series that’s persisted for just over a decade now without causing a kerfuffle despite its bizarre, hyper sexuality, might seem like a more logical target. You might even say that Heavenly Sword’s a poor example considering its emphasis on Nariko’s empowerment in a male dominated fantasy world. But let me ask you, if Nariko is such a great warrior, savior of her people even though they hate her for being a woman, why does she go to war in her underpants? She is fighting people with swords in her underpants. No one thought mention to developer Ninja Theory that underpants are not effective armor? Nariko stands in for the legions of silly, objectified, hyper-sexualized female game protagonists. We’re giving Lara the day off on this one. — JC

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Click here for Part 3

The Ten Videogames That Should Have Been Controversial, Part 1

John Constantine — Fri, 20 Jun 2008 17:11:00 GMT

Games have been raising hackles since their inception. Howell Ivy kick-started gaming and controversy’s relationship when he designed Death Race in 1976, a simple black and white game that was, well, about running people over for points. That was enough to get America riled up, prompting 60 Minutes to run the first of many, many televised news stories about the psychological effects of gaming. But public outrage is unpredictable. Politicians and parent groups have been shocked by d-list titles like Manhunt and Night Trap while more popular, widely played games with far more inflammatory content have passed by unnoted. Today, 61 Frames Per Second presents The Ten Videogames That Should Have Been Controversial. A number of these are games that we are surprised did not cause uproar in a number of communities. The rest are games that we ourselves find seriously questionable in content. How do you feel about these videogames? Indifferent? Appalled? Leave a comment and let us know. — John Constantine

NARC

I don't know about you, but I have at least a couple of friends who have occasionally sold drugs. They're pretty lucky they grew up in the relatively permissive '90s, and not in the merciless, Reaganite '80s presented in NARC. Sure, NARC gives you bonus points for arresting dealers instead of killing them, but that's because it's almost impossible to do. Far easier is just perforating them on the spot. As my fellow blogger Cole notes, "I guess dismembering hundreds is okay if they're pushin'." In fact, there was some parental outrage over NARC's unprecedented level of gore, but its moral assumptions went pretty much unchallenged. — Peter Smith

Pokémon

Have you ever noticed that there are no regular, powerless domesticated animals in any of the Pokémon games, cartoons, comics et cetera? Let's say your pre-teen brother/sister/cousin goes out for a walk one day and comes across a pigeon in the street. They then capture this pigeon in a small cage and train it to fight the dogs, lizards and ponies that the other neighborhood kids have captured and trained to fight, as well as stray cats and sewer rats that can then be captured and trained for similar purposes. Yeah, that scenario is a little awesome, but it's also pretty horrifying, right? When Michael Vick is involved in a dogfighting circuit, the media explodes with rage, but when your kids do it in a Nintendo game it gets rated E for Everyone by the ESRB. — Derrick Sanskrit

Final Fantasy Tactics

As much as Final Fantasy Tactics’ tale of political intrigue in the feudal fantasy-scape of Ivalice is concerned with a power struggle between church and state, it’s hard to get past the game’s barely veiled indictment of Christian lore. Tactics' villains are essentially the Catholic Church. Their central figure is Saint Ajora, a 'child of God' with twelve disciples, one of whom betrayed him and sent him to his death. 'Cept it turns out Ajora wasn't really the son of God, but a power-hungry war-mongering mortal who was sneakily made divine through church skulduggery and historical revisionism. Good thing RPGs require so much reading, otherwise there might have been some good ol’ fashioned game burnings back in 1998. — JC

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