61 Frames Per Second : sega cd

8-Bit Love: The Ten Greatest Vintage Game Songs to Have Sex To, part 2

John Constantine — Thu, 16 Apr 2009 21:00:00 GMT

Cyriaque Lamar is a New York-based writer with a New Jersey-bred weltanschauung. He’s had original work published at Cracked.com and performed at The New York International Fringe Festival. Cyriaque is thrilled to contribute to 61FPS, as it brings him one step closer to his childhood dream of living on the set of Nick Arcade.

5.) Final Fight CD – “Walk In the Park (Bay Area)”

System: Sega CD (1993)
Sounds Like: A sweaty nooner with Don Johnson.
I always loved the premise of Final Fight. The idea of a city’s mayor stripping down to his underjohns and beating the shit out of unemployed people in order to stimulate job growth was really ahead of its time. Wait? Mike Haggar was actually fighting to save his daughter from an evil street gang? And here I thought the game was some kind of radical Objectivist propaganda. This Bay Area theme is classic whatever console you play Final Fight on, but the Sega CD version pushes it to the limit with gale-force porno guitars. Seriously, these riffs are like an F4 on the Fujita Scale. In my mind’s eye, the person who would get the most out of this track wears a ton of sea foam green and frequents Fort Lauderdale whorehouses. Sometimes, you just gotta be that person. When it comes to the Sega CD, the only thing sleazier is Night Trap.

4.) Chrono Trigger – Schala’s Theme

System: Super Nintendo (1995)
Sounds Like: Ravi Shankar, Level 12 Bard.
Another track from wunderkind Yasunori Mitsuda? Man, I should just wear my Chrono Trigger fanboyism on a t-shirt. Or a hat! Yes, a big fucking sombrero like those worn by morbidly obese stockbrokers at Jimmy Buffet concerts. My sombrero will depict the final battle against Lavos, with Robo, Lucca and Magus executing the Omega Flare triple tech. After I conceive my first-born son wearing this sombrero, I will store it in the broom closet until his first day of middle school, at which point I will place my abomination of a hat on his head and send him on his way. When he inevitably comes home tearful and bruised, his Chrono Sombrero torn asunder, I will embrace him and say, “Today you learned what it is to be a man. We’re ordering pizza tonight.”

3.) Streets of Rage 2 – S.O.R. Super Mix

System: Sega Genesis (1992)
Sounds Like: The Madchester music scene mashed into a Mega Drive cartridge.
I lived in Baltimore a few years ago. My neighborhood was more Pink Flamingos than The Wire, mostly pleasant with pockets of dicey urbanity. This track by the great Yuzo Kushiro (Actraiser) syncs up with that time in my life rather aptly. I had the streets and I had the rage. I also had the sick piano breakdown at 1:36. That emotional miasma and sweet key work made for a heady love making combo. Still does. It was a weird time in my life, but not Streets of Rage 2 weird. Game’s about a twelve-year-old in rollerblades who dismantles a heavily-armed crime syndicate. Go figure.

2.) The Last Ninja 2 – “The Mansion”

System: Commodore 64 (1988)
Sounds Like: Coming home from work, only to discover John Carpenter banging your wife.
Matt Gray’s soundtrack to The Last Ninja 2 is one of the better things in life, and “The Mansion” is one of its most memorable tracks. Its utility goes far beyond the bedroom. Sure, you and a buddy can thrust away to this instrumental’s nearly eight minutes of analog acrobatics, but why not use it for a more grand occasion? “The Mansion” is a more than adequate proxy for Pachelbel. It’ll make your nuptials more like the wedding scene from Big Trouble in Little China.

1.) Tetris – “A-Type”

System: Game Boy (1989)
Sounds Like: Tetris. Duh.
There’s nothing inherently sexy about the Tetris theme. Thing is, everyone knows “A-Type”, and if you blast it in the sack, you will be your partner’s most memorable lover ever. Period. It doesn’t even matter how good or bad the sex is. Every time this pops into an ex-lover’s head, he or she’ll have no choice but to sigh, “[Your Name Here] balled me to the Tetris theme.” Decades may pass, but once they recall those opening Bolshevik bleep-bloops, a mnemonic trigger will kick in and your shining nudity will be all they have ever known.

Part 1

Previous Top Tens:

The Ten Greatest Ice Levels in Gaming History
The Ten Greatest Classic Mega Man Levels
The Ten Videogames That Should Have Been Controversial
The Ten Greatest Opening Levels in Gaming History
The Ten Most Adventurous Sequels in Gaming History
The Ten Greatest Fire Levels in Gaming History

8-Bit Love: The Ten Greatest Vintage Game Songs to Have Sex To, part 1

John Constantine — Thu, 16 Apr 2009 20:00:00 GMT

Cyriaque Lamar is a New York-based writer with a New Jersey-bred weltanschauung. He’s had original work published at Cracked.com and performed at The New York International Fringe Festival. Cyriaque is thrilled to contribute to 61FPS, as it brings him one step closer to his childhood dream of living on the set of Nick Arcade.

There are three reasons this list exists. First, I felt obliged to highlight 61FPS’s distinction as the gaming apparatchik of an internet sex publication. Second, I wished to showcase the unsung virtuosos of yesteryear who made masterworks using a limited palette of sounds. Finally, I intend to rebut those critics who still dismiss video games as low culture. Using the below examples, I intend to reclaim the carnal legacy of video games by evincing how early console music illustrated the gamut of human sexuality, from atavistic, heteronormative modes of eroticism to polymorphous perversity as delineated by Freud.

Plus, the thought of people sticking penises into vaginas to Nintendo music is funny.

10.) Radical Dreamers – “The Girl Who Stole the Stars”

System: Super Famicom Satellaview (1996)
Sounds Like: Koyaanisqatsi composed on Mario Paint.
Since roughly 95% of all human lovemaking involves someone with a XX chromosome pairing, I thought it necessary to seek out my female associates’ thoughts on which game music best applies to amore. The suggestions I received were few yet incisive — responses ranged from “the Kid Icarus theme” to “Who the eff effs to video games?” Ultimately though, I deferred to my own instincts and picked this pan-pipe jam from the Japan-exclusive, text-based sequel to Chrono Trigger. Composed by the legendary Yasunori Mitsuda, “The Girl Who Stole the Stars” is easily the most romantic theme on our list.

9.) Pole Position – Background noise

System: Atari 65XE (1985)
Sounds Like: Skynet becoming sentient.
The way I see it, there are two types of lovers in this world. The first type does it to The Whispers and The O’Jays, whereas the second diddles to Autechre, Radio-Activity-era Kraftwerk and the hum of AC units. The grating 8-bit drone of this Namco racing classic, is dedicated to the latter group — those who bang to cold, robotic minimalism. It’s also worth nothing that “PREPARE TO QUALIFY” is perhaps the best pre-coital war cry I’ve ever heard, particularly when your partner has no clue what you’re yelling about. Nothing improves foreplay like car metaphors and total incoherence. Remember the make-out scene from Gone In 60 Seconds?

Editor's Note: The Nerve and 61PFS by-laws state that no mention of Pole Position may go unaccompanied by this link.

8.) Metal Gear 2: Solid Snake – “Night Fall”

System: MSX2 (1990)
Sounds Like: Passion. Yearning. Crates.
Solid Snake, Big Boss, Naked Snake. Nobody pens phallic codenames quite like Metal Gear creator Hideo Kojima. This harmonica-fueled ditty is from the Japanese version of Metal Gear 2. “Night Fall” is the only song on this list with an in-game pedigree as a sex jam — it plays when Solid Snake angles for some love during wartime. He totally strikes out, but what did you expect? With all that spying and peeping he does, I always figured Snake likes to watch.

7.) Zoda’s Revenge: StarTropics II – “Dungeon Theme #2”

System: Nintendo (1994)
Sounds Like: Vicki Sue Robinson’s “Turn the Beat Around” sung by an alcoholic Speak & Spell.
Most of the songs thus far have a “Quiet-Storm-meets-Q*Bert” vibe, so we’re going to shake it up with a certifiable club banger. When it comes to dance floor heaters about time-traveling teenagers fighting crudely-animated yetis, “Dungeon Theme #2” is impossible to trump. Play it at your next party and bookend it with some Crystal Castles and Futurecop. If some loser balks, matter-of-factly reply, “This is some old-school Japanese shit. Kanye’s totally sampling this for his next single.” You’ll only be half-lying.

6.) Donkey Kong Country 2 – “Stickerbrush Symphony”

System: Super Nintendo (1995)
Sounds Like: Massive Attack’s “Heat Miser” driven by a Casio horn section.
What the hell is this? This is a game about a pair of simians wearing Payless sneakers. It’s borderline profane to have a track this Sade-smooth in a Donkey Kong game, but consider the alternative — the DKC2 soundtrack could well have been five hours of the Donkey Kong Rap . Credit goes to Rare composer David Wise for making a bramble maze filled with bees sound downright silky. So silky, in fact, that it's perfect for exploring your partner's very own bramble maze.

Part 2

Previous Top Tens:

The Ten Greatest Ice Levels in Gaming History
The Ten Greatest Classic Mega Man Levels
The Ten Videogames That Should Have Been Controversial
The Ten Greatest Opening Levels in Gaming History
The Ten Most Adventurous Sequels in Gaming History
The Ten Greatest Fire Levels in Gaming History

30 Years Ago This Week: The CD

Joe Keiser — Mon, 09 Mar 2009 19:00:00 GMT

We’re taking a break from our regular 10 Years Ago column this week, but only because nothing happened ten years ago this week—unless you are some kind of terrible extreme sports game aficionado, in which case you can talk about EA’s Rush Down by yourself. Fortunately for the rest of us, something great did happen this week. It’s just something we have to go back a little bit further to discuss.

The Compact Disc (released, sort of, on March 8th, 1979) was first publicly demoed thirty years ago this previous Sunday. It went on to become one of the major driving technologies of the digital media revolution. It also broadened the horizons of videogames as a medium, and to an extent democratized the industry as well.

The Compact Disc format originally began as an audio-only format: the standard for recording sound to CD was codified in 1980, five years prior to the buttoning up of the CD-ROM standard. Even then, it would take several more years before economies of scale would finally become such that the games industry would be able to take advantage of the disc. And it would be even longer before the technology would be able to take root—the earliest adopters of CD media (besides the PC, which is always first) were fringe players, with NEC’s TurboGrafx CD the noted trailblazer for CD on console. It would be quickly followed by other quirky systems including the Amiga CDTV and the CD-i. The end of 1991 would see the market leader of the time acknowledge the format in the form of the Sega Mega CD, but even that was at best a limited success.

Although CD represented some tangible benefits over the cartridge formats of the period, it was by no means obvious that the disc would become the format of choice for games manufacturers. It had problems cartridges didn’t have, like a lack of durability (an SNES cart is more or less indestructible, whereas one scratch can permanently incapacitate a CD) and slow seek speeds that necessitated load times, the great bane of game pacing. Even its major advantage, the 650MB of space, started off as a disadvantage as developers used to 2MB cartridges or 1.44MB floppies struggled with how to fill this incredible new expanse.

This struggle produced early results both banal (the practice of piling dozens of floppy-based games on to CD, which gave us the term “shovelware”) and interesting (full orchestral scores on console titles, the “talkie” versions of adventure games), but nothing particularly ambitious. The format’s software breakthrough wouldn’t come until 1993, when the twin PC releases of The 7th Guest and Myst spurred drive adoption and set the industry down a treacherous path. Both games were potent cocktails of simple puzzle mechanics, high-res still graphics and low-res video, a multimedia blend that would have been impossible had it not been for the copious storage space of CD. A lot of developers misread the tea leaves here and turned the CD into the medium of choice for FMV games. This was fortunately short-lived.

The hardware breakthrough came for CD games in the form of the PlayStation. Although the use of CD was just one of many canny decisions Sony made in development of the console, it was an important one, as the biggest advantage CD has over cartridge is that it is cheap and a lot of them can be made quickly. This had obvious advantages for gamers, as CD allowed Sony to adopt the $50 pricing standard that represented a significant drop from the wild west of Nintendo cart prices. But it also had advantages for publishers, who no longer had to worry about sitting on expensive cartridge inventory should a game fail to sell and so could afford to gamble on riskier projects. This was a major contributing factor to the decade-long wane of Nintendo, which suffered enormously for its decision o stick to cartridge. It’s also partially responsible for the burst of creativity that happened in mid-90s game development. Works like Parappa the Rapper, Resident Evil, and Final Fantasy VII made lasting contributions to the medium at this time, contributions that may not have been possible without the advantages of CD.

The CD disappeared from consoles at the turn of the century, replaced with newer optical media technologies like DVD and GD-ROM (PC stuck with the format for quite a while longer, to ridiculous multi-CD effect). These newer formats are just evolutionary advances on the Compact Disc, however—this 70s-era technology continues to shape the medium to this day, and will for the foreseeable future.

Previously on Ten Years Ago This Week:

Army Men 3D
Silent Hill
Syphon Filter
Alpha Centauri

Miami Law: Welcome Back Victor Ireland of Working Designs

John Constantine — Thu, 05 Mar 2009 01:05:00 GMT

Somehow I missed Victor Ireland’s re-emergence last December. I shouldn’t be too surprised. It might be big news to me, but the return of a niche industry icon best remembered by a handful of geeks for his American localizations of niche videogames ten years ago isn’t exactly Edge Online headline news material. It’s sidebar at best.

For everyone reading who doesn’t smile when they hear the word Alundra, here’s the score. Victor Ireland co-founded Working Designs. After opening in 1986, Working Designs was one of the only publishers in the Western world devoted to localizing strange Japanese games, particularly those JRPG things we enjoy so much here at 61FPS. Working Designs translations tended to be a bit strange, littered with juvenile humor and American pop culture references. They serviced a very small audience; not only were they putting out games in an unpopular genre, they had a habit of releasing them for doomed consoles like the Turbo-Grafx 16, Turbo CD, Sega CD, and Sega Saturn.

Working Design’s golden age was when they started releasing Playstation games at the end of the 1990s. Now that there was a growing market for Japanese games, the publisher was able to put out some extravagant packages. (Most notably the PS1 releases of Lunar, Lunar 2, and the Arc the Lad Collection. They all game with cloth maps, hardbound instruction manuals, and even zany bonuses like boxing puppets.) By the time the Playstation 2 came around though, Working Designs was in decline. They released three games for PS2 and shut their doors in 2005. Irleand put an impassioned statement on the company homepage which you can read here. In 2006, he opened a new publishing house called Gaijinworks and then promptly disappeared into the ether.

Today, Vic and Gaijinworks are finally on the map for real. Their first game, a Hotel Dusk-style DS adventure called Miami Law, is currently being developed for America by Hudson in Japan. It’s the perfect cultural stew, considering the man’s history. I’m psyched he’s back.

(Link: Joystiq)

Related links:

Where is Victor Ireland?
FMV Hell: Lunar, The Silver Star
Sega CD on iPhone: I Like Where This Is Going
The One That Got Away: Arc the Lad

FMV Hell: Lunar, The Silver Star

Nadia Oxford — Thu, 14 Aug 2008 23:07:00 GMT

Time once again for a brief look at the Sega CD games that made us women and men (if you're currently a twenty-something, I mean).

The full-motion video in games like Lunar, The Silver Star is unique stuff for a few reasons. First, it was an unfiltered assault of glittery, shojo-eyed anime during an age when most game localisers struggled to hide any cultural evidence that video games indeed come from Japan. Of course, Working Designs is still known for taking some, er, extreme liberties with their own translations and localisations, but by God that's another tome for another night. All you need to know is that Lunar saw its US release in 1993, ages before Pokemon made anime mainstream (bonus fact: anime became mainstream in Canada in 1996, thanks to Sailor Moon recieving an after-school time slot).

The intro for Lunar is also made special by its...lack of animation. Maybe we were too busy drooling on the television screen at the time, but when you watch Sega CD intros in today's age of a thousand frames per second, you begin to notice that the "cut scenes" that wowed us over a dozen years ago are little more than kindergarten-grade cut-outs with pinned, movable limbs.

I'm being a little cruel, however. Lunar might not be the best-aged RPG out there, but like Sonic CD, it contains a lot of heart. And the voice acting, though nothing spectacular, is still a few notches above the horrors that would assault us on the Playstation five years later.

Still, a friend of mine claimed that the singing practise scene in Lunar (about 5:40 into the video) beat the hell out of the opera scene in Final Fantasy VI.

I'm...I'm really not sure about that.

Related Links:

Sega CD on iPhone: I Like Where This Is Going
FMV Hell: Sonic CD

FMV Hell: Sonic CD

Nadia Oxford — Tue, 22 Jul 2008 00:40:00 GMT

I'm pretty sure most original prints of Sega CD games were long ago ground up into dog food, but the resurrection of Vay on the iPhone got me nostalgic for the anime cutscenes that used to preced certain Sega CD games. Each scene employed about sixteen on-screen colours and had about thirty frames of animation, but there was something charming about those florescent marionettes. They were like figures drawn in an Autistic kid's painting: clumsy, but admirable for the attempt.

(And vasty preferable to the grainy live-action FMV that usually gummed up the games in the Sega CD library.)

The Sega CD is largely considered a failure, but every failed system has its must-own games. Sonic CD was certainly a gem, easily the highlight of Sonic the Hedgehog's up-and-down career. Sonic CD began with the standard Sega CD animated intro.

It's interesting to note that there are a few versions of the anime. Most obviously, there's a Japanese intro and an American one. The animation in both is more or less the same, but wars have been fought over which country has the better intro song. America long ago became familiar with Spencer Nilsen's "Sonic Boom, Sonic Boom, Sonic Boooooom" whereas Japanese children got to hear a song about leather and lace and what might possibly be a chorus that begins with "Toot toot Sonic Warrior."

Here's the Japanese intro stacked up against the American one. Engage comparison.

Either way, the Sonic CD intro is garish and choppy thanks to technical limitations (watch the PC version for a far smoother ride), but it's strangely compelling to watch. Sonic darts across Mobius, racing towards Eggman's latest threat--he's all business, but at the same time it's obvious he enjoys the thrill of simply cutting loose and running. And with no people or vehicles or annoying tag-along friends to slow him down, he can just do what he was born to do: race. It's a bit of well-choreographed simplicity that's absent from games today and Lord knows that especially applies to Sonic games.

By the way, the title of this little "series" is a tribute to AMV Hell. Before I thought of it, my husband and I had a little discussion about what the series name should be.

Him: "How about 'Seedy CD?'"

Me: "Nah, you can't really tell that it's a Sega CD feature."

"All right, what about 'Sega Seedy CD?'"

"That's no good."

"How about, 'My Wife is an Uppity Bitch Who Doesn't Like My Ideas?'"

"How about, 'My Husband's Ideas Are Not Funny?'"

It sounds like the beginning of an epic nerd fight, but we were laughing too hard to take a swing at each other.

Related Links:

Where Is Yu Suzuki?
Sega CD on iPhone: I Like Where This Is Going
Do You Hold Any Hope For Sonic Unleashed?

Sega CD on iPhone: I Like Where This Is Going

Nadia Oxford — Fri, 18 Jul 2008 23:10:00 GMT

The iPhone is new and exciting. Sega CD games are pretty old, but still kind of exciting. What happens when you put the two together?

I often wish I could go back in time and torment my younger self. I think we'd have some really cool conversations about video games. I mean, who cares about the fact that we've made major medical advancements or that we can travel in space buses (oh shit wait no we can't)? I want my younger self to hear all about how we can play the coveted games of our childhood on our telephones.

Not that I have an iPhone. It's totally because I'm not into that useless capitalist waste. It's not like my mom's the only person who ever calls me.

Sniff.

You know I've never played a Lunar game? I know what I want to see next in the iPhone, thank you. Oh and it must retain the bizarre Working Designs "translation."

Related Links:

Will Song Summoner Be the First Good iPod Game?
RPGs: Turn Based versus Real Time - FIGHT!
Gaga for Segaga