Tag Nintendo Switch

Nintendo Switch eShop – UK Sales Charts (13/05/2018)

Sean Alexander

With the release of Donkey Kong a week gone, how has the UK eShop chart settled this week? Are the regulars still high?

Numbers in brackets are previous positions based on: 06/04/2018 (Unless they haven’t moved) in the UK eShop

Donkey Kong could stay at the top of the UK eShop charts this week

Has Donkey Kong maintained the number 1 spot?

1: Donkey Kong Country: Tropical Freeze (NEW) – £49.99
2: Stardew Valley – £10.99
3: Rocket League (Up from 4th) – £15.04
4: Timber Man Vs. (NEW) (10% OFF) (Up from 12th) – £1.61 (Usually £1.79)
5: Minecraft: Nintendo Switch Edition – £19.99
6: Football Manager Touch 2018 (Down from 3rd) – £29.99
7: Death Road To Canada (NEW) (20% OFF) – £9.59 (Usually £11.99)
8: Arcade Archives: Vs. Super Mario Bros. (Down from 7th) – £6.29
9: Sonic Mania – £15.99
10: Robonauts (Down from 6th) – £13.49
11: Mario Kart 8 Deluxe – £49.99
12: Raging Justice (NEW) (10% OFF) – £8.99 (Usually £9.99)
13: Celeste – £17.99
14: Bridge Constructor Portal (34% OFF) (Up from not charting!) – £8.90 (Usually £13.49)
15: Kirby Star Allies (Down from 14th) – £49.99

 

UK eShop Analysis

 

So all in all this has been a quiet week on the UK eShop. First note is that yes, Donkey Kong remains in the top spot as expected.

The usual top 4 of Rocket League, Football Manager, Stardew Valley and Minecraft all hold high positions with Arcade Archives maintain a mid chart position.

Death Road to Canada and Raging Justice both show strong openings no doubt helped by their launch discounts.

Kirby is about to drop from the charts again as Mario Kart holds it’s position as the quintessential Switch title. Bridge Constructor Portal makes a resurgence thanks to a discount.

Most interesting this week is Sonic Mania and Celeste maintaining their chart positions. These games appear to have long legs on the eShop.

 

That’s all for this week! A good showing both from indies while DK rules! See you next week where things will be very different with the launch of Hyrule Warriors: Definitive Edition! Happy Gaming!

Virtual Console as a name and banner has been discontinued.

Virtual Console Is Dead As We Know It: Good!

Sean Alexander

Virtual Console as we know it will no longer be a thing on Nintendo Switch. Why is this such a good thing?

The announcement from Nintendo that NES games, 20 at launch, will be available as part of the online subscription has people in hysterics. 20 games at launch with more to come, as part of a larger package sounds like a good deal. It sounds like the solution people have been honestly wanting to the lacklustre Virtual Console. So what’s the issue?

 

Virtual Console as a name and banner has been discontinued.

Virtual Console as a brand is dead. Apparently.

 

It’s In The Name

Let’s be honest, Nintendo wants as far away from anything related to the Wii branding as possible. Virtual Console is very much a relic of that time. In 2006 this service was incredible. Buy any available retro game you want. This service continued on 3DS and Wii U starting in 2012, but things changed.

The reaction to this was one of disdain.

“Why should we buy these same games again?”

“It’s too expensive!”

“Why are they releasing the games in this way?”

By this point Virtual Console needed to evolve and modernise. At this time the way we consume small media like TV, Films, Books and Music became increasingly subscription based. Access to an all you can eat buffet where you pick what you want. Instead, Virtual Console acted as buying the meals individually.

So why are people angry it’s gone? Some are even saying they are upset as it was why they bought the system, expecting it, despite Nintendo never saying it was coming.

 

Seriously, Why?

NES games are offered as part of a subscription model

NES games with added functionality will be part of the subscription service

This is perhaps the most perplexing aspect of the matter. People are being very vocal that “Nintendo doesn’t want our money” once they announced Virtual Console would not be returning. To this I can only ask, well what did you expect?

If you spend the better part of a decade telling a company you aren’t going to give them your money, things will change. Nintendo DID want your money and still do, but the loud and constant vocal dissatisfaction caused a change of course. They want your money, but you made it clear they weren’t getting it via that method.

So when Nintendo modernizes their retro offerings, addresses the complaints by adding new features and a different monetisation…people ask why?

It’s because you asked for it. Don’t go to Apple telling them to add the headphone jack again and then ask them “Well what did you do that for?” when they do. Don’t ask me to slap you in the face for six years, and when I do, ask why I did it.

 

The Service Is Simply Evolving…Into a Service!

Xbox Game Pass is a solution to getting games for cheap in a buffet format

Game Pass is another example of a subscription service in gaming

Virtual Console had to evolve. It had to change and this is the evolution they chose. As part of your $20 a year (Or less on the family plan with enough people) you are getting 20 NES games at launch. $1 per game, with added online play like controller swapping and screen sharing. Also included in this is all the future games they will add. Not to mention online play and cloud saves and discounts!

The one concern is that yes, it would be hard to maintain that low price point when more and more games or systems are added. At some point it becomes a money sink. It just depends where that point is for the service. Of course people would much rather just buy the games again, although as noted they spent a long time not wanting to.

Is this an ideal solution? Not really. It leaves a lot of holes but it addresses the immediate complaints of Virtual Console. Perhaps as the service evolves it will develop a stronger library.

 

Virtual Console Simply Had To Go!

Vs. Super Mario Bros highlights the potential danger of retro games handed out piece meal

Vs. Super Mario Bros. refuses to stop selling for over £6

Switch owners love indies. Nindies as they call them. But what you don’t hear mentioned is how Vs. Super Mario Bros, yet another release of the game, is consistently in the eShop charts. What would happen if Super Mario World, or A Link To The Past appeared too?

Indies would be smothered. Heck look on 3DS at the impact the releases of the GameBoy Pokemon titles had. Nostalgia sells but it comes at the cost of something else selling.

Plus, no one can argue that buying the same game for £5 is good value. It isn’t. Sure effectively renting them isn’t stellar either but here we are in a world where every company in every industry does just that. Even software companies do it.

For the sake of the third-party scene and to modernise to how content is consumed in the modern age, the format had to change.

 

The Games Are Probably Still Coming Anyway

Virtual Console as we know it is gone!

Virtual Console as we know it is gone!

I’ll read the statement Nintendo gave to Kotaku in full, as this will highlight a very important final point.

There are currently no plans to bring classic games together under the Virtual Console banner as has been done on other Nintendo systems

In none-PR terms, and in terms a lot of people seem to be missing in a world of skim reading headlines: The classic games will not be sold under the name “Virtual Console”.

Nowhere does it say they won’t be coming. Nowhere does it say “No Classic Games”. Just that the games won’t be sold under that name.

Can we all calm down now?

What form of branding will it take? Probably the Classic range of systems, or the subscription, or compilations like those released by Capcom and SEGA.

Plus, this highlights something. The association that retro games from Nintendo absolutely MUST be branded Virtual Console reminds us of the Wii U. Remember that back then the problem was the name, the branding became too synonymous with one specific thing and became a mess.

Now Virtual Console is the name demanded to be applied to retro releases. They want to break this connection to past brands that frankly shouldn’t be around. Most certainly not if they want to evolve going forward in a modern world.

 

So What Does This All Mean?

Perhaps overall this shows that people get too hung up on names? This is the reality of an evolving business, one that faced backlash from consumers. But now those same consumers are missing that they are why it changed, they are why it evolved. Yet they wonder why.

People also fail to see how the market has changed, and how this approach to old games has to change to accommodate that.

Whether or not this is better is up for debate, but one thing that is certain is that it was necessary to change.

Thanks for reading, don’t forget to hit those share buttons! Let us know what you think of thee retirement of this brand, and Happy Gaming!

We discuss all things gaming in the Behind The Game Podcast - Episode 1!

Behind The Game Podcast – Nintendo Online, E3 2018 Predictions, Labo and More!

Sean Alexander

Our first full podcast is live now where we discuss all things gaming from recent events.

This podcast includes the Dark Souls delay on Nintendo Switch, our initial impressions of Nintendo Labo, and God of War being patched!

Plus, hear our predictions on E3 2018. Does the 3DS refuse to die? What does Microsoft have for us at E3 2018?

Check it out below, and Happy Gaming!

 

Nintendo Labo allows users to learn about engineering and programming at their own pace in interactive ways

Nintendo Labo – Does It Matter If It Fails?

Sean Alexander

Nintendo Labo released in late April to what many call middling sales. But does it really matter?

Nintendo Labo allows users to learn about engineering and programming at their own pace in interactive ways

Nintendo Labo released late April to somewhat warm reception

Consumers and armchair analysts can argue all they want about the merits of Nintendo selling cardboard. Included with each Labo kit is the ability to produce Toy-Con and even make your own custom creations. However, in terms of sales it would seem Labo hasn’t hit home.

Around the internet on message boards you can see examples of “I told you so” and “Well who thought $80 cardboard would sell?” and this attitude is both unfairly dismissive and forgets the history of the game industry.

 

We Have Been Here Before!

The PlayStation EyeToy was a weird add-on used in few games

The EyeToy, one of the earlier examples of a weird peripheral gadget

Cast your minds back to the PlayStation 2, a system on top of the world. What do you do when you have success like that? Find new ways to use to device you have already sold to people. Sony did just that with the EyeToy! This is an odd little peripheral that projected your body into the game for what was at the time the height of motion control in gaming.

Of course people don’t remember it now. It existed though. The EyeToy had games exclusive to it, but it required the PS2 to function. It was a platform on top of an already successful platform. A “Sub-Platform”. A peripheral.

Jump ahead to the PS3. Despite early struggles it ultimately became a respected and well selling console. What would a company do with a device already in homes? Introduce a peripheral, with exclusive games, but still tied to the core hardware. Introduce both PS Move and Wonderbook.

PS Wonderbook was a great example of a failed peripheral for a platform.

Who remembers Wonderbook? Anyone? No?

 

Some of these peripherals did fail…

You won’t remember Wonderbook. It would be a challenge to find one these days, but the PS Move lived on and still is available as a peripheral. Of course the thing to remember is sometimes these peripherals will fail.

But why will they fail? Well they simply don’t catch on. A peripheral has a maximum base to sell to that is equal to that of the platform it needs to even function. So for something like Kinect, it could only sell to, at most, the total amount of Xbox 360 users.

Price and purpose: If a peripheral is too expensive it obviously won’t catch on especially if the perceived value is low.

Some Peripherals Do Succeed

PSVR is a peripheral designed for PS4

PSVR has shown how a “Sub-Platform” can mostly flourish

Sometimes one has to take a look back to see the failures before judging the present successes. PlayStation VR is a new way to experience video games and has numerous exclusive titles. It also has a very hefty price point to enter. On top of that, it needs the PS4 to even work! PlayStation VR, for all it is its own platform, remains a sub-platform wholly dependant on PS4.

How did it succeed? It was periphery to a system already in homes. It gave a new way to play games. A new experience. But one thing it doesn’t do is detract from the system it is attached to.

This is the thing with peripherals. They need to be understood and accepted as supplements to the platform they need to function. They can offer new takes on existing experiences like VR or offer new experiences all together. But generally no one should expect a sub-platform to sell like a new platform.

So How Does This Matter To Labo?

Simple! Nintendo Labo is a peripheral. The fact that it has multiple kits under one name should tell you future kits will (Probably) exist. Additionally, it is entirely dependant on Nintendo Switch.

Nintendo Labo lets people use the Switch in new ways. It is an educational tool teaching engineering, creativity and programming in an accessible way.

Nintendo Labo features a Toy-Con Garage for custom apps

The Toy-Con Garage lets users make their own experiences

Toy-Con Garage lets people learn and understand basic programming. The technology behind making the cardboard creations work is simple yet technical.

Labo as a peripheral is ideal. It does something different from the already hot core device, to bring in other people. It’s only crime is potentially price.

So What If Labo Fails?

If Labo fails then we simply move on. In the same we moved on from weird Wii accessories and Wonderbook and EyeToy and Kinect. A peripheral failing isn’t the end of the world. After all, it never hurts to try.

To loop back to the earlier dismissive comments – if that attitude prevailed we would likely see peripherals die out. The fear of trying and failing would end with not trying at all. It is better to try and then fail than not try at all. A peripheral can’t damage a platform. If the peripheral is marketed well then it can stand as its own thing and thrive as a supplement to a system.

But if it does come to fail, well the platform it is attached to didn’t fail. Only the peripheral. The platform did well enough beforehand to make this venture worthwhile.

It Is Harmless!

Following on from yesterday and a discussion about mid-tier games not needing to sell millions, Labo is in the same position. It doesn’t need to be PSVR or WiiFit. If handled sensibly, if marketed to the right people, Labo will do just fine.

There is no harm or shame in trying something new with your existing hit platform. By being dependant on something that already exists, success or failure really doesn’t matter, so long as it isn’t incredibly expensive to develop the peripheral. But the success of the base system doesn’t guarantee success for the peripheral either!

 

To conclude, it all doesn’t matter. Success or failure the Nintendo Switch will continue on its path just like the PS2 did, or the SNES with its add-ons. Labo ultimately needs Switch. Switch doesn’t need Labo.

But it is always nice to have something different there to supplement too.

 

Thanks for reading! If you liked this piece please share on social media via the buttons below, and let me know I shouldn’t play with cardboard! Happy Gaming!

Mid-Tier Games: Why We Love Them and Want More!

Sean Alexander 1 Comment

Mid-Tier Games are some of the highlights of the industry. But where did they go and why are they now returning?

 

Sonic Mania is a perfect example of a mid-tier release from a major company

A perfect example of a “Mid-tier” game!

The immediate thing any gamer needs to understand is the distinction between a Mid-Tier or “AA” game, and something that is commonly called a “AAA” game. The difference is actually night and day!

A “AAA” game is quite simply a game with huge potential reach in terms of customers. monetization and one massive budget backing it all up are other features.

A “Mid-Tier” game is a sizeable project, but marketed within reason. No game will be blown out of budget. A game knows the audience and the publisher will be happy reaching them. It doesn’t need to sell tens of millions after all.

Not every game needs to be Call of Duty in terms of sheer size or market value. Indeed every company will have a few massive well-known titles but a good developer leaves room for the smaller games.

 

So what are these smaller games?

Crash Bandicoot returned in 2017 with what can be best described as a AA release

Crash Bandicoot N. Sane Trilogy is the perfect example of a big company stepping back into Mid-Tier gaming!

Smaller games come in all shapes and sizes. Companies are fond of putting out experimental ideas and seeing how well they sell. Franchises can even start as a smaller release and explode into the mainstream!

Splatoon was originally a smaller release. Simply a unique idea that ended up exploding in popularity to become on of Nintendo’s top franchises. Sticking with Nintendo, a franchise like Yoshi or Kirby also falls under this category. Notable and recognised characters that won’t sell in high quantity, but will make a return on investment.

PlayStation is also very good at pushing Mid-Tier releases. Gravity Rush, Fat Princess and LittleBigPlanet, all sit alongside the big releases. So why are these games all so important?

 

Why are smaller games so important?

Bayonetta 2 is a game that also fills the smaller game niche.

Bayonetta 2 is yet another example of a game that fills this niche

Try and imagine a system like the PS4. It gets all the huge AAA yearly releases. It holds the top of the tier first-party titles. But imagine the system without Persona 5, without Nioh, without Ratchet and Clank. Do you start to see what is missing?

Smaller games provide one key thing: Variety! If your system has nothing but huge games that need to sell millions for the publisher to consider it a “success”, then you will be presenting a surprisingly narrow selection of games.

Smaller games can afford to offer different experiences. They don’t need to cater to as many people as possible after all. Can you envision a Kirby title with the budget and scope of Call of Duty? That would never sell enough to be worthwhile. Yet being a mid-tier game allows Kirby to be unique, to be different and offer something worthwhile to a library.

So why are these games making a resurgence?

 

This is an easy answer. Cast your mind back to a decade ago, the height of the Xbox 360 and PS3. Everything wanted to be Call of Duty, the next blockbuster hit. The industry chases trends, currently Battle Royale games apparently, and the trend was to go big.

Even first party developers fell to this. When was the last Jak and Daxter? Sly Cooper? F-Zero? The mid-tier game fell to the side in pursuit of mega hit after hit. Every kind of game has a place in the market, but what felt strange was the almost overnight shift.

It’s hard to look back on the PS3 and PS4 and not wish it was like the PS2. Yes they got smaller games, even from first parties. Doesn’t it feel like they haven’t been pushed like they used to? Gravity Rush 2 is losing online connectivity, though that was recently delayed. I didn’t even know Fat Princess was a thing that existed. Tearaway isn’t mentioned anymore.

New games like Concrete Genie show up for sure. But it’s not in the volume it used to be. The variety suffers.

Metroid Samus Returns is a recent example of a smaller title and revival of a franchise

Metroid: Samus Returns was not only the revival of a fan favourite, but a commitment to smaller titles

The same happened for Nintendo. Only recently have we seen renewed interest in smaller games. A few popped up on Wii U and 3DS but Switch singled a shift. Snipperclips, ARMS, Bayonetta (Again). The Wii U had Wonderful 101, Captain Toad and 3DS has BoxBoy and Dillon.

The games supplement the library of huge titles and this is what makes a system truly attractive. Variety. It’s where Microsoft has fallen short. Swamped with the huge releases but smaller releases are hard to come by especially on a first party front.

 

So where are we going next?

 

Well this is also easy to predict. Third party developers will forever be inclined to pursue the big hits. They locked themselves into a cycle of monetization and marketing. Some are branching out to smaller games like Activision with Crash and Spyro or EA funding smaller titles from indies. By and large however that will remain a smaller part of their strategies.

Where this really comes into play is with the platform holders. They can throw out as many small titles as they want alongside the Marios and Uncharteds of the world. They have the resources and hardware sales to accommodate it.

It’s from first party software that you see the most variety. This word keeps popping up but to truly have something for everyone you need to be varied. Know that a game will sell only so much and plan accordingly.

Sometimes appealing to more people over multiple lower selling titles is better than aiming for the top every time.

 

 

Thanks for reading, and if you agree or disagree, feel to shout on social media. This is an interesting discussion spurred by trying to work out where I find my enjoyment for a system as a whole, naturally it’s that word again: Variety.

Happy Gaming!

Behind The Game Update – 02/05/2018! Inklings Approaching!

Sean Alexander

Surprise! Meet the NL Inklings!!

Yep, finally after who knows how long, we’ve got our own domain (Obviously, it’s why you’re here!) and we’ve now integrated the NL Inklings!

The NL Inklings logo!

The NL Inklings logo used on all our streams and media!

What are the NL Inklings? Well it’s a Squid Squad for Splatoon 2 that we here participate in (I happen to be a tyrannical overlord or something like that…) and we live stream matches sometimes!

But that’s not all! On our official Discord (Link in the bar above!) we set up matches and cooperative efforts for other games like Minecraft, Rocket League, Overwatch, Pokemon and more! So come on by, check the Discord widget on the side of the site to see who is online and get an invite!

We also have @NLInklings Twitter updates. Give it a follow if you want to know when we are streaming some Splatoon action! It’s down the side of the site too!

We aim to have sessions every Saturday (Splatterday!) at 7pm BST/8pm GMT!

What does the NL Inklings community do?

The Binding of Isaac Session 3 - Available on YouTube and Twitch.tv

An example of our advertising for streams

But that’s not all! We now have live stream integration too! What will this mean? Well if you’re viewing this site on a desktop, you will get a notification that we are live on Twitch! Simply click it and boom, there you go. We will also publish posts to watch the stream embedded if you wish!

We will be live streaming play-throughs for future reviews, fun, competitive gaming with the Discord crew and maybe even more. Follow on Twitch or @BritishPlaying on Twitter for immediate notifications about those events!

 

That’s all for now! More will follow in the week! Keep playing and happy gaming!

A Degree In Game Design and a Lesson For Our Future…

Sean Alexander

You guys might want to sit down for this.

So you all know I have become disillusioned with my degree as a Game Designer, I mean I did fail after all. It’s become something I see, and many others see online, a reflection of the negatives of the industry. I always believe if you are creating a form of entertainment, you should make it your best efforts, otherwise a lack of enjoyment from users will mean it wasn’t entertaining. Catch my drift?

So, for simplicity sake, we are going to go through the classes and some anecdotes of my time studying Computer Games Design, explain why I am self-taught, what we were taught, what the marking states we are expected to do in the industry, and how we are expected to progress as individuals and businesses.
So, let’s start at the start.

They hate Nintendo: I’m just getting this done with now, because it’s the most bassackwards kind of thing you’ve ever heard. So when discussing what game systems sold the most, just as a bit of general knowledge, we had 5 options.

Game Boy
Wii
PlayStation
PlayStation 2
DS

So, we had a logical question: Obviously it is PS2 right? Well we asked, for obvious reasons, does that include hardware revisions like the DSi? They said yes, so stuff like the GBA counts towards Game Boy sales as it’s the same thing.

To these people, teaching the young folk of the industry, the GBA is just a Game Boy. Not new hardware, not new games, just a Game Boy. I did point out (After promptly bashing my head of a table like several others in the room did), that this would mean the Wii U did very well, and the PS4 is well over 400 million units by now, if we use that logic.

They stood by it, so whatever. They also said Wii U games can’t be near the size of Blu-Ray, and Nintendo doesn’t make big games anyway so why expect AAAs. (This was before Switch, I must stress). This was a collective head bash again, as the Wii U discs go to 25GB.

There was a blatant love of false information, it was disheartening to see, but as time went on it just becomes numbing as opposed to shocking. For people who worked in the industry one would expect them to be accurate with what they teach to the future.

Be at the forefront of new technology….that we want you to be at: Do you know how fast they were all over PS4 Pro? PSVR? Sony partnered uni for you. Interns there are making VR games, even. That’s cool. That was one of many blooming fields in gaming right now, and I fully support it.

So when I had the opportunity to demo Nintendo Switch, on my own time and money, and be given some of the opportunities I have now (Through my own actions and skill, not theirs, I have to add), they weren’t happy. Why? This is something I’ve never gotten a straight answer on. You tell us to be at the forefront for new and exciting stuff, but seemingly only if it suits them.

They think platformers are outdated. Cant have running and jumping no more. We were actively discouraged from making those for level design courses which didn’t make much sense, given that’s an excellent show of designing a level regarding flow, player abilities and more.
Now we move on to the content, I have more anecdotes about their very weird views on what we should be doing, because some of it is flat-out restrictive to making games and content, but those will pop up in the next section

Year 1

Production: Making 12 page Game Design Documentation, and small prototypes. This is all fine and good. There was an inordinate amount of time spent on writing stories (I have no idea why they spent that long on that, it was at least 5 weeks), but they did cover some handy things like progression through a game and mechanics. This was pretty good. Only downside was very little, maybe 1 week, of programming, which means making the actual game was….a challenge. Even then it was copy/pasted code.

Plus, and this is important to bring up, I have come to understand that I design games in the “Japanese” way as opposed to the “Western” way. It just suits my workflow better. Shorter documents, different primary focus, where western focus is on visuals, character and story, mine and seemingly eastern focus, is on gameplay. Those have priority in the official documentation.

I was marked down for that, with the specific words that…I was wrong. Doing something wrong, yet only doing the same thing differently because it suited me. University, and especially a creative field, was being judged on academic criteria, which is counter to the nature of the field.

Creative Design: This started strong. Making company logos, scene concept art, character concept art, promo materials, all good stuff. But that was just half of it. The 2nd half, bear in mind this was mandatory to pass, involved making an interactive magazine, with a video review of content, and amazingly enough, a prediction of the future of something we have interest in.

So I said, based on previous industries like phones and PCs, and them having peripherals to play handheld games on consoles, and console ports on handhelds, that Nintendo will create some kind of hybrid system.

They said we aren’t giving you the marks, as that’s not realistic, citing Nintendo wont be around and the technology isn’t there yet to make it compelling. You can imagine my feelings on this now.

I never did get awarded those marks.

3D Modelling: I have no issue with this. Despite not being very arty, its relevant and covered everything from individual models to whole scenes. This was good, very good in fact.

Web Development: Making websites. In a games design course. Yep. People had the option to do Flash animations as well, as an alternative, but neither are super relevant. You could say Flash based games are, but this was 2014, Flash was already outdated and soon after deprecated.
Year 2

3D Animations: No problem here. Make 3D animations. My only issue was, amazingly, being put in a group half the size needed for group work, one of whom didn’t work, and the other didn’t want me as part of the team. So I opted to redo it and still failed, as I was then stuck doing a 6-man job as an individual.

Level Design: Relevant. Don’t know why they pushed CryEngine so much, as I think everyone universally hated it, both years I did it. This was one I had to redo because despite having the right sized team, one guy actively faked doing work until he vanished 4 weeks prior, so all I had was code and no assets, and the other guy, bless him he is lovely, doesn’t do any good standard of work. The new team was far better, despite having to teach myself C++ for Unreal Engine 4, because the uni seems to have some weird aversion to teaching how to actually make the game part of a video game.

Mobile App Development: What has this to do with games? Nothing. It was mobile website development, by the way, just thinly veiled. Had to make apps to track people via Google Maps. Riveting.

Had the same lovely guy from Level Design working with me on this one, never did any work, had to teach myself PHP for server-side stuff, because they wouldn’t teach that for some reason (again) despite being half of the marks. Turns out he went and made SASS sheets that were just HTML formatted incorrectly, so we had to scramble! The teaching focused solely on front end: Visuals and appearance.

Games Programming: It was a train wreck. A good attempt but most didn’t get it (Heck I didn’t get it) as the information wasn’t being conveyed in a way that made it learnable, it was just pure here’s some code away you go slap it together. The attempt at teaching programming was a copy and paste effort. Not productive in the slightest, and in hindsight was vastly over-complicated for what needed to be done. You don’t start teaching programming to some students who have never touched an IDE by having them make AI.

User Interaction: Critiquing UI across devices and suitability for things like VR and such. I didn’t do this one, wouldn’t let me because I didn’t do Flash animation (Why?) but, at least it was relevant to the field.

Multimedia Web Development: This was an extension of making apps except it was making videos and images for web-based viewing. Game Design remember?

Audio: Smashing stuff. Didn’t do this, because I didn’t do Flash, but hey they you go. Another relevant one.

Professional Awareness: You know I have no idea what this is? Talking to people who did it, they didn’t either. It was something to do with team work. Can’t really fault that from the outside, but the confused responses I saw from people made me think it was one of those “token classes”.

Year 3 

Here we go. So a note, they wouldn’t let me do the group project or individual research project. I’m going to get to something else they didn’t let me do this year as well, at the end.

Advanced Concepts in Gaming: Debate issues around gaming such as women’s rights, sex, violence, anthropomorphism, realism, middleware and so on. We had to make either a realistic building render, a character creator (Which I did, guess what there was a complete lack of material on? Yes there really was NO teaching on what the hell they even expected!) or a transmedia narrative, spanning multiple devices.

Basically glorified marketing. I actually failed this one, because for whatever reason, my side of the debate, when it came to the debate, didn’t back me up in the slightest. Didn’t help every debate prior had been a one sentence thing, while this was a paragraph on why anthropomorphism is bad for games as it is dehumanizing. Overall, this wasn’t a bad idea, it just wasn’t…a good marking thing? It’s hard to explain. Like why the class existed was okay, but what you had to do to pass was all kinds of arbitrary.

Digital 3D Effects: Make a 90 second CGI movie. Take real footage and CG something in. And make a documentary about making it. Teams of 4, I got a team of 2, with the nice guy who does nothing from Level Design again.

Side note, the people in the class did say “Thanks for taking one for the team”. Cheeky sods.

But again, this is Game Design. Making CGI/Live Action movies? I….alright? I don’t see the relevance unless you wanted to do pre-rendered cutscenes.

But the good part: So being colour-blind I can’t composite shots very well. I can’t get the tones right, so I directed the location shoots, designed a monster for a monster movie trailer, animated it, gave it all to the lovely guy to do, while I worked on a documentary using shots of the cut up work with narration to explain what we did. It was easy marks for him, and he couldn’t possibly screw this one up.

Boy did he ever. For some reason he used barely any effects, had terrible audio balancing, used his own static image for a monster it was just….I had some alcohol that night. It totally invalidated the documentary as well, which didn’t help marks.

But to compound things, he did ask for feedback, and by the time I was done watching the…monstrosity…he had constructed, he messaged me to tell me it was submitted.

I became a very good friend of Mr. Jack Daniels that night.

Indie Game Development: Here we go. The things you need to know when making a small studio. Great right? It also went over ways to make money and such. Didn’t cover talking to other companies or acquiring anything for development but hey, priorities.

When writing out a business plan however, we were required to plan out DLC and micro-transactions (Not just for marking purposes), but it is a requirement they want us to do when we plan a game. They want us to put MTAs and DLC in from the start.
And I didn’t do that. I openly object to that.

Also, this required submission of .exe files and code via electronic submission. All handy right? Electronic submissions don’t allow zips, rar files, code files or exe files. Whoops. Another mismanagement. You can’t submit it electronically due to restrictions on what can be uploaded, but the only submission was electronic.

Advanced Concepts in Web Production: Judging by what Advanced Concepts in Gaming was about….probably the same but Web-based. Again though, it’s Game Design.

Creative Visualisation and Animation: Do you know those Casually Explained videos that have neat animations explaining things and how they work? It’s that. Make that. Pick something and explain how it works via animation. Game Design.

And that’s the course structure. As you can see, a lot of it is irrelevant to the actual subject, but it’s what you didn’t see that worries me more. While a fair chunk of it is relevant, even within those, there are alarming holes, not most beyond teaching some dodgy practices and business moves.

Firstly: Where the hell was optimisation? I cannot stress this enough. We weren’t taught how to optimise anything, even for PC. Looking back it was mentioned in passing, like what it is and why you do it, but nothing on it. When submitting something, hardware just has to brute force it.

Secondly: Programming! They tried, bless, but it was so poorly done, in addition to a lot of mismanagement, it’s worrying that they hand wave the key component of making a game interactive. The bit that makes the game a game.
There was a week where Intel were coming around and allegedly offering job opportunities (Now why Intel came to game designers to offer them jobs, some of whom wont pass for two years, is a mystery) but it happened. Interns ran interviews, and all was well. Got emails and checked the sites for the list of times and such, find my allotted time.

This was a mandatory thing that had to be done by all second and third year students.
Long list of names, covering all second and third year students, both in the e-mail and on the website.

Except me.

I had been withheld from an opportunity that was listed as mandatory I must stress, and they never once said why. They never once said “We don’t want you there”, they just never let me do it and never mentioned it to me. I asked my housemate, once they revealed they were one of the people doing the interviews. They said they didn’t know why either. The staff pretend it never happened.

Now, they had, since day one, said we should be striving on our own as well. Working on games in the background, and eventually, trying to get relations with developers and publishers who visit for talks, see the exhibitions at the end of every year, and so on.

So, being a guy who likes to make progress, I did the numbers, looked at what games I wanted to make, so on and so forth, and by the half way point of that first year of learning, I was already talking to the first company I even spoke to.

But here is my thing. They say go to the new tech. Make the games you think people will enjoy. Work with people, who get you where you want to be. But it has become increasingly apparent, that it doesn’t apply to certain companies. I don’t know the exact reason why, I don’t know for what purpose, but I have been locked out of opportunities on many occasions beyond the egregious one I listed, ever since I took their initiative, showed initiative, and made myself known.

They refused to let me go and demo the Nintendo Switch in London, on my own time and money. Obviously I went anyway!

At the end of the day I got ahead, did as they asked, and I was pushed away by it. And that’s on a personal level, the worst aspect, that doing what I want and what they said I should do, has led to being left on the side.

This led to a serious downward spiral for my health both mentally and physically. I hope it is the only time I need medication for depression and anxiety, because lord knows it was a rough time.

But here is my final thought on the matter.

In a lot of ways, I have enjoyed myself. I have learned things, that granted, I did pick up over time just by playing games and being analytical about them, but the doesn’t excuse the gaps in knowledge, some of which is crucial, and the blatant irrelevancy and mismanagement of the course in general. For £9000 tuition fee per year, and all the loans I’ll have to repay?

It needs to be better.

That is 100% the truth. This is the education an actual institution is giving students who, god forbid if this standard maintains, will be making games in the near future. Aggressive monetization, dodgy practices, lapses in knowledge. Yes they can’t reasonably teach everything, but they could at least teach well and relevant.

Universities are ultimately a business, and this was a course that I personally feel was misleading. It positioned itself as one thing, with freedom, and revealed itself to be a stifling, counter-intuitive, sometimes random mismatched bunch of classes marked academically to judge creativity: And the problem with that is, if you don’t fall in line with that is expected, creativity can be shunned.

2017 In Gaming: A Look Back Over 12 Months

Sean Alexander

2017 has been a bit of wild ride, from new systems, new franchises, a lot of old franchises, incredible highs and some very deep lows.

 

If you were to really take away one from this year in gaming, it’s that new hardware came and really impressed the world.

Where the PS4 Pro was a relatively safe (And some would argue lacklustre) refresh of the PS4, the Xbox One X stormed ahead and probably could just be considered a new generation of hardware of its own. This machine has proven itself to be a real powerhouse, and a lot of people were doubting it, both in part to the Xbox One having lower sales than the PS4, but by no means bad, we should stress, and its high price leading to a question: Who is it for? For the enthusiast it has taken the crowd by surprise.

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Also of note is the Nintendo Switch, a machine so many were down prior to launch, and coming off the back of the Wii U and 2016 had many wondering if Nintendo had a place in the market anymore, including its own software partners. While it had a quieter start, demand was high from the off, and only grew. The real story is how over 10 months the perspective changed from doom and gloom, to “Oh it’s only early success, itll fall off”, to “Itll be dead by Xmas”, to a quieter rumbling of things still left to improve. If that isn’t a turn around, who knows what is.

The 3DS also had a hot year with many in-demand games and its end of life revision in the New 2DS XL being released. The little handheld has some time left in the sun, but no more than a year or two.

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The PS4 had a quieter year, if only because business as usual isn’t noteworthy. 70 million units out in the world now, 4 years in, that’s pretty good. PSVR also hit 2 million despite a lack of compelling software because…price cuts I suppose, but the VR competition is lagging behind, and the market shows a chance of stalling without further innovation and software.

Overall then, hardware wise, it has been a fantastic year with every company really on top of their hardware game.

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On to software then, the success stories really come from Sony and Nintendo, with Sony opting to front load its year with first party releases and major third-party titles before dropping off and letting the maligned GT Sport and third party deals flood the latter half of the year. Additionally, press events like Paris Games Week and E3 left a lot to be desired. People can only see the same game so many times without a release date.

Nintendo maintained a steady stream of games for both systems throughout the year. Critical and commercial darlings flooded their hardware and third parties developer some strong showings for once, despite a lack of desire to do so early on. Furthermore, gamers proved receptive to the software, with titles like Splatoon 2, Breath of the Wild, and Super Mario Odyssey setting records for their respective franchises.

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Microsoft once again limped along on third-party offerings, but majority of sales were on PS4. Furthermore the cancellation of exclusives like Scalebound and closure of notable studios left the future in question, as well as delaying what few exclusives were planned to next year. Maybe it will pick up then.

The indie scene proved to be on fire with once again the Nintendo Switch dominating the stories there with very high indie sales. Steam fell behind in this regard and Sony seemingly lost interest, but the quality on display this year has been unmistakable.

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Third parties as well proved a force to be reckoned with. If we ignore EA, as Mass Effect was a mess and their later games proved less than welcome with bad business decisions. Games like Nier, Nioh, Sonic Mania, Wolfenstein 2, Assassins Creed Origins, Mario + Rabbids, all proved surprise hits. Sure there were duds like Sonic Forces, but third parties not only showed renewed passion in their work, but renewed creativity.

Interestingly 2017 saw huge backlash against micro-transactions and lootboxes in gaming, as companies attempt to push them harder and harder into the core structure of games. This perhaps will be evidenced next year if more games opt to do this, and maybe this indicates a boom in the indie scene. Certainly “AA” games like Hellblade have shown they have a place, and companies like Square Enix have renewed interest in mid-range titles.

 

2017 will likely go down as a highlight year for the renewal of an industry that seemed to be struggling with staying fresh. Many companies came back from the brink and brought their A Game, and while there were some very loud duds from some, and some fresh controversy, it doesn’t drown out that regardless of what platform you choose, you had a fine year.

Except maybe Steam. I can’t see wading through that as fine. Seriously, sort that out Valve.

 

You’ll need to forgive me about this being a shorter piece. There isn’t much to say for this year beyond “It was really good”. Barring the issues around lootboxes later in the year and EA being EA…it’s been a fine year all around! So until next time, Happy Gaming!

PS4 is still riding high.

“For The Players”: It’s Almost True…

Sean Alexander 1 Comment

At the end of every PS4 ad, I see that slogan. It’s the only slogan from a console maker I call bull at as well.

 

The PS4 got its early success from appearing “Friendly” compared to the upfront jackassery of the Xbox One reveal. Those anti-consumer practices of the launch were turned around and only really forgotten recently, under waves of good moves that are for the players of games.

Sony used this slogan early on, to show how they weren’t (But also kind of *were*) doing the things Microsoft were doing and talking about openly. At this time, the slogan made perfect sense. Position yourself as pro-consumer, all is good, and it worked. At the time, “For The Players” was very much the case.

 

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Now readers may jump to the defence of the PS4 with “It’s just marketing” but also remember that marketing places an expectation. This is how you sell your product, this is what the buyer expects. The buyer will expect a pro-consumer experience except…nowadays, and always in reality (Though it wasn’t as prevalent back in 2014), this isn’t the case.

Before someone says “Well what about the other slogans for other systems?”, let’s look shall we?

Xbox One X: “The World’s Most Powerful Console”. This is objectively, for right now, true.

Nintendo 3DS: “There’s No Play Like It”. This is also objectively true, as right now there is no other dual screen stereoscopic 3D system.

Nintendo Switch: “Anytime, Anywhere, with Anyone”. Objectively true. You can play the console anytime, anywhere you want, with anyone you want.
Yet every time I see “For The Players”, man, it’s easy to fault it. It’s so simple to just look at what PlayStation is doing and seeing without even having to look twice, how they are right now the most anti-consumer of the three console makers.

So let’s start with backwards compatibility shall we?

 

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So Sony with the PS2, allowed you to play every single PS1 game you owned. Straight away, no strings attached. With the PS3 they had to drop PS2 support entirely not long after launch for cost reasons which I admit is fair play. With PS4, good luck emulating the PS3.

Jump ahead to today, and we have the minimal trickle of PS2 Classics on the PS4. The rate at which these come out is frankly absurd with months between releases. Imagine the Wii U first party release schedule, but for older games. Yeah, it’s bad.

But it doesn’t stop with how fast they come. Even on PS3 some PS2 and PS1 Classics had emulation issues, or vanished from the digital store with no notice and re-appeared two years later (Crash 2 did this in the EU for no reason). The reason they once gave on the official PlayStation Blog was:

The journey from PSone disc to PSone emulation can be a long one – here’s the short version.

We make sure we’ve got a good copy of the original disk (or discs if there are localised versions), then the game is cleared for publish by our legal department.

Why are some games available on the US Store but not available on the EU Stores?

The million dollar question…

This usually comes down to either publishing rights or bugs that occur within the emulated PAL version that did not occur within the NTSC emulated version. There are several PAL titles that don’t play well with the emulator because of a PAL-only copy protection system that was used in several key releases, and sometimes other bugs occur at random.

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Which is bulls***. Explain to me good sirs at Sony, why we here in the UK got the US versions of the Spyro Trilogy, two years after other regions mind you, with permanent slowdown, music playback errors, and frame rate issues? If you get the EU version of the game, why isn’t that the one we got and why is the emulation sub-par for those games?

 

In addition though, on PS4 in addition to the molasses pace at which old games show up, emulations issues are abound. I spent the past night with the PS4 edition of Jak X, emulated in 1080p on the PS4 with Trophy support (Hooray…) and it had frame pacing issues, frame rate issues, and combined with the games already rather loose control….this was a problem. Not unplayable, but certainly below what we expect.

But it doesn’t stop there, oh no. Remember on Wii U you could transfer your Wii stuff to the new console, and any Virtual Console games you brought were given a hefty discount on the Wii U Virtual Console if available? Sure this was clunky, but the system did have a way of making that purchase easier on you (Shame it isn’t also on 3DS mind…). Then we have Xbox One. Pop your disc in, and hey, a BC game is now there downloaded and ready to go free of charge. Or they see you have a 360 game downloaded to your account, and add it to your Xbox One queue immediately, as a free game, because you already owned the original release on your account, or in disk form.

 

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PS4 doesn’t have this. Sure, it makes sense not to, BUT IT COULD HAVE THIS! So hear me out on this one.

When I downloaded the 4 Jak and Daxter games to my PS4, I realised, wait, I already downloaded the remasters on PS3. This is the same account. Am I not getting a discount here? Nope. To further compound things I check my trophy list, I have two separate lists now, one for the PS3 releases, one for the PS4 backwards compatibility releases! I can see this on my PS4! There is no reason this couldn’t be discounted by checking my account, or popping the disc in, as yes the PS4 can read DVDs.

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But to compound this issue even further, because it goes even deeper than that, let’s hold up the PS Vita for a moment. Who remembers cross-buy? Anyone? The notion that you get a PS3/PS4 and Vita copy of a game in a single digital purchase? This is something they have already done, between systems, why hasn’t it been done here?

Again, “For The Players”. Where we see they could do it, and have done it in the past, and clearly have the capability to do it, they won’t. Still your friend yet?

 

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Moving on let’s talk about cross-platform play. Oh boy. So the official stance from developers is that yes, they want cross platform play. Microsoft and Nintendo, will let developers do cross platform play, with no hesitation. Middleware developers like Epic Games have shown that they too want it. Sony doesn’t.

The reason why is simple. If your friend has a PS4 and you want to play a game with him so buy a PS4. It keeps them in the PS4 ecosystem, holding it to ransom basically. From a business standpoint that is sound logic especially as the dominant console. Until you meet someone like me. All of my friends are on Xbox and PC. Am I going to have them go buy a PS4 to play with me, one each, or am I going to get the game and take my multiplayer gaming elsewhere?

The answer is the latter, obviously. It’s an effective strategy until they consider people who want to play with their friends who already have another system. It won’t be logical to both go and buy a PS4, when only one of them needs to go buy an Xbox or Switch or PC. You can argue this won’t be the case for many people, but it also won’t be an insignificant number of people where this is in fact the case.

Again, this is a stupid anti-consumer move. Why would you limit this to force people into (Or away from as the case seems to be) a PS4 purchase when by all accounts the PS4 has enough merit to be a purchase of its own accord just by glancing over at its library? Funnily enough all these cross-play enabled platforms are doing just fine without gating away your friends, because their libraries are compelling. The PS4 most definitely has enough power behind it to not require this dumb move, anyone will tell you that, and given the freedom of choice, many people would pick PS4 anyway, if it interested them. Now they will be turned away, especially if their friends are on other systems.

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But what really gets me is how Sony “Responded” to this at E3 2017. I say “Responded” because well…they gave several answers and didn’t stick with any of them…

Unfortunately it’s a commercial discussion between ourselves and other stakeholders, and I’m not going to get into the detail of that on this particular instance. And I can see your eyes rolling.

We’ve got to be mindful of our responsibility to our install base

Everybody has to take their own decisions. We’ll do that. Like I say, we have no philosophical stance against cross-play at all.

That said, to my knowledge, there is no live conversation ongoing at the moment.

Source (Seriously read it all, it is pure gold!)

Props to Eurogamer for this grilling, as it shows their reasoning is…well flimsy, is probably the right word. That’s all I will say on that matter, because again, they are still “For the Players”, right? Right?

 

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Now let’s talk about indies. Hey Jim Ryan, come put your foot in it again. You were all about indie games early on, what happened?

It was just good to talk about in 2013/2014. It is less relevant now.

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Well…that’s nice. I’m actually going to quote Jim Sterling here as well, who asked some indie developers regarding Steam and the other platforms, and what they noted was “Sony isn’t interested“, and this has shown. The indie games are drying up on PS4.

But that’s what is odd. Other indie developers have noted in interviews that the people leading Sony’s indie charge a few years ago have since left.

“Our contacts at Sony are not as reliable as those at Microsoft, to be honest,”…

“I don’t know them as well, they’re less engaged with what’s going on here at IndieCade — I’ve seen the Xbox people all over here all the time. I see, definitely, a difference.”

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The general mood appears to be one of Sony almost withdrawing from indies as a pillar of their business and frankly doing so I think is damaging. These are the niche releases, the quirky creative games and no all of them can’t be good, but many are and they fill a much-needed gap in releases.

This rich, full and varied line up and promoting other developers (Like they promote their wonderful third-party partners in exchange for hot cash) will do nothing but promote game sales on your platform, which you get a cut from. Just look at sales of indie games when promoted by Nintendo, it fills in gaps, gets the games out there, and they sell well. Same for Microsoft.

Put your hat in the ring and push some more games and promote them during the period. Players will thank you, normally with money.

 

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Now let’s look at basic features. External hard drive support? Took 3 years to arrive. Couldn’t tell you why, it just did. The basic feature that is expandable external storage was missing from PS4 for 3 years!

Oh and let’s quickly discuss PSN Names. You can’t change your PSN Username, unlike on every other system and platform imaginable, but I believe I have found the reason.

So in a database there will be a value, just a random string of digits, like a friend code on a Nintendo system. This value will never change. This is your account in the database.

Attached to this value are all the variables, things you can change, like your address, real name, card details, purchase history, settings, so on so forth. All those are changeable and tied to that unchangeable value. That is how the accounts on other systems are set up. Your username, your display name, is just another variable, as it should be.

On PSN, the thing all your variables are tied to is your account name. That username you are stuck with is the string of digits you can’t change in the database. That username is what holds all your data for your account in Sony’s servers. Brilliant foresight I have to sarcastically say, and though they claim they are working on it, we know that if this is the case the PSN will have to be completely rebuilt, as it’s still stuck in 2006.

 

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To conclude, let’s talk about John Kodera. This is the man behind the PSN, PSVue, PSNow, all the services and streaming things tied to the PlayStation brand. He is now head of the branch, rather suddenly, and likely this is to leverage a service based, subscription based future for the PS4 and successor devices.

He is also very interested in micro-transactions too. Lucky us right?

With words recently from Kazuhiko Takeda (Head of Corporate Planning) at an investors meeting, I do worry about this approach lining up a little too well with their future strategy…

Our business model involves selling both the game console and the software for it, so we’re working to get more customers paying continuously for content, for example through paid subscription services.

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As Sony has said, their future for PlayStation is constant payment from you, the consumer. Tie that idea in with Kodera and his admitted enjoyment on micro-transactions, and his big focus on subscriptions and streaming things to you, as well as PS+, and it gets a bit…of a mess.

Oh and speaking of PS+ I didn’t even mention the service outage problems or the fact that they gleefully advertise that some DLC is on PS4 30 days before any other system! “For the Players!”.

Oh, and apparently what you see below happens on PS Now as well…

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Seriously though, sarcasm aside, I think Sony has a lot of work to do. Their slogan was true early on with PS4 but now it holds no water, and as a tagline that is meant to sell you on something, and promise an experience accurate to those words, it falls flat in every way, outside of a good library of games.

But to their consumers, to us watching from the outside, it’s daunting. A lie on every box as it were. It has some merit, but dig just a little and you see a company that is very much against the players.

It has to change, otherwise they will find themselves where Microsoft was in 2013.

 

 

And that is our Christmas article for the year! A very long one I know but I had a lot to say and a lot of words to say it with. As always share this with your friends, leave comments here or on social media, tell me I’m wrong in every way and I will see you next time. Until then, Happy Gaming!

Sonic Forces Has Some Dire DLC…

Sean Alexander

I never thought I would write the following words: Super Sonic is DLC.

 

Okay, so before we go in to this, we need context on both Super Sonic, and Sanic.

Sanic is a meme. Honestly I would love to just leave it there and have it expunged from the game entirely, but the series has decided to embrace the crudely drawn MS Paint rendition of Sonic, dubbed “Sanic”, in ways that move beyond just the TV Show as a reference (Alongside the fan-fiction of all things) and a nod in LEGO Dimensions.

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Sanic is available, for free, in all copies of the game, as a t-shirt design for your custom character. Okay, at least it’s free. I mean I would honestly prefer it if the series was a little more….delicate? about being self-aware, rather than just opening the door and saying “Yes, all this mockery online is entirely just”. We all know how the mockery of a fan base can actually impact people mentally, it’s not a very smart thing to do, just let folks enjoy what they enjoy, you know?

I think there is a fine balance between being self-aware and poking fun, and straight up embracing what was a joke meant to demean the franchise and it’s titles (Because many have been lacklustre prior to 2010, and a couple since) feels like…almost giving up. Like the series has no integrity anymore. On one hand yes, nice joke, and in some loose ways it does fit the avatar creation side of things.

On the other hand, you put a reference to a meme used to demean the franchise…in Sonic Forces. 

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This is a game that is hardly “Good”, instead treading the fine line of mediocre to plain boring, it has obvious development problems, clear instances of things being scrapped and restarted, insanely short levels and not very fulfilling gameplay, and what do they do? Put some DLC in the game used to mock the franchise. Did they actually not see how amazingly self-fulfilling that is?

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But anyway, on to Super Sonic. This little feature has been a part of the games since 1992 in Sonic the Hedgehog 2, usually as a reward for certain tasks, like clearing the Special Stages, or for the unlockable final boss throughout the mid-2000s.

Super Sonic did return to fully playable status in 2010 with Sonic 4 and Sonic Colours (The first time ever in 3D), and this has remained the case for Generations, Lost World, and Mania. Super Sonic has been there as a reward for completing the game, or certain milestones.

So Sonic Forces came along and in the PC version they found inaccessible (Though later accessed and fully playable not long after the game came out) code for Super Sonic. It’s in the game, fully playable. I assumed it was just dummied out. I wish it was.

So again, for 25 years Super Sonic has been a part of the franchise as your reward. An in-game thing meant to reward you (Or beat up a final boss in some cases). In Sonic Forces however, it’s in the game, but you can’t access it. Unless you pay up for some DLC of course.

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Yes, for the first time ever, this feature of the series for over two decades, is now on-disc DLC. I am absolutely dumbfounded and also surprised. It’s free for around a month, but as of late January, cough up some dough for Super Sonic.

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This is honestly a problem that goes further than the Sanic DLC, as this is removal of a series staple and put behind on-disc paywalls. It’s very egregious, and frankly one thing it does have in common with the Sanic DLC is the feeling that it’s just rubbing salt in the wound.

We had it so good, heck Sonic Mania was months ago, and this game comes along, from the team that brought us Colours and Generations, two highly loved games, and it falls flat in so many ways. To rub it in how unfinished the game feels, we get to wear a mockery of the series made official, and pay up for things that used to be standard.

 

At the same time though, as we have talked about here before many times, this feels like it is becoming the norm. Things you used to be able to just do are now locked behind cash, and the games mock you in the same way trolls on the internet do.

I don’t know what is worse really: Seeing Super Sonic become on-disc DLC, or having to see a meme people have almost weaponised in a game so utterly mediocre it surpasses parody and enters the realm of “Oh we know”.

 

I guess we can rest easy knowing Mania 2 will be a thing?