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Dcubed

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Posts posted by Dcubed

  1. Some positive words about the eShop from Shinen here :)

     

    http://www.nintendolife.com/news/2012/12/developer_interview_shinen_multimedia_on_the_first_days_of_the_wii_u_eshop

     

    But more importantly...

     

    And more games are absolutely coming to the platform. We were initially teased with a comment that two more projects are in the works, and that Nano Assault Neo only "scratched the surface". After pushing for more details we were told that one of the games "is in the racing genre", which is all we were told.

     

    A Wii U sequel to F.A.S.T? Yes please! :D

  2. Wow, surprisingly impressive but seriously, why couldn't they just use the arcade version? :shakehead

     

    It's neither version, but rather an all new port from the ground up. It's the only way they'd be able to add 3D (since there's no way to get depth from emulating a 2D console game)

     

    You can also notice this by the fact that the game's native aspect ratio isn't 4x3 like the SMS version...

  3. Anyone had the weird, sparky, colourful Question mark box in Pikmin? Where it gives you a MASSIVE blob of nectar and levelled everyone up to Level 50!

     

    If so is there any reason for this, or is a a purely random gift?

     

    It sure makes 'Mastering' a level a hell of a lot easier!

     

    Isn't that the Assist item? If so, it prevents you from mastering a level.

  4. Bit more info (hold onto your butts, this one's gonna be good!)

     

    JPN release date: 12/26, Price: 600 yen.

     

    Includes a "moving cabinet" mode that replicates being inside an arcade cabinet and makes the screen adjust to the player's movement (screens demonstrating this below). Also features environmental sound settings that were used in Space Harrier's cabinet, with a full equaliser setup. Supports d-pad, circlepad, and the touchscreen for controls. Harrier movement range has 3 stages to it that can be adjusted. B button set to rapid fire shot. Input 3 credits for consecutive play. Can select stages after playing them once. Includes a time trial mode where lives don't decrease for 60 seconds after starting. Supports savestates. Can save 1 replay, as well.

     

    ybAIw.jpg

     

    KMlPG.jpg

     

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    38XzD.jpg

     

    s06.jpg

     

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    s04.jpg

     

    4 different aspect ratio settings (Original aspect ratio, 4:3 aspect ratio, full-screen, and cabinet mode with realistic tilting)

     

    img_ss15.jpg

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    img_ss17.jpg

    img_ss18.jpg

     

    Talk about going all out! That rotating cabinet setup better also be used for Afterburner. No way will they waste that on one game only!

  5. Have you played the original on WiiWare? If yes, how does it compare to that?

     

    Also does it give ranks or high scores for beating a level?

     

    I've yet to play Spin Cycle (waiting till next month before I buy it), but the 2 big main differences between the original and its 3DS sequel are the full 360 degree tilt controls on the 3DS (with levels requiring you to twist the system fully upside down, unlike the Wii one which only used limited tilt angles) and the shift away from the Mario 64 style level structure from the Wii one to a level based structure, with small linear levels instead of big open ones.

     

    BTW, if anyone here has never played the Wii game, absolutely do so! It's a great game!

  6. When I say the "new IPs" demand bugs me, this is what I'm talking about. DCubed's 4-point description is almost perfect (and I would thank it I had any left :heh:), because that demand tends to be nitpicky with everything.

    I've noticed Oxi_Waste didn't mention Gamefreak, but I'll assume they're also included (They actually released a new IP some time ago, too. A platformer for the GBA, in fact)

     

    I must also mention that when DCubed says "retail game", he may as well include only those released on home consoles, too. Handheld games are almost always ignored. Even Pokémon has a tendency to be forgotten when mentioning Ninty's big franchises.

     

    Speaking of handhelds, how do you feel about revived/re-hauled franchises like Kid Icarus? That sure feels like a new franchise altogether.

     

    Aww I feel so wuved! :heart:

     

    As for the handheld situation, I think you're also partly right here. Even longstanding entries in series like Zelda often go ignored (as what happened in this very thread), but it's not that strong really. Handhelds are at least treated with respect by Nintendo fans in general, but the media flat out pretend that they don't exist all together really. They never win any awards of GOTY nominations because the big media sites see them as lesser games. That undoubtedly has some influence on people's opinions of handheld games in general, but certainly not to the same extent as Sony's handhelds (where everything is seen as a B/Z Team effort, or certain 3rd party titles.

     

    As for your last point, that's also something that I consider myself. Kid Icarus Uprising is basically a new IP really. It shares almost nothing in common with the first 2 games in terms of gameplay and Pit is pretty much completely unknown outside of the real hardcore fantasy who've played the NES or (even rarer!) GB game.

     

    Also that's the way Nintendo generally work in terms of coming up with game concepts. They create completely disparate prototypes and slap on the character that they feel best fits it (KIU was almost a new Starfox game, but Sakurai had an attachment to the original Kid Icarus and wanted to re-invent the series with an all new cast of characters). So for all the complaints about them making sequels, a lot of these games could've just as easily have been new IPs (Kirby's Epic Yarn is another good example as it was originally an original IP called Fluff's Epic Yarn, until late into development when the team were stuck and were struggling to make the game fun. Adding in Kirby and the trappings that come with him turned out to be the shot in the arm the game needed)

  7. You're right, you just presented it too sarcastically. Here's your 4 criteria reworded in a less condescending manner:

     

    1: You want a new, character driven game. That's the thing you love from Nintendo. It's not that you don't like RPGs, tactics driven fantasy, racing games, minigames, brain teasers, motion controlled sports or pet simulators, it's just that's not what's going to make you lay down your cash on a new console today.

     

    2: 2... actually I can't reword this. Because I don't think a worldwide release has ever been important to me, at all. That Gamecube Freeloader's gathering dust, after all. Marketing is also largely irrelevant in my own decision making.

     

    3: Again I'm not sure downloadable games weighed into this at all. But sure - you prefer a physical game in your hand. It feels better, there's no hefty download times, less risk of losing it if your downloads are deleted in 10 years time and the files are no longer being hosted. And maybe your broadband package isn't that great, 10GB/mo caps or a slow rural downspeed. You can't lend a downloaded game to a friend or sell it when you're hard up. On the other hand, you accept that downloadable games may be the future, and if it's a game you really want, you'll get it by whatever means.

     

    4: What you'd really like, is a new game developed by EAD/Miyamoto. You love the other games, too. It's just that nobody does it better....

     

    Sorry, I'm so used to being sarcy that I start to do it unknowingly at times! :blush:

     

    But I do think that the downloadable part of it comes into the equation. Speaking as a marketing grad here (not to big myself up as an expert, but it's to do with the psychology of "products" compared to "services" - so it's something that is widely recognised in my field), a physical retail release has a sense of legitimacy that downloadable titles lack by nature of their delivery method. For many people, downloadable titles aren't "worthy" of attention in the same way that retail releases are. You only need to look at various top 10/25/whatever console game lists and see how little importance is given to downloadable titles (oftentimes even being relegated to a seperate list for downloadable titles only or with the game's commentary being more focused on the DD service itself, rather than the game's actual content).

     

    Likewise, having a game being given a worldwide release and a big marketing push also adds an air of legitimacy that lesser known titles may lack.

     

    While I personally think these factors are unfair to consider against judging these games, I also believe that they do matter to a certain group of people and should be considered when thinking about which games would "count" in the minds of these people.

  8. Ah fair enough, to be honest I never really took notice of them until Xenoblade Chronicles. Just noticed they did Dragon Ball Z: Attack of the Saiyans, that was a good game.

     

    They also did Baten Kaitos & Baten Kaitos Origins alongside Tri Crescendo as well. You might be familiar with that one ;) (and if not, then fix that ASAP. They're great games!)

     

    To take the argument of Nintendo's influence a step further... They go over the influence of becoming a 1st party within Xenoblade's Iwata Asks...

     

    Iwata: I’m very glad you could join. Now I’ve actually got a question today that I want to ask Takahashi-san without any beating around the bush: how did you feel about the idea of creating a game together with Nintendo? Feel free to be frank with your answer.

     

    Takahashi: Okay then, I’ll answer without beating around the bush either. It was a huge culture shock.

     

    Iwata: In what way? Takahashi: Well, I had originally wanted to complete work on Xenoblade Chronicles much sooner, but once we began, we encountered a lot of difficulties and development ran into trouble. I realised that if I went ahead with all the things I wanted to do with the game, we would have no chance of making the release date that was originally scheduled. So I went to Yamagami-san to discuss the idea of abandoning certain aspects of the game.

     

    Iwata: So you judged that sticking to the originally scheduled completion date was your priority.

     

    Takahashi: That’s right. It’s something we were very reluctant to do, but we knew that as professionals, we had to adhere strictly to the original schedule for completion. But at that point, Yamagami-san said: ‘Look, you’ve come this far. You should see it through to the end. I’ll convince the others at the company.’ There’s an old Japanese proverb about a cricket trying to swim across a river. At first it’s swimming away happily, but halfway across, it just seems to give up. I’d worked on a lot of games up until that point, and there were times when I’ve done the same. So this time, I was prepared to accept that I wouldn’t be able to achieve all I’d set out to, and was mentally preparing myself to shift directions somewhat. But then Yamagami-san told me to see it through to the end, and I was really taken aback by this experience of Nintendo’s willingness to keep working at something until they’re satisfied the job is really done.

     

    Iwata: Well, the fact that the producer made that judgment was surely because he thought that Xenoblade Chronicles was worth seeing through to the point where you were all satisfied that the job was done. Kojima-san, as the director, how did you feel about being told to see it through to the end?

     

    Kojima: I thought: ‘Well, there’s no getting out of this now...’ (laughs)

     

    Iwata: (laughs) You’ve got no choice but to swim all the way across!

     

    Kojima: Right. Takahashi-san’s concept for the game was vast in scale, so frankly speaking, it was pretty tough telling the dev team, who were already tired, that they had to dig in and go right through to the end. But it certainly wasn’t something I objected to, because, in the end, when you consider things from the players’ perspective, it’s incredibly important to see things through until you feel happy that you’ve done all you could.

     

    Iwata: Even though you flicked the switch from caution to trust, the creative cultures of Monolith Soft and Nintendo were bound to differ. I’d guess that you must have run into quite a few difficulties on account of this, right?

     

    Yamagami: Yes, that was certainly the case. When we make a prototype at Nintendo, the basic game system is of fundamental importance. With this title, Takahashi-san started by constructing the worldview of the game, whereas we at Nintendo wanted to begin by confirming that the game system works, before making certain that the game’s worldview could be realised on Wii. Only then would we start making the actual game. At Nintendo, this is the usual way things proceed. At Monolith Soft, in contrast, they have developed games by starting from a broad, thin base and building on it over time.

     

    Iwata: So there were differences in your fundamental approaches to making games.

     

    Yamagami: Yes, that’s right. With a title as large in scale as this one, in particular, we couldn’t tell how long it would take to build things up from the broad base at the start of the project right through to its completion. What’s more, I wasn’t able to fully judge what exact goals Xenoblade Chronicles was aiming for. So I requested that they make something of more or less the same quality as the finished product, even if it was just one chapter. This caused Kojima-san some consternation.

     

    Iwata: Kojima-san, were you put in an awkward spot when Nintendo requested that you create something in a way that differed from your usual approach?

     

    Kojima: I wouldn’t say that I was placed in an awkward spot. But a lot of the design staff at Monolith Soft have always been the kind of people who build things up by continually adding more and more. For this reason, while they do have an image of the final version in mind, they tend to do things at a gradual pace.

     

    Iwata: A lot of artists continue to add more and more to their work, as the more effort they put in, the better it becomes.

     

    Kojima: Yes, that’s right. Before Yamagami-san said he wanted us to just make the first chapter, I had wanted to work in the usual manner, doing things slowly but surely. I didn’t want to force the staff to work in a manner to which they weren’t accustomed. That’s why I initially replied that it was going to be tough just making that first chapter. But Yamagami-san pressed the point, so I decided that we had no choice but to give it a go.

     

    Iwata: And when you gave it a go, how did it work out? Kojima: Well, it rather pains me to say this, but it turned out to be a much easier way to do things! Iwata: (laughs)

     

    Kojima: We just attempted to create a single map, but it turned out well. When we actually did it, it was brought home to the staff very clearly and concretely that this was the kind of target we could work towards.

     

    Iwata: Being able to visualise your target is incredibly significant, especially with a game on this scale.

     

    Kojima: Right. It also made us aware of how much time we’d need to spend to produce one section, which was really great. But it was pretty gruelling all the same! (laughs)

     

    Yamagami: When that first chapter was made with Kojima-san’s cooperation, I could look at it and say: ‘And the final product will be even better than this!’ That is to say, I got an image of what the end result would be like. I think it was incredibly important for both Nintendo and Monolith Soft to both be able to share this common image.

     

    Iwata: Okay, let’s hear from Hattori-san next.

     

    Hattori: Okay. Iwata: When Yamagami-san initially told you that he wanted you to cast an objective eye over the scenario, how did you feel about it? Hattori: At first, I wasn’t sure what to do. Takahashi-san has a lot of long-standing fans, and Yokota-san had also told me how fantastic he was. Iwata: So you heard from Yokota-san, the huge RPG fan, how fantastic Takahashi-san was, then Yamagami-san told you that you had to match him...

     

    Hattori: That’s right! (laughs) And seeing as Takahashi-san is someone who’s paid his dues and has vast experience, I really wondered just what I’d be able to do. But in fact, the very first time I visited Monolith Soft and had the game structure explained to me while being shown that model, my heart really started racing.

     

    Iwata: So you were really excited by it too.

     

    Hattori: Yes, I was! (laughs) There was the fact that you could steadily climb further up the giant’s leg, and the fact that you could go to any part of the landscape you could see. It was a structure which really fired your sense of adventure, and it really did excite me. So I began by asking Takahashi-san all sorts of questions, so that I would share the same conception of how the game’s worldview could be realised.

     

    Iwata: So Hattori-san’s role was to look at the scenario and make comments about it from an objective position, taking into account the perspective of players who might not know much about the world Takahashi-san was creating. Did she ask some questions that were wide off the mark?

     

    Takahashi: No, no, not at all. I was actually really grateful for her input. There were a lot of instances where I’d be writing the scenario and be deeply engaged in taking things in a particular direction, and while I’d be really excited by it, Hattori-san would point out that she couldn’t really understand what we were getting at. One case in point is the game’s ending. Initially, we’d come up with what we felt was an ending with a rather explanatory feel. But in fact, she told us that even with this explanation, she couldn’t really understand it. When she pointed this out to me, I could see what she meant. There were things that seemed perfectly clear to us, but which were actually tricky to understand for players who didn’t have previous knowledge. If you’re referencing things that people know nothing about, it’s really a meaningless exercise, isn’t it?

     

    Iwata: Right. If you handle these things the wrong way, they’ll go right over some players’ heads.

     

    Takahashi: Another issue pointed out by Hattori-san which I can clearly remember concerns the girl named Fiora, the childhood friend of Shulk, the hero. There’s a scene where she’s fast asleep and you touch her hand. Hattori: Ah, that part! (laughs)

     

    Takahashi: This was initially a scene where Shulk touched her cheek to communicate his feelings for her. But Hattori-san pointed out that suddenly touching a woman’s cheek while she’s asleep could be construed as being a little creepy.

     

    Hattori: Well, the two of them aren’t lovers, after all. That’s why I thought it would be a little surprising for someone you weren’t in a relationship with to suddenly touch your cheek while you were sleeping. It would spoil the innocent, naive nature of their love, and would make you think: ‘Wait! Shulk’s being a bit forward, isn’t he?’ (laughs)

     

    Takahashi: I felt she had a point, and in the end we modified it so that he holds her hand. There were various cases like that, which was really interesting.

     

    Yamagami: In that way, we gave Takahashi-san our objective take on the scenario, by being conscious of how the world which he had conceived could be made easier for players to understand.

     

    Iwata: That sounds just like the relationship between a writer and their editor.

     

    Yamagami: That’s exactly what it was.

     

    Takahashi: It’s natural that when you are working on something by yourself, there will be parts which conform to your own personal tastes. Whether it was an emotional or structural aspect, all sorts of unbalanced sections like this were picked up on by Nintendo, for which I was really grateful.

     

    Iwata: A writer’s role is to create something sharp and striking. An editor takes a step back and aims to adjust the writer’s work so it’s heading in the right direction, suggesting things like: ‘This is clear, but this isn’t coming across’, or ‘If you want this to be clear, perhaps you should think about adjusting this’. When the writer and editor have a good relationship, then things go in the right direction. So I think we can say that this time round, you ended up with a good relationship.

     

    Takahashi: I agree. Thanks to this process, I believe that we’ve made a game that will be enjoyed by both RPG fans as well as a more general audience.

     

    To read that and say that it's not a Nintendo game, where Nintendo had no influence over the title is ridiculous! Even just taking the first paragraph into account and looking at Xenogears (which was only really half a game, as they crapped out on the 2nd disc) and Xenosaga, the difference in terms of how successfully Takahashi's vision was realised in Xenoblade in comparison to those 4 games is immense!

  9. Monolith were still 3rd party when they developed Xenoblade, right? Nintendo just picked them up after the EU release if I'm remembering right.

     

    Yeah, Intelligent Systems helped develop R.O.B. They do the dev kits as well. Never knew they were involved in the original Metroid until a couple of years ago.

     

    Nope. Just like that other guy before, you're thinking of Disaster DOC. Nintendo bought the company in April 2007. Xenoblade's development started that very same month...

     

    http://www.nintendo.co.uk/Iwata-Asks/Iwata-Asks-Xenoblade-Chronicles/Vol-3-The-Development-Process/2-From-Caution-to-Trust/2-From-Caution-to-Trust-208861.html

     

    Yamagami: We started work on the prototype in April 2007. To coincide with that, I got Yokota-san and Hattori-san from the Software Planning & Development Department involved in the project. Yokota-san was a real RPG expert, and I asked him to look at system-related issues in particular, while also combining with Kojima-san from Monolith Soft to work on the project’s overall direction. Hattori-san had experience of writing scenarios for Nintendo titles, so I asked her to take a step back and look over the scenario that Takahashi-san and (Yuichiro) Takeda-san had written from an objective standpoint.

     

    There's no way Fire Emblem isn't Nintendo, but the original argument is that we want more new IPs, not that there aren't enough already.

     

    But as I mentioned earlier, that argument is flawed. The fact that people here continue to completely ignore the myriad of new IPs that have been released (even the 9 new ones released in just the past year here in Europe alone!) shows that it's not "new IPs" that you actually want.

     

    You want something that fits the 4 criteria I mentioned before and nothing else will do.

  10. What is this? Fire Emblem is Nintendo. Intelligent Systems is a first party developer. Monolith Soft and Camelot are 3rd party (although Nintendo bought Monolith or something, didn't they?).

     

    The original Fire Emblem was released in 1990, if anything Final Fantasy Tactics and Tactics Ogre feel like Fire Emblem. I'd argue they are similar but not the same.

     

    Monolith Soft is fully owned by Nintendo, a 1st party and hence ARE Nintendo now. Likewise Intelligent Systems is a fully owned 1st party subsidiary of Nintendo (founded by former members of Nintendo R&D1 - so these people have been around since the very beginning of Nintendo's VG making days, before Miyamoto even!)

     

    And FE created the SRPG genre, so FFT and TO are indeed FE clones (to use an unfair tone - because they certainly aren't the same at all!)

  11. You're hung up on technicalities and admittedly there's no way I can argue with publishers, numbers, developers and who predates who. I'm not talking hard facts here, unfortunately, I know that must be frustrating for you.

     

    This is far more subjective, and circles around the fact that someone can create a character or idea that embeds itself in gaming history, spawns saturday morning cartoons and lunchboxes and leaves us wanting more 25 years later.

     

    We, the disillusioned, know what we're missing out on, Oxigen did a great job of detailing it. If we can't be satisfied without it, surely you can see that there's a gap there?

     

    I can understand it just fine and I pointed out that myself on the last page even!

     

    All I ask is that people are more specific when they ask for something. Instead of just blanketly stating that "Nintendo's last original game was Pikmin", just ask for what you actually want; A new character driven IP (containing no existing characters whatsoever), developed by EAD (and ideally directed or produced by Shigeru Miyamoto), released worldwide in physical form at retail with a big marketing push.

     

    It's all well and good wanting that (hell I'd love to see it myself!), but to tar the whole of Nintendo with the same brush is doing everyone there a great disservice.

  12. But that's what makes a Nintendo game. That's why we're here in the first place.

     

    Search your heart, you know it to be true.

     

    If we're gonna go down that route then rightfully, only Nintendo SPD games should count then. They're Nintendo's oldest studio (previously known as Nintendo R&D1) after all. Hell even HAL pre-dates EAD!

     

    In no way, shape or form is Pikmin more of a "real" Nintendo game than Rhythm Heaven. That's complete bollocks.

  13. I think it's very easy to understand what people are getting at/want:

     

    A "proper" (no minigame/partygame collections) new singleplayer IP developed by Nintendo EAD. Unlike other companies, Nintendo games have a particular feel associated with them and that's what people click with. Xenoblade, Golden Sun or Fire Emblem aren't "Nintendo" games (Xenoblade feels exactly like Xenogears, Golden Sun feels like Chrono Trigger/Final Fantasy/Dragon Quest and Fire Emblem feels like Final Fantasy Tactics and Tactics Ogre). Nintendo owns these games, yes, but they don't feel like Nintendo games. EAD, Retro and HAL are the subsidiaries that captures the feel of "Nintendo" games. And ever since launching Pikmin none of them has brought any major new (and COMPLETELY ORIGINAL) IPs to the table. So that's what's missing. That's what people want. That "Nintendo" feel, on something completely new. And NO, Steel Diver doesn't count.

     

    Edit - Just realized I made this exact same post 2 months ago. Lol, am phail.

     

    Case in point :heh:

  14. I think the doubt centers around the matter of whether one game constitues a franchise or just a standalone game. It doesn't seem likely that it would ever be returned to. Plus, the game was in development before the Wii was even released and then Nintendo bought Monolift Soft acquiring the IP in the process - it wasn't born in house, regardless of which internal team it may be.

     

    And whilst Golden Sun was the idea of the Takahashi brothers, it was a Nintendo IP's from the get go under the publishing agreement which falls into a murky area of whether you want to attribute the IP to Nintendo when talking about creation.

     

    Fire Emblem is all Nintendo though - no doubts there.

     

    You're thinking of Disaster Day of Crisis, not Xenoblade (and it was always a Monolith/SPD co-production anyway, so either way it was always a Nintendo owned and co-developed IP, just like Golden Sun)

     

    As for people only being interested in a game if it has a sequel (I.e, the "it's not a franchise" excuse), I don't think it holds water. The likes of Rhythm Heaven, Denpa Men, Pullblox and Chibi Robo aren't counted by these people, despite having numerous sequels in each respective series.

     

    No, I think that to make these people happy, it has to meet four criteria or else it "doesn't count".

     

    1: It must be a character driven game (and all characters in the game must be completely original) - So the different Wii____ series, Nintendogs, Big Brain Academy and Steel Diver don't count...

     

    2: It must be released worldwide with a big marketing push - So Another Code, Disaster DOC and Tomodachi Collection don't count...

     

    3: It must be released at retail (download games aren't "real" games supposedly...)

     

    4: It must be developed by EAD/Miyamoto. Nobody else exists at Nintendo...

  15. 2001

     

    Geist

    Odama

    Wii Series

    Endless Ocean

    Disaster: Day of Crisis

    Captain Rainbow

    FlingSmash

    Fluidity/Hydrophobia

    WarioWare

    Polarium

    Meteos

    Another Code

    Nintendogs

    Electroplankton

    Training Series

    Actionloop

    Big Brain Academy

    Elite Beat Agents

    Hotel Dusk

    Trauma Center

    Art Academy

    Various DSiWare Puzzle games

    Steel Diver

    Spirit Camera

    Freakyforms

    Pullblox

     

     

     

    Although I don't think all of them are completely owned by Nintendo, I think the majority are.

     

    That list is far from complete even! In fact, there were 9 new IPs released in the last year in Europe alone!

     

    Nov 2011-Dec 2012

     

    Freakyforms

    Pullblox

    Hana Samurai

    Dillon's Rolling Western

    Nintendo Land

    Pandora's Tower

    The Last Story

    Potzol's Puzzle

    The Denpa Men

     

     

    For 2013, we already have Harmo Knight, The Wonderful 101 and Sing Party coming to Europe in the first few months (but of course, they "don't count" because they're not coming from EAD...

  16. Genuine question, are you not tired of the Super Mario format? I'm not talking Galaxy, I'm talking NSMB. Even the previous two Zelda games haven't really taken the series forward. I loved Skyward Sword, but apart from finally getting the motions controls right, it still followed a format set by OoT, which says enough.

     

    Well to start off with, you've already ignored the existence of two Zelda games (which were radically different in terms of controls and game structure/level design and puzzle design)

     

    Secondly, the "OoT format" (which is actually the ALTTP format to be nit picky), has only actually been used by 3 games in the series (namely ALTTP, OoT and Twilight Princess - you can also sort of count Wind Waker, but it abandons the structure after the first 3 dungeons)

     

    In addition to 1-1 motion controls, Skyward Sword abandoned the open world design and level design format that has defined the series ever since the first ever Zelda game. Dungeons and overworld are no longer seperate, enemies are now puzzles in unto themselves and the level designs are designed with multiple uses in mind, backtracking or otherwise (hell you don't even necessarily use the dungeon's specific item to kill the boss anymore!) It was absolutely original. I can't see how anyone can look at Skyward Sword and say that it's just another OoT clone :confused:

     

    I'm pretty sure everyone would accept a new franchise from Retro.

     

    Nah, you still have people going around believing that Retro is separate from Nintendo. Same applies to Monolith (hell you can see it in this very thread, on this page even - and that's regarding an actual completely original new IP to boot!)

  17. TBH, I think that when people are asking for a "new IP" or a "new franchise", that's not what their literally asking for (since there have been loads of new IPs this generation). Instead they're, consciously or otherwise, asking for a new series starring new characters and not only that, they refuse to accept any new characters from any team other than EAD.

     

    While I believe it to be unfair to dismiss everything else that comes out of Nintendo, it's only when you are that specific that the arguments for Nintendo lacking new IPs makes any real sense (the whole, "Pikmin was the last original Nintendo game" argument).

     

    For me, I don't need to cling onto a new character in order to accept a new idea/concept from EAD (because there are plenty of games in long running EAD made series that could just as easily be all new IPs, starring all new characters. In fact, that's how they work! They make original concepts and slap on the characters that fit the game - if none fit, they make an original character)

     

    I can understand how others may feel differently on the matter though, even if they're not putting their point across succinctly. I do wish that the guys at EAD would get a chance to work on completely original concepts a bit more often (inside of outside an existing series) and that thy weren't so reliant on Mario to sell these concepts, but I don't just ignore all the new forms of gameplay that their sequels offer and everything that comes out of their non EAD studios.

  18. That'd be brilliant.

     

    Although my enthusiasm for Ghosts 'n Goblins is not quite as high since I realised it probably won't have Restore Points, will it? I can barely get past the first level!

     

    Well these are seemingly not Virtual Console releases so who knows what features they'll have?

     

    As long as the emulation quality is good, I'm happy. That's all I care about. I don't expect it to be up to the same standards as the VC, but with Backbone out of the picture it should be done by someone who actually gives a shit about the emulation quality at least :)

  19. Ohhhhh, did they later make sports resort a bundle package? I know at some point motionplus became standard, didn't know sports resort did too. What happened to regular wii sports?

     

    The two games got bundled together with the console, then finally in 2011, they removed both games from the bundle and sold them seperately (you can now buy Wii Sports solus seperately from the console as part of the Nintendo Selects range)

  20. Are you sure? This is all I could find for Ghosts 'n Goblins' hardware: http://en.wikipedia.org/wiki/Ghosts_%27n_Goblins#Arcade_hardware_info

     

    Ghouls 'n Ghosts was CP System, but that has significantly better graphics. CP System is things like Final Fight, Street Fighter II etc (and indeed, most of Capcom Classics Collection on the Xbox/PS2): http://en.wikipedia.org/wiki/CP_System#List_of_games

     

    Yeah, you're right. Sorry, must've gotten it mixed up with its sequel :blush:

     

    But despite that, I still suspect that this'll be the same set of games that was compiled for PS2/PSP before, so I reckon that it'll also include some CPS titles :)

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