Category Archives: GIGA: Play

Indie Alert: Trippy RPG – Y2K

Ackk Studios is working on a 3D, turn-based, Japanese-style RPG: Y2K—that takes me back, I’m old. Players control an unemployed college graduate, Alex. Alex is on a quest to find answers behind the death of a young woman: her life is claimed by an erratically behaving elevator.  During his search through ’90s message boards, Alex learns about a “Death Cab” roaming the city and countryside and the death toll surrounding it.

Alex Eggleston
Alex Eggleston

I love the look of this game. The art style is what really caught my attention. It’s bright, fun and unique: a psychedelic, trippy trip.

Battle scene in Y2K
Battle scene in Y2K

Enemy encounters are much like any other RPG, except when you kill an enemy it’s gone forever. Most of your grinding will take place in Mind Dungeons, where you will find chest that contain special moves you can’t find outside the dungeon. Defeating enemies and talking to NPCs will unlock keys to the Mind Dungeons.
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Players will have control over how quickly the battles move. Speeding up battles will make inputting dodge and combo attacks in real time a little difficult.  When you take damage, a meter will start to fill up. Once the meter is full, players can slow the battle down and pull off dodges and attacks more easily.

I'm assuming this is part of the Mind Dungeon
I’m assuming this is part of the Mind Dungeon

I’m excited about this game. The story sounds crazy, but I’m intrigued. Ackk Studios promises a story-heavy, “gripping narrative, an expansive world, memorable characters and an emotionally moving score.” I can’t wait.

Ackk Studios is shooting for a late 2015 or early 2016 release on the PS4, PS Vita, PC and Wii U.

GIGA Sugar Challenge!

Sugar, Sugar. I got to level 19, I don't see anyone beating that any time soon.  Boom.

~Jack~

Tutorial

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Who Should Buy Capcom’s Games

The recent news that Capcom is “for sale” after losing its buy protection has left gamers stunned. This is a company with a 30-year history in the gaming world going all the way back to the NES. Their library of games rivals Nintendo and Sega in size, popularity, and notoriety. Now, much like Rareware in the early 2000s, Capcom or its intellectual properties could be purchased by the highest bidder. What will its future be? Nobody knows.

This may not be a bad thing, though. Barring the entire company getting bought, here are the developers I think should purchase Capcom’s many properties.

Megaman-Collage11. MegaMan—among other things—should go to Nintendo

The Blue Bomber is practically Capcom’s mascot. He was a staple of both the NES and SNES. He single-handedly put Capcom on the map. Yet the company has all but ignored him for years.  MegaMan Universe was canceled, a game that was supposed to celebrate his 25th anniversary, in favor of funding the fan-made game Street Fighter x MegaMan. He was snubbed for Marvel vs. Capcom 3, but (sorta) appeared in Street Fighter x Tekken. Then Nintendo throws MegaMan into the next Super Smash Bros. and reminds everyone why he’s cool.

It’s settled. Nintendo should buy MegaMan; they treat him with respect. They have a history of creating amazing platformers and 3D action/adventure titles full of heart and excitement. Nintendo is the Pixar of video games, after all. But it shouldn’t stop there—Nintendo should grab Capcom’s other classic titles like Ghosts and Goblins and Commando for that reason. Capcom’s more off-kilter games like Ace Attorney and RPGs like Breath of Fire would be well-suited for Nintendo, too.

61GJ5W67RQL._SY300_2. The Clover Studio titles should go to Platinum Games

In the mid-2000s, Capcom was host to Clover Studio, a team of game developers known for quirky games that oozed cool. These included the Viewtiful Joe series, Okami, and God Hand. Eventually, though, Clover was disbanded. Since then, the team has gone independent and renamed itself several times. Currently, they are Platinum Games, who made the hit game Bayonetta.

This is a prime opportunity for them to reacquire what was originally theirs and revive them. Capcom has done little with any of Clover’s characters except feature them in Marvel vs. Capcom 3. Platinum could finally make a third Viewtiful Joe game and complete the story, among other things.

Darkstalkers_Resurrection3. Darkstalkers should go to Arc System Works

Darkstalkers was Street Fighter for goths. The series was steeped in horror tropes and featured characters who were re-imaginings of classic Universal monsters like Frankenstein and the Wolfman. While a few of its characters—most notably the succubus Morrigan—have appeared in other games, the series has been largely ignored (noticing a pattern here?).
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Arc System Works, which created Guilty Gear and BlazBlue, should buy this series. Those games have similar sensibilities and Arc has a great track record at making hyperactive, story-driven, and bizarre fighting games. Plus, there were rumors a decade ago of a crossover game between Darkstalkers and Guilty Gear. If Arc buys Darkstalkers, this crossover could become a reality!

256px-DMC1FrontCover4. Devil May Cry should go to Ninja Theory

This is a no-brainer. Ninja Theory already rebooted Capcom’s action/horror series in 2013. While that game annoyed some of the series’ hardcore fans, it was a successful re-launch. Ninja Theory could continue this new “alternate reality” series and make a fifth game for the original.

sengoku-basara-samurai-heroes-box-art5. Sengoku Basara goes to Tecmo/Koei

Again, another no-brainer, but for different reasons. Sengoku Basara is Capcom’s version of Koei’s long-running Dynasty Warriors hack-and-slash games. In fact, Sengoku features some of the same characters, albeit with different designs. Since the two are pretty much the same game, Koei would be remiss not to buy it, if for no other reason than to eliminate competition. A better thing Koei could do would be to have a weird crossover game involving inter-dimensional travel.

capcom_digital_collection_games6. Everything else should go to Sony

Street Fighter, Final FightResident Evil, and a host of other games belong at Sony (assuming they don’t buy all of Capcom). Why? For the simple reason that the majority of Capcom’s fanbase plays Sony’s consoles. Xbox, despite its impressive specs, isn’t nearly as popular in Japan. Nintendo’s consoles have lacked top-of-the-line hardware and have become less appealing to hardcore gamers. Sony, however, has neither of those issues. Plus, Capcom recently announced it is making an exclusive game for the PS4.

With the right teams, Sony could maintain the momentum of Street Fighter and reinvigorate the faltering Resident Evil. Plus, the companies have a past relationship. Sony was Capcom’s company of choice in the late ‘90s and early 2000s, creating many exclusive titles for the PS1 and PS2. Sony knows better than to ruin Capcom like Microsoft did with Rareware.

What do you think? Should Capcom’s games be bought piecemeal or as a whole? Who should buy them?

Mega-Music: A Review of History Repeating: Red

History Repeating: Red (Image courtesy of The Megas)
History Repeating: Red (Image courtesy of The Megas)

Popular performers have inspired countless cover/tribute bands, so why not classic video game music? What was once an underground movement with names like “Nintendocore” has grown into a subgenre within indie music.

One of the most popular of these bands is The Megas, a California-based quintet who make music about Capcom’s classic MegaMan games. The band has been around for nearly a decade and produced three EPs and four albums. Each is a concept album—a practice rarely done in mainstream music outside bands like Coheed & Cambria—pertaining to a particular MegaMan game. However, the band’s re-imaginings of the games’ simple stories expand on their themes and characterizations. The results range from tongue-in-cheek humor to Isaac Asimov-esque seriousness. The Megas have been slowly going through the entire MegaMan game series since their first EP. With their latest release, History Repeating: Red, they’ve completed an epic five-year project that retells MegaMan 3.

This is the conclusion of a two-part album, another rarely used convention. Part one was their previous album, 2012’s History Repeating: Blue. This makes Red somewhat difficult to review. Should it be evaluated as a stand-alone album or as part of the larger story? I’ve decided to do the former.

The subtitles are references to MegaMan and his “older brother,” ProtoMan. The previous album focused on MegaMan and what others thought of his crusade, but with Red, the focus has shifted to ProtoMan, who was mostly silent in Blue. The Megas present ProtoMan as a cynical and misguided hero, and his voice propels the second half of the story.

The album begins with a new version of “Fly on a Dog,” a song previously released on an EP. It’s both a cover and expansion of MM3’s stage select music. This version is similar to the EP version except it has more synth and re-recorded vocals. It’s a fitting start since MegaMan, who has been questioning the morality of his actions, is steeling himself for the coming battles thanks to his robot dog Rush joining him.

The subsequent four tracks are examples of one of The Megas’ trademarks: covers of each Robot Master’s stage theme that infuses each character with quirky personalities. “Harder Than Steel,” paints Hard Man as an old boxer making a comeback. It oozes ‘80s nostalgia and sounds like it belongs in a Rocky movie’s training montage. This idea came to The Megas because they thought Hard Man’s weapon looked like iron-clad boxing gloves (I just figured he fired his fists at MegaMan, personally). Interestingly, it seems to present Hard Man as the hero.

“GeminEye” begins in an almost Pink Floyd-like manner with the sounds of a coin drop and a rotary phone being dialed. It quickly shifts into a quasi-jazz piece that presents Gemini Man as a private detective hired to track down a client’s would-be killer. Or, more likely, Gemini Man is talking to one of his doubles.

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“The Red Song” is another Megas trademark. It’s a short transitional piece that leads into the next track. It’s more accurate to call it a sound mix than a song, but it does include ProtoMan’s whistle. This leads into “I’m Not the Breakman,” the album’s first single, a cover of MM3’s “Weapon Get” music. Here ProtoMan enters. The lyrics are a gut-wrenching monologue by the rogue robot as he laments MegaMan’s actions. This stems from feelings of abandonment with their creator, Dr. Light.

“Make Your Choice” is difficult to peg musically. It might be a cover of the final Dr. Wily stage music, but if it is, it’s so different the song borders on being original. The synth-heavy piece is another monologue by ProtoMan, but this time he’s addressing MegaMan, telling him to choose between reality or delusional ideals.

MegaMan answers in “I Refuse (to Believe),” a cover of MM3’s boss fight music. This is where everything comes to a head. MegaMan addresses Dr. Light and then ProtoMan and proclaims, “I refuse to believe/I’m nothing more than a machine,” and forges ahead to take down Dr. Wiley. (What’s funny is another line in the chorus, “I will not kill!” has inspired a meme-like joke among Megas fans because it was misheard as, “I will not kale!”)

Finally, after all this intensity, comes the two-part album’s denouement, “Melody from the Past,” a poetic and touching ballad based on MM3’s closing theme. In a final monologue, ProtoMan finds inner peace as he observes the aftermath of MegaMan’s victory. He admits he was wrong and forgives Dr. Light. The song is thematically and emotionally rich. It wraps everything up, but leaves room for future albums.

The Megas are notorious for taking forever to produce new music, but like Blizzard Entertainment, when they do release a new product, it’s beyond good. These young men are gifted musicians who just happen to make music about their favorite video-game hero. They’ve learned much from their first album, Get Equipped, and it shows. While History Repeating: Red starts a bit slow, it builds to an epic crescendo. Their musical styling remains diverse and their lyrics have only gotten better.

When will there be a MegaMan 4 album?

Final Grade: A

Top 5 ’80s Cartoons

The 1980s was the decade of big hair and even bigger on-screen heroes. While Rambo, Rocky and RoboCop dominated at the box office, there were just as many larger-than-life heroes on the small screen, often in animated form. The ’80s was, for many Gen-Xers and Millennials, the renaissance of cartoons. They were full of colorful characters, exciting adventures and daring creativity. Many of them still hold up today.

So, here are my top five best ’80s cartoons.

#5: DuckTales (1987-1990)

DuckTales_Title_Card

Inspired by the Uncle Scrooge comic books created by the famous Carl Banks, this Disney show had something for everyone. It followed the adventures of Scrooge McDuck, the richest duck in the world, and his grandnephews: Huey, Dewey, and Louie. The supporting cast included characters like Scrooge’s pilot Launchpad McQuack (who later becomes a superhero sidekick in Darkwing Duck) and the inventor Gyro Gearloose. Even Donald Duck would make an occasional guest star appearance.

Every episode was different: time travel, mystery, or treasure hunting. Sometimes all in the same episode. The characters might squabble or let their own faults get them into trouble, but in the end, they pulled together. They would survive using their own wits. Couple that with smart scripts, superb animation and a catchy theme song, and you have a recipe for a classic cartoon.

#4: The Real Ghostbusters (1986-1991)

The_Real_Ghostbusters_1986_Title_Card

It was inevitable that a cartoon based on the 1984 mega-hit Ghostbusters would manifest. Unlike most cartoons based on movies, this one was a direct sequel to the film (and arguably a better one than 1989’s Ghostbusters 2), showing the continuing adventures of the original ghost hunters. Produced by DiC Enterprises, it retained the humor and oddball horror of the film, often daring to explore concepts that might be considered taboo in children’s television (how many kids’ shows would dabble in Cthulhu mythos?)

What may surprise many is the sheer amount of talent in the show. J. Michael Straczynski, creator of Babylon 5, wrote many of its 147 episodes. The voice cast included Frank Welker as Slimer and Arsenio Hall as Winston. In an ironic twist, Lorenzo Music, who voiced Garfield the cat, played Peter Venkman, the character played by Bill Murray in the film. Years later, Murray voiced Garfield in two movies.

While ghosts like Slimer and the Stay-Puft Marshmallow Man returned, the series featured freaky and imaginative designs for its new creatures. Despite being a comedy, I’m sure these creatures were potent nightmare fuel for many ’80s kids. Regardless, this was what all movie tie-in shows should be.

#3: ThunderCats (1985-1989)

thundercats-logo - Copy

This was a show that sounds stupid on paper (super-powered cat people battling an evil super-mummy?!), but was awesome in execution. Indeed, it was one of the most unique cartoons of the ’80s or any other era. It followed the exploits of a group of humanoid cat people after they crash-land on a new planet to form a new empire, only to be accosted by the nefarious Mutants and the diabolical sorcerer Mumm-Ra.

While created by Tobin “Ted” Wolf and produced by Rankin/Bass (yes, the studio that made all those stop-motion Christmas specials), it was animated by a Japanese studio that went on to form Studio Ghibli. This gave the series a distinct look that was one part western animation and one part anime. The show also blended science fiction and fantasy, featuring magic, robots and spaceships, often in the same episodes. Couple that with an awesome soundtrack (including the most butt-kicking theme song ever), and in no time everyone was shouting, “ThunderCats, ho!”

#2: G.I. Joe: A Real American Hero (1983-1986)
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Hasbro’s G.I. Joe action figures had been around since the 1960s, but for most people it was this show that introduced them to the “real American hero.” This series produced by Sunbow and Marvel Entertainment took that one character and made him into an entire army of special ops soldiers. The concept is simple, as the theme song explains.

It was the penultimate boys’ show, what with being steeped in ’80s action movie tropes and full of corny one-liners. It was action-packed with plenty of explosions, but rarely did anyone ever get hurt—that was part of the show’s charm. Not to mention the villains, who seemed to overshadow the heroes. Everyone remembers the incompetent Cobra Commander, the metal-faced Destro, and Slavic-sounding Baroness. They were as much a threat to each other as they were to the Joes!

The show ended in 1986 after the release of G.I. Joe: The Movie, but a sequel series produced by DiC ran from 1989-1991. Unfortunately, while it arguably had the better theme song, the show itself couldn’t compete with the original. “Yo Joe!”

#1: Transformers (1984-1987)

G1Season1Logo

Why is this show, another Hasbro toy-based series created by Sunbow, at the top of the list? Because it created the most successful franchise of any other ’80s cartoon.

First, it’s based on toys that embody the trifecta of everything boys love (cars, robots, and puzzles). Second, it created an expansive science fiction mythology for why the heroic Autobots and evil Decepticons are constantly warring against each other. Third, it has iconic characters on both sides, not the least of which being the Autobots’ leader, Optimus Prime. For many children of divorce in the ’80s, Prime was a surrogate father. Fourth, incredible voice actors, including Peter Cullen (Prime), Frank Welker (Megatron and others) and Chris Latta (Starscream). Fifth, it was a gutsy show. In the (in)famous Transformers: The Movie, the series revamped itself for its final two seasons, killing characters, introducing new ones, and opting for darker stories. While it would prove to be the show’s downfall, it was still a bold move.

Transformers spawned several sequel series both in Japan and the U.S., most notably The Headmasters and Beast Wars: Transformers, respectively. New series, toys, comics and blockbuster films set in new continuities have been produced constantly for 30 years. Despite all these revamps, the core concept remains the same: the eternal struggle between good and evil—except featuring giant robots.

Honorable Mentions:

Teenage Mutant Ninja Turtles (1987-1996)

This show, based on one of the quirkiest comics ever, was undeniably the most popular cartoon in the late ’80s. It ran for 10 seasons, making it the longest-running animated series of all time until it was eclipsed by The Simpsons. That, however, is why it didn’t make the list: the majority of its episodes aired in the 1990s. It ended up being more indicative of that decade. Still, the Heroes in a half shell have their place in pop culture.

Defenders of the Earth (1986-1987)

Before Bruce Timm’s Justice League series, there was this show. Several lesser-known but iconic superheroes—Flash Gordon, the Phantom, and Mandrake the Magician—join forces to battle the machinations of Ming the Merciless. Their team included Mandrake’s assistant, Lothar, and the team members’ kids. What most people don’t know is comic book legend Stan Lee served as the show’s story editor and wrote the lyrics to its catchy theme song. It’s well-worth tracking down on DVD.

Did your favorite show make my list? Which shows do you think should be included?