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#Depicting: Nintendo Entertainment System

celestialpaperhaze · 3 months

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Dimentio Analysis

My thoughts on this Dimentio post, recently shared with me by @iukasylvie! The post: https://altermentality.wordpress.com/2016/02/10/flair-for-the-dramatic/.

! CONTAINS SPOILERS FOR SUPER PAPER MARIO !

Okay before I address the article, I should establish my own Dimentio headcanons. I see our silly jester as a sociopath, in that he can't feel love in the same way as other people. Like Bleck, he has a void inside of him, but Dimentio fills it by feeding off of others. Basically, he likes playing around and taunting people because of how emotionally reactive they are, it's how he fills himself up. Mimi's his favorite to mess around with because she's VERY reactive. As for why he wants his own world: he wants to put on a show. The whole of existence, dedicated to entertaining him. The only characters I can liken this to are the Celestial Toymaker (DW) and the Collector (TOH).

Now first off, the article references SPM in the context of "commedia dell'arte", which was a form of theater in Italy during the Renaissance. This form of theater had three types of characters: innamorati (the star-crossed lovers), vecchi (the powerful elders of society), and zanni (the clowns). The common plot of these plays? Two young lovers, hindered by the elders, who end up turning to the zanni to reach a happy ending.

Of course, Dimentio is a zanni character type. He may not help the Count reach his happy ending directly, but his actions do lead to the wedding with Tippi so, in a sense, this does fit the archetype. And of course, I don't have to tell you who the innamorati characters are. Anyone who knows a lick about Shakespeare probably already knows the love story of Blumiere and Timpani uses a pretty strong "forbidden love" trope, but it's interesting to see this somewhat supported by other forms of theater arts! To say Nintendo and Intelligent Systems had commedia dell'arte in mind when writing SPM's story would be a stretch, but it's always cool to see some elements match across different eras and types of storytelling.

Moving on, does Dimentio care about the other minions? The article eventually concludes that yes, he must, because how could you live in a castle with four other people and not grow to love them? My headcanon lines up with this pretty well--after all, Dimentio words the Count's lie about creating a new world as a "betrayal", and a betrayal facilitates caring enough to trust someone in the first place (points at Olly's entire arc with Olivia in The New Void). But Dimentio doesn't know *how* to love, and his version of "care" is different. He likes having the others around, but as players in his game, as entertainment. That's how he sees it. He fixates on them specifically for a reason he'd never care to explain.

New Void Spoilers Below.

You could say he fixates on Luigi, too, which might seem strange when they had far less time together. Shipping aside, I think canonically Dimentio fixes on Luigi because he's the key to everything, he's a highly valuable asset and Dimentio knows it. In the New Void, this isn't exactly the case. Dimentio doesn't have anything to gain by making Luigi suffer, it's just pure fun. Sure, he COULD torment some Shaydes or D-Men instead, but they're dead and they're boring. Dimentio's also been in the Underwhere for...awhile, and Luigi is a familiar face. In his own way, Dimentio's been a little lonely. It's just that, his way of acting on this feeling is to turn it into a game of psychological warfare...

New Void Spoilers End.

Overall, the strongest part of the article is the description of Dimentio's ideal world. Don't get me wrong, I'm a big fan of darkmarxsoul's Chaos Trilogy, but this depiction of Dimentio's universe might be the best I've ever seen. “Dimentio’s goal is to maximize the amount of drama in the universe…a world with the dials of mortal anguish and despair and even joy set to maximum volume, and the banishment of the mundane. A world where he pulls all the strings to ensure this happens. The Ultimate Show.” Chilling! It's like Bill Cipher's whole Weirdmageddon deal, except rather than maximizing weirdness, DImentio would be maximizing drama, flair, and theatrics. All the world's a stage, and whatnot.

I LOVE this idea for a world of his so much that it's a wonder I haven't started writing fics centered around it already! All these new people living what they think are just ordinary lives, not knowing that it's all being orchestrated by a being that craves mere entertainment. Life as a musical, maybe a comedy tomorrow, or maybe a tragedy next week--all because Dimentio wants it to be. I mean, that's absolutely horrifying when you think about it! Enough for a brief existential crisis maybe! But it's also very cool >:)

In summary: what do we think about Dimentio? I think he's a sociopath who doesn't understand love but desperately wants to be entertained. The article's description of Dimentio's ideal world is scarily accurate and also has a LOT of fanfic potential. Dimentio himself is fun and silly, but also dangerous and probably not someone you'd want to interact with in real life.

As this is my opinion/interpretation, I'm too biased to say whether or not this aligns well with canon. But what do you think? Do you think this all fits Dimentio perfectly, or do you have other thoughts?

#paper mario #super paper mario #dimentio super paper mario #dimentio spm #headcanon #fanfic ideas #character analysis

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rickyreeves1980 · 9 months

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Jungle Strike (subtitled The Sequel to Desert Strike, or Desert Strike part II in Japan) is a video game developed and published by Electronic Arts in 1993 for the Sega Genesis/Mega Drive. The game was later released on several other consoles such as the Super Nintendo Entertainment System (SNES), and an upgraded version was made for DOS computers. The Amiga conversion was the responsibility of Ocean Software while the SNES and PC DOS versions were that of Gremlin Interactive, and the portable console versions were of Black Pearl Software. It is the direct sequel to Desert Strike (a best-seller released the previous year) and is the second installment in the Strike series. The game is a helicopter-based shoot 'em up, mixing action and strategy. The plot concerns two villains intent on destroying Washington, D.C. The player must use the helicopter and occasionally other vehicles to thwart their plans.

Its game engine was carried over from a failed attempt at a flight simulator and was inspired by Matchbox toys and Choplifter. Jungle Strike retained its predecessor's core mechanics and expanded on the model with additional vehicles and settings. The game was well received by most critics upon release. Publications praised its gameplay, strategy, design, controls and graphics.

Jungle Strike features two antagonists: Ibn Kilbaba, the son of Desert Strike's antagonist, and Carlos Ortega, a notorious South American drug lord. The opening sequence depicts the two men observing a nuclear explosion on a deserted island, while discussing the delivery of "nuclear resources" and an attack on Washington D.C.; Kilbaba seeks revenge for his father's death at the hands of the US, while Ortega wishes to "teach the Yankees to stay out of my drug trade".

The player takes control of a "lone special forces" pilot. The game's first level depicts the protagonist repelling terrorist attacks on Washington, D.C., including the President's limousine. Subsequent levels depict counter-attacks on the drug lord's forces, progressing towards his "jungle fortress". In the game's penultimate level, the player pursues Kilbaba and Ortega to their respective hideouts before capturing them.

The final level takes place in Washington, D.C. again, where the two antagonists attempt to flee after escaping from prison. The player must destroy both Kilbaba and Ortega and stop four trucks carrying nuclear bombs from blowing up the White House. The PC version also extends the storyline with an extra level set in Alaska, in which the player must wipe out the remainder of Ortega's forces under the command of a Russian defector named Ptofski, who has taken control of oil tankers and is threatening to destroy the ecosystem with crude oil if his demands are not met. Once all levels are complete, the ending sequence begins and depicts the protagonist and his co-pilot in an open-topped car in front of cheering crowds.

Jungle Strike is a helicopter-based shoot 'em up, mixing action and strategy. The player's main weapon is a fictionalised Comanche attack helicopter. Additional vehicles can be commandeered: a motorbike, hovercraft and F-117. The latter in particular features variable height and unlimited ammunition, but is more vulnerable to crashes. The game features an "overhead" perspective "with a slight 3D twist". The graphics uses a 2.5D perspective which simulates the appearance of being 3D.

Levels consist of several missions, which are based around the destruction of enemy weapons and installations, as well as rescuing hostages or prisoners of war, or capturing enemy personnel. The helicopter is armed with machine guns, more powerful Hydra rockets and yet more deadly Hellfire missiles. The more powerful the weapon, the fewer can be carried: the player must choose an appropriate weapon for each situation. Enemy weapons range from armoured cars to artillery and tanks.

The player's craft has a limited amount of armour, which is depleted as the helicopter is hit by enemy fire. Should armour reach zero, the craft will be destroyed, costing the player a life. The player must outmanoeuvre enemies to avoid damage, but can replenish armour by means of power-ups or by airlifting rescued friendlies or captives to a landing zone.

Vehicles have a finite amount of fuel which is steadily depleted as the level progresses. Should the fuel run out, the vehicle will crash, again costing the player a life. The craft can refuel by collecting fuel barrels. Vehicles also carry limited ammunition, which must be replenished by means of ammo crates.

#ea games #video games #retro gaming #sega genesis #16 bit games #90's games #jungle strike

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quocanhh55 · 1 month

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WEEK 9: GAMING COMMUNITIES, SOCIAL GAMING AND LIVE STREAMING

1. History of video games

Video games are interactive digital games that are played on many platforms, such as smartphones, computers, or consoles. They mainly feature one or more players participating in a virtual environment, controlling characters to accomplish objectives, overcome challenges, and meet goals in the game.

The history of video games began in the 1950s - 1960s when programmers started creating basic games and simulations on early-aged minicomputers. A remarkable example of them is Spacewar!, which was designed by the students of MIT in 1962. The game depicts a simple space combat scenario, where two players control spaceships and engage the battle in a 2D space environment.

Thanks to SpaceWar! and other early-aged video games, the foundation for the industry of gaming had been laid. In 2005 and 2006, Microsoft’s Xbox 360, Sony’s PlayStation 3, and Nintendo’s Wii kicked off the modern age of high-definition gaming (Editors 2017). These days, video games are being more and more developed with modern technologies, 3D dimension environments, stunning graphics… Newer control systems and family-oriented games have made it common for many families to engage in video game play as a group. Online games have continued to develop, gaining unprecedented numbers of players (University of Minnesota Libraries Publishing 2016). The most remarkable of them are League of Legends, FC Online, Fortnite… With a huge number of players, high-resolution graphics, and competitive gameplay, they dominated most game markets in many countries and opened a new environment for gamers to show off their abilities.

2. The culture of gaming

Since the gaming industry began to develop, it also formed the culture of playing video games. It consists of the popular attitudes, behaviors, and practices that surround gamers and their communities. One of the most popular stereotypes about gamers is that they are considered to be mainly young people, white or East-Asian, and predominantly males. According to the Entertainment Software Association’s 2018 recent report, 45% of gamers in the U.S. are female. However, among core gamers, males dominate, making the female statistic somewhat misleading (Fu n.d.). Sexism and inappropriate behavior towards females are commonplace. Players appear to conform to stereotypical masculine norms and tend to maintain a male-dominant hierarchy.

Besides the dominance of males in old stereotypes about video games, the culture of nerd and geek is also another remarkable stereotype. Gamers are mainly seen as nerdy, lazy, and unattractive. They are also considered not to have stable study or job occupations, most of the time focusing on video games. The view from the society to them is mainly negative as they are seen to have no beneficial contribution to the community. However, on the other hand, those people are highly welcomed in gaming communities, who share with them many similar interests and behaviors.

3. Gaming communities

Since the birth of video games, players have always been looking to find like-minded people. From the first pixel adventures to today’s multiplayer online worlds, gaming communities have played a huge role in transforming games from mere entertainment to true cultural phenomena (Games 2023). These communities mainly take place in online games environments or social media such as Steam Community, Discord, Reddit… A number of them can also bond together by performing real-life activities. There have been gaming events which are hosted to showcase technologies and connect gamers such as Gamescom, Taipei Game Show, DreamHack… In Vietnam, these occursions are becoming more popular as they can be hosted locally with a small number of gamers in local gaming centers or huge tournaments in arenas. Communities of reputable games such as Gunny, League of Legends, and FC Online are the main contributors to the shared environment. A number of them also take part in community movements such as MixiGaming. In 2020, the group donated about 200 million VND to build bridges for a remote mountainous village in Cao Bang province and used the residue funds to give bicycles to children with difficulties traveling to their schools. These activities improved the image of gaming communities in many people, influencing them to change their thoughts about gaming culture.

4. Live-streaming in gaming culture

The donations of MixiGaming mainly come from live streaming sessions of Do Mixi, a reputable gamer in Vietnam. He conducted live videos and publicized all the received money to maintain transparency of the fund. Live-streaming is also an attractive point not only for him but also for many gamers. Video game live streaming is a kind of real-time video social media that integrates traditional broadcasting and online gaming (Li, Wang & Liu 2020). In recent years, the online broadcast industry has developed rapidly with the emergence of various live-streaming platforms, such as Twitch, YouTube, Douyu, Huya, and so on. In 2016, Twitch and YouTube Gaming had more than 470 million regular visitor members in 2016 (more than 50% of gamers in the US, Europe, and Asia Pacific). In recent years, the market for this type of gaming media has even increased more sharply, making it an ideal market for many streamers. From these live-streaming sessions, communities are formed around them as the streamer attracts several viewers. They can make a great contribution to other content of the live streaming channels, whether to give suggestions for the next video or be on stage with the streamer. The phenomenon gave birth to many communities and improved the influence of gamers, making live streaming a lucrative market and developing the gaming industry as well.

References:

1. Editors, H com 2017, Video Game History, HISTORY, viewed 21 March 2024, https://www.history.com/topics/inventions/history-of-video-games#modern-age-of-gaming. 2. Fu, D n.d., A Look at Gaming Culture and Gaming Related Problems: From a Gamer’s Perspective, viewed 21 March 2024, https://smhp.psych.ucla.edu/pdfdocs/gaming.pdf. 3. Games, BG 2023, Gaming Communities: The Rise and Impact of Gaming Communities on the World of Video Games, Medium, viewed 21 March 2024, https://bggames.medium.com/gaming-communities-the-rise-and-impact-of-gaming-communities-on-the-world-of-video-games-1fec152f649f. 4. Li, Y, Wang, C & Liu, J 2020, ‘A Systematic Review of Literature on User Behavior in Video Game Live Streaming’, International Journal of Environmental Research and Public Health, vol. 17, no. 9, p. 3328. 5. University of Minnesota Libraries Publishing 2016, 10.2 The Evolution of Electronic Games, open.lib.umn.edu, University of Minnesota Libraries Publishing edition, 2016. This edition is adapted from a work originally produced in 2010 by a publisher who has requested that it not receive attribution.

#mda20009 #digital communities #swinburne #week9 #gamer #gaming community #livestream #gaming culture

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boredtechnologist · 4 months

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"Vigilante" for the PC Engine console

Released in 1988 for the PC Engine (TurboGrafx-16 in North America), "Vigilante" represented a significant milestone in the evolution of beat 'em up games on home consoles. Originally developed by Irem as an arcade game, it was subsequently adapted for the PC Engine, showcasing the console's ability to deliver arcade-quality experiences in the home. "Vigilante" not only pushed the technological capabilities of the PC Engine but also stirred controversy with its promotional artwork, highlighting the complex interplay between video game content, marketing, and audience reception during the late 1980s.

Historical Context

During the late 1980s, the video game industry was rapidly evolving with the transition from 8-bit to 16-bit technology. The PC Engine was at the forefront of this transition in Japan, boasting superior graphical and audio capabilities compared to many of its contemporaries. "Vigilante" was released during this transformative period and was part of a broader trend of arcade games being ported to home consoles, a practice that allowed gamers to enjoy arcade hits without leaving their homes.

Gameplay and Technological Innovations

"Vigilante" continued the tradition of side-scrolling beat 'em up games, following the success of titles like "Kung-Fu Master" (also by Irem) and "Double Dragon." The game involves the player taking on the role of a vigilante who must rescue his kidnapped girlfriend from a gang known as the "Skinheads." This premise drives the player through five distinct levels, each filled with numerous enemies and a boss character.

Technologically, "Vigilante" utilized the PC Engine's advanced graphics hardware to reproduce the detailed backgrounds and character sprites seen in the arcade version. The smooth scrolling and sprite-scaling capabilities were particularly notable, demonstrating the PC Engine's ability to handle dynamic visual effects that were crucial for maintaining the fast-paced action and visual depth of arcade games.

Controversial Artwork

The artwork used in the marketing and packaging of "Vigilante" drew controversy for its depiction of violence and its potential racial undertones. The original arcade release and some versions of the game featured artwork that included aggressive imagery and characters that some interpreted as promoting racial stereotypes, particularly the portrayal of the gang members. In an era where video game content was beginning to come under closer scrutiny for its impact on younger audiences, the artwork of "Vigilante" sparked discussions about the social responsibilities of game developers and publishers.

Moreover, the depiction of vigilantism raised ethical questions about the messages video games were sending regarding justice and self-help justice. These themes, combined with the game's violent content, contributed to the ongoing debates about the regulation of video game content and the need for content rating systems, which would later result in the establishment of organizations like the Entertainment Software Rating Board (ESRB) in the United States.

Cultural Impact and Legacy

"Vigilante" contributed to the popularization of the beat 'em up genre on home consoles, proving that the PC Engine was capable of bringing the arcade experience home. Its release helped cement the PC Engine's reputation as a system capable of rivaling more established platforms like the Nintendo Famicom (NES) and the Sega Genesis in terms of game quality and variety.

The controversy surrounding its artwork also played a role in highlighting the growing influence of video games in popular culture and their potential for controversy. It underscored the need for the video game industry to consider its broader social impact, particularly in terms of content presentation and marketing.

Conclusion

"Vigilante" for the PC Engine is a noteworthy example of the complexities involved in adapting arcade games to home consoles both from a technological perspective and a cultural one. It showcases how technological advancements in gaming hardware can expand the possibilities for game design and presentation, while also illustrating the challenges developers face in responsibly managing content that resonates with and impacts a diverse audience. As such, "Vigilante" remains a significant title in the history of video games, remembered both for its gameplay innovation and its role in broader cultural discussions.

#Vigilante #PC Engine #turbografx #HuCard #irem #Game #Retro #Retro game #Retrogame #Retro gaming #Retrogaming #Pixel Crisis

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jcmarchi · 4 months

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40 Years Later, Nintendo's Famicom Is Still Ahead Of Its Time

New Post has been published on https://thedigitalinsider.com/40-years-later-nintendos-famicom-is-still-ahead-of-its-time/

40 Years Later, Nintendo's Famicom Is Still Ahead Of Its Time

Introduction

As 1983 came into focus, the future of video games in North America looked bleak. Store shelves were crowded with poorly made games, and consumer interest waned substantially. Developers that ushered in the “golden age” of arcades and the first two generations of home consoles began to crash and burn at an alarming pace. In no time, the once billion-dollar industry was reduced to rubble.

In the summer of that same year, in Japan, gaming giant Nintendo released its first-ever home console with swappable cartridges. With its striking red and gold design, the Family Computer, better known as the Famicom, brought arcade hits like Donkey Kong and Mario Bros. into Japanese homes.

While the Famicom would go on to revitalize the North American gaming market as the VHS-inspired Nintendo Entertainment System, or NES, many of Nintendo’s quirky games and accessories were forever locked in its home country. With the Famicom’s 40th anniversary at hand, there’s never been a better time to look back on the bizarre and surprisingly innovative experiments Nintendo unleashed on Japanese players throughout the console’s celebrated run.

Famicommunication

Unlike the NES, the Famicom came with its two blocky controllers wired directly to the console. While one might think this tethered design was to keep players from losing controllers, it was actually a simple cost-cutting measure – one Nintendo would soon regret as more and more players sought out replacements. Aptly anticipating a future filled with wacky accessories, Nintendo also included a 15-pin connector on the front of the Famicom, ready for anything the future might hold.

The most surprising addition to the Famicom’s original design was on the console’s second controller – a minuscule microphone, complete with a volume slider. The microphone’s inclusion was spearheaded by Nintendo Research and Development lead architect Masayuki Uemura, who felt younger players would enjoy hearing their own voices crackling out of TV speakers. Though his prediction wasn’t exactly wrong, the Famicom microphone was notoriously underutilized by developers, mostly lending itself to a handful of iconic Easter eggs in single-player games.

While a few early titles did make use of the microphone, most Japanese players wouldn’t be hollering into their second controller until 1986’s The Legend of Zelda. The 8-bit masterpiece featured a slew of unique enemies for protagonist Link to defeat on his quest, but few so wily as Pols Voice. Depicted as blobby rodents with enormous ears, the instruction manual explained that the monsters “hate loud noises.” With a deafening roar into the Famicom’s microphone, which could only be found on the second player controller, all Pols Voice on screen would be thoroughly eradicated. This was a far superior method to attacking with normal weapons, as the enemies’ nimble movements and high health made them especially annoying.

Strangely, the description of the Pols Voice hatred of loud noises was included in the manual for the English release, despite the fact developers had retooled the dungeon-dwelling baddies to now be weak to arrows. Zelda fans outside Japan wouldn’t feel the thrill of shouting an enemy to death until 2007’s Phantom Hourglass for the Nintendo DS, which allowed players to once again obliterate Pols Voice with a well-placed shriek.

Other notable examples of the Famicom microphone include Kid Icarus and the infamously difficult Takeshi’s Challenge. The former allowed players to verbally haggle down the price of items with shopkeepers by yammering on about whatever they liked, while the latter, starring comedian, actor, and director “Beat” Takeshi Kitano (Battle Royale, Violent Cop), had players using the microphone for a variety of tasks, such as bringing up a map and singing karaoke.

Famicomputing

When Uemura and his team were first tasked with designing the Famicom, they envisioned a gaming device with a 16-bit CPU, a keyboard, a modem, and a floppy disk drive. With costs considered, none of these superfluous features made it far into the planning stage, each launching as their own separate accessory in the years to come. The first to resurface, released in the summer of 1984, was the boxy Family BASIC Keyboard bundle, a collaboration between Nintendo, Sharp Corporation, and Hudson Soft.

Included with a taller-than-average black cartridge and a hefty user manual, the Family BASIC Keyboard and its accompanying software were intended for the blossoming home computer crowd. At the time, BASIC (short for Beginners’ All-purpose Symbolic Instruction Code) was seen as the ideal programming language for novice developers and casual players alike. Family BASIC tried to make things even easier by including extra support for character sprites (including preset Mario and Donkey Kong models), backgrounds, controls, and music. Famed Mario composer Koji Kondo even got in on the action, penning a section in the user manual on how best to program chiptune melodies.

Though the bundle cost a hefty ¥14,800 at launch (the same price as the Famicom itself), the kit didn’t come with a way for players to save their creations or share them with others. For this top-of-the-line feature, Nintendo suggested purchasing the Famicom Data Recorder, a device that saved one’s game directly to a standard cassette tape – for an additional ¥9,800. Ironically, sharing games and rampant piracy of Famicom titles had become a huge issue for Nintendo by this time. The problem got so out of hand that various media associations across Japan lobbied to update the Japanese Copyright Act, essentially banning all video game rentals countrywide. The ban, which does give individual developers the ability to allow rentals of their games (though they rarely do), still exists to this day. Despite its price point, the Family BASIC bundle sold well enough to warrant an updated sequel – Family Basic V3.

Nintendo even toyed with the idea of a keyboard for the NES, to be included in a never-released collection called the Nintendo Advanced Video System. Shown off at the 1984 Consumer Electronics Show, the NES keyboard was featured alongside prototype controllers, a joystick, a cassette recorder, and a zapper that looked more like a robotic wand than a gun. Amazingly, every accessory in the Advanced Video System was wireless, connecting via infrared technology.

Famicompatible

With the rental ban in full effect and piracy levels dipping, Japan’s general gaming public was feeling the sting of video game pricing. Nintendo, hearing the grumbles of its audience, researched ways of producing a cheaper option than its colorful cartridges. Enter the Famicom Disk System – a floppy disk add-on that both plugged into the top of the Famicom and sat below it. Though introducing an expensive new accessory (one that cost more than the console itself) to promote cheaper games might seem counterintuitive, Nintendo did just that in 1986.

Similar to floppy disks of the time, the games for Famicom Disk System were housed in a hard plastic shell and dubbed “Disk Cards.” Commonly produced in a brilliant yellow casing, the double-sided Disk Cards were impressed with a large NINTENDO logo at the bottom. This impression allowed Nintendo a form of physical lockout it hoped would help quell piracy. This wasn’t the case, as many clever bootleggers produced their own case molds with the proper inlays, often springing for misspellings like NINFENDO and NINIENDO to trick the Disk Drive. Regardless of their manufacturer, Disk Cards were considered too fragile by most players and poorly designed, with many prone to errors due to dust buildup.

Though games for the Disk System were cheaper, the true appeal was the ability to download new titles to endlessly-reusable Disk Cards via one of the 10,000 Famicom Disk Writer kiosks found at toy, game, and hobby shops across Japan. The process cost a paltry ¥500 (¥100 extra for an instruction sheet), or roughly a sixth the price of purchasing a new cartridge-based title. Not only could players download new games, but they could use each store’s dedicated “Disk Fax” machine to submit high scores directly to Nintendo for various tournaments. With player data in hand, Nintendo awarded tournament prizes ranging from Famicom branded stationary to gold Punch-Out!! cartridges, predating Mike Tyson’s $50,000 deal to lend his likeness to the series.

Nintendo’s hardware team was hard at work developing a different kind of add-on, one that would only work with the Disk System – 1987’s Famicom 3D System. Unlike the well-known glasses-free 3D of the 3DS, the 3D System used shutter glasses and alternate frame sequencing to create an illusion of depth. While the effect worked, the system was a substantial failure, with only six games ever produced. The most notable was Famicom Grand Prix II: 3D Hot Rally, considered by many to be the first Mario racing game and precursor to the Mario Kart series.

With Nintendo pushing all its newest first-party games to the Disk System to boost sales, the peripheral soon became the only way to play era-defining hits such as The Legend of Zelda, Castlevania, and Metroid, as well as Japan-only cult favorites like The Mysterious Murasame Castle and the Famicom Detective series. Despite their longer load times and flimsy housing, many consider Disk Card games a step above their cartridge counterparts, as the Disk System allowed for save features and a much richer audio experience. Though Nintendo would eventually return to cartridges with the Super Famicom, the Disk System was still a respectable success, with 4.4 million units sold in its four years on the market.

Famicommerce

In North America, many think of the Sega Dreamcast as the first home console with online connectivity. But in Japan, every single Nintendo home console, from Famicom to Switch, had some form of internet compatibility. It all started in 1988 with the release of the infamous Famicom Modem, another clunky add-on, brimming with potential, that struggled to find a long-term audience.

The idea for the Famicom Modem came not from a desire to let players connect and play games together, but rather from something more dull – the stock market. As Famicom flourished, financial service company Nomura Securities approached Nintendo about using the system for people to check on stock prices in real-time and possibly even buy, sell, and trade stocks at home. Working closely with Nomura Securities, Uemura and his team developed a modem that worked with an online service dubbed the Famicom Network. Like the Famicom Disk System before, the Famicom Modem was plugged into the top of the console, allowing players to insert credit-card-sized cartridges for different types of transmissions. Lacking a dedicated keyboard, a special controller with a full number pad was included to help users navigate the number-centric software.

In July 1988, a test run of 1,500 prototypes produced outstanding results. With the Japanese stock bubble growing larger by the day, more and more investors were obsessed with checking market prices and making trades on the fly, an ideal situation for Nintendo. Unfortunately, this success soon evaporated when the Famicom Modem hit store shelves two months later. Nintendo was shocked to find its circuit system was unstable, leading to widespread circuit failure, and many users were less than thrilled with the modem’s cord-heavy set-up. Coupled with the inevitable burst of Japan’s stock market bubble in 1989, most were left uninterested in the add-on’s specific services – even those who owned it.

While the Famicom Modem flailed, Uemura and his team still tested the system’s gaming capabilities. Five prototype games were developed, the most prominent based on the ancient board game Go, but all were deemed failures in the end. “We were unable to realize our dream of using the modem to augment Famicom games,” Uemura told Nikkei Electronics magazine (via Glitterberri blog) in 1995. “The game would require players to be connected to the phone line for an extended period of time. If the problem of data transmission fees wasn’t enough, we were also faced with the risk of users monopolizing the phone line.”

The modem’s saving grace, outside of providing horse racing bets and results to diehard fans, was its ability to let toy and game stores share an online database. By inserting the Super Mario Club cartridge, stores could post reviews and communicate sales to one another, sharing what games were top sellers. Nintendo could also peek at this database, allowing the company to better understand the market consumer demand.

As with most of its promising technology, Nintendo toyed with releasing the Famicom Modem in the United States with a slight twist. If Japanese users could place bets on horses through the Famicom, Minneapolis-based company Control Data Corporation was confident American users could use an NES Modem to play the lottery. In 1991, with Nintendo on board, Control Data announced its plans to test a subscription model, wherein users could pay $10 a month to play all Minnesota-based lottery games via their NES. Unsurprisingly, it wasn’t long until the concept of adding unsupervised gambling to a home console aimed at children raised a few eyebrows in parent groups and the political sector – squashing dreams of an NES Modem before its initial tests ever began.

It’s easy to look back on the Famicom and focus solely on its iconic games, but looking deeper into the hardware and accessories that give it personality helps bring its influence and legacy into perspective. Like today, the Nintendo of the 1980s was willing to aim its resources towards innovative and silly concepts, striving to find the next niche in the gaming market. It stumbled from time to time, but there’s no doubt that even its failures brought a sense of wonder and joy to thousands of players along the way.

This article originally appeared in Issue 358 of Game Informer

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x2goose1473952 · 7 months

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Week 10 – Sound and Music

At last, I could get in for a more "traditional" Friday session this semester. However, (although traditional is a word that we usually wouldn't associate with something to do with one of David's classes in the context of how he runs the subject) this session was definitely more at home rather than the trips to Acmi and NGV. We opened with an excellent observation regarding the 20th-century mentality of "obsoleting" things. When the synthesizer was first made in the '60s, there was this idea that it would "replace" the piano and other keyed instruments (but the only people who had access to it were engineers; not a single composer or musician was able to use one) if you had an Atari that was now bad because the Nintendo entertainment system had now arrived. The Famicom, etc. contemporality tried to make old = bad- new =good the all-end-all equation for technology, music, Art, and many more. It is hilarious that this was the way of thinking since Westerners pride themselves on being open-minded. This mentality followed a similar suit to the Mao Zedong cultural revolution that coincidentally began in 1966. The chairman mobilized an army of students to destroy old Chinese values to further seal his fate as a dictator that stood the test of time. This mentality has carried into the 21st century, not with everyone but with some. There will be people saying, "You can't listen to your parents' music; it's old", but then other kids will say, "Maaaaannn, I was born in the wrong generation". The idea behind new technology replacing the old is a very 50s American mentality, like those popular electronic magazines trying to predict the future with pop art graphic drawings of stereotypical box-shaped robots and generic depictions of aliens. New technology doesn't necessarily replace the old; it just changes the current landscape that it exists in.

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manabie · 10 months

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vimeo

ICONS exhibition from ◥ panGenerator on Vimeo.

ICONS an exhibition of panGenerator Iconic Things project by the National Ethnographic Museum in Warsaw

Icons – a set of symbols transposing the impenetrable intricacies of digital processes onto a territory accessible to our, still very much Neolithic, minds. By dragging a text file to trash, we succumb to a useful illusion. Truth be told, nothing is in transit: the trash can does not exist; even the text file does not constitute any cohesive physical entity inside any hardware. However, by performing this codified, ritual-driven dance of clicks, taps, and swipes, we conjure digital processes to bring about a happy turn of events. Our exhibition takes a closer look at our shared cultural imaginarium of digital gestures, symbols, and artefacts, dragging them out onto a physical space, enabling audiences a direct, tactile confrontation and – also literally – a different visual perspective. We dispose of the illusive permanence of digital archives, transforming a selfie into a heap of gravel. We ask: “How much of our attention do we make an offering to tech corporations, succumbing to the ritual of ceaseless scrolling?” We perform an act of iconoclasm, deconstructing the cult, iconic Nokia 3310 – the gateway drug of our present-day smartphone intoxication. We place digital icons within baroque frames, depicting emotions associated with them. Paused by our gaze, the progress bar is our way of asking whether technological advancement goes hand in hand with the rejection of magical thinking... As an artistic collective composed of Gen Y / millennials, we have experienced first-hand the dynamic growth of digital culture: from the soothing dial-up tones of modems to video conferencing via Zoom. This exhibition is no different: it touches upon both what is today considered vintage, such as the first Pegasus-compatible (Nintendo Entertainment System clone) video games, and what is currently trending – the up-to-the-minute impact of social media on inter-human communication. We hope that in our exhibition the audience will find a reflection of their own digital culture experience. Even if the mirror is slightly distorting.

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greysdel · 2 years

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Wii sports resort bowling 4 players

The Mario Kart franchise is known for its fun and competitive gameplay, and Mario Kart Wii is no exception. READ ALSO » Top 10 Most Dangerous Foods in The World (2022) The latest installment in the series, Mario Kart Wii, was released in 2008 and has sold over 37 million copies worldwide, making it one of the best-selling video games of all time. The Mario Kart franchise is one of the best-selling video game franchises of all time. is still loved by many gamers today and is considered one of the best. It also had a profound impact on the video game industry, helping to popularize the side-scrolling genre and cement Nintendo as a leading video game company.ĭespite being over 30 years old, Super Mario Bros. The game was incredibly popular and spawned a number of sequels and spin-offs. is a side-scrolling platformer game that features Mario, the protagonist, as he tries to rescue Princess Toadstool from Bowser, the antagonist. The game was released in 1985 for the Nintendo Entertainment System and became an instant classic. With over 40 million copies sold, Super Mario Bros is one of the best-selling video games of all time. These classic games are as fun and addictive as ever. If you’ve never played Pokémon Red and Blue, now is the perfect time to start. They are often cited as being responsible for popularizing the role-playing game genre and inspiring a new generation of gamers. To this day, Pokémon Red and Blue remain two of the most popular video games ever made. These games were originally released in Japan in 1996 and quickly became a global phenomenon. It all started with Pokémon Red and Blue, two of the best-selling video games of all time. Today, the Pokémon franchise is worth over $50 billion dollars. If you’re looking for an adrenaline-pumping gaming experience, PUBG is definitely worth checking out. The popularity of the game has led to the release of several mobile and console versions, as well as a number of spin-offs. While the concept of battle royale games is not new, PUBG took the gaming world by storm with its immersive graphics and intense gameplay. READ ALSO » Top 10 Best Hollywood Actors in 2022 The game pits up to 100 players against each other in a last-man-standing deathmatch. PlayerUnknown’s Battlegrounds (PUBG) is a battle royale-style video game that burst onto the scene in 2017 and quickly became one of the best-selling video games in the world. If you’re looking for a fun and easy-to-learn video game, Wii Sports is a perfect choice! 5. Wii Sports was a critical success, with many reviewers praising its graphics, gameplay, and overall fun factor. The popularity of Wii Sports can be attributed to its simple yet addictive gameplay, as well as its motion-sensing controls that allow players to physically interact with the game. Wii Sports consists of five sports games: tennis, baseball, bowling, golf, and boxing. The game was developed by Nintendo and was included in the Wii console. Since its release in 2006, Wii Sports has become one of the best-selling video games of all time. However, its popularity remains unchanged, and it is considered one of the most successful video games of all time. The game has also been controversial, due to its depiction of violence and crime. Grand Theft Auto V has been praised for its graphics, gameplay, and scale. Players can explore the open world and engage in a variety of activities, from committing crimes to pursuing businesses. The game is set in the fictional state of San Andreas and revolves around three main characters: Michael De Santa, Franklin Clinton, and Trevor Philips. The open-world action-adventure game was first released in 2013 and has since been released on several different platforms. Grand Theft Auto V is one of the best-selling video games of all time. Despite its success, the game has been criticized for its violence and for the time players can spend on it. The game has been featured in movies, television shows, and merchandise. With its popularity, Minecraft has become a cultural phenomenon. The game has been used in education and has been credited with teaching children programming and engineering concepts. READ ALSO » Old Nigerian Adverts We Will Never Forget (Top 10)

#Wii sports resort bowling 4 players

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veworfs · 2 years

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Mario kart wii custom characters hammer bro

#Mario kart wii custom characters hammer bro driver

#Mario kart wii custom characters hammer bro series

^ "Top 10 Mario Enemies More Common in Recent Games".

"Predicting Mario Kart 7's Final Characters". South San Francisco, California: Future US. Photos: The 8 most underrated videogame characters ever - CNET Reviews". "Mario-themed Spirits coming to 'Smash Ultimate' this week".

^ "Super Mario Party - Top 10 best Dice Blocks to use".

^ "Someone Did The Math On Which Dice Are The Best In Super Mario Party".

^ "Play These Cool 'Super Mario Maker 2' Levels".

"Super Mario Odyssey guide: Luncheon Kingdom all power moon locations". U Deluxe guide: Acorn Plains Star Coins".

^ Sundberg, Kelly Hudson (February 18, 2019).

^ a b "Mario 3's Angry Sun Looks Really Weird In Super Mario Maker 2".

^ Nintendo Entertainment Analysis and Development ().

^ "25 Awesome Areas In Super Mario Bros 3 Casuals Had No Idea About".

Super Mario Bros ( Nintendo Entertainment System). have been produced over the years by Nintendo this merchandise includes figures made by Jakks Pacific, Figurine, and a Plush toy. Ī variety of Mario-related merchandise depicting Hammer Bros. Whatever you do, make sure you don't underestimate these guys - when you're trapped in a room with them as small Mario without a Power-Up in sight, they can be downright frightening". counterparts throw (huge shocker!) boomerangs. were listed as second in Nintendo 3DS Daily's list of the top ten enemies more common in recent games, claiming "Super Mario World already kind of screwed them over by sticking them on winged blocks and having them appear only ever so often, but they've technically been absent from the platformers for two whole console generations!" It was also described by IGN's Audrey Drake as one of the best Mario enemies, stating that "Hammer Bros., naturally, throw hammers, while their Boomerang Bro. besides Bowser himself." The Hammer Bros. as one of the characters they wanted for the then-unreleased Mario Kart 7, saying that the "terrifying twin turtles were the most devious and dangerous foes in the original Super Mario Bros. as one of the things that they love to hate, citing the difficulty involved in defeating or avoiding them. as the fifth best Mario enemy, citing the difficulty involved in defeating them.

#Mario kart wii custom characters hammer bro series

from other enemies in the series who would merely wander aimlessly in the level. were named as one of the eight most underrated video game characters by CNET editor Nate Lanxon, who contrasted the duo in the first Super Mario Bros. usually appear in pairs and reprise their role as Bowser's minions, trying to stop Mario and Luigi. In the Mario role-playing games, the Hammer Bros. 3 television series, as well as in printed media such as Nintendo Comics System and Nintendo Adventure Books. Super Show! and The Adventures of Super Mario Bros.

#Mario kart wii custom characters hammer bro driver

Hammer Bro officially made its Mario Kart debut as a playable driver in Mario Kart Tour. Ultimate as an Assist Trophy and an Adventure Mode enemy. for Nintendo 3DS and Wii U and Super Smash Bros. appeared in most of the Mario spin-off games, such as Super Mario RPG, the Paper Mario series, the Mario & Luigi series, the Mario Party series, even as a playable character in Mario Party 8 and Super Mario Party, Dance Dance Revolution Mario Mix, the Mario sports games and Super Princess Peach. They reappeared in Super Mario Odyssey, where Mario can use their powers for the first time in 3D and on Super Mario Maker/ Super Mario Maker 2. appeared in a 3D Mario game), Super Mario 3D Land, Super Mario 3D World, New Super Mario Bros. Wii (which introduced the Ice Bro., a cold-weather counterpart to the Fire Bro.), Super Mario Galaxy 2 (the first time that the Hammer Bro. was absent again from Super Mario World, two new subspecies were added, the Amazing Flyin' Hammer Brother, and the Sumo Brother (later known as the Sumo Bro.), both of which would later appear in New Super Mario Bros., New Super Mario Bros. Suit, which granted Mario and Luigi the ability to throw hammers of their own and also conferred immunity against fire attacks while ducking. were added, including the Boomerang Bro., whose boomerangs returned to them, the Fire Bro., who spat fireballs, and the Sledge Bro., who was considerably larger and could cause an earthquake when he landed from a jump. 3, in which they behaved in the same way as they did in the original game. Although they were absent in Super Mario Bros. They later appeared in its sequel, Super Mario Bros.: The Lost Levels, where they were found more commonly. In the game, they were usually found in pairs. first appeared in Super Mario Bros., where they would jump from platforms and throw hammers at Mario or Luigi.

#Mario kart wii custom characters hammer bro

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gaminghardwareingames · 3 months

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e-Reader Cards

Video game hardware on video game hardware post! I know this is kinda outside the scope of the project but I love it and this is my blog so here you go:

from https://www.pojo.com/Features/May2002/6-05-Ecard.html

From https://archive.org/details/1st-place-kirby

From https://aucview.aucfan.com/yahoo/k189211384/

From http://sunmiguere.web.fc2.com/megaman_exe4_remodeling_card_part1.html

From http://sunmiguere.web.fc2.com/megaman_exe4_remodeling_card_part3.html

Those all are screenshots of this screen which has a Game Boy Advance Game Link Cable

From https://megaman.fandom.com/wiki/Plug-in_PET

From https://nookipedia.com/wiki/E-Reader_card/Promotional_(Doubutsu_no_Mori_e%2B)

From https://balloon-fight.fandom.com/wiki/Balloon_Fight-e

All the NES ones have that GBA picture

Uncited images are from eBay (listings get deleted after a few months so no point in linking)

#Nintendo e-Reader cards #Depicted by: Nintendo e-Reader cards #Depicting: Game & Watch Manhole #Depicting: Game Boy Advance #Depicting: Nintendo e-Reader #Depicting: Nintendo e-Reader cards #Depicting: Game Boy Advance Game Link Cable #Depicting: Derivative #Derivative: Nintendo GameCube #Depicting: Nintendo Entertainment System #Depicting: Nintendo Entertainment System Controller

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aquilaofarkham · 4 years

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Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now.

☽ Read the full piece here or click the read more for the text only version ☽

INTRODUCTION

Published in 2017, Carol Dyhouse’s Heartthrobs: A History of Women and Desire examines how certain cultural trends can influence what women may find attractive or stimulating in a male character. By using popular archetypes such as the Prince Charming, the bad boy, and the tall dark handsome stranger, Dyhouse seeks to explain why these particular men appeal to the largest demographic beyond mere superfluous infatuation. In one chapter titled “Dark Princes, Foreign Powers: Desert Lovers, Outsiders, and Vampires”, she touches upon the fascination most audiences have with moody and darkly seductive vampires. Dyhouse exposits that the reason for this fascination is the inherent dangerous allure of taming someone—or something—so dominating and masculine, perhaps even evil, yet hides their supposed sensitivity behind a Byronic demeanour.

This is simply one example of how the general depiction of vampires in mainstream media has evolved over time. Because the concept itself is as old as the folklore and superstitions it originates from, thus varying from culture to culture, there is no right or wrong way to represent a vampire, desirable or not. The Caribbean Soucouyant is described as a beautiful woman who sheds her skin at night and enters her victims’ bedrooms disguised as an aura of light before consuming their blood. In Ancient Roman mythology there are tales of the Strix, an owl-like creature that comes out at night to drink human blood until it can take no more. Even the Chupacabra, a popular cryptid supposedly first spotted in Puerto Rico, has been referred to as being vampiric because of the way it sucks blood out of goats, leaving behind a dried up corpse.

However, it is a rare thing to find any of these vampires in popular media. Instead, most modern audiences are shown Dyhouse’s vampire: the brooding, masculine alpha male in both appearance and personality. A viewer may wish to be with that character, or they might wish to become just like that character.

This sort of shift in regards to creating the “ideal” vampire is most evident in how the image of Dracula has been adapted, interpreted, and revamped in order to keep up with changing trends. In Bram Stoker’s original 1897 novel of the same name, Dracula is presented as the ultimate evil; an ancient, almost grotesque devil that ensnares the most unsuspecting victims and slowly corrupts their innocence until they are either subservient to him (Renfield, the three brides) or lost to their own bloodlust (Lucy Westenra). In the end, he can only be defeated through the joined actions of a steadfast if not ragtag group of self-proclaimed vampire hunters that includes a professor, a nobleman, a doctor, and a cowboy. His monstrousness in following adaptations remains, but it is often undercut by attempts to give his character far more pathos than the original source material presents him with. Dracula has become everything: a monster, a lover, a warrior, a lonely soul searching for companionship, a conquerer, a comedian, and of course, the final boss of a thirty-year-old video game franchise.

Which brings us to the topic of this essay; not Dracula per say, but his son. Even if someone has never played a single instalment of Castlevania or watched the ongoing animated Netflix series, it is still most likely that they have heard of or seen the character of Alucard through cultural osmosis thanks to social media sites such as Twitter, Instagram, Reddit, and the like. Over the thirty-plus years in which Castlevania has remained within the public’s consciousness, Alucard has become one of the most popular characters of the franchise, if not the most popular. Since his debut as a leading man in the hit game Castlevania: Symphony of the Night, he has taken his place beside other protagonists like Simon Belmont, a character who was arguably the face of Castlevania before 1997, the year in which Symphony of the Night was released. Alucard is an iconic component of the series and thanks in part to the mainstream online streaming service Netflix, he is now more present in the public eye than ever before whether through official marketing strategies or fanworks.

It is easy to see why. Alucard’s backstory and current struggles are quite similar to the defining characteristics of the Byronic hero. Being the son of the human doctor Lisa Țepeș, a symbol of goodness and martyrdom in all adaptations, and the lord of all vampires Dracula, Alucard (also referred to by his birth name Adrian Fahrenheit Țepeș) feels constantly torn between the two halves of himself. He maintains his moralistic values towards protecting humanity, despite being forced to make hard decisions, and despite parts of humanity not being kind to him in turn, yet is always tempted by his more monstrous inheritance. The idea of a hero who carries a dark burden while aspiring towards nobility is something that appeals to many audiences. We relate to their struggles, cheer for them when they triumph, and share their pain when they fail. Alucard (as most casual viewers see him) is the very personification of the Carol Dyhouse vampire: mysterious, melancholic, dominating, yet sensitive and striving for compassion. Perceived as a supposed “bad boy” on the surface by people who take him at face value, yet in reality is anything but.

Then there is Alucard’s appearance, an element that is intrinsically tied to how he has been portrayed over the decades and the focus of this essay. Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now. Parts will include theoretical, analytical, and hypothetical stances, but it’s overall purpose is to be merely observational.

What is Castlevania?

We start this examination at the most obvious place, with the most obvious question. Like all franchises, Castlevania has had its peaks, low points, and dry spells. Developed by Konami and directed by Hitoshi Akamatsu, the first instalment was released in 1986 then distributed in North America for the Nintendo Entertainment System the following year. Its pixelated gameplay consists of jumping from platform to platform and fighting enemies across eighteen stages all to reach the final boss, Dracula himself. Much like the gameplay, the story of Castlevania is simple. You play as Simon Belmont; a legendary vampire hunter and the only one who can defeat Dracula. His arsenal includes holy water, axes, and throwing daggers among many others, but his most important weapon is a consecrated whip known as the vampire killer, another iconic staple of the Castlevania image.

Due to positive reception from critics and the public alike, Castlevania joined other titles including Super Mario Bros., The Legend of Zelda, and Mega Man as one of the most defining video games of the 1980s. As for the series itself, Castlevania started the first era known by many fans and aficionados as the “Classicvania” phase, which continued until the late 1990s. It was then followed by the “Metroidvania” era, the “3-D Vania” era during the early to mid 2000s, an reboot phase during the early 2010s, and finally a renaissance or “revival” age where a sudden boom in new or re-released Castlevania content helped boost interest and popularity in the franchise. Each of these eras detail how the games changed in terms of gameplay, design, and storytelling. The following timeline gives a general overview of the different phases along with their corresponding dates and instalments.

Classicvania refers to Castlevania games that maintain the original’s simplicity in gameplay, basic storytelling, and pixelated design. In other words, working within the console limitations of the time. They are usually side-scrolling platformers with an emphasis on finding hidden objects and defeating a variety of smaller enemies until the player faces off against the penultimate boss. Following games like Castlevania 2: Simon’s Quest and Castlevania 3: Dracula’s Curse were more ambitious than their predecessor as they both introduced new story elements that offered multiple endings and branching pathways. In Dracula’s Curse, there are four playable characters each with their own unique gameplay. However, the most basic plot of the first game is present within both of these titles . Namely, find Dracula and kill Dracula. Like with The Legend of Zelda’s Link facing off against Ganon or Mario fighting Bowser, the quest to destroy Dracula is the most fundamental aspect to Castlevania. Nearly every game had to end with his defeat. In terms of gameplay, it was all about the journey to Dracula’s castle.

As video games grew more and more complex leading into the 1990s, Castlevania’s tried and true formula began to mature as well. The series took a drastic turn with the 1997 release of Castlevania: Symphony of the Night, a game which started the Metroidvania phase. This not only refers to the stylistic and gameplay changes of the franchise itself, but also refers to an entire subgenre of video games. Combining key components from Castlevania and Nintendo’s popular science fiction action series Metroid, Metroidvania games emphasize non-linear exploration and more traditional RPG elements including a massive array of collectable weapons, power-ups, character statistics, and armor. Symphony of the Night pioneered this trend while later titles like Castlevania: Circle of the Moon, Castlevania: Harmony of Dissonance and Castlevania: Aria of Sorrow solidified it. Nowadays, Metroidvanias are common amongst independent developers while garnering critical praise. Hollow Knight, Blasphemous, and Bloodstained: Ritual of the Night are just a few examples of modern Metroidvanias that use the formula to create familiar yet still distinct gaming experiences.

Then came the early to mid 2000s and many video games were perfecting the use of 3-D modelling, free control over the camera, and detailed environments. Similar to what other long-running video game franchises were doing at the time, Castlevania began experimenting with 3-D in 1999 with Castlevania 64 and Castlevania: Legacy of Darkness, both developed for the Nintendo 64 console. 64 received moderately positive reviews while the reception for its companion was far more mixed, though with Nintendo 64’s discontinuation in 2002, both games have unfortunately fallen into obscurity.

A year later, Castlevania returned to 3-D with Castlevania: Lament of Innocence for the Playstation 2. This marked Koji Igarashi’s first foray into 3-D as well as the series’ first ever M-rated instalment. While not the most sophisticated or complex 3-D Vania (or one that manages to hold up over time in terms of graphics), Lament of Innocence was a considerable improvement over 64 and Legacy of Darkness. Other 3-D Vania titles include Castlevania: Curse of Darkness, Castlevania: Judgment, and Castlevania: The Dracula X Chronicles for the PSP, a remake of the Classicvania game Castlevania: Rondo of Blood which merged 3-D models, environments, and traditional platforming mechanics emblematic of early Castlevania. It is important to note that during this particular era, there were outliers to the changing formula that included Castlevania: Portrait of Ruin and Castlevania: Order of Ecclesia, both games which added to the Metroidvania genre.

Despite many of the aforementioned games becoming cult classics and fan favourites, this was an era in which Castlevania struggled to maintain its relevance, confused by its own identity according to most critics. Attempts to try something original usually fell flat or failed to resonate with audiences and certain callbacks to what worked in the past were met with indifference.

By the 2010s, the Castlevania brand changed yet again and stirred even more division amongst critics, fans, and casual players. This was not necessarily a dark age for the franchise but it was a strange age; the black sheep of Castlevania. In 2010, Konami released Castlevania: Lords of Shadow, a complete reboot of the series with new gameplay, new characters, and new lore unrelated to previous instalments. The few elements tying it to classic Castlevania games were recurring enemies, platforming, and the return of the iconic whip used as both a weapon and another means of getting from one area to another. Other gameplay features included puzzle-solving, exploration, and hack-and-slash combat. But what makes Lords of Shadow so divisive amongst fans is its story. The player follows Gabriel Belmont, a holy warrior on a quest to save his deceased wife’s soul from Limbo. From that basic plot point, the storyline diverges immensely from previous Castlevania titles, becoming more and more complicated until Gabriel makes the ultimate sacrifice and turns into the very monster that haunted other Belmont heroes for centuries: Dracula. While a dark plot twist and a far cry from the hopeful endings of past games, the concept of a more tortured and reluctant Dracula who was once the hero had already been introduced in older Dracula adaptations (the Francis Ford Coppola directed Dracula being a major example of this trend in media).

Despite strong opinions on how much the story of Lords of Shadow diverged from the original timeline, it was positively received by critics, garnering an overall score of 85 on Metacritic. This prompted Konami to continue with the release of Castlevania: Lords of Shadow—Mirror of Fate and Castlevania: Lords of Shadow 2. Mirror of Fate returned to the series’ platforming and side-scrolling roots with stylized 3-D models and cutscenes. It received mixed reviews, as did its successor Lords of Shadow 2. While Mirror of Fate felt more like a classic stand-alone Castlevania with Dracula back as its main antagonist, the return of Simon Belmont, and the inclusion of Alucard, Lords of Shadow 2 carried over plot elements from its two predecessors along with new additions, turning an already complicated story into something more contrived.

Finally, there came a much needed revival phase for the franchise. Netflix’s adaptation of Castlevania animated by Powerhouse Animation Studios based in Austen, Texas and directed by Samuel Deats and co-directed by Adam Deats aired its first season during July 2017 with four episodes. Season two aired in October 2018 with eight episodes followed by a ten episode third season in March 2020. Season four was announced by Netflix three weeks after the release of season three. The show combines traditional western 2-D animation with elements from Japanese anime and is a loose adaptation of Castlevania 3: Dracula’s Curse combined with plot details from Castlevania: Curse of Darkness, Castlevania: Symphony of the Night, and original story concepts. But the influx of new Castlevania content did not stop with the show. Before the release of season two, Nintendo announced that classic protagonists Simon Belmont and Richter Belmont would join the ever-growing roster of playable characters in their hit fighting game Super Smash Bros. Ultimate. With their addition also came the inclusion of iconic Castlevania environments, music, weapons, and supporting characters like Dracula and Alucard.

During the year-long gap between seasons two and three of the Netflix show, Konami released Castlevania: Grimoire of Souls, a side-scrolling platformer and gacha game for mobile devices. The appeal of Grimoire of Souls is the combination of popular Castlevania characters each from a different game in the series interacting with one another along with a near endless supply of collectable weapons, outfits, power-ups, and armor accompanied by new art. Another ongoing endeavor by Konami in partnership with Sony to bring collective awareness back to one of their flagship titles is the re-releasing of past Castlevania games. This began with Castlevania: Requiem, in which buyers received both Symphony of the Night and Rondo of Blood for the Playstation 4 in 2018. This was followed the next year with the Castlevania Anniversary Collection, a bundle that included a number of Classicvania titles for the Playstation 4, Xbox One, Steam, and Nintendo Switch.

Like Dracula, the Belmonts, and the vampire killer, one other element tying these five eras together is the presence of Alucard and his various forms in each one.

Masculinity in 1980s Media

When it comes to media and various forms of the liberal arts be it entertainment, fashion, music, etc., we are currently in the middle of a phenomenon known as the thirty year cycle. Patrick Metzgar of The Patterning describes this trend as a pop cultural pattern that is, in his words, “forever obsessed with a nostalgia pendulum that regularly resurfaces things from 30 years ago”. Nowadays, media seems to be fixated with a romanticized view of the 1980s from bold and flashy fashion trends, to current music that relies on the use of synthesizers, to of course visual mass media that capitalizes on pop culture icons of the 80s. This can refer to remakes, reboots, and sequels; the first cinematic chapter of Stephen King’s IT, The Dark Crystal: Age of Resistance, and both Ghostbusters remakes are prime examples—but the thirty year cycle can also include original media that is heavily influenced or oversaturated with nostalgia. Netflix’s blockbuster series Stranger Things is this pattern’s biggest and most overt product.

To further explain how the thirty year cycle works with another example, Star Wars began as a nostalgia trip and emulation of vintage science fiction serials from the 1950s and 60s, the most prominent influence being Flash Gordon. This comparison is partially due to George Lucas’ original attempts to license the Flash Gordon brand before using it as prime inspiration for Star Wars: A New Hope and subsequent sequels. After Lucas sold his production company Lucasfilms to Disney, three more Star Wars films were released, borrowing many aesthetic and story elements from Lucas’ original trilogy while becoming emulations of nostalgia themselves.

The current influx of Castlevania content could be emblematic of this very same pattern in visual media, being an 80s property itself, but what do we actually remember from the 1980s? Thanks to the thirty year cycle, the general public definitely acknowledges and enjoys all the fun things about the decade. Movie theatres were dominated by the teen flicks of John Hughes, the fantasy genre found a comeback due to the resurgence of J.R.R. Tolkien’s classic works along with the tabletop role-playing game Dungeons & Dragons, and people were dancing their worries away to the songs of Michael Jackson, Whitney Houston, and Madonna. Then there were the things that most properties taking part in the thirty year cycle choose to ignore or gloss over, with some exceptions. The rise of child disappearances, prompting the term “stranger danger”, the continuation of satanic panic from the 70s which caused the shutdown and incarceration of hundreds of innocent caretakers, and the deaths of thousands due to President Reagan’s homophobia, conservatism, and inability to act upon the AIDS crisis.

The 1980s also saw a shift in masculinity and how it was represented towards the public whether through advertising, television, cinema, or music. In M.D. Kibby’s essay Real Men: Representations of Masculinity in 80s Cinema, he reveals that “television columns in the popular press argued that viewers were tired of liberated heroes and longed for the return of the macho leading man” (Kibby, 21). Yet there seemed to be a certain “splitness” to the masculine traits found within fictional characters and public personas; something that tried to deconstruct hyper-masculinity while also reviling in it, particularly when it came to white, cisgendered men. Wendy Somerson further describes this dichotomy: “The white male subject is split. On one hand, he takes up the feminized personality of the victim, but on the other hand, he enacts fantasies of hypermasculinized heroism” (Somerson, 143). Somerson explains how the media played up this juxtaposition of “soft masculinity”, where men are portrayed as victimized, helpless, and childlike. In other words, “soft men who represent a reaction against the traditional sexist ‘Fifties man’ and lack a strong male role model” (Somerson, 143). A sort of self-flagellation or masochism in response to the toxic and patriarchal gender roles of three decades previous. Yet this softening of male representation was automatically seen as traditionally “feminine” and femininity almost always equated to childlike weakness. Then in western media, there came the advent of male madness and the fetishization of violent men. Films like Scarface, Die Hard, and any of Arnold Schwarzenegger’s filmography helped to solidify the wide appeal of these hyper-masculine and “men out of control” tropes which were preceded by Martin Scorcese’s critical and cult favourite Taxi Driver.

There were exceptions to this rule; or at the very least attempted exceptions that only managed to do more harm to the concept of a feminized man while also doubling down on the standard tropes of the decade. One shallow example of this balancing act between femininity and masculinity in 80s western media was the hit crime show Miami Vice and Sonny, a character who is entirely defined by his image. In Kibby’s words, “he is a beautiful consumer image, a position usually reserved for women; and he is in continual conflict with work, that which fundamentally defines him as a man” (Kibby, 21). Therein lies the problematic elements of this characterization. Sonny’s hyper-masculine traits of violence and emotionlessness serve as a reaffirmation of his manufactured maleness towards the audience.

Returning to the subject of Schwarzenegger, his influence on 80s media that continued well into the 90s ties directly to how fantasy evolved during this decade while also drawing upon inspirations from earlier trends. The most notable example is his portrayal of Robert E. Howard’s Conan the Barbarian in the 1982 film directed by John Milius. Already a classic character from 1930s serials and later comic strips, the movie (while polarizing amongst critics who described it as a “psychopathic Star Wars, stupid and stupefying”) brought the iconic image of a muscle-bound warrior wielding a sword as half-naked women fawn at his feet back into the collective consciousness of many fantasy fans. The character and world of Conan romanticizes the use of violence, strength, and pure might in order to achieve victory. This aesthetic of hyper-masculinity, violence, and sexuality in fantasy art was arguably perfected by the works of Frank Frazetta, a frequent artist for Conan properties. The early Castlevania games drew inspiration from this exact aesthetic for its leading hero Simon Belmont and directly appropriated one of Frazetta’s pieces for the cover of the first game.

Hammer Horror & Gender

Conan the Barbarian, Frank Frazetta, and similar fantasy icons were just a few influences on the overall feel of 80s Castlevania. Its other major influence harks back to a much earlier and far more gothic trend in media. Castlevania director Hitoshi Akamatsu stated that while the first game was in development, they were inspired by earlier cinematic horror trends and “wanted players to feel like they were in a classic horror movie”. This specific influence forms the very backbone of the Castlevania image. Namely: gothic castles, an atmosphere of constant uncanny dread, and a range of colourful enemies from Frankenstein’s Monster, the Mummy, to of course Dracula. The massive popularity and recognizability of these three characters can be credited to the classic Universal Pictures’ monster movies of the 1930s, but there was another film studio that put its own spin on Dracula and served as another source of inspiration for future Castlevania properties.

The London-based film company Hammer Film Productions was established in 1934 then quickly filed bankruptcy a mere three years later after their films failed to earn back their budget through ticket sales. What saved them was the horror genre itself as their first official title under the ‘Hammer Horror’ brand The Curse of Frankenstein starring Hammer regular Peter Cushing was released in 1957 to enormous profit in both Britain and overseas. With one successful adaptation of a horror legend under their belt, Hammer’s next venture seemed obvious. Dracula (also known by its retitle Horror of Dracula) followed hot off the heels of Frankenstein and once again starred Peter Cushing as Professor Abraham Van Helsing, a much younger and more dashing version of his literary counterpart. Helsing faces off against the titular fanged villain, played by Christopher Lee, whose portrayal of Dracula became the face of Hammer Horror for decades to come.

Horror of Dracula spawned eight sequels spanning across the 60s and 70s, each dealing with the resurrection or convoluted return of the Prince of Darkness (sound familiar?) Yet these were not the same gothic films pioneered by Universal Studios with fog machines, high melodrama, and disturbingly quiet atmosphere. Christopher Lee’s Dracula and Bela Lugosi’s Dracula are two entirely separate beasts. While nearly identical in design (slicked back hair, long flowing black cape, and a dignified, regal demeanor), Lugosi is subtle, using only his piercing stare as a means of intimidation and power—in the 1930s, smaller details meant bigger scares. For Hammer Horror, when it comes time to show Dracula’s true nature, Lee bares his blood-covered fangs and acts like an animal coveting their prey. Hammer’s overall approach to horror involved bigger production sets, low-cut nightgowns, and bright red blood that contrasted against the muted, desaturated look of each film. And much like the media of 1980, when it came to their characters, the Dracula films fell back on what was expected by society to be ‘masculine’ and ‘feminine’ while also making slight commentary on those very preconceived traits.

The main theme surrounding each male cast in these films is endangered male authority. Dracula and Van Helsing are without a doubt the most powerful, domineering characters in the story, particularly Helsing. As author Peter Hutchings describes in his book Hammer & Beyond: The British Horror Film, “the figure of the (male) vampire hunter is always one of authority, certainty, and stability (...) he is the only one with enough logical sense to know how to defeat the ultimate evil, thus saving the female characters and weaker male characters from being further victimized” (Hutchings, 124). The key definition here is ‘weaker male characters’. Hammer’s Dracula explores the absolute power of male authority in, yet it also reveals how easily this authority can be weakened. This is shown through the characters of Jonathan Harker and Arthur Holmwood, who differ slightly from how they are portrayed in Stoker’s novel. While Dracula does weaken them both, they manage to join Helsing and defeat the monster through cooperation and teamwork. In fact, it is Harker who lands one of the final killing strikes against Dracula. However, the Jonathan Harker of Hammer’s Dracula is transformed into a vampire against his will and disposed of before the finale. His death, in the words of Hutchings, “underlines the way in which throughout the film masculinity is seen (...) as arrested, in a permanently weakened state” (Hutchings, 117).

This theme of weakened authority extends to Holmwood in a more obvious and unsettling manner. In another deviation from the source material, Lucy Westenra, best friend to Mina Murray and fiancé to Arthur Holmwood, is now Holmwood’s sister and Harker’s fiancé. Lucy’s story still plays out more or less the same way it did in the novel; Dracula routinely drains her of blood until she becomes a vampire, asserting his dominance both physically and mentally. This according to Hutchings is the entirety of Dracula’s plan; a project “to restore male authority over women by taking the latter away from the weak men, establishing himself as the immortal, sole patriarch” (Hutchings, 119). Meanwhile, it is Helsing’s mission to protect men like Arthur Holmwood, yet seems only concerned with establishing his own dominance and does nothing to reestablish Holmwood’s masculinity or authority. Due to the damage done by Dracula and the failings of Helsing, Holmwood never regains this authority, even towards the end when he is forced to murder his own sister. His reaction goes as follows: “as she is staked he clutches his chest, his identification with her at this moment, when she is restored to a passivity which is conventionally feminine, suggesting a femininity within him which the film equates with weakness” (Hutchings, 117).

So Van Helsing succeeds in his mission to defeat his ultimate rival, but Dracula is victorious in his own right. With Jonathan Harker gone, Lucy Holmwood dead, and Arthur Holmwood further emasculated, he succeeds in breaking down previous male power structures while putting himself in their place as the all-powerful, all-dominant male presence. This is the very formula in which early Hammer Dracula films were built upon; “with vampire and vampire hunter mutually defining an endangered male authority, and the woman functioning in part as the site of their struggle (...) forged within and responded to British social reality of the middle and late 1950s” (Hutchings, 123).

Alucard c. 1989

As for Castlevania’s Dracula, his earliest design takes more from Christopher Lee’s portrayal than from Bela Lugosi or Bram Stoker’s original vision. His appearance on the first ever box art bears a striking resemblance to one of the most famous stills from Horror of Dracula. Even in pixelated form, Dracula’s imposing model is more characteristic of Christopher Lee than Bela Lugosi.

Being his son, it would make logical sense for the first appearance of Alucard in Castlevania 3: Dracula’s Curse to resemble his father. His 1989 design carries over everything from the slick dark hair, sharp claws, and shapeless long cloak but adds a certain juvenile element—or rather, a more human element. This makes sense in the context of the game’s plot. Despite being the third title, Dracula’s Curse acts as the starting point to the Castlevania timeline (before it was replaced by Castlevania: Legends in 1997, which was then retconned and also replaced by Castlevania: Lament of Innocence in 2003 as the definitive prequel of the series). Set nearly two centuries before Simon Belmont’s time, Dracula’s Curse follows Simon’s ancestor Trevor Belmont as he is called to action by the church to defeat Dracula once he begins a reign of terror across Wallachia, now known as modern day Romania. It is a reluctant decision by the church, since the Belmont family has been exiled due to fear and superstition surrounding their supposed inhuman powers.

This is one example of how despite the current technological limitations, later Castlevania games were able to add more in-depth story elements little by little beyond “find Dracula, kill Dracula”. This began as early as Castlevania 2: Simon’s Quest by giving Simon a much stronger motivation in his mission and the inclusion of multiple endings. The improvements made throughout the Classicvania era were relatively small while further character and story complexities remained either limited or unexplored, but they were improvements nonetheless.

Another example of this slight progress in storytelling was Castlevania 3’s introduction of multiple playable characters each with a unique backstory of their own. The supporting cast includes Sypha Belnades, a powerful sorceress disguised as a humble monk who meets Trevor after he saves her from being frozen in stone by a cyclops, and Grant Danasty, a pirate who fell under Dracula’s influence before Trevor helped him break free from his curse. Then there is of course Adrian Fahrenheit Țepeș who changed his name to Alucard, the opposite of Dracula, as a symbol of rebellion against his tyrannical father. Yet Castlevania was not the first to conceptualize the very character of Alucard; someone who is the son of Dracula and whose name is quite literally the backwards spelling of his fathers’. That idea started with Universal’s 1943 venture Son of Dracula, a sequel to the 1931 classic that unfortunately failed to match the original’s effective atmosphere, scares, and story. In it, Alucard is undoubtedly the villain whereas in Dracula’s Curse, he is one of the heroes. Moral and noble, able to sway Trevor Belmont’s preconceptions of vampiric creatures, and with an odd sympathy for the monster that is his father. Alucard even goes as far as to force himself into an eternal slumber after the defeat of Dracula in order to “purge the world of his own cursed bloodline” (the reason given by Castlevania: Symphony of the Night’s opening narration).

When it comes to design, Castlevania’s Alucard does the curious job of fitting in with the franchises’ established aesthetic yet at the same time, he manages to stand out the most—in fact, all the main characters do. Everyone from Trevor, Sypha, to Grant all look as though they belong in different stories from different genres. Grant’s design is more typical of the classic pirate image one would find in old illustrated editions of Robinson Crusoe’s Treasure Island or in a classic swashbuckler like 1935’s Captain Blood starring Errol Flynn. Sypha might look more at home in a Dungeons & Dragons campaign or an early Legend of Zelda title with a large hood obscuring her facial features, oversized blue robes, and a magical staff all of which are commonplace for a fantasy mage of the 1980s. Trevor’s design is nearly identical to Simon’s right down to the whip, long hair, and barbarian-esque attire which, as mentioned previously, was taken directly from Conan the Barbarian.

Judging Alucard solely from official character art ranging from posters to other promotional materials, he seems to be the only one who belongs in the gothic horror atmosphere of Dracula’s Curse. As the physically largest and most supernaturally natured of the main cast, he is in almost every way a copy of his father—a young Christopher Lee’s Dracula complete with fangs and cape. Yet his path as a hero within the game’s narrative along with smaller, near missable details in his design (his ingame magenta cape, the styling of his hair in certain official art, and the loose-fitting cravat around his neck) further separates him from the absolute evil and domination that is Dracula. Alucard is a rebel and an outsider, just like Trevor, Sypha, and Grant. In a way, they mirror the same vampire killing troupe from Bram Stoker’s novel; a group of people all from different facets of life who come together to defeat a common foe.

The son of Dracula also shares similar traits with Hammer’s Van Helsing. Same as the Belmonts (who as vampire hunters are exactly like Helsing in everything except name), Alucard is portrayed as one of the few remaining beacons of masculinity with enough strength, skill, and logical sense who can defeat Dracula, another symbol of patriarchal power. With Castlevania 3: Dracula’s Curse, we begin to see Alucard’s dual nature in aesthetics that is automatically tied to his characterization; a balance that many Byronic heroes try to strike between masculine domination and moralistic sensitivity and goodness that is often misconstrued as weakly feminine. For now though, especially in appearance, Alucard’s persona takes more from the trends that influenced his allies (namely Trevor and Simon Belmont) and his enemy (Dracula). This of course would change drastically alongside the Castlevania franchise itself come the 1990s.

Gender Expression & The 1990s Goth Scene

When a person sees or hears the word “gothic”, it conjures up a very specific mental image—dark and stormy nights spent inside an extravagant castle that is host to either a dashing vampire with a thirst for blood, vengeful ghosts of the past come to haunt some unfortunate living soul, or a mad scientist determined to cheat death and bring life to a corpse sewn from various body parts. In other words, a scenario that would be the focus of some Halloween television special or a daring novel from the mid to late Victorian era. Gothicism has had its place in artistic and cultural circles long before the likes of Mary Shelley, Edgar Allan Poe, Bram Stoker, and even before Horace Walpole’s The Castle of Otranto, a late 18th century novel that arguably started the gothic horror subgenre.

The term itself originated in 17th century Sweden as a descriptor of the national romanticism concerning the North Germanic Goths, a tribe which occupied much of Medieval Götaland. It was a period of historical revisionism in which the Goths and other Viking tribes were depicted as heroic and heavily romanticised. Yet more than ever before, gothicism is now associated with a highly specific (and in many ways personal) form of artistic and gender expression. It started with the golden age of gothic Medieval architecture that had its revival multiple centuries later during the Victorian era, then morphed into one of the darkest if not melodramatic literary movements, and finally grew a new identity throughout the 1990s. For this portion, we will focus on the gothic aesthetic as it pertains to fashion and music.

Arguably, the advent of the modern goth subculture as it is known nowadays began with the 1979 song “Bela Lugosi’s Dead” from Northampton’s own rock troupe Bauhaus. The overall aesthetic of the song, accompanying live performances, and the band itself helped shaped the main themes of current gothicism including, but not limited to, “macabre funeral musical tone and tempo, to lyrical references to the undead, to deep voiced eerie vocals, to a dark twisted form of androgyny in the appearance of the band and most of its following” (Hodkinson, 35-64). This emphasis on physical androgyny in a genre that was predominantly focused on depictions of undeniable masculinity was especially important to the 80s and 90s goth scene. Bauhaus opened the gates in which other goth and post-punk bands gained popularity outside of underground venues, including The Cure, Siouxsie and the Banshees, and Southern Death Cult. Much like Bauhaus’ “twisted form of androgyny”, these other bands pioneered a romantic yet darkly feminine aesthetic which was then embraced by their fans. It wasn’t until the producer of Joy Division Tony Wilson along with members from Southern Death Cult and U.K. Decay mentioned the word “goth” in passing that this growing musical and aesthetic subculture finally had a name for itself.

The goth movement of the 1990s became an interesting mesh of nonconformity and individual expression while also emphasising the need for a mutual connection through shared interests and similar aesthetics. Unique social outsiders looking for a sense of community and belonging—not unlike Stoker’s vampire hunting troupe or the main cast of Castlevania 3: Dracula’s Curse. Paul Hodkinson author of Goth: Identity, Style and Subculture describes the ways in which goths were able to expand their social networking while making the subculture their own. In order to gain further respect and recognition within the community, “they usually sought to select their own individual concoction from the range of acceptable artefacts and themes and also to make subtle additions and adaptations from beyond the established stylistic boundaries” (Hodkinson, 35-64). This was one of the ways in which the goth subculture was able to grow and evolve while maintaining some typical aesthetics. Those aesthetics that had already become gothic staples as far back as classic Victorian horror included crucifixes, bats, and vampires; all of which were presented by young modern goths, as Hodkinson puts it, “sometimes in a tongue-in-cheek self-conscious manner, sometimes not” (Hodkinson, 35-64).

The vampire, as it appeared in visual mass media of the time, was also instrumental to the 90s gothic scene, reinforcing certain physical identifiers such as long dark hair, pale make-up, and sometimes blackened sunglasses. This was especially popular amongst male goths who embodied traditional gothic traits like dark femininity and androgyny, which had already been long established within the subculture.

As always, television and film did more to reinforce these subcultural trends as recognizable stereotypes, usually in a negative manner, than it did to help people embrace them. In media aimed towards a primarily teenage and young adult demographic, if a character did not possess the traditional traits of a hyper-masculine man, they instead fit into two different molds; either the neurotic geek or the melodramatic, moody goth. However, there were forms of media during the 90s that did manage to embrace and even relish with no sense of irony in the gothic aesthetic.

Two films which helped to build upon the enthusiasm for the vampire were Francis Ford Coppola’s lavish adaptation of Stoker’s novel titled Bram Stoker’s Dracula starring Gary Oldman in the titular role of Dracula and another adaptation of a more recent gothic favourite among goths, Anne Rice’s Interview with the Vampire with Brad Pitt and Tom Cruise. The majority of the male goth scene especially emulated Oldman’s portrayal of Dracula when in the film he transforms into a much younger, more seductive version of himself in order to blend in with society, everything down to the shaded Victorian sunglasses and the long flowing hair; a vision of classic, sleek androgyny combined with an intimidating demeanor without being overly hyper-masculine.

Primarily taking place during the 18th and 19th century, Interview with the Vampire (the film and the original novel) also encouraged this very same trend, helping to establish European aristocratic elements into the gothic aesthetic; elements such as lace frills, finely tailored petticoats, corsets, and a general aura of delicacy.

Going back to Hodkinson’s findings, he states that “without actually rendering such categories insignificant, goth had from its very beginnings been characterized by the predominance, for both males and females, of particular kinds of style which would normally be associated with femininity” (Hodkinson, 35-64). However, it is important to acknowledge that the western goth subculture as described in this section, while a haven for various forms of gender expression, placed heavy emphasis on thin, white bodies. Over the years, diversity within the community has been promoted and encouraged, but rarely do we see it as the forefront face of gothicism.

The Japanese Goth Scene & Ayami Kojima

Modern gothicism was not limited to North America or Europe. In Japan, the subculture had evolved into its own form of self-expression through clothing and music that took inspiration from a variety of 18th and 19th century themes (mostly originating from European countries). Yet despite the numerous western influences, the eastern goth community during the 1990s and early 2000s embraced itself as something unique and wholly Japanese; in other words, different from what was happening within the North American movement at the same time. To refresh the memory, western goth culture focused primarily on the macabre that included completely black, moody wardrobes with an air of dark femininity. Japanese goth culture maintained those feminine traits, but included elements that were far more decadent, frivolous, and played further into the already established aristocratic motifs of gothicism. This created a new fashion subculture known as Gothic Lolita or Goth-Loli (no reference to the Vladimir Nabokov novel Lolita or the themes presented within the text itself).

In Style Deficit Disorder: Harajuku street fashion, a retrospective on the history of modern Japanese street fashion, the Goth-Loli image is described as “an amalgam of Phantom of the Opera, Alice in Wonderland, and Edgar Allan Poe” (Godoy; Hirakawa, 160). It was an aesthetic that took the western notion of “gothic” to higher levels with a heavier emphasis on opulence and an excessive decorative style—think Gothic meets Baroque meets Rococo. Teresa Younker, author of Lolita: Dreaming, Despairing, Defying, suggests that during the early years of the Gothic Lolita movement, it acted as a form of escapism for many young Japanese individuals searching for a way out of conformity. She states that “rather than dealing with the difficult reality of rapid commercialization, destabilization of society, a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons”. One pioneer that helped to bring the Goth-Loli image at the forefront of Japanese underground and street fashion the likes of Harajuku was the fashion magazine Gothic & Lolita Bible. Launched in 2001 by Index Communication and Mariko Suzuki, each issue acted as a sort of catalogue book for popular gothic and lolita trends that expanded to art, music, manga, and more.

According to Style Deficit Disorder, during this time when Gothic & Lolita Bible had helped bring the subculture into a larger collective awareness, the Goth-Loli image became “inspired by a yearning for something romantic overseas (...) and after taking on the “Harajuku Fashion,” ended up travelling overseas, while remaining a slightly strange fashion indigenous to Japan” (Godoy; Hirakawa, 137). Then came KERA Maniac, another magazine launched in 2003 that had “even darker clothing and international style points and references, such as features on the life and art of Lewis Carroll, Japanese ball-jointed dolls, or interviews with icons like Courtney Love” (Godoy; Hirakawa, 140). The fashion trends that both Gothic & Lolita Bible and KERA Maniac focused on also found popularity amongst visual kei bands which were usually all male performers who began sporting the very same ultra-feminine, ultra-aristocratic Goth-Loli brands that were always featured in these magazines.

Similar to traditional Kabuki theatre, “this visual-kei placed great importance on the gorgeous spectacle created onstage” (Godoy; Hirakawa, 135). One particular visual kei performer of the early 2000s that became Gothic & Lolita Bible’s biggest and most frequent collaborator was Mana. Best known for his musical and fashion career, Mana describes his onstage persona, merging aristocratic goth with elegant gothic lolita, as “either male or female but it is also neither male nor female. It is both devil and angel. The pursuit of a middle ground” (Godoy; Hirakawa, 159).

Opulence, decadence, and femininity with a dark undertone are all apt terms to describe the image of Japanese gothicism during the 90s and early aughts. They are also perfect descriptors of how artist Ayami Kojima changed the face of Castlevania from a franchise inspired by classic horror and fantasy to something more distinct. As a self-taught artist mainly working with acrylics, India ink, and finger smudging among other methods, 1997’s Castlevania: Symphony of the Night was Kojima’s first major title as the lead character designer. Over the years she worked on a number of separate video games including Samurai Warriors and Dynasty Warriors, along with other Castlevania titles. Before then, she made a name for herself as a freelance artist mainly working on novel covers and even collaborated with Vampire Hunter D creator Kikuchi Hideyuki for a prequel to his series. Kojima has been dubbed by fans as “the queen of Castlevania” due to her iconic contributions to the franchise.

Kojima’s influences cover a wide array of themes from the seemingly obvious (classic horror, shounen manga, and East Asian history) to disturbingly eclectic (surgery, body modification, and body horror). It is safe to assume that her resume for Castlevania involves some of her tamer works when compared to what else is featured in her 2010 artbook Santa Lilio Sangre. Yet even when her more personal art pieces rear into the grotesquely unsettling, they always maintain an air of softness and femininity. Kojima is never afraid to show how the surreal, the intense, or the horrifying can also be beautiful. Many of her pieces include details emblematic of gothicism; skulls, bloodied flowers, the abundance of religious motifs, and lavish backgrounds are all commonplace, especially in her Castlevania art. Her models themselves—most often androgynous men with sharp cheekbones, flowing hair, and piercing gazes—look as though they would fit right into a gothic visual kei band or the pages of Gothic & Lolita Bible.

Castlevania: Harmony of Despair was the final Castlevania game Kojima worked on, as well as her last game overall. It wasn’t until 2019 when she reappeared with new pieces including promotional artwork for former Castlevania co-worker Koji Igarashi’s Bloodstained: Ritual of the Night and a collaboration with Japanese musician Kamijo on his newest album. Her work has also appeared in the February 2020 issue of TezuComi, depicting a much lighter and softer side of her aesthetic. Ayami Kojima may have moved onto other projects, but the way in which she forever influenced the Castlevania image is still being drawn upon and emulated to this day.

Alucard c. 1997

There were actually three versions of Alucard during the 1990s, each of which were products of their time for different reasons. The first example is not only the most well known amongst fans and casual onlookers alike, but it is also the one design of Alucard that manages to stand the test of time. Ayami Kojima redesigned a number of classic Castlevania characters, giving them the gothic androgynous demeanour her art was known for. Most fans will say with some degree of jest that once Kojima joined Konami, Castlevania grew to look less like the masculine power fantasy it started as and more like a bishounen manga. No matter the differing opinions on the overall stylistic change of the series, Kojima’s reimagining of Alucard for Castlevania: Symphony of the Night is undoubtedly iconic. His backstory has more or less remained the same, carried over from Castlevania 3: Dracula’s Curse. After killing his father Dracula, Alucard, unable to fully process his actions or his bloodline, decides to force himself into a centuries long slumber in order to rid the world of his dark powers. Symphony of the Night begins with the Byronic dhampir prince waking up after nearly 300 years have passed once Dracula’s castle mysteriously reappears in close proximity to his resting place. The only difference this time is there seems to be no Belmont to take care of it, unlike previous years when Dracula is resurrected. Determined to finish what was started during the 15th century, the player takes Alucard on a journey throughout the castle, which has now become larger and more challenging than past incarnations.

Despite being somewhat of a direct sequel to Dracula’s Curse, Symphony’s Alucard is not the same dhampir as his 80s counterpart. Gone are any similarities to Bela Lugosi or Christopher Lee; now Alucard bears more of a resemblance to Anne Rice’s own literary muse Lestat de Lioncourt from her ongoing Vampire Chronicles. Instead of slicked back dark hair, thick golden locks (which were originally black to match his father) cascade down Alucard’s figure, swaying with his every pixelated movement. Heeled leather boots, a black coat with gold embellishments along with an abnormally large collar underneath a flowing cape, and a high-collared cravat replace the simplistic wardrobe of 80s Alucard—from a traditional, minimalist goth mirroring his father’s masculinity to an extravagant, aristocratic goth with his own intense, almost macabre femininity.

With the early Metroidvanias came the inclusion of detailed character portraits designed by Ayami Kojima which would appear alongside a dialogue box to further establish the illusion of the characters speaking to each other. Symphony of the Night was one of the first titles where players got to see Alucard’s ingame expression and it looked exactly as it did on every piece of promotional poster and artwork. The same piercing glare, furrowed brow, and unshakeable inhuman determination, the sort that is also reflected in his limited mannerisms and character—all of which are displayed upon an immaculate face that rarely if ever smiles. Just by looking at his facial design nearly hidden behind locks of hair that always seems meticulously styled, it is clear that Alucard cannot and will not diverge from his mission. The only moment in the game when his stoic facade breaks completely is when he faces off against the Succubus, who tempts Alucard to give into his vampiric nature by disguising herself as his deceased mother Lisa. Yet even then he sees through her charade and, depending on the player’s ability, quickly disposes of her.

Despite his delicate feminine features, emotional softness is not one of Alucard’s strongest suits in Symphony. Though for someone in his position, someone who must remain steadfast and succeed in his goal or else fail the rest of humanity, where little else matters, Alucard’s occasional coldness (a trait that would return in recent Castlevania instalments) makes sense. There is a scene near at the climax of the game where he exposits to the other main protagonists Richter Belmont and Maria Renard about how painful it felt to destroy his father a second time, but he reframes it as a lesson about the importance of standing up against evil rather than an admission of his own vulnerability. However, he does choose to stay in the world of mortal humans instead of returning to his coffin (depending on which ending the player achieves).

The second 90s version of Alucard is a curious case of emulation, drawing inspiration from both Kojima’s redesign and other Japanese art styles of the 1990s. Castlevania Legends was released for the Game Boy the exact same year as Symphony of the Night and acted as a prequel to Dracula’s Curse, following its protagonist Sonia Belmont as she traverses through Dracula’s castle alongside Alucard and becomes the first Belmont in history to defeat him. It was then retconned after the release of Castlevania: Lament of Innocence in 2003 due to how its story conflicted with the overall timeline of the series. As with most of the earliest Game Boy titles, the ingame graphics of Legends are held back by the technological limitations, but the box art and subsequent character concepts reveal the game’s aesthetic which seems to take the most inspiration from other Japanese franchises of the decade. The biggest example would be Slayers, a popular comedic fantasy series that included light novels, manga, and anime. Legends Alucard is portrayed in this particular animated style, yet his design itself is very similar to how he looks in Symphony of the Night with only minor exceptions.

The third and arguably most obscure 90s Alucard comes from the animated children’s show Captain N: The Game Master, a crossover that brought together popular Nintendo characters like Mega Man, Kid Icarus, and Simon Belmont. The episodes were presented as traditional monsters of the week, meaning each one focused on a brand new story or environment usually taken from Nintendo games. One episode that aired in 1993 centered on Castlevania and featured a comedic and parodied version of Alucard. Although the episode took elements from Dracula’s Curse, Alucard was meant to be a stereotypical representation of rebellious 90s youth, i.e. an overemphasis on skateboarding and “radical” culture. A colorful, kid-friendly version of the character that was never meant to be taken seriously; much like the rest of the show.

Out of the three variations, Ayami Kojima’s Alucard is the one that made the biggest and longest lasting impact on Castlevania. Redesigning an iconic franchise or character always comes with its own risks and gambles. In the case of Symphony of Night, the gamble made by Kojima—and by extension Konami and director Koji Igarashi—paid off. Unfortunately, the same cannot be said regarding Alucard’s next major change as a character and an image.

Lords of Shadow

“What motivates a man to confront the challenges that most of us would run from?” This is a question put forth by Castlevania: Lords of Shadow, the first attempt by Konami to reinvigorate and inject new life into the Castlevania brand name by completing rebooting the universe. Starting from scratch as it were. Originally, Lords of Shadow seemed to have no connection to the Castlevania franchise. Announced by Konami during a games convention in 2008, this was meant to give more attention and not distract from the upcoming Castlevania: Judgment. However, merely a year later at Electronic Entertainment Expo, it was revealed that Lords of Shadow was in fact the next major step that Konami was taking with Castlevania. From its announcement and early trailers, the game was already generating a healthy amount of media buzz due to its updated graphics, design, and gameplay. Having Konami alumni, video game auteur, and creator of the critically acclaimed Metal Gear series Hideo Kojima attached to the project also helped to generate initial hype for this new phase of Castlevania (though it should be noted that Kojima was only credited as a consultant and advisor for the Lords of Shadow development team). After nearly a decade of near hits, substantial misses, and a lack of focus for the franchise, Castlevania had once again become one of the most highly anticipated upcoming games. To quote gaming news and reviews website GamesRadar+ at the time, “this could be a megaton release”.

And it was—so to speak. As mentioned in previous sections, the first Lords of Shadow did relatively well, garnering critical and commercial success. By November of 2010, nearly one million copies had sold in North America and Europe alone. While not a monumental achievement or a record breaker, Lords of Shadow soon became the highest selling Castlevania game of all time. But enough time has passed since its release and nowadays, fans look back upon this reinvented Castlevania timeline pushed by Konami with mixed feelings, some more negative than others.

The main criticism is that when it comes to gameplay, environment, and story, Lords of Shadow changed too much from its original source material. Change is not always a terrible thing especially in regards to long-running franchises and Castlevania had already gone through one massive upheaval with Symphony of the Night. Although the difference is how well that dramatic change was executed and how players reacted to it. For many, Lords of Shadow felt less like the game it was supposed to be emulating and more like other action hack-and-slashers of the time. The gameplay didn’t feel like Castlevania, it felt like Devil May Cry. Elements of the story didn’t feel like Castlevania, they felt like God of War. Each boss fight didn’t feel like Castlevania, they felt like Shadow of the Colossus (a frequent comment made by fans). Despite the familiar elements from past games that made their way into this new instalment, for many, Lords of Shadow was too little of Castlevania and too much of everything else that surrounded its development. Meanwhile, the afformented familiar elements seemed like attempts at fanservice in order to make sure that longtime fans felt more at home.

Does the game and its following sequels still hold any merit in terms of aesthetic and story? They do, especially when it comes to its style. Lords of Shadow, its midquel Mirror of Fate, and the sequel Lords of Shadow 2 are not unappealing games to look at. When examining the concept art of characters, enemies, and environments, one could argue that the Lords of Shadow series has some of the most visually striking Castlevania art in the series. The monster designs in particular take on a much grander, ambitious, and menacing presence that take inspiration from various mythological and biblical sources, the best example being Leviathan from Lords of Shadow 2.

By the 2010s, AAA video games in general were going through a sort of golden age with titles such as Assassin’s Creed 2, Batman: Arkham Asylum, and Red Dead Redemption among many others. Not only were the stories and gameplay mechanics improving by ten folds, so too were the graphical capacities that each game could uphold. Due to technological advancements, Castlevania had the chance to become more detailed and fleshed out than before. The locations of Lords of Shadow and its sequels, which ranged from gothic castles, to modern decrepit cities, to fantastical forests, grew lusher and more opulent while the monsters evolved past the traditional skeletons of the series into far more imposing nightmarish creatures.

The first game along with Mirror of Fate kept themselves fairly grounded in their respective environments. Nearly every character looks as though they firmly belong in the gothic fantasy world they inhabit. Gabriel Belmont and the rest of the Brotherhood of Light are dressed in robes reminiscent of medieval knights (with a few non-historical embellishments) while the vampiric characters of Carmilla and Laura dress in the same manner that typical vampires would. However, a new location known as Castlevania City was introduced in Lords of Shadow 2, modelled after a 21st century metropolitan cityscape. Characters with designs more suited to God of War or Soul Calibur intermingle with NPCs dressed in modern clothing, further highlighting the clash of aesthetics. While this is not the first time Castlevania has featured environments populated with humans, the constant shifting between a dark urban landscape with more science fiction elements than fantasy and the traditional gothic setting of Dracula’s castle can feel like whiplash.

The Lords of Shadow timeline was an ambitious attempt by Konami to try and give fans a Castlevania experience they had not seen before. New concepts that were previously unexplored or only alluded to in past games were now at the forefront. Yet the liberties that each game took with established Castlevania lore, both in terms of story and design, were perhaps too ambitious. The biggest example is the choice to have the Belmont protagonist turn into Dracula through a combined act of despair and selflessness, but Alucard went through a number of changes as well. Transforming him from the golden-haired aristocrat of the 90s and 2000s into an amalgamation of dark fantasy tropes.

Alucard c. 2014

After the success of Castlevania: Symphony of the Night, Alucard reappeared in a number of following titles, most of which depicted him in his typical black and gold wardrobe. There were exceptions, including Castlevania: Aria of Sorrow and its direct sequel Castlevania: Dawn of Sorrow where he adopts the alias of Genya Arikado, an agent for a futuristic Japanese organization dedicated to stopping any probable resurrections of Dracula. Because of this need to appear more human and hide his true heritage, Genya’s appearance is simple and possibly one of Ayami Kojima’s most minimalistic character designs; a black suit, shoulder length black hair, and the job is done. In Dawn of Sorrow, Alucard briefly appears as himself, drawn in a less detailed anime style that softens his once intensely stoic expression first seen in Symphony. The next exception is Castlevania: Judgment, a fighting game where characters from separate games and time periods are brought together to face off against one another. Konami brought on Takeshi Obata (who by then was famously known for his work on Death Note) as the lead character designer and in many regards had a similar aesthetic to Ayami Kojima, creating lavish gothic pieces that were heavily detailed and thematic.

Like Kojima, Obata was given free range to reconceptualize all of the characters appearing in Judgment with little to no remaining motifs from previous designs. This included Alucard, who dons a suit of silver armor and long white hair to match it. Judgment’s Alucard marked a turning point for the character in terms of appearance; a gradual change that was solidified by Lords of Shadow.

This is where things get complicated. While Castlevania could be considered a horror series solely based on its references, aesthetic, and monsters, nearly every iteration whether it comes down to the games or other forms of media tends to veer more towards the dark fantasy genre. Edward James and Farah Mendleson’s Cambridge Companion to Fantasy Literature describe the distinction between traditional horror and dark fantasy as a genre “whose protagonists believe themselves to inhabit the world of consensual mundane reality and learn otherwise, not by walking through a portal into some other world, or by being devoured or destroyed irrevocably, but by learning to live with new knowledge and sometimes with new flesh” (James; Mendleson, 218). While horror is a genre of despair, directly confronting audience members with the worst of humanity and the supernatural, “the protagonist of dark fantasy comes through that jeopardy to a kind of chastened wisdom” (James; Mendleson, 217).

Dark fantasy is ultimately a genre of acceptance (i.e. characters accepting a horrible change or embracing the world they have been forcibly thrown into), but it also represents a rejection of traditional tropes implemented by the works of Tolkien or the Brothers Grimm, thus defining itself by that very same act of rejection. An example of this is the theme of failure, which is common in many dark fantasy stories. There are far more unhappy or bittersweet endings than happy ones while the construction of the classic hero’s journey hinges more on all the possible ways in which the protagonist could fail in their quest.

Going off from this definition, the Lords of Shadow timeline fits squarely into the dark fantasy genre, especially concerning its two leading men. We already know that Gabriel Belmont sacrifices his humanity in order to become Dracula, but what happens to his son borders on a Greek tragedy. Before the “deaths” of Gabriel and Maria, they had a son named Trevor who was immediately taken into the care of the Brotherhood of Light and kept away from his father in order to protect him. Years later when Trevor is an adult with a family of his own, he vows to defeat Dracula for bringing shame and dishonor upon the Belmont bloodline. Yet when their eventual confrontation happens, Dracula easily beats Trevor who, on the verge of death, reveals the truth about his connection to the lord of vampires. In a desperate act of regret, Dracula forces Trevor to drink his blood and places him into a coffin labeled “Alucard” where he will seemingly rest for eternity.

Time passes and Trevor Belmont—now transformed into the vampire Alucard—awakens, just as he did at the beginning of Dracula’s Curse and Symphony of the Night. During his disappearance, his wife Sypha Belnades was killed by Dracula’s creatures, orphaning their son Simon Belmont. The two eventually meet and work together to stop Dracula, but Alucard cannot bring himself to tell Simon the truth.

Despite a well-deserved happy ending in Lords of Shadow 2 (he and his father reconcile before going off to presumably live a peaceful life), the character of Trevor/Alucard is built upon the same themes of failure and learning to accept terrible change found within dark fantasy. His design is especially reminiscent of one of the darkest and most tortured protagonists in the genre, Michael Moorcock’s Elric from his Elric of Melniboné series. First appearing in the June 1961 issue of Science Fantasy, he stands out amongst most sword and sorcery heroes, different from the hypermasculinity of Conan the Barbarian for his embittered personality, philosophical motifs, and memorable design. Elric is constantly described as looking deathly pale with skin “the color of a bleached skull; and the long hair which flows below his shoulders is milk-white” (Moorcock, 3) and a body that needs a steady stream of potions in order to function properly or else he will gradually grow weaker, nearer towards the edge of death—more a corpse than a human being.

Lords of Shadow Alucard is very much like a walking corpse as well. His long hair is the same milk-white tone as Elrics’, his skin is deprived of any real color, and his open chest outfit reveals a body that is both robust yet emaciated. Moorcock’s Elric was the prototype for many other white haired, pale faced, otherworldly antiheroes in fantasy that came afterwards and the darkly ethereal aesthetic that reflected his constant state of self-loathing and tragedy was the most ideal fit for this new version of Alucard. Both fail as traditional fantasy heroes, both abhor their physical states, yet both learn to embrace it at the same time.

A Brief History of Modern Animation

Before we move onto the final iteration of Dracula’s son, let us first acquaint ourselves with an artistic medium that has not been fully discussed yet. This essay has gone into detail concerning the aesthetics of video games, fashion, filmmaking, and music, but where does animation fit in? Since 1891’s Pauvre Pierrot, the only surviving short film predating the silent era with 500 individually painted frames, animation has evolved into one of the most expressive, diverse, and groundbreaking art forms of the modern age. There were earlier methods that fit into the animation mold before Pauvre Pierrot including but not limited to shadow play, magic lantern shows, and the phenakistoscope, one of the first devices to use rapid succession in order to make still images look as though they were moving. Throughout the 20th century, with the help of mainstream studios like Warner Bros. and of course Walt Disney, the medium quickly began to encompass a variety of techniques and styles beyond a series of drawings on paper. Some of the more recognizable and unique styles are as followed:

Digital 2-D animation

Digital 3-D animation

Stop-motion

Puppetry

Claymation

Rotoscoping

Motion capture

Cut-out animation

Paint-on-glass

The most common forms used in film and television are traditional hand drawn and digital 3-D, sometimes merged together in the same product. There has been much debate over which animation technique has more artistic merit and is more “authentic” to the medium, but the reality is that there is no singular true form of animation. Each style brings its own advantages, challenges, and all depends on how it is being used to tell a specific story or evoke a feeling within the audience. For example, the 2017 semi-biographical movie Loving Vincent is animated in a nontraditional style with oil paints in order to create the illusion of a Vincent Van Gogh painting that has come to life. As Loving Vincent is about the influential painter himself and his tragic life, this animation technique works to the film’s advantage. If the story had used a more traditional form like 2-D or 3-D, it might not have had the same impact. Another example like the film A Scanner Darkly starring Keanu Reeves uses a somewhat controversial technique known as rotoscoping, which entails tracing over live action scenes in order to give it a realistic yet still animated feel. A Scanner Darkly is a futuristic crime thriller meant to evoke a sense of surrealism and discomfort, making the uncanniness of rotoscoping the perfect fit for its artificial atmosphere.

Throughout its history, animation has gone through a number of phases corresponding to political, artistic, and historical events such as propaganda shorts from Walt Disney during World War II and the rise of adult-oriented animators who rode the wave of countercultural movements during the late 1960s and early 70s. Animation meant for older audiences was especially coming into its own as most audiences had become more comfortable associating the medium with the family friendly formula perfected by the Disney company. The only other western mainstream animation studio that could stand toe to toe with Disney while also dabbling in mature subject matter at the time was Warner Bros. and its juggernaut Looney Tunes, which even then was mostly relegated to smoking, slapstick violence, and mild suggestive material. Meanwhile, the works of Ralph Bakshi, arguably the father of elevated adult animated features, dealt with everything from dark humor, sexuality, profanity, and complex themes most of which delved into pure shock value and were highly offensive in order to make a statement. There were later exceptions to this approach including Bakshi’s own adaptation of Tolkien’s Lord of the Rings, Wizards, and Fire and Ice, a high profile collaboration with Frank Frazetta, in which both films utilized rotoscope animation to create unique, fantasy-based experiences for mature viewers.

With the right amount of funds and creativity, other countries began developing their own animated features with distinct styles that reflected the culture, social norms, and history in which they originated from. The 1960s are referred to as “the rise of Japanese animation”, or as it came to be known worldwide as anime, thanks to iconic characters of the decade like Astro Boy, Kimba the White Lion, and Speed Racer. The longest running anime with over 7,700 episodes to date is Sazae-san, based on the popular 1940s comic strip of the same name. Western audiences commonly associate modern anime with over the top scenarios, animation, and facial movements while having little to no basis in reality when it comes to either story or character design.

While the Walt Disney company was steadily losing its monopoly on the animation industry with financial and critical disappointments (making room for other animators like Don Bluth) until it's renaissance during the 1990s, the 1980s turned into a golden age for ambitious, groundbreaking anime projects. Not only were films like Akira, Grave of the Fireflies, Barefoot Gen, and Nausicaä of the Valley of the Wind among many others, appealing to a wide variety of audiences, they were also bold enough to tackle mature, complex subject matter with a certain degree of nuance that complimented each film’s unique but often times bizarre or surreal styles. Akira watches like a violent cyberpunk splatterfest with extreme body horror and juvenile delinquency, yet its borderline exploitative methods serve a larger purpose. Akira takes place in a bleak, dystopian Japan where Tokyo has been rebuilt after its destruction in 1988, setting up an allegorical story that directly confronts government experimentation and the fallout of nuclear warfare.

Artists of all mediums have always influenced one another and the impact that anime has had on western animation continues to this day whether through passing tongue-in-cheek references, taking inspiration from common anime tropes while also depicting them through a western lens, or shows that feature a heavily emulated anime style like Avatar: The Last Airbender and its successor The Legend of Korra. Then there are shows that completely blur the lines between western animation and anime, with the ultimate distinction usually coming down to where it was originally developed (i.e. North America or Japan).

Alucard c. 2017

The overall aesthetic and image of Netflix’s Castlevania is built upon a number of different influences, the majority of which come from Japanese animation. Executive producer and long time Castlevania fan Adi Shankar has gone on record saying that the show is partially “an homage to those OVAs that I would watch on TV (...) and I was like, “This is beautiful, and it’s an art form”. He has also directly compared the show to those golden age-era ultra violent anime features of the 80s and 90s, including titles such as Akira, Ghost in the Shell, and Ninja Scroll. Director Samuel Deats, another avid Castlevania fan, has mentioned the long-running manga series Berserk along with its 1997 anime adaptation as one of the animation team’s primary inspirations numerous times, explaining in further detail in a 2017 interview with io9: “I pulled out my ‘I love the Berserk manga, Blade the Immortal’ and all that. That dark fantasy style of storytelling, character design, how gorey it gets… I put together a bunch of drawings and sketches, and a few color images that channeled all of that”.

Watching Castlevania, the aesthetic references to Berserk are obvious. Both series merge together medieval fantasy elements with gruesome horror but they are also similar in their particular animation styles. One director from Korean studio MOI Animation who partnered with Powerhouse Animation collaborated on the feature length film Berserk: The Golden Age—The Egg of the King along with its two sequels. But the biggest inspiration for the design of Castlevania, especially when it comes to its characters, is Ayami Kojima herself.

From the pre-production phase, the team at Powerhouse knew they wanted Kojima’s art to be the main basis of how the finished product would look and feel. According to Samuel Deats, “In the back of everyone’s heads, we knew that we wanted to heavily reference the style Ayami Kojima used in the Castlevania games. We wanted to bring the same shade-before-image sort of thing”. However, due to the sheer amount of details and embroidered style of Kojima’s aesthetic, many of her original designs had to be simplified into 2-D animated forms (just as they had to be reduced into pixelated form for Symphony of the Night).

Alucard’s animated design is the best example of this simplification process, but it took some trial and error in order to arrive at the finished product. When Castlevania was originally planned as a movie, his design veered closer to the otherworldliness and corpse-like aesthetic of Lords of Shadow Alucard—something that looked as far from a human being let alone a dhampir as possible. Following the years of stifled development until Netflix picked up the project, Powerhouse opted to fall back on Kojima’s artwork for sheer iconography and recognizability.

On the one hand, animated Alucard’s facial expressions are identical to his game counterpart with the exception of a few liberties taken; same determined scowl, same intensely golden eyes, and same lush eyelashes (there’s even a note from his character sheet specifically stating that they must cast shadows for close-ups). Most of all, the same feminine androgyny of Kojima’s work. But there are just as many omitted details from Alucard’s updated model as there are those that were carried over from the original design. When compared to Symphony of the Night, his wardrobe seems to be severely lacking in excessive ornaments, instead opting for a sleek black coat with simple gold embellishments, knee high boots with a slight heel, and a white shirt with an open v-neckline. Despite these supposedly easy changes and evocation of Kojima’s art style, Alucard is still one of the more difficult characters to animate as stated by Deats: “I mean, Alucard has to be just right. You can’t miss an eyelash on him without it looking weird”.

For the most part, it shows in the final product. There are moments when the animation goes off model (as is the case with most 2-D animated shows for time and budgetary reasons), but rarely is Alucard drawn from an unflattering angle. The other reason for his change in design is the fact that Castlevania takes place three centuries before the events of Symphony of the Night. Because of the story constraints and console limitations, players were not given an in-depth look at Alucard’s character beyond his quest to defeat Dracula and the guilt he felt afterwards. It would make sense that his demeanor differs from the stoic nature of how he reacts to certain situations three hundred years later. As a result, Alucard is given a toned-down design to reflect what he might have been like as a younger, brasher, and more immature version of himself.

This immaturity and juvenile nature of his visual image comes through in his portrayal. While the show is in its third season, we will primarily focus on season two as when compared to the others, it revolves around Alucard’s personal journey towards an important aspect of his long established character the most; namely, the reason for his rebellion against Dracula and his eventual act of patricide. Because Alucard only appears as a silhouette in episode one then makes his full introduction during the last fifteen minutes of the final episode, season one gives the audience a very limited idea of his character. What we do get from Alucard is the same impression that Symphony of the Night left fans with: someone who is determined, intensely fixated on his goal, and is willing to use any means to accomplish it—even if it involves striking a tentative truce between a vampire hunter and a scholar of magic. Season two expands upon this, showing an Alucard who is soft-spoken, careful in his mannerisms, more feminine than masculine, yet always rises to the occasion whenever he needs to match Trevor Belmont’s own crassness. For all of his grace, Alucard’s high emotions coupled with an unchecked immaturity (especially in the presence of Trevor) show how ill-equipped he is when dealing with human interactions.

One other piece of evidence that adds to this chink in Alucard’s carefully crafted metaphorical armor is the goal of stopping his father. Throughout small interactions and moments of dialogue, the truce struck between him, Trevor, and Sypha eventually develops into more of a friendship, yet Alucard continues to suffer from extreme tunnel vision, going as far as to chastise his two companionships whenever they get too distracted or unfocused from their mission. This character flaw is also touched upon in Castlevania: Grimoire of Souls when characters remark upon Alucard’s (otherwise referred in the game as Arikado) overly serious nature. A flaw that does more to unintentionally push others away rather than any attempt to bring them closer to him.

When Alucard finally achieves his goal of killing Dracula, it leaves him feeling hollow. He doesn’t quite know how to fully process this ultimate decision, maintaining a delicate sense of composure on the outside while in the presence of others. It’s only when Alucard is left alone does he allow the emotions of everything that has just happened to overwhelm him in a moment of genuine vulnerability that was only alluded to in previous scenes.

Conclusion

Despite the show being renewed for a fourth season, the future of the Castlevania franchise in general remains uncertain. There’s been no talk of any other past games being set for rerelease, Grimoire of Souls continues to make sporadic updates to its gacha system rather than its story mode, and Konami has since chosen to take a step back from developing video games in favour of manufacturing pachislot machines. Symphony of the Night and Bloodstained: Ritual of the Night creator Koji Igarashi has mentioned in past interviews that should Konami somehow make a return to Castlevania, he would be willing to direct a new instalment. But at the present time, rumors have remained rumors and there are no signs of a new official Castlevania game in the near future whether developed by Konami or an outside company.

No matter what direction Castlevania takes in the years to come, it seems as though Alucard will always follow it, just as Dracula and the Belmonts will as well. This is his franchise as much as it is theirs thanks to continued fan popularity. He’s taken many forms in the past thirty years and become the visual representation of certain trends, yet one thing about him never changes: he is still Dracula’s son, the opposite of his father. He can be cruel, powerful, cold, and everything else a Byronic hero should be yet he can also reject his masculine inheritance in both character and aesthetic.

Above all else, the human side of Alucard is greater than the monstrous side.

References

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Dyhouse, Carol. Heartthrobs: A History of Women and Desire. Oxford: Oxford University Press, 2017.

Godoy, Tiffany; Hirakawa, Takeji. Style Deficit Disorder: Harajuku Street Fashion, Tokyo. San Francisco: Chronicles Books, 2007.

Hodkinson, Paul. Goth: Identity, Style and Subculture. Bloomsbury Fashion Central, 2002.

Hutchings, Peter. Hammer and Beyond: The British Horror Film. Manchester: Manchester University Press, 1993.

James, Edward; Mendlesohn, Farah. The Cambridge Companion to Fantasy Literature. New York: Cambridge University Press, 2012.

Kibby, M.D. Real Men: Representations of Masculinity in the Eighties Cinema. Sydney: Western Sydney University Thesis Collection, 1997.

Kojima, Ayami. Santa Lilio Sangre. ToÌ"kyoÌ" : Asukashinsha, 2010.

Metzger, Patrick. “The Nostalgia Pendulum: A Rolling 30-Year Cycle of Pop Culture Trends.” The Patterning. WordPress.com, 2017. https://thepatterning.com/2017/02/13/the-nostalgia-pendulum-a-rolling-30-year-cycle-of-pop-culture-trends/

Moorcock, Michael. Elric of Melniboné. New York: Ace Fantasy, 1987.

Narcisse, Evan. “The Animation Studio That Made Castlevania Explains Why It Was A Dream Project.” io9. Gizmodo, 2017. https://io9.gizmodo.com/the-animation-studio-that-made-castlevania-explains-why-1797476526

Younker, Terasa. “Japanese Lolita: Dreaming, Despairing, Defying.” Standford Journal of East Asian Affairs, 2012, 97-110.

#castlevania #alucard #alucard castlevania #adrian fahrenheit tepes #castlevania netflix #castlevania symphony of the night #ayami kojima #konami #my writing #i'm sending my baby out into the world...... be gentle

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The Most Incredible Secondhand Store Finds Ever

You really never know what you’ll find when you hit up your local thrift store. You might find the perfect piece of furniture to round out a room. Maybe you’ll find a great outfit you never thought to wear before. Sometimes it will just be a well-loved book that will take you on a journey. Finding these things is what makes thrift shopping so unique, and it’s why so many people are taking it up as a hobby.

There are some days, though, when fortune truly favors the thrifty shopper. Any secondhand store you go to gets its inventory from many different sources, and you never know when something truly, outrageously valuable will find its way into those donation boxes.

To show you what I mean, I’ve compiled a list of some of the most incredible secondhand store finds ever. I can’t guarantee you’ll find something like one of these, but they really were found in thrift stores and secondhand shops.

The Jaeger-LeCoultre Wristwatch

Zach Norris was just like anyone else looking for a good deal. In January of 2015, he entered a thrift store that displayed a beautiful diving watch. This diving watch wasn’t any old piece of hardware. It was made by the Swiss watchmaker company Jaeger-LeCoultre.

At the time, Norris knew it had to be worth a lot of money, but he didn’t realize how much until he had it appraised by a local dealer of Jaeger-LeCoultre watches. The watch was one of the first-ever made with an alarm that divers could use, one of only about 1,000 such watches. He sold the watch for a quick $35,000 to a collector, who gave him a beautiful watch valued at $4,000 along with the money.

The Genuine Picasso Print

An Ohio-based thrifter named Zach Bodish looked through some thrift stores one day in 2012. He was trying to find things he could fix up and sell himself. What he found was a poster set inside of a frame with a small note in the corner reading “6/100.”

Through a little bit of research, Zach realized he had stumbled upon a genuine linocut poster made by Pablo Picasso himself for one of his early exhibitions. It had Picasso’s actual signature, and only 100 were ever produced. A poster that had cost Zach Bodish a little over $14 eventually net him $7,000 in the final sale.

The Czarina’s Brooch

In 2011, Thea Jourdan found a bright and beautiful brooch in a secondhand store believing that the gem had to be fake. Jourdan gave the brooch to her 4-year-old daughter to wear to school and around town.

One day, while Jourdan was getting her engagement ring’s insurance value, the appraiser spotted the brooch on her daughter. With a little bit of digging, they discovered that the brooch was in fact real. It belonged to a Russian czarina back in the day, and Jourdan was able to get close to $43,000 for it once it sold.

The Philip Treacy Handbag

John Richard was looking through a charity shop (A British term for a thrift or secondhand store) one day and opened a random box to find a very nice-looking handbag that was printed with Elvis Presley’s likeness as depicted by Andy Warhol. After trying to haggle the price below the listed $26, he took the bag home and forgot about it.

Later that year, Richard finally found the label reading Philip Treacy, a very well-respected Irish designer. It turns out the bag was one of only ten and it had been hand-sewn. Two separate offers of $325,000 and $455,000 were made to Richard by Chinese collectors.

The Rare Video Game Cartridge

In the spring of 2013, Jennifer Thompson was at her local thrift store looking for cheap DVDs. Something else caught her attention, though—a video game cartridge for the Nintendo Entertainment System with the title Stadium Events. After confirming that this was a highly sought-after video game, she bought it for about eight bucks from the thrift shop. Placing the cartridge up for auction online eventually led to a sale: $25,000 for a single video game.

The Declaration of Independence Copy

One of the most incredible thrift store finds ever was made by Michael Sparks in Nashville. He found what looked to be an extremely well-made copy of the Declaration of Independence. Upon looking at it once he got home, Sparks found a marking that depicted the year 1823 and a small phrase: “by order of the government.”

After thorough research, Sparks realized he had just found one of the official 200 copies of the Declaration of Independence ordered to be made by President John Quincy Adams. The extremely well-preserved nature of the copy made the final auction price for it a whopping $477,650.

The Actual Golden Egg

It turns out they’re real after all, and just as expensive as you might think. A man found a very fancy-looking golden egg at a flea market in 2011 and thought he would melt it down for scrap. That was his plan, until he did his research and found out about the lost Faberge egg meant for the royalty of Russia. Just to be sure, he had the egg appraised by a Faberge egg expert. By some miracle, the egg was the true lost treasure. Sold at an undisclosed amount, there are experts that say that the egg could have gone for somewhere around $33 million.

As I said, you never know what you might find at your local thrift store. Whether you’re on the hunt for the next great treasure or you just need some quality clothing at great prices, check out thrift stores in Panama City Beach, FL. I am sure they’ll have something you’ll enjoy, even if it doesn’t net you a couple million later on!

#thrift shopping #shopping #secondhand #history of thrifting

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iphonehunter126 · 3 years

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theirrationalzone · 3 years

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My Top Ten Games of 2020

Let’s just address the giant elephant in the room from the offset: 2020 has been one giant mess of a year. Every event, every major moment this year just felt like the worst case scenario every time.

For a lot of us though, there was one saving grace: video games.

2020 has been a damn fine year for video games. From the return of certain classic franchises to some amazing new entries and experiences. Gaming really managed to thrive in a year where other entertainment mediums such as films and television struggled.

Let’s dive in and take a look at some of the games that made this year a lot more bearable:

10: Watch Dogs Legion

I’ve had a soft spot for Ubisoft’s hack ‘em up franchise for quite a while. I didn’t think the original was as disappointing as it was made out to be and I thought the second one was an underrated gem. When Legion was first announced, I liked a lot of what the game was setting out to do but I wasn’t ready to pull the trigger on getting it. I decided to give the game a chance in the end and I’m glad I did.

Legion might suffer from the same pitfalls that have plagued other Ubisoft enterprises, but the recruitment mechanic is one of the coolest systems I have seen in any game ever. The fact that you can recruit any NPC that you see on the streets of London and use their unique talents to complete your objectives is just an awesome thing in and of itself. Its depiction of London is also incredibly fun to explore and cause mayhem in. While I found the writing to be pretty subpar, the game quite buggy and the whole PS5 upgrade fiasco a farce, I still found Legion to be a fun open world experience overall.

9: Resident Evil 3

Resident Evil has been on a real hot streak as of late, hasn’t it? Ever since Capcom made a promise to its fans that the Resident Evil series would go back to what made it so popular in the first place, the series has gone from strength to strength. Last year saw the release of the RE2 Remake which was absolutely excellent in that it kept the spirit of the original while also taking a few liberties of its own. It was only a matter of time before RE3 got the same treatment and well... it did.

I’m just going to spit this out. It’s not as good as the RE2 Remake. It didn’t need to be though. I still think this is a good game that provides a satisfying and fun survival horror experience. It carries over a lot of the elements that made the RE2 Remake such an excellent game and in certain areas (especially the writing) it makes a few improvements. Plus the game looks absolutely stunning thanks to the RE Engine. It is quite short. It is missing quite a bit of content from the original game. It definitely isn’t as replayable as the RE2 Remake. I still had a blast with it though overall. If this really is a blip for the Resident Evil series, then it must be in a really good place right now.

8: Tell Me Why

Dontnod Entertainment have fast become one of my favourite developers in the industry right now. When I first played Life is Strange back in 2015, it felt like a revelation. It weaved a fantastic story with characters you genuinely cared for and took you to a place you never wanted to leave. I’ve enjoyed all of their other ventures since then such as the underrated (if quite janky) Vampyr and Life is Strange 2.

Tell Me Why is another venture that fits the Dontnod MO: A grounded emotional story with slight supernatural elements, a degree of player choice and a setting that makes your jaw drop. The major difference here is the game’s attempt to portray a transgender character. That’s nothing new in and of itself. It’s more the fact that it attempts to accurately portray a transgender male character which is a bit of a rarity in all forms of media. Transgender portrayals (from what I’ve seen) tend to focus on male to female rather than female to male.

I’m in no position to comment on whether the portrayal is accurate or not, but I got the impression that Dontnod really went out of their way to get this right. Their FAQ explains that they worked with GLAAD and the voice actor to get it as right as they could. That alone deserves huge praise, but I also loved the Ronan Twins’ story as they dealt with their harsh past and the uncertain future. The game was a delight from beginning to end and it just looks absolutely gorgeous to boot. Dontnod have done it again.

7: Bugsnax

One of the early delights of the last generation was a little ditty known as Octodad: Dadliest Catch. It was a fun little physics based affair which cast you as a octopus masquerading as a human. The game had a terrific sense of humour and it was just bloody fun to play. Young Horses (the developer of the game) kinda went dark after that. They only really resurfaced to release two bonus levels for that game and then they just disappeared again. Now we know why that was the case...

Bugsnax retains some of the qualities that made Octodad such as a memorable game. A great sense of humour and a unique gameplay hook. You play as a reporter sent to the mysterious Snaktooth Island to interview an explorer called Elizabert Megafig who has discovered these unusual creatures known as Bugsnax. After crash landing onto the island, you discover that Elizabert and her significant other have gone missing. It’s up to you to find out what happened while also documenting and capturing Bugsnax for yourself. Capturing the Bugsnax is a big part of what makes this game such a delight to play. As you unlock more tools to play around with, you can come up with different strategies and methods to capture these weird snack based creatures. It’s pretty awesome. Throw in a lovable set of characters to interact with and a beautiful environment to explore, and you’ve got one of the most lovable games released this year.

6: Mafia: Definitive Edition

The last few years haven’t been too kind to the Mafia franchise in my eyes. I really wanted to like Mafia III when it came out back in 2016. It was a sequel I waited years for and it did have some good qualities such as an excellent story that dealt with some pretty heavy topics, solid gameplay mechanics and an amazing licensed soundtrack. Unfortunately the game had one of the most tedious and boring gameplay loops I think I’ve ever seen in an open world game. It just got so dull after the first couple of hours.

This year saw the announcement of the Mafia Trilogy which was to be a celebration of the entire franchise with a remake of the first game, a remaster of the second and a re-release of the third. Half of this was botched with the remaster of II being poorly put together and the re-release of III receiving a broken patch. Things were looking grim for the remake...

As you can see by it being in this list, we were proven wrong. Mafia: DE is a fantastic remake that pays good lip service to the original while also expanding on certain elements. The story which follows the rise and fall of cab driver turned wiseguy Tommy Angelo is more fleshed out with new sequences and character moments that weren’t in the original. Gameplay still retains the solid shooting and cover mechanics of Mafia III and the driving feels absolutely excellent especially when you put it in simulation mode. Lost Heaven is just gorgeous to behold as well with its bustling neighbourhoods and beautiful countryside. I hope this is the beginning of a redemption arc for Hangar 13 and the Mafia franchise. There is a lot of promise to build upon from here.

5: Deadly Premonition 2: A Blessing in Disguise

Anyone who knows me personally or has followed me on social media for a while knows that I’m a big fan of Deadly Premonition. The 2010 cult survival horror hit pretty much encapsulates why I love video games with its lovable hero, an eccentric cast of characters and surprisingly solid mechanics considering the budget it was made for. It was definitely more than the sum of its parts.

When I found out that a sequel was being made exclusively for the Nintendo Switch, my jaw hit the floor pretty hard. I thought any hopes for a sequel were dashed when SWERY left Access Games (the original dev), and yet here we are. A Blessing in Disguise is a brilliant sequel to the zany original. It captures everything that I loved about the original game to a T while also improving in certain aspects. The story is more ambitious this time with it being both prequel and sequel. A lot of the gameplay elements have been improved. The combat benefits from better aiming controls and an upgrade system for both York and his weapon. Getting from A to B is less wonky (and more fun) thanks to the addition of a skateboard rather than a car.

While I do still think the original is better due to the more creative side quests, the more challenging difficulty and the fact that it functions better from a technical perspective, I’m still a big fan of DP2 and it deserves your attention. Here’s hoping that it makes its way to other platforms in the future.

4: Ghost of Tsushima

This last generation has been good for Sony and its Worldwide Studios. In the last five years, they’ve managed to produce hit after hit after hit. A definite far cry from the first year of the PS4 where they produced some dire exclusives. Infamous Second Son was one of these. Sucker Punch’s first effort on the console was very pretty and a good technical showpiece for the console, but as a game, it was boring and dull. I couldn’t even muster the strength to finish it. The standalone expansion First Light was a huge improvement in my eyes. It cut out a lot of the fluff from Second Son. I knew then that Sucker Punch would eventually give us something amazing. They certainly did in the end...

Ghost of Tsushima is honestly one of the best exclusives that Sony has ever produced. Giving us a brutal tale in the vein of a Kurosawa flick where samurai Jin Sakai is forced to betray his code in order to drive out the Mongol force that has enslaved his homeland; we have a story that is genuinely gripping from beginning to end with an incredibly powerful final duel to boot. The combat is incredibly fun with a brilliant combat system that is easy to pick up but challenging to master. Duels especially show the combat system at its finest. Upgrading your abilities genuinely makes you feel incredibly powerful as you begin to decimate enemies left, right and center. Stealth is solid giving you plenty of tools at your disposal and certainly changes up the gameplay a fair bit. Did I mention that Tsushima Island is one of the most aesthetically pleasing locales in any game to date? Well I’m saying it now. It is one of the most beautiful locales in any game to date.

I’m very excited to see where this new IP goes in the future because this first entry is just incredible. A must buy if you own or plan on owning a PlayStation 4 or 5 in the near future.

3: Astro’s Playroom

Memorable pack-in exclusives are a bit of a rarity nowadays. The last one that sticks in my mind is Wii Sports, and that was a long time ago.

Astro’s Playroom serves as the pack-in title for the PlayStation 5 as it is pre-installed on all units. It’s also my favourite exclusive for the console so far. The main reason for this is that Astro’s Playroom evolves past being just a tech demo for the console and its fancy new controller. It actually is a fun little platformer in its own right. It offers something different with every level. In one level you can transform into a giant ball and attempt to navigate some pretty tight platforms, and in the next, you take control of a rocket ship and navigate through corridors while also avoiding bombs. There is great variety here and to be fair, it shows off the potential of the new DualSense controller fantastically.

Plus the game is just one giant love letter to the PlayStation brand and the games that made it what it is today. You’ll see references to obscure PlayStation paraphernalia such as the Multitap and UMD discs, and also games like Final Fantasy VII and Silent Hill. The final boss of the game in particular is one giant callback to something you might remember if you got a PlayStation 1 back in the day. I won’t say any more, but it made me yelp in joy when I saw it. If you plan on getting a PlayStation 5 in the future, make this the first game you play. You won’t regret it.

2: Tony Hawk’s Pro Skater 1+2

Activision have been on a roll in the last few years with the revitalisation of some of their classic franchises. Crash Bandicoot and Spyro the Dragon for example have enjoyed newfound success thanks to the excellent N Sane Trilogy and Reignited Trilogy. When it was revealed earlier this year that Vicarious Visions and Beenox would be resurrecting the Tony Hawk’s Pro Skater franchise with a remake of Pro Skater 1 and 2, my heart skipped a good few beats.

The Pro Skater franchise means a lot to me personally as I have very fond memories of putting hours into 1 and 2 when I was a kid. Going through the Career mode with each skater, learning the gaps and getting used to doing manuals when they were introduced in 2, it’s all ingrained into me. I’m happy to say that this is probably the best remake I have ever played. It perfectly captures what made those first two entries so special. Each level is beautifully recreated with a ton of new details that serve to enhance these levels. The soundtrack includes all of your old favourites like Goldfinger’s Superman and Rage Against the Machine’s Guerilla Radio along with some fantastic new tracks like Less Than Jake’s Bomb Drop.

The gameplay definitely taps more into Pro Skater 3 and 4 territory with Reverts and Flatland tricks included. These tricks don’t feel out of place and the game does give you the option to play it legacy style if you want. It feels magnificent overall though. The physics are pitch perfect. Creating lines and large combos is still as addicting and rewarding as ever. Online leaderboards certainly tempt you to reach for the stars if you’ve got the ability. Career mode isn’t particularly long, but the pretty robust Create-a-Park editor and solid multiplayer suite should keep you coming back for more. I’ve already put dozens of hours into this and I have no intention of stopping anytime soon.

If my number 1 entry on this list didn’t exist, this would be my Game of the Year. As it stands though, this is a very close second.

1: Doom Eternal

How do you follow up one of the best first person shooters in recent memory? Basically turn everything up to eleven and then some. Doom (2016) was such an eye opener when it launched. It gave everything we could have ever wanted from a new Doom game: a whole planet full of demons to kill and some big guns to help them back to where they belong. It was awesome and an easy choice for my GOTY back in 2016.

I anticipated Doom Eternal with bated breath. The excitement was building but the nerves were building with it. How could it live up to the previous one? What if it makes the same mistakes as Wolfenstein II: The New Colossus? Thankfully my worries were unfounded as soon as I loaded up the game and was thrown straight into the fold with a Combat Shotgun and some entry level demons to destroy with it.

Doom Eternal is the FPS genre at its absolute finest. The levels are much bigger with more secrets to find and loads of demons to kill. Said demons are much more plentiful in their ranks and they move faster too. Fortunately enough, you have a huge arsenal to deal death to these demonic denizens from the depths of Hell such as the starter Combat Shotgun, the Plasma Rifle, the Ballista and even a giant sword known as the Crucible. Enemies now have weak points to exploit as well which can turn the tide of battle and it rewards accuracy. Before you know it, you’ll be entangled in a ballet of bullets, beams, blood and guts (HUGE guts mind you.) This game makes you feel like a hero at the end of every fight. It’s so satisfying.

Toss in a soundtrack that will get your blood pumping and your goosebumps raising along with environments that will make your TV or monitor look like a window to a scorched earth, and you have my Game of the Year for 2020. Well deserved for sure. I really need to get on that DLC.

To those of you who actually took the time to read all that, you have my heartfelt thanks. I really appreciate you reading this and I hope my choices made sense.

To those of you who just glanced at each entry and skimmed through the text, I don’t blame you for doing that. I still appreciate you taking a look anyway.

All that’s left for me to say is that I hope each and every one of you has a safe holiday season and I hope that the New Year will be better for all of us.

I’ll see you all in 2021. Stay safe and well, folks.

#goty 2020 #ps5 #ps4 #switch

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