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 Betreff des Beitrags: The magic of mediocre licensed games (by lytron)
BeitragVerfasst: 24.01.2019 11:47 
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Hello all, lytron preserved some hard-to-come-by game credits and wrote a pretty neat text about the things he apprechiates about licensed games. Since he is currently not active in any community and this is a great read, I cannot not share this - Enjoy!


Hello ChronoMoogle, Hello Whomever-ChronoMoogle-shows-this-to (this is
why I write in English),

a short update, and a short piece of information for game preservation.

What is the best source for game credits? What page is reliable in it's
quality? I thought GameFAQs, at least that page is big enough, and it
seems to be at least the first page to go to for many people who don't
want to spend too much time for research.

If anyone there is a registered member, can someone please fix the
entries for Donald Duck no Mahou no Boushi? The whole credits (besides
the composers) are missing the first names of the devs, but you can take
them from Alice no Paint Adventure (same developer, same publisher, same
console, same year, and the surnames and first name initials are the
same in many cases).

Also, when you are there, you can add the credits for Doraemon: Nobita
no Yousei no Kuni. Many of the same names, again. I started playing this
game as an endeavor for collecting these game credits... and, well, had
a lot of fun with it. More on that later, first the official part. Here
are the credits, first as they appear in the game (in
Katakana/Hiragana), below that is my transcription. Note the Japanese
name order, surname-first name.

スタッフ
ディレクター
ほりこし たけひう
よしはら さとう
プログラム
エス・エー・エス
プログラマー
いまい としひこ
いけだ しんいち
さとう ひさし
グラフィック デサイン
ポップハウス デザインスタジオ
グラフィック デザイナー
かとう えいご
おきやま じゅん
グラフィック デザイナー
ますやま ゆういち
うさみ せいじ
サウンド コンポーザー
おがわ ひさお
くつかけ たかし
まつしま ときこ
テクニカル アドバイザー
てらしま とおる
グラフィック コーディネーター
しまむう せいじ
スペシャル サンクス
さわだ こういち
おだ しんじ
たけしま すなお
なかにし としひう
よしだ まさひう
しおの いずみ
たかはし なおき
いしはら ひでお
すがわら かずあき
ねぎし とみお
すずき みのる
プロヂューサー
くつかけ たかし
スーパーバイザー
ほりえ まさゆき
エグゼクティブ プロヂューサー
まえだ みちひう
せいさく
エポックしゃ
また つぎのゲームで おあいしましょう!
Staff
Director
Horikoshi Takehiu
Yoshihara Satou
Program
SAS
Programmer
Imai Toshihiko
Ikeda Shinichi
Satou Hisashi
Graphic Design
Pophouse Design Studio
Graphic Designer
Katou Eigo
Okiyama Jun
Graphic Designer
Masuyama Yuuichi
Usami Seiji
Sound Composer
Ogawa Hisao
Kutsukake Takashi
Matsushima Tokiko
Technical Advisor
Terashima Tooru
Graphic Coordinator
Shimamuu Seiji
Special Thanks
Sawada Kouichi
Oda Shinji
Takeshima Sunao
Nakanishi Toshihiu
Yoshida Masahiu
Shiono Izumi
Takahashi Naoki
Ishihara Hideo
Sugawara Kazuaki
Negishi Tomio
Suzuki Minoru
Producer
Kutsukake Takashi
Supervisor
Horie Masayuki
Executive Producer
Maeda Michihiu
Seisaku (Finish)
Epokkusha (Epoch)
Let's meet again in the next game!
Epoch

I wanna try to find out if there is a way to get to some credits in
Sanrio Shanghai, this game as quite good music, it's a shame that we
don't know the composer's name [yet].

After the game "preservation" part, now the uninteresting part, the rant
about personal opinions.


How did I get to Doraemon? I started creating a bigger MP3-Collection of
SNES-OSTs (currently 4+ GB), and one of these tracks there was this one:
https://www.youtube.com/watch?v=KBlVY8rI70E "Monstrous Creatures" from
Donald Duck no Mahou no Boushi. I didn't like most parts of the OST (you
can judge the quality of a SNES OST easily by the samples, and this one
hasn't that great samples...), but that melody was so extraordinarily
dark, I fell in love, added it to my collection and put it in my
playlist every once in a while (it fits perfectly to Tactics Ogre and
other OSTs of Lordly Caliber).

When I started actually playing SNES again (about the time I sold big
parts of my game collection, about one month ago), I remembered that
melody and wanted to find out for which context it was composed. I
expected some lower-than-average platformer, something like Magical
Quest but worse, and I am not too much of a fan of Magical Quest (it's a
slow and easy platformer, that brutally punishes every attempt to play
it faster than that). Well, I kinda fell in love with that game. I see
that it is not perfect, but that's part of it's charme. And after that,
I wanted to find out what happened to the developers of that game.

Well, they did Alice no Paint Adventure, a game I just recently sold, a
game I owned simply because I love that Disney movie. Besides that, they
mainly did Doraemon games. Then I saw that the credits to the first
Doraemon game are missing and I planned to play it (the developers, SAS,
also did Sanrio Shanghai that was published by Chunsoft). That's how I
came to Doraemon. I finished both games, Donald thrice now, Doraemon
twice, both once today, and I kinda feel like an OG Nerd for that I
memorized parts of old nothing-but-average-at-best platformers in 2019.

So, what's the charme of Donald and Doraemon? Hard to explain. Both
games have nice ideas; like good platformers, each stage has it's own
gimmick and overall they have a managable difficulty. The biggest
difficulty is the fact that none of both games have such topnotch game
mechanics to the likes of SMW and this may be a bit annoying, especially
when you see that you head for a stage with a lot of bottomless pits
(the zeppelin stage in Donald, the final lava stage in Doraemon). What
makes me love these games is, first, the fact that they tried to break
the formula. Donald starts with the opportunity to choose between four
mini games to earn money for Daisy's new hat, and after two straight
forward platforming stages, you can choose, again, between four stages
that all have their own gimmick (some mirror teleportation shenanigans
like Scrooge McDuck knows from Transsylvania, or a Mode 7 level that
reminded me of Super Ghouls 'n Ghosts). Doraemon on the other hand
knitted a whole pseudo-RPG-town exploration around its platforming
stages which gave it a feeling of Gargoyle's Quest... at least
mechanically. No ghoul flesh doriyaki). These RPG-elements are limited
(as in GQ), you are mainly focused on talking to every town member once
in the hope to hear a jingle that indicates that you got a clue that you
can enter the next platforming stage when you inspect the next fountain,
sandbox, tree or railroad station), yet they tried. You can collect
eight different firearms (which differ in their firing angle), when you
collect 100 crystals (the equivalent to Mario's coins) you automatically
get a new heart container. Both games are Japanese, but playable without
knowledge of Japanese. It is helpful to know for Doraemon that the
combination of answers you have to give to the fire-guy is Yes-Yes-No,
or else you have to play his stage again, yet this isn't too bad since
the stage is very easy when you got to know it. I had to take a look
into gamefaqs once, and that was near the end because I didn't know that
you can actually enter some of the houses.

What I love about these games is their ambition. Not only are they
rather underdogs (in a way, I think that Donald game isn't a bargain,
but I bet that's because its a collector's piece because of the Disney
IP), but you see in many ways that these are games by guys from the
second row who tried to make the jump to the front row. You see where
they failed, the music isn't perfect (where the samples play a big part;
Donald was released in freakin' 1995, that was the time when the big
players threw out their masterpieces that pushed the limits of what was
possible, and these samples sound so much like the early days when the
Super Nintendo was really nothing but a Super *NES* that one could
cry... if one would care), the graphics are not perfect, too (this
counts especially for Doraemon; mainly because they used too pale colors
for the backgrounds and for everything that was not a licensed
character. I mean such ugly palettes like we know from Altered Beast.
Those mistakes pixel art newbies do when they try to get a bit more into
the realistic direction --- by the way, if you wonder about the
butt-ugly lo-res world map in Doraemon, keep in mind that this whole map
is one big Mode 7 plane... maybe this might excuse its appearance).

The biggest disadvantage is its biggest strength to me - the atmosphere
keeps you at arms length. These are games for kids, they are based on
childrens' cartoons (yeah, Doraemon, too. And Neon Genesis Evangelion is
a cartoon, too. Bite me), they are intended to have an inviting
atmosphere, something that pulls you into its arms. Yet, compared to
Magical Quest, its not that... detailed. Its kinda stale. I see they
tried, but I cannot tell what is missing. And exactly *that* is
fascinating. And it is fascinating to live through this emotion while
playing. The greatest accomplishment would it be if someone could
produce this feeling intentionally (as they did it unintentionally, what
is for sure) and use it in his game.

The best comparison I could make for this is comparing it to
aforementioned Alice in Wonderland. By Disney. You know which of the
movies I mean. This movie actually accomplished this in a way. It is
never mentioned in the movie, it is never said out loud, but Alice isn't
welcome. Not really out of hostility, but actually, no one could handle
her and she didn't realize and could not point out what was wrong. In
Doraemon, you have short exchanges with a lot of boys, girls, women, men
and police officiers, but always one message per person. There is no
character of the depth of a Final Fantasy game in this world, and no one
with the depth of a Zelda: Link's Awakening NPC, someone who might not
be your best friend, but who has a quirk or something that makes him
distinguishable. In Doraemon, everything seems flat and shallow, and
normally that's boring, but while playing, it felt like the game said to
me "it's not me, it's you". And *this* makes this rather simple playing
experience worthwhile to me.

Because, it's 2019, and I want games with an engaging game world.



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 Betreff des Beitrags: Re: The magic of mediocre licensed games (by lytron)
BeitragVerfasst: 25.01.2019 09:50 
Code Bro
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Thanks for posting this, I never thought of dumping this stuff here! ^_^;



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Perikles hat geschrieben:
Man muss sich das mal reinziehen: die Idee ist scheiße, die theoretische Ausarbeitung ist scheiße, die praktische Umsetzung ist scheiße und der so entstehende Anspruch noch beschissener.
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