Time to evolve!

Games have been around for a while now, you don't need me to tell you that. However, we still see some artifacts of yesteryear in current-gen games that often leave me wondering if they're there just because, well, they've always been there. Can't we have a clean sweep and get rid of some of the old gaming staples? And yes, I said "yesteryear", even though I hate that word.

Title Screens
Obviously every game needs a title, but a title screen where I have to "press start" to continue? What is this, a mid 1980s arcade? Sometimes it isn't even start but any button press, but worse still, sometimes it is required to stretch out your hand and reach for that badly placed start button just to get to the menu. Often the title screen is a disguised loading screen, which is fine, but I am then still asked to press "start" to continue when loading is done. When am I ever likely to think "nah, I think I'll just look at the title for a tad longer"? It's double-wrapping nobody needs anymore. Why can't your main menu and the title screen be combined? Sure, it isn't a big issue, but it is a stupid one.

Continue? 9...8...7...6...
Yes, please. Why ask? Why give me a set of lives...and then another few sets of lives? Why not give me all those lives at once? Or better still, allow me to choose how many lives I want to take with me when I start, if that is the kind of game you're making. The idea of a "continue" screen made a lot of sense in the arcades, where the player needed time to rifle through his pockets for another 100 Yen coin, but on a home console? What's the use in that?

Attract Modes
Worse even than the title screen is the game that after a period of inactivity jumps to an "attract mode". In the old arcades this usually happened to be a demo of the game in action so a passerby would be "attracted" and lured to the machine. These days the same could be said for demos in kiosks and stores but in the final home product? Granted, they are quite rare these days but you still occasionally come across them. Usually they end up being some kind of edited collage, quite separate from the actual game's introductory sequence, but just something you might see as a commercial for the game. And it serves no purpose whatsoever. Considering the impatience with which I rap on the ”start” button at the sight of any title screen it is unlikely in the extreme I'll be sitting there staring at it for a few minutes for any attract mode to kick in.

Manuals
Are these really necessary these days? I can hardly remember the last one I actually read. Usually, after a brief battle with the plastic wrapping I insert the disc and while the game boots up I cast a glance over the manual, flipping the pages for a few seconds, before putting it back in the box. In the "old days" when space was at a premium and graphics were blocky, a manual could help you understand the gameplay mechanics and illustrate the enemies and protagonists a little better than 4 by 4 pixels could. Part of my addiction to the early Ultima games came from the excellent manuals and bestiary which really helped make the on-screen blobs seem like real characters and monsters in my mind's eye. These days, with the multi-buttoned controllers, a tutorial stage is pretty much the standard, which leaves the manual for...what, exactly? Manuals only serve to give the game case a pleasingly expensive weight, fooling you into thinking you're getting your money's worth.

Paradoxically, for an industry so dynamic, some things take a long time to change. The issues above are mostly left-overs from a time they were actually needed; they have since been accepted into the general game design lexicon, for no other reason than the fact we're used to them. Occasionally one daring developer will try something different, but it's usually not enough to break the clichés. And to be fair, none of the above is really crippling in any way, but it sometimes just strikes me how much of a game is simply there because we expect it to be there, rather than it being truly necessary anymore.

Call to Arms 2008

Steve Gaynor of the Daruma-headed Fullbright blog recently spammed me about his "Call to Arms 2008", a community game design challenge to eke out the creative in all of us and hopefully come up with some novel game ideas. Though I usually shy away from giving away game ideas to the public for gratis, the first thoughts that came up when pondering this challenge were obviously not commercially viable, so I will hereby give away my intellectual property to any idiot who wishes to make it into a product. May God have mercy on your soul.

The basic idea behind the challenge is to find new ways of expressing conflict, or to find new game design ideas to express this. "Tradition vs. Progress" was an obvious hook for me, living in Japan, as was "Indulgence vs. Prudence", as a tobacco, caffeine and alcohol abuser, something quite close to my heart. Of the proposed emotions, again, a few seem tailored to my situation. As the Brit the "anxiety of uncertainty" struck home with me, as did the obvious "alienation of being in a foreign land".

But after some soul searching I have decided to think of a new game idea revolving the most ancient of conflicts, "life vs. death" in an environment which is close to my heart, my life. The emotion I want to convey is the "will to live", or loss thereof. I considered calling the "the Fall and Rise of JC", but such arrogance is off-putting and, considering the basic mechanics of the game I propose, a more appropriate title would be

FAMILY COMMUTE

Using the Wii balance board as a control mechanism the player must, simply, survive a commute on Tokyo's busy rail system. There will be a set of difficulty levels of increasing commute length, all played out in real time, from the "easy mode", a roughly 10 minute ride, right down to "salaryman mode", a full hour and a half of commuter Hell.
The player stands on the Wii Balance Board and must keep his balance in the face of the train's swaying and the crowd of other commuters who will try their best to pick fights with you or shove you around simply for being foreign. Special boss characters will be "broadsheet guy", the idiot who will try to read a newspaper, and "roidrage", the racist knuckledragger who will shout at you to die or go back to "your country".
On-screen a delicate balance must be held by shifting your body weight to match instructions. Sudden jolts from the train's movement or idiots will give you a very brief chance to correct your pose before you fall over and are penalised. Holding the Wiimote and nunchuck you can control your on-screen commuter's hands to slap away newspapers, though if a woman happens to be standing in front of you, the player must adjust his pose so his hands are at all times visible for fear of being accused a groper, "chikan!", at which point you'll be arrested and the game will end. Push-fights take the form of a series of balance challenges and hand motions wherein the player must fight for space with another commuter who won't grant you the room to breathe in favour of his own comfort.

Along the top of the screen is a "health bar", titled "the will to live", which constantly, slowly, depletes. The only way to top up this bar is to unbalance aggressive fellow commuters or to find a spot next to an attractive female (boy, for the female players, who can only ever play on "extreme difficulty" and must use the nunchuck to constantly elbow perverts in the groin). Once the bar is completely depleted, the player's avatar will exit the train and jump in front of it.

Special periodic challenges include covering your face when old men cough and sneeze all over you and jostling for a seat when the previous occupant disembarks. If successful the commute time will be depleted by several minutes of comfort.

If enough commercial interest can be found, a special peripheral could be created; a velcro band to be tied around your chest which, much like a blood pressure meter, would slowly fill up with air to restrict your lung capacity and, literally, crush you to death.

Successful completion of a level will unlock the "bonus mode", which is the return commute on the same ride, but with a machete, controlled by the Wiimote, and a taser, controlled with the nunchuck.

The game will not only teach you vital survival skills, but strengthen up your calves and resolve but mostly, it’s an exhausting, depressing experience, constantly jostling, readjusting your balance and gradually losing all hope in humanity and any will to live. Playing the game is living the game and if you don’t want to kill yourself after playing it, you haven’t played it correctly. The bonus mode is pure, classic fantasy fulfillment gaming at its best.

Fun for all the family!

Available on WiiWare, Q1 of HellFreezingOver. Price: TBA

Bar to Entry

If you listen, which I cannot much advise, to game related podcasts or read your average gaming website or blog, you’ll find a lot of talk about “casual” versus “hardcore”, as if amongst the googolplex games released every year there is a quantifiable number of more “deserving” games. This whole attitude stinks of snobbery, but what is often overlooked is the rather heartening fact that more and more people are looking at gaming as a hobby or time sink. Personally, I don’t think it was so much the social stigma of geekery that stopped so many “normal people” from playing games so much as the increasingly disastrously designed control inputs, which is exactly why the DS and moreso the Wii has been instrumental in bringing new players to the medium and why the PC has been doing so for a while now.

In the old days, controls were simple but as the games grew in complexity extra buttons and triggers were slapped onto it to the point where usability and mapping were slaves to the accepted standard. Most controllers look fairly similar now, with dual joypads, a whole host of buttons, your start and select keys, et cetera and et cetera, and, to be frank, it is ridiculous. Even I, having played games for a fair number of years now, still have trouble with my PS3 or Xbox360 controller, am unable to remember all the combinations for whichever situation, or get confused about which direction to push the right stick to control the camera which way, and even end up crouching/hooting/whatever in the heat of the excitement by accidentally pushing down on a joystick. Show any such controller to a layperson or explain what is required and I’m not surprised so many of them think “sod this for a game of larks”.

If you read Donald Norman’s excellent book “The Design of Everyday Things”, which comes highly recommended, you’ll learn about mapping and how many objects in our lives seem to muck this up, from how four gas pips on a cooker are laid out in a square but their buttons in a row to how mopeds and motorcycles arbitrarily use twisting a handle forward or backward equates to left and right indicators or braking. Your average game controller has similar problems. How does pressing down on a joystick equal honking your car horn? Why is the SQUARE button reload in one game and jump in another? Why is the left trigger the fire button, but the little button above it a zoom button? Why is up on the controller forward in the game, but up on the right joystick is up for the camera, or down if you’re one of those inverted axis weirdos? Why do we even need a start and select button? It is outrageously arbitrary and totally counter intuitive.

What makes things worse is that none of these inputs are standardized either. Each game requires its own learning curve just for controlling it, let alone playing it. Some games don’t even allow you to customize the controls to suit your personal “standard”. On top of that there are slight variations per region too, most famously the CIRCLE button meaning OK in Japan, but the X button taking over that task everywhere else. Then the naming of the buttons is obtuse too. Why A and B, followed by X and Y? Why are the buttons underneath the joysticks L3 and R3, and why did it take me months to realize these were buttons in the first place? To muddy the waters even more are the game designers themselves who often like to add feature upon feature, clouding the control scheme with badly thought out button actions or totally unimportant ones.

The simplicity of the Wii’s control inputs are a true breath of fresh air. You want to select something? Just point at it and click the friendly round button. Reviewers like to snort with derision at what they call “waggle controls”, seemingly pointless waggling of the Wiimote to perform an action. But I ask you, would it have been better if the action was tied to an arbitrary button? The DS makes things even simpler, with just tapping the required area for your input. It’s so simple, anyone can understand it. Which brings me to the PC, which seems to be the King of casual gaming. And why? Because a lot of games require only a mouse and a single mouse button. Most people know how to use a PC, which means most know how to control a mouse. And with a single button to control a game, you can ignore the learning process and jump directly into the challenge the game itself offers.

Which is exactly why it annoys me that somehow, along the line, developers and publishers have started equating “casual” with “bright, friendly” or “shitty simple”. You do not have to make main characters pink with huge eyes, involve horses or kittens or make boring mini-game collections to make a casual game. Just make it easy to play. As films, books and television show a wide range of popular styles and stories, so, I would hazard a guess, do games. There are a lot of “casual” gamers out there who would like a zombie survival horror game or a gritty World War 2 shooting game, but would not be able to learn or enjoy the 150 button combinations needed to control it. This doesn’t mean those games would have to be made so simple a 5 year old could play them, but it would mean having a good hard think about how these players control the game, adding more contextually automatic actions and using a controller that doesn’t look like a robot with acne.

Just like last year’s cliché warcry of “we need more women playing our games” gave us a slew of pink-coloured horse-riding simulators and fashion Barbie titles, so the current paradigm of “casual” seems to be bringing us overly simplistic gameplay and cutesy graphics. I’d say if we focus on accessibility more than anything else we will have won half the battle. And the Wii seems the idea for this, but it may not necessarily be the only option.

I don’t want it to be nostalgia

I’ve seen genres come and go, which is only natural in a young, dynamic and constantly growing industry. The most egregious casualty was the point and click adventure game, a genre I was addicted to as a young lad but which until recently was not so much dead as coughing up blood and ignored in the gutter. It always annoyed me when pundits and journalists went on a rant about how game storytelling needed to be more betterer, yet everybody seemed to have forgotten that we’ve had magnificently scripted games for a long time. Luckily this particular genre seems to have made a bit of a comeback, surged back from the pits of amateur freeware, where, to be frank, some hobbyists made some excellent adventures, to the mainstream, more or less, with titles like Sam & Max, hurray!

But there is one beleaguered genre I, personally, am aching to play again: the 2D platformer. Now obviously the genre is still around, specifically on the handheld consoles where more often than not they are licensed IP shovelware, and occasionally in the realms of homebrew. But ever since home consoles have become powerful enough to carry amazing, visually eye-popping platformers, nobody has really been making them anymore.

Xbox Live Arcade has had a few attempts, mostly in the lower end of the quality bell-curve, and a few more are on the horizon, like the much anticipated, by me, remake of Bionic Commando which by all accounts looks to be much better than the actual new title in the series. But that’s about it.

The death of this genre can be pinpointed to the time where consoles went all 3D on us and platform holders made it an unspoken requirement that all titles make the best use of their hardware, i.e. being in 3D. Of course the much lauded Castlevania: Symphony of the Night was a last hurrah for the genre, but since then, not a sausage. More optimistic readers may point to the better 3D platformers, like Mario 64, of course, the Banjo Kazooies and whatnot, but if I’m brutally honest, these never really grabbed me. Half of the game was always battling the camera and learning new controls, whereas the simplicity of the mapping of the 2D platformers always meant they were easy to play and difficult to master rather than the reverse which seems to be true with most 3D games.

On top of that, 3D graphics age badly. Check out any Playstation 1 game and see how horrific the textures, how limited the polycount. Yet open up one of the later Super Nintendo games and bask in the glory of their beautiful 2D graphics, even today. Though today’s better 3D titles are indeed gorgeous, I am the first to admit, I have no doubt this time next year there will be several titles that look even better and come the next generation we’ll look back on Uncharted and laugh at the quaintness of its visuals. And now I have a big telly and some powerful consoles, I want to sit on my sofa and play 2D games!

What I’m selfishly aiming at is for people like Konami to just damn well bite the bullet and give us another home 2D Castlevania. With 3D graphics, possibly, and classic 2D gameplay how could this do anything but rock hard? Better yet, give the current masters of gorgeous 2D visuals, Vanillaware, makers of Odin Sphere, free use of the Castlevania IP and you’ll have a title on your hands that will sell forever and ever. Or Nintendo should put a full-stop after this recent and excellent Metroid Prime series and make another 2D adventure for Samus to plough through. Make it WiiWare if you must, I’ll buy it!

In the commercial sphere Sam & Max have proven there is life in an old genre yet. Who will do the same for the 2D platformer?

Go to touristing: Parasitological Museum

It’s been a while since I’ve done one of these posts, but this one is worth a visit. When taking someone out on a date in, say, Meguro, a nice area full of restaurants and bars, afterwards why not take her to see a museum devoted to the many horrific things the tiniest of creatures can visit upon the human body at the Meguro Parasitological Museum, the world’s only, as the website claims.

Hidden away in an unassuming apartment building, and thus easy to miss unless you’re looking for it, the museum claims, via the website, “try to think about parasites without a feeling of fear” and then goes on to show you all manner of horrific and disgusting photographs, schematics and overgrown parasites in formaldehyde, which is enough to make even the most manly of men shudder. But despite the horror show it is indeed fascinating, and as the world’s only, apparently, worth visiting just to be able to say you’ve been there.

The museum isn’t that huge, so you could see most things within an hour, probably, and spend some time at the small museum shop, where you can purchase books and cute parasite-themed key chains and T-shirts. And due to the nature of the exhibits, you can end the day with yet another dinner date, as it’s extremely likely you’ll be tempted to void your bowels from either end, though whether you will still have an appetite is debatable.

Location: Meguro is centrally located along the JR Yamanote line, a short ride from Shibuya and Shinjuku. The museum is a short, straight walk from the station.
Website: here (in English)
Map: here

Barking Mad

Readers will realise within the span of this sentence what a biting, satirical pun the title of this post conveys as the following text will discuss to what extremes the Japanese go in the mollycoddling of their pet dogs. A recent trip to a medium sized outlet mall beyond the outskirts of Tokyo had no less than three pet stores where doting owners can buy anything from dog clothes and kimonos to perambulators. These things are not pet themed but actually intended for use by said pets!

Though dog clothes are a cruel insanity nothing really prepares you for the idea of dog prams, seeing as dogs are evolutionary better equipped for walking than us bipeds by a factor of two.

This sunny day saw the crowds at this mall divided into young families and dog owners in a 20-80 split. A man or woman pushing a pram was far more likely to have a canine sticking out of it than human offspring. In the West the idea of dogs as children substitutes is widely recognised, presumably, as a mental illness whereas in Japan it is a powerful market force.

I had always presumed the disastrously low birthrate in Japan had something to do with the expense of looking after a child but seeing how much money, time and attention these people spend on their dogs it may just be that Japanese people don't find each other attractive enough. There is definitely something offputting about someone who dresses a dog up in a little canine kimono without grasping how ludicrous this is. And pushing an animal around in a pram or carrying it around in a branded shoulder bag may give you the feeling of parenthood but it is our duty to make sure these people get the mental healthcare they so obviously need.

Using a dog may be a decent child substitute that circumvents the messy and painful business of giving birth and can be entirely achieved without having to witness your naked husband bearing down on you with a flushed face but it is undeniably insane. I occasionally feel like the only sane person in Tokyo and that is worrying news indeed, for Tokyo.

Frequently Asked Questions

Last updated: May 8th, 2008
I often get emails from hopefuls with an eye cocked at the Japanese game industry. The questions, though I usually try my best to answer them if I can, usually follow the same lines, which reminds me that my blog is probably not the most user-friendly. I promise that I'll think of (yet another) redesign, with a blogger template with better emphasis on categories and such. A lot of the things people are curious about are mentioned specifically or in passing in earlier blog posts, but I understand these can be difficult to find. So here are a few of the most common questions I get sent my way, and I'll tag this post with the title, so it'll show up on the "categories" list in the sidebar for future reference.

Q: Do I need to speak Japanese to get a job in the Japanese gaming industry?
A: The easy answer is "no", hurrah! There are a few companies that are willing to overlook this requirement, as they have realised the potential value of a foreign employee, especially if they have previous experience that is useful to the company.
The answer you don't want to hear is "yes", it's imperative! Let's face it, you'll be living life as a social cripple without basic Japanese skills, and communication with your team will be tiresome or impossible. If you make the slightest effort to learn Japanese your chances increase exponentially, you'll have many more companies to choose from and you'll become a far more attractive prospect. Your colleagues won't speak English, your boss won't, your contract will be in Japanese; if you can show you can handle all this you'll find very few obstructions in your way to becoming a game developer in Japan.
So, really, just learn the language, and start now!

Q: How well do I need to be able to speak Japanese?
A: This very much depends on your role. Some jobs will obviously require near-native level skills, where others will be perfectly doable with only basic communication levels. The more managerial you go, or the further into producing, the more meetings you'll have and the more documents you'll need to write, so obviously you will need some good language ability for these. Down in development, say programming or art, basic communication is the very minimal but often also all you really need. For planning (design) again documents need to be written. For localisation there are a variety of roles, from proofreader or rewriter, for which Japanese really isn't required, to actual translation, which obviously requires native-level skills. So it all depends on what job you are going for in the end, but needless to say, the better your Japanese the better your chances. As a minimum requirement you should really at least be a confident conversationalist.

Q: But isn't Japanese so very difficult to learn?
A: This is what the Japanese themselves would like you to think, but no, not really. Grammatically it's simple enough. You'll need to lean your vocab again from scratch, which is a pain, but generally with a bit of effort, especially if you're in Japan already, you can quickly go from nothing to something, to a level where you can ask the shopkeeper for extra plastic bags or to tell the police you didn't steal that bicycle.
The real pain is kanji, of course, which the Japanese themselves learn from age 6, and even they have trouble with it. The best advice here is to get started as soon as possible and cram several of them a day for, well, the rest of your life. But overall, apart from the kanji, no, it's really not that difficult. More problematic is some of the cultural etiquette but even that can be learned or avoided. So don't stress about it.

Q: Is it, like, nearly impossible to get your foot in the door?
A: No, this is one of those persistent fallacies, that the industry is a closed shop and that it's impossible to compete with the Japanese for job openings. It's bunk. Mind you, if you don't speak the language, don't have any previous experience and don't have any marketable skills then, yes, you won't get in, but that isn't uniquely Japanese. Working in game development requires certain skills that not everyone has, so just thinking it's a nice idea for a job without putting in the study is simply not going to cut it.

Q: Should I do/continue/finish my study in (Subject X) before moving to Japan?
A: Yes, absolutely. Personally I'd recommend it anyway, because, even though the skills you need you'll probably only learn doing the job, getting a degree is a valuable experience for any young mind, both in training and knowledge as well as social contacts and alcohol consumption. You’ll spend the rest of your life chained to a cubicle, so why rush into it early?
Mostly, though, having a degree will ease your way into a working Visa for Japan. I'm sure companies willing to spend money on lawyers could find a way around it, but a degree is a requirement for Visa applications. The more relevant your degree the more useful it'll be but in the red-tape of Japan's bureaucracy any old degree will probably do.

Q: Should I get some experience at home first?
A: It would certainly help. Like in any other situation or country the more experience you have the better a candidate you are, the more chances you'll have getting a job. With Japan specifically I'd recommend it, as learning your required skills whilst also dealing with a culture and language barrier my slow down your growth as a developer, taking too much on at once. The better you are at doing your job without the need of tutoring or supervision the better your chances at landing that job.
If you have no experience at all you are pretty much at the mercy of the employer, and you'll probably end up amongst the new graduate hires, working hard for very little money until you can prove your worth. In this sense Japan us no different to any other country, but at least in your own culture you might be able to learn quicker and easier.

Q: Can I intern in Japan?
A: Probably. I actually don't really know this. I've come across one or two Japanese interns so far in my career here, and I have heard of foreign ones here and there but that is where my knowledge ends. I'd say it is not impossible, but it is not common and you'd probably have a better chance as a cheap graduate hire.

Q: Are the salaries really that low?
A: Well, yes, especially compared to the industry in other countries, like the US. Developers generally get very little pay and there is a glass ceiling you won't break until you get promoted into director level positions, but even then, don't expect to be buying Ferraris left, right and center until you start your own company and become famous or successful (or both?).
There are two points of note though. Firstly, as a foreigner you can bargain better. Part of the culture is to not be too aggressive or arrogant in these matters, but foreigners are exempt and expected to be difficult, so you can and should try hard to fight for a better wage. You'll still hit that glass ceiling but you're likely to hit it quicker than your Japanese peers. Secondly, the salaries aren’t specifically bread-line bad. Sure, you won't be able to afford a penthouse in central Tokyo, but most people can't afford that ludicrous luxury. The cost of living isn't as astronomical as you may have been lead to believe, and if you're prudent you can even save some cash. It is absolutely better than an English teacher's wage or that of a McDonald's worker.

Q: What is the working atmosphere like? Is it strict, formal, hierarchical?
A: There are too many different companies with too many different working cultures to give a single definitive answer to this. You know those films you've seen or those stories you've heard, of scary bosses, tight suits, deep bowing and all that? Yeah, well, no, the game industry isn't really like that. Your relationship with your boss pretty much depends on what type of boss he is, and though you're unlikely to call him by his first name, you can expect to have a laugh with him down the pub. Job interviews could require a suit and tie, which is perfectly reasonable, but again, not always. Generally decisions are passed on down from up high, what the boss says goes, but that doesn't mean you have to bow deeply when he gives his orders. In short, don't stress it, the game industry is a lot more relaxed than most types of companies. This is especially good in the hot and humid summers when you will be the only one in shorts and sandals on the busy train stuffed full of suits.

Q: Is it really as much of a game/manga/anime paradise as I hope it is?
A: There is indeed a lot of it about, but it becomes less fun buying all that tat if you're using your monthly salary rather than a holiday budget, so you'll find the novelty soon wears off. There is also this anticipation that your otaku tendencies will be blindly accepted by the Japanese, because manga, games and anime are much more part of everyday life. This is only true to an extent. People that like these things a little too much are still shunned as sad geeks, and remember "otaku" is derogatory.

Q: Where do I start?
A: There are many avenues you could choose from, most of which have been discussed previously on this blog. Check the links below for more information. But generally, if it's something you want to do, move to Japan and work in the game industry here, my best advice is to just go for it. It's certainly not impossible, though you will need to work at it. More and more foreigners seem to be able to make this jump these days, so things are looking up. Don't be dissuaded by the naysayers who say it's impossible - they don't know what the Hell they are talking about. Good luck!

Previous posts on moving to Japan here.
Previous posts on different job descriptions here.

Q: Is it worth it?
A: That totally depends on your reasons. For someone early on in his development career Japan could offer some interesting opportunities, but for someone more senior the salary and working conditions may be a little too much of a step down. Living in Japan is great, so if you simply want to work to live it can be a nice life. If you're a Japanophile you may have high expectations that probably won't be met; integration is impossible, the Japanese are as rude and ignorant as everybody else in the world and otaku are not revered, as so many people seem to think. I'd highly recommend spending some time here first, a few holidays, a homestay or a few months as a teacher or whatever, just to get your expectations back to a realistic level, and then decide. The industry itself isn't in the best of states right now, and any experience as a developer you pick up here might not translate well to Western development should you ever move back, but that could change.
If your expectations are realistic there is a lot to get out of a move to Japan and a job in the game industry, so yes, it could be worth it.

Q: Who do you work for?
A: Because I feel it is unfair for my employer and projects to possibly suffer unduly from anything I write I have decided to use a penname. As such I won't be forthcoming with any further details regarding my identity or place of employment. Trust me, it's nothing to do with adding a veneer of mystery or feverish speculation - there is no big reveal here. I certainly hope my posts will be useful, insightful or distracting enough for readers not to care I am a nameless schlemmel.

If you have any specific questions, don't be too shy to email me directly, as I do always try to answer my mails. Making the move to Japan is always a lot easier if you get a few nudges in the right direction, which is what I'll gladly do if I can.

PSN Wishlist

With the continuing dearth of games to justify my PS3 purchase (I'm awaiting my copy of GTA4) I've been browsing the Japanese PSN store, which by all accounts is a little more luxuriously stocked than the US one, and playing a few PS1 classics. Most notably I am surprised at how playable, enjoyable, Crash Bandicoot 2 and 3 still are, despite the graphics being so rough the polygon edges poke your eyes out. All this got me thinking about which PS1 games I'd love to see available on PSN and which I'd buy immediately, again.

Alundra
When this game was first released it looked fairly quaint, as it used the kind of 2D graphics we were used to in the SNES era, but in the end it means it has aged a lot better, visually, than most other PS1 titles. It’s very much an action RPG in the Zelda school of gaming. You play a young boy who can step into other people’s dreams and has to battle the usual types of villains Hell-bent on destroying or conquering the world or the dream world or whatever guff these types of games usually come up with. So it doesn’t quite have an award winning storyline, but it has everything that made Zelda fun: action battles, items that unlock new abilities and areas to explore, puzzles and dungeons. I remember it being a little slow paced, but immensely enjoyable. With the lack of more 2D Zelda games, this is pretty much the next best thing.
Alundra on MobyGames

Tomba!
If you don't have a smile on your face as the developer logo slides onto the screen before this game starts then you have no soul. "Whoopee Camp" the text sings in unison with the helium voiced choir. "Whoopee Camp" is officially, I state here, the best ridiculous name for a developer ever. I have no idea if this game sold well, though it obviously did enough business to warrant a sequel, yet sadly not enough to keep the developer alive.
Tomba, or as he and the game are called in Japanese Tombi, is the hero of the game, a pink-haired, grass skirt wearing freak with an appetite. The world is overrun by evil pigs. Who said game story writing was in the dumps? Aside from the charmingly madcap setting, this game is great because it is of that most delicious, and most rare genre, the adventure platformer. Playing in a solidly 2.5D world, with 3D graphics and 2D gameplay you guide Tomba/i through many side scrolling levels with a foreground and background playable area, and complete missions. Some are puzzles, some are fetch quests, but all are fun. Just for this game mechanic alone the title is worth another purchase!
Graphically it hasn’t aged that well, as with most 3D PS1 titles, but the game is still charming and bright and a lot of fun! The sequel offered pretty much more of the same which, in this case, is not a bad thing at all.
Tomba! on MobyGames

Ghost in the Shell
Though I am not a huge anime fan, much to the chagrin, I'd imagine, of the many Japanophiles who envy my position, there are a few that I really like, including the Ghost in the Shell films and comics. They are moody, cerebral and beautiful, yet the recent games have not really grabbed me. This PS1 outing, though, was supremely excellent for a variety of reasons, not least the anime intro where Major Matoko Kusinagi has some kind of orgasmic fit while wired up, leaking certain substances from certain areas that had a profound effect on the young man I was then.
The game itself puts you, if I remember correctly, into the mind of an anonymous new recruit which is then transplanted into a Fuchikoma unit, the spider-like tank, and sent out on missions. Using the left and right triggers you could do a cool strafing dash and, being a spider droid kind of thing, you could climb onto the sides of buildings and ceilings, which was at first confusing but later became second nature and a great way to sneak up on turrets. The first boss battle pitted you against a cloaked tank and the final battle, spoiler alert, took place on top of a giant skyscraper. But that was not the best of it. After defeating the last boss, in its dying moments it grabbed you and jumped off the building. What followed was a 40 second timer, sweaty palms and an initial "oh MY GOOD CHRIST!" exclamation as you rabidly tried to pump your bullets and any left-over grenades into the falling boss, hopefully killing it for good this time so you'd have enough time to grab onto the side of the building and save yourself. It was a bit of a cheat, but one of those defining moments in my life as a gamer that I won't forget in a hurry.
On top of that it had a pumping techno soundtrack, worthy of a separate purchase, and a training mode that was infinitely replayable for high scores. In my humble estimation this title was the best Ghost in the Shell game ever made, and though graphically it'll look quaint, if not downright ugly, I'd buy it again in a second on PSN, should they have the decency to release it, because I'm sure it is still playable to this day.
Ghost in the Shell on MobyGames

It’s madness to recommend old games for a system as shiny and new as the PS3 but the titles listed are all fantastic little games worth a second look, or first look if you haven’t yet. Besides, a generation this recent is often overlooked in the retro spheres. I hope they will become available to buy on-line but it might be worth keeping your eyes open at flea markets and second hand shops for these little gems.

Linkage

I usually try to avoid singling out specific blogs or websites for praise and recommendation, as it's a little like choosing your favourite from a litter of bastard step-children who each have their own charms and harvestable organs, but as I have been asked on occasion to write more about Japanese indie and amateur games, of which I confess I know too little, I thought Engrish Games deserved some extra attention.

Written by a guy calling himself Dong (don't laugh) and possibly some translation software, this site lists various indie developers and their games, which of them have English sites and releases and, if they don't, instructions on how to play them. Needless to say, I am not the first website to point out this blog, but I thought it was such a worthwhile service that at least I could try and send more enthusiasts his way.

If you want to see what is happening in one section of the indie/amateur game development niche I think you'll find some excellent or at least interesting projects being worked on my some enthusiast somewhere. Specifically the schmup seems to live on in these circles, which is, if you ask me, a godsend. Do yourself a favour and check it out!

Secondly, Andrea Rubenstein of the Iris blog has finally started her game design course at HAL and has begun writing about her experiences. My first impression is that it seems very old-fashioned and traditional, in the way they start and end classes, which may prepare her for working life in the bigger, more traditional gaming corporations. I hope she can, and is allowed to, write a little bit about the syllabus, as I'm very curious about that. Having worked with a handful of game school graduates here in Japan, and looking at my own experiences, I still believe the only real way to learn the skills you need is on the job, but game development education has come a long way in just a short time, so this might not be the case these days. Also, having just hired a small smattering of (regular) graduates, I'd be interested to know if she is planning to go through those Hellish graduate recruitment drives that Japan enjoys every March/April, though this is still years in the future. This is definitely a blog worth keeping an eye on if you're inexperienced and have the urge to work in the Japanese industry.

Lastly, I have to point out to a charming new feature started in the Thwomp Factory blog, where one of its contributors tries to cook recipes featured in games in the same way they are made in those particular titles. The first comes from one of my favourite games, Harvest Moon: Magical Melodies, so it caught my attention. With so many industry pundits writing about the same old issues, it's great to see these fun and novel ways of enjoying games and writing about them cropping up on blogs like these; they remind me that games are fun, to be enjoyed.

These sites have been added to the sidebar for future reference.

Ikariam revisited

Since posting about it previously, addiction has set in something rotten and every spare minute I could muster has been poured into my Ikariam Empire, which is now a commendable size, with two colonies and a growing alliance of friends and colleagues. But some glaring issues with the game’s design have also become apparent, beyond the fact it isn’t finished yet in itself. Here are some issues I’ve come across that would be worth considering for any web-based developers.

No Invite
I am shocked and appalled there is no “invite friends” button on the site. I have to tell my friends via email to try it out and to make sure they join the same server as me, whereas this would have been much better done with a single button and standard invitation email. This would also allow for friends who join using the invitation to have an island somewhere in the rough vicinity as your own on the same server, and not, as is the case now, spread across the map at several days’ distance from each other. When I create an alliance I want it to be with the people I know, preferably, but that is only useful if we’re all in the same sector. An invitation process could easily bring new players to the game and make sure they are clustered fairly close together, for added fun.

Warmongering
If you have the misfortune to be neighbours with an aggressor who is more powerful than you, the game is, for all intents and purposes, finished. There is no way for the victim to build defense or an army large enough to combat the invader if the latter keeps hammering you. The only option is to research to a certain level and build enough to be able to join an alliance and hope they can sort things out for you, but if you’re a real low level player, even this could be problematic or at least very time consuming.
They do limit the number of attacks a person can unleash on any single village by 6 per day, which is still a lot and leaves the victim with absolutely no recourse to defend or rebuild. A better tactic would have been to limit an attack to one per every few days, giving the victim time to slowly, very slowly, build towards a defense, in either building or joining an alliance, and will force the warmonger to attack other villages while he waits for another chance, thus angering more players, increasing the chances of a joint retaliation and so making the risk of warmongering commensurate with the possible rewards. Alternatively, set up a mercenaries system, where big Alliances can be paid, maybe deferred, to help out a small starter village by pummeling someone who deserves it.

Obtuse rules
Apart from the constant attacking, which is called “bashing”, there is another rule called “pushing” where lower level players may not send huge amounts of resources to higher players. This last one seems a little odd but I guess it came from friends artificially strengthening each other’s villages or aggressive players demanding obscene amounts of “tribute” under the threat of invasion.
Though the rules are basically sound, if they are so problematic, why allow the player to do these things in the first place? If you want the number of attacks on a village to be capped at 6 per 24 hour period, a bad decision as I explained above, why not stop the player from being able to do so by having a counter which limits the number of attacks in this way? Why wait for the aggrieved player to report the aggressor to the moderators first? If players are finding ways to exploit the system it means the system is broken, and punishing the players may, in the short term, appease the victims, it doesn’t help build a friendly community. Build these rules into the game design and don’t rely on forums and “verbal” agreements.

Resources
It is undeniable there is a balancing issue with players who start on an island with the marble resource having a distinct advantage in the early and mid games. As pretty much all important buildings require marble to upgrade you can witness a seller’s market in your trading post with certain cheeky players demanding a king’s ransom for a tiny amount of the material. Of course, if you’re lucky, as I was, your neighbours are decent traders, so I was never in such a position, but it does happen. What is the point of being a tiny, defenseless village with a lot of research because the crystal resource was only good for upgrading your academy? A better balancing of buildings and upgrades and the resources they need could prevent this.

Upgrading
A problem in the mid game, continuing on into the long game are not so much the number of resources you need for upgrades, which do become immense, but the time it takes. Part of this is the fun of the game, where you set your tasks and let the game play it out for a while, but later on certain timeframes run into the days, rather than hours. An option to take workers away from mining and research and pour them into construction to marginally speed up upgrading would have been very welcome and adds a new level of tactical depth.

Mechanics
Part of the fun of this game, so far, is finding out together how things work. I’ve had long email conversations and witnessed long threads of forums about the game where a lot of the information is shared. “Did you know that when…” or “Oh, you need a …” type conversations are common and this sense of exploration of the game’s rules is actually a lot of fun, especially in a friendly community.
However, it is also a sign that your documentation or help system isn’t working. I think I have finally gotten to grips with the building and upgrade structure, what I need and when, how to split my populous between mining and making money and how to keep the plebs happy (wine!), but as for military actions…I am in the dark. What makes a good defense force? What do I need for an all out attack? When am I spending too much money on overkill when just a few ships would suffice? What are the real effects of spending huge amounts of cash and resources into upgrading my units? These kinds of things are costly to explore in the game itself, as an attack can anger other players and, if you’re unprepared, could cause devastating revenge. Beyond this too, what happens exactly when I upgrade my town hall? What effect does corruption have on my colonies? Too many questions are left unanswered for the average player.
Trawling the game’s forums is a good source of information, but, with the massive signature picks and the many, many subsections it’s not fun. A decent wiki or on-line guide, explaining in minute detail the ins and outs of all aspects of the game is necessary. Instead we rely on fan-made wikis and information, rather than a fully integrated and in-depth manual that delves deeper than what is currently there.

Cash
So far the tactic to charge players real money for certain types of incentives seems, well, flawed. There is simply no compelling reason to pay money for a few of these temporary perks, certainly not later in the game when you have resources growing out of your backside. Maybe one off payments for an instant but limited boost to certain resources for the beleaguered attack victim, or certain units which are strong but expensive and can only be purchased through the premium system. There are many opportunities here, but a small percentage boost to resource mining for a few days…just doesn’t seem worth it. Also, with the game still very much in development, players might not want to spend money on it yet, as too many things can change, including these premium elements.

So in my inexperienced opinion developers of on-line games should be aware of the following rules:
1. Don’t punish players for exploiting loopholes in your design. Make the game play as it is intended to play and don’t rely on the honour system. If you want players to stick by certain rules make sure there are systems in place to prevent the players from doing these actions.
2. If you’re relying on word of mouth and, especially, if you have a community aspect to the game, allow “invite friends” options and provide for, in the case of Ikariam, the close proximity spawning of invited players.
3. If you are going to rely on added content to bring in revenue, make sure the added content is worthwhile, and that you don’t offer it before the game is at least basically complete.
4. RTFM, and make sure this is an M available. A detailed Wiki allows players to skim through the basics but also to delve deeper into specifics. Exploring game rules can be fun, but it shouldn’t have to be a crapshoot.

However addictive Ikariam is, it is not perfect and it certainly isn’t quite finished yet (it’s a good thing I haven’t forgotten all my German!). That said, I still highly recommend the game, but the developers need to rethink certain issues and design elements before it grows from “great” to “excellent”.

Weekending

"Twas like where you're from weren't never there. Where you're going doesn't matter. And where you are ain't no good unless you can get away from it! " – Hazel, Wise Blood

I consider myself a city boy, but that doesn't mean I don't need to escape it once in a while to avoid turning into a raving, homicidal maniac under the pressures of work, life and my commute. I did this when I was a Londoner too; escape the hustle and bustle, even if only for a couple of days, and drink in some green nature and relatively fresh air. This weekend I took a whirlwind trip down south again for a dip in the onsen, in a small hotel in Ito in the Shizuoka prefecture.

The weekend didn’t start well, with, thanks to the schizophrenic weather conditions this spring and my lovely colleagues, I developed a stonking bad cold on Friday. But come Saturday morning, I dragged myself out of bed with a fever, headache, clogged nose, bad cough and aching eyeballs to make the three hour trip by local trains, passing through Tsurumaki Onsen station, apparently the inspiration for the locale in Ghibli’s Spirited Away. Part of the way we had the pleasure of sharing a carriage with a gang of rowdy, drunk octogenarians. It’s heartening to know that at that age, in Japan, one is still expected to misbehave and be a loud drunk. I could easily grow old in this country.

The stretch from Atami to Ito and beyond is always a little sad. With boulevards and palm trees as well as the occasional seafront hotel it’s easy to imagine it was once the Japanese Riviera, where young couple in 1950s clothes and cars came to holiday. These days it all looks a little run down and, especially off-season, empty. And because these areas are basically regular Japanese villages with the occasional hotel, you can’t much get the “holiday” vibe. But the important things are the volcanic springs; this is the reason to go!

As it’s the off-season right now, just weeks before Golden Week, the national springtime holiday time, we had no problems booking the hotel, though there were several other couples and families there. What I enjoy most about these things is the tatami. As we opted to rip the tatami out of our apartment when we moved in, as they can be a bitch to keep clean and in good nick, I do enjoy occasionally loafing about in a yukata and lying around on the floor in traditional Japanese settings. The view from our surprisingly large room consisted of the mountains, the village below and the bay off to the east. We had chosen the room specifically because it had an onsen bath in the room, but as this turned out to be a regular plastic bathtub with lukewarm onsen water on tap, even though the large window did overlook a very nice view, we decided to go to the hotel’s larger, public onsen instead.

I fully expect to be contacted by the British Embassy soon to return my passport and forcibly denounce my citizenship as I have become far too adept at suppressing the feeling of shame and embarrassment of exposing myself in public. On my first dip the onsen was positively crowded with three other, Japanese patrons. Disrobing and walking to the showers as nature intended before slipping into a shared bathing experience went a lot smoother than before, I’m afraid to say. Don’t ask me if it’s true what they say about the Japanese, because I didn’t stare. At the end of my second dip I had a brief moment of solitude as one guy was just leaving and another was apparently shocked by my foreignness, though that did little to soothe the natural disgust I have of seeing my own flabby body in the altogether. Nevertheless, a piping hot spring water bath acts as a steam bath for my nostrils and for brief moments I could forget I had a crippling cold.

Dinner was served in the room, as is the custom, and consisted of the usual platter of Japanese dishes, beautiful and tasty. Ill or not, a dip in the onsen dictates a booze session, for which I had purchased several large cans of Asahi, as we sat and watched the television. It is strange how being dizzy from the hot bath, delirious from your cold and tipsy from the beer all work together to somehow make Japanese television more palatable. Before long I sank in a mouth-breathing slumber on a wonderfully soft futon. Sleeping the Japanese way can be very nice.

The next morning’s breakfast in the communal dining area was a bit of an ordeal for me. In the same way you could stumble across a one night stand as she’s out walking with her husband, and all you can think is “I’ve seen you naked”, in the same way was I acutely aware of the fact I had seen the flabby arses of every guy in the room. They apparently had no problem with this all, but then they are not British. It certainly didn’t make me any more comfortable thanks to the continuing nose-dripping and debilitating coughing fits. After breakfast we checked out, bought our usual omiyage, presents for the family in law, in the town and made our long way back.

And you may ask if it’s worth traveling three hours each way with a bad cold for a single night in a hotel in the countryside and a dip in a pool, and I say it absolutely is. Having a brief walk through nicely wooded areas, away from the crowds, is wonderfully calming, even with a pocket full of used tissues. My skin feels smooth and my body somewhat soothed thanks to the session in the volcanically heated spring water; it is absolutely wonderful to experience, despite the coughing. For anyone willing to build a new life in a major city like Tokyo, the occasional escape makes life, in general, somewhat easier to cope with. And with Japan’s countryside as beautiful as it is, I highly recommend a trip to the onsen for even the temporary visitor.

Reciprocal Love

You may well and rightfully ask what a grown man does calling himself a “Nintendo fanboy”, as I somewhat ashamedly do. Is it the quality of the games, the general fun-factor or the IPs? Well, yes, it’s all of those. But what delivers the icing on the cake is that Nintendo of Japan knows how to treat its loyal fans.

I am under no misconception that Nintendo is a massive corporation with a single aim: to make money. And boy, do they make money. But since hard-edged Yamauchi made way for lovable, cuddly Iwata as the reigning head of the company, since the launch of the family hit console Wii and the proliferation of fun, often highly polished titles Nintendo more than ever comes across as your best friend (unless you’re one of these uber-hardcore types). Never moreso than this evening when I, as a platinum Club Nintendo member, was presented by mail with this year’s special free gift that they send out around each spring. Last year it was a special calendar and the interim gift of a golden Mario statuette, which, considering it was totally gratis and unasked for, is much better than a slap in the face. This year it was, good golly, a Wii Classic Controller shaped exactly like a classic SNES pad (pictured above). Oh my! And remember, the only thing I had to do for this was to register my special codes that come with the many software purchases I make over the year, which gives me points which I can still, above and beyond this gift, spend on other free items.

Sony too have their little odes to its fans, though in a different way. They usually produce limited edition themed items, for sale, to the hardcore fans. Be it special editions of consoles or game-themed peripherals, it’s not quite in the same generous league as Nintendo, but still.

The real villains in this picture are of course Microsoft, with their inability to break through in the Japanese market in any significant way. What did they give me after they fixed my unreliable console? A free month’s subscription to a service I would rather not pay for at all in the first place. Aside from that? They offer their tiny band of crazy loyal fans with absolutely nothing special. If they want to understand the inscrutable Japanese gamer, free gifts and fan service is a very big deal here.

I am well aware that the global score of Nintendo’s fan service brings the average down somewhat. Just remember that the regional offices operate fairly autonomously so it doesn’t prove Nintendo loves Japan more, but merely that Nintendo of Europe doesn’t like Europeans all that much.

I can’t wait to try out my new controller, but it will have to wait till after I finish Metroid Prime 3, which, thanks to the surprisingly effective Freeloader I can now enjoy without the aid of a dictionary. Hurrah!

Emotional Design

I think the generally held opinion is that Japanese games have a more interesting visual style than those in the West, where they suffer from uninspired realism. This is of course not true, as there are plenty of Western games with their own distinctive style, say Team Fortress 2, Alien Hominid, Geometry Wars, and many others, but the initial gut reaction of many is that the Japanese have a knack. And it’s certainly something I believe myself. When it comes to interesting, inspired or downright crazy art styles the Japanese certainly seem to have a talent, which is probably, amongst other things, why Japanese games are still, to this day, much loved by Western audiences.

The Western industry thrives on buzzwords and the most recent one is “emotion”. Ridiculous speeches and opinion pieces by punters and industry insiders talk about how video games need to be infused with "more emotion", how they need to engage the player on a whole new level, to make them, Lord forbid, cry. The reason this trend is so prolific at the moment is possibly because a lot of titles focus mainly on technology, especially in these “next-gen” days. If a game plays a lot like a tech demo it’s probably because it is one, because developers know good technology can be licensed out for extra income. There are certain tricks of technology that everybody wants to show off, hence the sudden focus on realistic water, real-time occlusion shadowing and a massive increase in on-screen polygons and physics. Art teams have a wealth of possibilities and are often made to use each and every one of them because technology drives the industry.

But does it drive the market? I guess it does, to an extent. For certain titles the more real the graphics, AI and physics the better, obviously. A racing simulator with cartoony graphics won’t be as successful as one which looks hyper-real, nor would a flight simulator. First-Person perspective games are all about putting the player in the middle of the action, so suspending disbelief with realism seems natural. Sales and marketing will push he realism angle, because they believe it’s important. Programmers dictate what is possible and managers will want to milk that to the fullest, whether it is all appropriate or not. And don’t get me wrong, this trend has brought us some astounding games, both in gameplay and visual splendor. It’s a Good Thing™ generally.

In Japan, however, the industry is behind technically. And whether it is because of this or due to some cultural bent, visual design is approached rather differently here. In meetings and design sessions the focus is not on beauty and realism, in the technical sense of the word, but much more about the feelings it should evoke in the player.

Words like “kimochii”, “ureshii”, “kawaii” are often bandied about in these meetings. And though they are easy to translate their true meaning in these contexts is less so. Imagine a beer commercial, of which Japan has many. A guy picks up a dripping wet, cold pint of golden wonder, takes a few deep, audible gulps, wipes is mouth and goes “AHHHH”. That is often the feeling Japanese developers want to invoke. A kind of satisfied pleasure, a calming or soothing of the spirit, an elation. Imagine the player on his sofa, playing the game with a joyous grin or a satisfied smile. And this is not to say the Japanese are more “spiritual”, whatever that means, because they’re not really, but it does show a slight difference in approaches when it comes to design, and visual design in particular.

Sometimes visual design is luckily limited by the technical boundaries Japanese programmers can’t seem to master yet. With a more limited palette the artist can be forced to be more creative and investigate alternative styles to get the most out of the engine. A hyper-realistic Legend of Zelda game could, I suppose, be pretty cool, but the hardware on which it’s made simply can’t handle that right now. The Wind Waker’s scenes on the boat, as Link travelled on open seas, were immensely powerful in a way it couldn’t have been had they pushed the engine to beyond its capacity by rendering realistic water and skies. The Loco Roco game on PSP would in no way be better if they had managed to include real-time occlusion shading and nicely rendered 3D blobs with fluffy shaders. With a limited palette, either by necessity or choice, the artist is, paradoxically, more free to excel. In the West the artists have a set of shaders the publisher wants used, to show of how gorgeous the tech is, which is why we see so much glare, bloom, shiny metal surfaces and why so many, though not all, games that use the Unreal Engine suffer from that similar rusty look. More often than not, less is more. And great art direction will, at least critically, always triumph over well-crafted realism.

In the West the approach can often leave the intended player out of the loop. I’ve seen pretty cool characters changed, under publisher pressure, to more mediocre, bland ones. Visual design is often more along the lines of “make it more realistic” than anything else. And I reiterate, this is not always the case, obviously, but it feels as if the majority of high profile titles work on this principle. I think the West can learn a lot from the Japanese approach, where much is dictated not by the player experience, but by the player’s emotional reaction, however superficial, when confronted with the game. We don’t need to make players cry with heavy-handed emotionally charged scenes, nor do we need to push the envelope with deep moral questions; a simple courtesy nod towards what the player feels on a minute by minute basis should suffice to elevate the current gen into something deeply special for a lot of people.

Ikariam

I'm going to, with your permission, go outside of my remit here and comment on a game which is neither video nor has anything to do with Japan but is, nevertheless, eating away my time in tiny increments. I am talking of Ikariam, an on-line "Civilization Lite" that is played in your browser and has, despite my initial resistance, managed to suck me in.

At its base the game plays somewhat like Settlers meets Civilization for a nice cup of coffee. You sign up for free, pick a world and start a town. You upgrade buildings, build new buildings, research technologies and harvest wood and whatever natural bounty your island has on offer. The twist is, apart from being free and instant-play browser based, that the game is always on and actions take time. I come into work in the morning, check on my village, make some decisions, set an upgrade going and am then told it takes 3 or 4 hours. So I shut down my browser and get to work. When I check back at lunchtime the upgrade is finished and new orders can be issued. Don't expect to be playing this game intensively for hours on end, it doesn't work that way, which I think is where its genius lies.

What Ikariam is doing right:
- instant, browser-based play
You start up Firefox (or Explorer if you're not security or usability literate), type in the URL, sign up and within seconds you're playing a game. No intro logos, no downloads and installs, no driver updates and reboots, it's right there.
- totally free
You pay exactly nothing to play this game. There is a mass of functionality and gameplay right there without having to whip out your credit card. However, should you want to get a little more out of it you can, with smaller payments for extra items and systems that could give you an advantage. There is no going to the shops to pay an obscene amount of money for a product which may or may not hold your attention for, say, 10 hours worth of enjoyment. If you don't like it, then don't play it. If you do, play it. If you love it, pay some extra money. How can you, as a consumer, not like this business model?
- time investment / always on
This game does not require you to sit at your monitor for hours on end. You play it in short bursts of a few minutes spread over a day. When you have the time you check out what's going on, when you don't the game plays out in your absence. This is a great way to play games, if you ask me. It's great setting up some tasks and coming back a few hours later to see how things have progressed.
- other people
I am personally not a big fan of multiplayer gaming. You usually end up having to play with strangers or go through a tiresome process of organising all your friends to all play at a certain time and date. Ikariam does offer some scope for griefing, obviously, but generally I get a great sense of community. One aspect of this is the communal upgrading of your island's natural resources. By donating an amount of, say, wood to the forest it can be upgraded. The game keeps track of who donated how much and if you all band together you can upgrade your resources for the whole island's benefit. Seeing someone donating more than three times you have really makes you feel guilty and dig into your pockets a little more.

Is this the future, though? Maybe people have beardstroked about the browser game as being the perihelion of the video game future. It certainly has many benefits, both for the developer and the customer. For the developer it removes the need of publishers and thus a certain necessary loss of creative control in favour of the terror of our current business model's financial realities. This can of course lead to cheaper development and more risk taking but in the end even developers need to make money, so this may be an argument too far. Updates and patches are never sent out to the users as the game is played on-line, which makes the transition from beta to final product a little easier and also allows for easy expansion. Piracy is also, obviously, useless in browser games, as it's technically impossible for now and utterly useless for a free to play game. Micropayments for extra stuff could be a very lucrative system, if Korea is anything to go by, though you'd need a certain level of popularity to be able to retire on the proceeds, I'm sure.

For the customer too it's ideal. No need to buy extra hardware nor upgrade your PC, in the state things are now at least. There is no need to lug around a memory card as you can log in from any computer and pick up where you left off. And it's free, for as much as you'd like it to be. Ikariam seems to work on a system where buying some extra items with real money adds temporary boosts and bonuses, which can help you progress further faster. If Ikariam will earn a huge profit from this is unknown to me, but it certainly seems a sound way to go about it. Some Korean free MMOs have, reportedly, only a free to micropayment pick-up rate of less than 1%, which is still enough to make money, apparently. Adding advertising revenue to this model can also help. Either way, the customer can play the game and enjoy it while never having to pay a single dime/yen/penny for it, unless they really like it a lot, in which case a few dimes/yen/pennies can add to their enjoyment.

I hope Ikariam will grow into the massive success it deserves to be, especially once they deal with a few of the balancing issues where newcomers may be overwhelmed by long playing veterans. I'm also keeping an eye open on EA's efforts in this field and the many other publishers dipping their toes in. As consumers we will hopefully experience a rise in great quality, free games soon, and as developers we'll find new opportunities for businesses away from today's rather cripplingly expensive hardware-led boxed models.

Players can try to find me and shower me with free marble, if they are so inclined, on the IOTA server on sunny Houlios [23:82] > Shanksville. Seriously, send marble.

Trainmanship – surviving the Leicester Elbow

Aficionados and practitioners of the gentle art of gamesmanship may be jubilant to note that per pro yours truly the art of survival in the busiest of public transport systems has officially been accepted recently and named “trainmanship” by the Greater Tokyo Old Rotters and Gentlemen Club as a subset of Japanmanship due to the increasingly huge, as yet unpublished, amount of research on the subject, quod erat faciendum. A feat worthy of celebration, I think you’ll agree.

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Recently I was in yet another altercation involving the Leicester Elbow. In the same way London’s Leicester Square somehow attracts tourists to flock to it despite any obvious charms or worthwhile attractions, so does an elevated elbow, say one in the middle of an arm holding a suspended strap for support, attract the heads of those around it for no discernable or comprehensible reason, hence the “Leicester Elbow”. (see figure A)

Fig. A The Leicester Elbow

In my most recent case a demure and possibly drunk old salaryman had decided to wage war on my elbow by, eventually, doing backwards head buts with such force the crack of bone on bone was audible through even my earphones. I felt no pain, of course, but was irritated enough to not make any more space for the belligerent lollygagger as all he had to do was take a single step forward, back to the space he had previously occupied, for my elbow to no longer be an obstacle. This, in turn, prompted the man to turn around to have a word with me.

After having sampled and tested all manner of offensive and defensive measures it would seem ignoring the perpetrator is by far the most effective, but only if you can communicate that you are, in fact, ignoring him. This requires a passive aggressive non-activity which can be hard to convey, but the Leicester Elbow forms a unique natural solution, which I had cause in this instance to test with astounding results.

In turning to me the perpetrator sought eye contact which I was unwilling to lend him, as it would invariably lead to a cul-de-sac of verbal abuse. Instead I continued to stare at my mobile phone and moved my elbow ever so slightly as to make it occupy the space in between our heads through which the conversation was to be conducted. Not deterred the drunk merely tilted his head sideways to peek past my elbow and to reinitiate possible eye contact. To answer this move, I merely shifted my elbow ever so slightly back and again successfully blocked him from my view, never once looking up. (see figure 2) The dance can theoretically be perpetrated ad infinitum but in this instance it was repeated four times before the man got the message and meekly turned to move to a different space, far removed from this aggressively unwilling victim.

Fig. 2 The Sandwich Waltz

The lesson learnt is that simply ignoring the wrongdoer will yield no reasonable results so actively ignoring him while communicating loudly you are doing so, as with the Sandwich Waltz, is proven to be effective.

As a side note, the tactic did eventually lead to the man changing his position to near where another passenger would give up his seat at the following stop, allowing for the aggressor to sit in comfort for the rest of the trip while yours truly remained standing. So maybe it was not a victory in comfort, if it was one in the moral sphere of commuter survival.