Solid State Underground 9-27-15: Technical Difficulties

Hello everyone. You may have noticed that updates have slowed down a bit on the site. It has been a while since we have done any new episodes of the Romcast along with video updates and written articles. Things have been busy for all of us and finding the right time to to the podcast has proven to be a challenge. Also, the TV set I use for recording raw game footage for Quick Look and Proto Watch videos has finally kicked the bucket, forcing me to procure another set. It is on the way, but it will take time to configure everything to get things situated for doing future video updates.

The biggest blow to the site happened just today. My computer monitor literally caught fire, I’m not kidding. With that, the site may be on hiatus for the next week or two. I sincerely apologize for these technical difficulties and have ordered a couple of monitors on top of some other pieces of equipment for production purposes. Your continued support over the last year is most appreciated and I hope you all can be patient during this trying time that site is coping with. Thanks again.

Star Fox Zero Delayed Until Early 2016

star fox zero logo

Shigeru Miyamoto, now Creative Fellow of Nintendo, regretfully announced that the next installment installment in the Star Fox franchise will no longer be launching during holiday season of this year [2015]. He made a statement via the official Facebook page of Nintendo that further details the reasons for this delay, which allegedly have to do with polishing the core game play mechanics and the dual-screen control agency among other aspects.

I made a big decision last week.

We have been developing Star Fox Zero for Wii U with the aim of releasing it this year. Although we felt that the development had been progressing well, we now believe that we will need a little more time to work on areas such as the unprecedented discovery that we want players to experience in the game by using two screens, and further polishing the level designs and perfecting the tone of the cut scenes. While we have already reached the stage where it would be technically possible to release the title in time for the year-end holiday season, we want to polish the game a bit more so that players will be able to more smoothly grasp the new style of play that we are proposing.

To the people looking forward to the launch of the game this holiday season, I am very sorry.

Star Fox Zero is going to bring new game play and experiences that take it far beyond the framework established by Star Fox 64. All the members of the development team are doing our best so that the final product will not betray your expectations. And the game will not be delayed for a very long time – we’re aiming to launch the game in Q1 2016. Please stay tuned for further announcements.  ~Shigeru Miyamoto (Creative Fellow, Nintendo of Japan)

Star Fox Zero was originally set to launch on November 20 in time for the holiday season. This was further solidified during the Nintendo Digital Event during this past Electronic Entertainment Expo [E3 2015]. Fox McCloud’s upcoming outing is now planned to release during the first fiscal quarter [Q1] of next year.

Game Review: Splatoon (Wii U)


Splatoon North American box art.

Title: Splatoon
Developer: Nintendo EAD Group No. 2 (Yusuke Amano and Tsubasa Sakaguchi)
Publisher: Nintendo
Platform: Nintendo Wii U
Genre: Third-Person Single/Multiplayer Team-Based Shooter
Release Date: May 29, 2015


(Editor’s Note: The following review is of the vanilla version of Splatoon using a North American copy of Splatoon for the Wii U, both of which are owned by the reviewer.)


To say that Nintendo has forged some incredible original works in the world of gaming is definitely an understatement. This has been proven time and time again with the likes of the Mario, Metroid, and Zelda series and other such original properties. However, it has been quite a long time since this storied developer has created something new, as opposed to renovating preexisting franchises. With the Wii U having a rocky start in the eighth generation, it has been in desperate need of solid first-party and third-party support that truly stands out. Luckily, Nintendo has broken this cycle with the creation of Splatoon. This game is actually something new that not only attempts something different from the Nintendo status quot, but is also a refreshing twist on the third person shooter formula. There is a solid amalgamation of game play styles and concepts that are married together with a balance and polish that is synonymous with the developer’s pedigree of concocting quality games. This, along with the 1990s styled aesthetic, graffiti motif and a catchy soundtrack to match culminates into a delightfully charming and quirky exclusive for the system. Unfortunately, there are some arbitrary design choices with the implementations of control input, Amiibo usage and lack of voice communication that hold this entry back from being a masterpiece across the board. Despite these shortcomings that persistently rear their ugly heads, Splatoon manages to rise above them and emerges as a pleasantly unique and profoundly entertaining third-person shooter platformer in its own right.

The setting of Splatoon is based around the booming city of Inkopolis, where the humanoid squid people called Inklings live. The Inklings partake in battles over territory and other competitive matches of combat in order to amp up their reputation. However, all is not well in Inkopolis. Unbeknownst to the masses, the evil Octarians have stolen the Zapfish that supply power to the city and the Inkling’s fresh lifestyle. It is up to the player, who assumes the role of Agent No. 3, to recapture the precious Zapfish from Octo Valley and save his or her home. As serious as this premise sounds, it is conveyed and handled in such a silly way where you cannot take it seriously. It simply serves as a backdrop for this this journey, which merely exists to teach the player how to utilize the wide array of game play mechanics and how they work in tandem. This is perfectly fine, as this main story line is presented as just a fun and quirky adventure that works well within the conceit of the game’s world.

The overall presentation of Splatoon is very fascinating because it is a great centralized experience. On top of being the core setting of the game’s universe, Inkopolis also serves as the main hub area and menu for the player. After some expository character creation and control customization, the player goes through a short tutorial and is then tossed into the main town. Here, the player can access the single player campaign in Octo Valley, regular and ranked online multiplayer matches at the Lobby, new gear for purchase at the Booyah Base stores and head-to-head skirmishes at the Battle Dojo. Other diversions include playing minigames at the arcade cabinet, ordering special coveted gear through Spyke, posting messages and sketches to the Miiverse and uploading special exclusive content via select Amiibos. All of this is contained within the confines of Inkopolis and is easily within the player’s reach or visibility.

If you do not want to be bothered by running over to certain locations, you can simply access these areas through the map menu shown on the tablet controller screen. On the same display you can customize your controls once more, check and equip your gear for online matches and even try the layout in a test map. With all of these elements conveniently attached to the Inkopolis hub, there is nothing overly tedious or boring about menu navigation or simply getting into the action. The city of Inkopolis feels vibrant and persistent because of how everything revolves around it, with real world players meandering about accompanied by the electronic beats plus the hustle and bustle of the town. Something that also adds to the charm of this world is that each play session begins with an installment of Inkopolis News – a Television program, hosted by the ever-so-fresh Callie and Marie, that reveals new game updates on top of the latest multiplayer maps in the current rotation. There is something to be said for a title in which the act of just starting the game and accessing various modes is appealing in its own regard.

The control agency is another interesting and unique aspect of Splatoon that sets it apart from other third-person shooters. The game allows for a twin stick layout for moving around the environment and rotating the third-person camera. However, the default layout makes use of the tablet controller’s gyroscopic sensor to allow camera rotation for free looking and aiming. While it feels awkward at first, getting accustomed to this scheme makes for more precision than using a thumb stick for the same thing. To aid any disorientation of the gyro sensor, pressing the Y button resets the camera.

Pressing the right trigger will fire the player’s equipped primary weapon and pressing the right bumper will use the paired secondary weapon. Using the left trigger will make the on-screen Inkling morph into its squid form for as long as long as said trigger is held down. This transformation mechanic plays an important part in the game play. The rest of the controls allow the player to jump about the level, use his or her special weapon and alternate between explosive types. Bear in mind that some of these auxiliary controls are exclusive to certain game modes. The default control scheme is very intuitive, as it is easy to master and eventually becomes second nature across both the single player and multiplayer sections.

In terms of the game play, Splatoon has a great deal of complexity with each core element tying into one another to form a symbiotic relationship. This game is just as much a platformer as it is a third-person shooter. As opposed to other entries in the genre, the Inklings aptly shoot brightly colored ink instead of bullets. This ink is used to kill enemies, but also dynamically paints any horizontal or vertical solid surfaces that it lands on within the environment. This will deplete the player’s ammunition reserve, which is represented visually on the Inkling’s ink tank worn on his or her back instead of having a numeric HUD element on-screen (this becomes a HUD element when submerged). Explosive weapons, which yield an area-of-effect attack and pigment coverage, use up considerable amounts of ink at one time.

When it comes to reloading and acquiring more ammo, Splatoon also deviates from the standard formula. When weapons are not in use, the character’s ink tank will slowly fill up. However, refilling ammo quickly ties back into the transformation mechanic. Morphing into squid form, while on inked surfaces of the player character’s respective color, will make him or her submerge in the ink. While submerged, the player’s tank refills at a rapid pace. This is such a great feature because it presents unique solution to a problem seen in plenty of modern shooter titles. Having to stop everything to hunt for more ammunition or scrounging for discarded guns can sometimes be a bummer, especially while embroiled in a heated firefight. This reload mechanic negates the issue of having to break away from the flow of combat and environmental traversal.

Taking damage and regaining health works a lot like reloading. Players will take damage from getting shot or by walking on differently colored ink, poisoning the Inkling. The player can neither swim in bad ink nor run across it. Taking too much damage will eventually result in death. Falling off of level environment yields the same result. Thankfully, health is slowly regained by avoiding fire and poisonous ink, which can be expedited by dipping down into the player’s ink. Just like the reload feature, quickly regaining life can be done without disrupting the flow of the hybrid game play.

However, this is not the only important use of the squid form while dipping into puddles of good ink. This ability ties into the finer points of movement and platforming as well. Players can use this form to swim through ink covered areas at a faster speed than simply running on foot. The player even climb up covered walls in order access higher platforms when in this form. Being a squid also makes the Inkling take a semi-liquid form that can slip through perforated floors and walls. These abilities add an innovative twist to both the shooting and platform game play ensemble that works surprising well when put into practice.

There is a neat stealth element that comes into play when submerged. In the single player campaign the player can dip down to confuse the Octarian enemies and swim behind them to score an easy kill. This also can work in a multiplayer capacity, provided that the opponent does not shoot its color ink in the player’s location. It is amazing how all of these various elements are brilliantly woven together to offer both a breadth and depth to the game that allows for so many different play styles, which can be utilized on the fly at any given moment.

As mentioned before, the single player campaign revolves around the region known as Octo Valley. The player must venture through five regions, accessing new levels along the way, in order to reclaim all of the Zapfish to restore full power to Inkopolis. The player cannot use special gear from the multiplayer component in this area. Instead, the player has access to a basic gun and alternative explosive weapon from the outset. Throughout these action stages the player can collect Power Orbs the can be used to unlock upgrades to the gun, acquiring new explosive items and other such enhancements.

The single player missions are well designed with the inclusion cool little gimmicks that make traversing the landscape lots of fun. To begin with, the levels are designed with structural elements that borrow from the layout of skateboard parks with ramps, bowls and other related formations. These formations that are littered throughout the stages along with ink propelled lifts, zip lines and super jump pads make use of the core game play mechanics in a meaningful and appealing way. Every region of the valley is punctuated by a boss battle stage where the player must exploit its weak points to overpower and destroy it in order to progress to the next region.

There are a couple of diversions in Octo Valley put in place to entice the player to complete the campaign. Each level has a scroll in a hidden location that reveals more information on the history of the Inklings and their dealings with the Octarians. The other reward for completing regions consists of blueprints that that can be taken to the Booyah Base weapon shop to unlock new arms for purchase in the multiplayer component. These cool knickknacks, though interesting to a certain extant, come off as attempts to pad out the length of the single player mode. The campaign is extremely polished and fun as it is, but having some more regions to visit would have been welcome. The thin amount of content is also seen in the local and online competetive multiplayer sections.

The multiplayer component of Splatoon splits into two different realms. With these modes, the player can use the blueprints found in the single player mode and buy various accouterments. This gear can be bought with in-game currency (accrued through playing online matches) at the Booyah Base – Inkopololis’ premier chain of bodegas that includes Ammo Knights (weapons store), Shrimp Kicks (shoe store), Jelly Fresh (clothing store) and Cooler Heads (headgear store). Again, the 90s style artistic representation along with the vernacular shines through quite well with how the shops are presented and how the shopkeepers interact with your character in Skater Boy jive.

The first mode is a local multplayer mode at the Battle Dojo that sadly supports only two players at one time. In this mode both players must engage in a competition to see who can pop the most balloons before the timer runs out. It is a fun mode that looks fantastic, has solid music and does take advantage of the well wrought game mechanics. One problem is that this game variant is the only one for local multplayer, which is pretty thin in the ways of content. The main downfall is that there are serious issues with this mode’s implementation. Because of the fact that you cannot connect two tablet controllers to the Wii U to play Battle Dojo, the game has a workaround for this issue that only exasperates the problem.

Player two can either use the Wii Remote in conjunction with the nunchaku or the Classic controller. These control options barley give the same allowance in agency as found in using the tablet pad. The most optimal solution is to use the Wii U Pro controller. However, this controller does not have a built-in gyroscopic sensor that the tablet controller uses for its unique camera control feature. This can be solved by augmenting the Pro pad with the Motion Plus add-on for the Wii. Not only is the controller input situation a mess, but it is a potentially expensive one depending on whether or not one already has all of these peripherals.

These issues also affect the display situation for playing local multiplayer. In order to circumvent the issue of a player looking at another player’s screen, the first player’s game play is displayed on the tablet controller screen and the second player’s game is shown in the television screen. This is one of the most baffling design choices, as playing with the gyroscopic aiming while having to manipulate the actual object also containing the game display constantly warps the first player’s sense of spacial relation and depth. If it was not for these issues, the local multiplayer Battle Dojo feature would be very accessible on top of being as entertaining and long lasting as the other modes. In the end, the local head-to-head play in Splatoon is a mixed bag.

Luckily, this is not an issue in the online multiplayer and this particular mode is truly what takes the center stage of the entire game. Vanilla Splatoon’s online competition section is broken up into three areas consisting of matches with friends on the Nintendo Network, non-ranked territory claiming skirmishes and ranked death matches using randomization for forming two teams of four inklings. This is where character progression differs greatly from the single player.

This mode features an experience focused persistence system mixed with buying and upgrading equipment that both combine to enhance the properties of the player’s online Inkling avatar. Competitors can gain experience points and in-game cash by participating in ranked and non-ranked matches to eventually turn their squid kid warriors into tough and well-outfitted forces to be reckoned with. Experience points will help to upgrade the character’s overall level, but also contributes toward unlocking new perks for weapons and other bits of equipped gear. Various pieces of gear have certain perks that can improve weapon effectiveness, movement in combat and defensive advantages. Winning matches will award the player a hearty helping of experience and money, but the game is forgiving enough to even grant the losers of battles with a meager amount of both.

When it comes to the offensive tools Splatoon offers quite the wide array of weapon types that have their own methods of attack, range and tactical usage depending on the architectural layout of certain combat environments. Fully automatic paint blasters that operate like assault rifles abound along with long range ink rifles, melee oriented paint rollers and short ranged shotgun equivalent paint brushes that project large spatters of ink at a short range. All of these families of arms are quirky and odd, but they manage to pave the way for a multitude of specific play styles while fitting in well in this colorful and wacky universe.

Just like the aforementioned single player component the wonderfully designed symbiotic circle of core game play mechanics works incredibly well when put through its paces while competing against thinking human opponents. This rings especially true for the platforming and stealth elements. This makes for a very chaotic and unpredictable when paired with the combination of the currently selected map and mode variant.

The game variants at launch are composed of two types called Turf War and Splat Fest. Turf War matches are won by covering majority of the horizontal surface area of the arena in a time constraint and Splat Fest is the typical death match mode where getting the most kills earns victory. The matches online last roughly six minutes each and feature some of the most energetic fast-paced action to be seen since the likes Quake III: Arena and the original Unreal Tournament. Even when losing matches at first, you always feel as if you have gained something in the form of cash, experience and a better understanding of how different player implement their own play styles.

Another cool thing about Splatoon’s online play is that it is an open and randomized system. You will never know who will be your adversaries or allies, making for more unpredictability. This honestly prevents the online space from getting boring and lends itself to a global community that surrounds the game. If living in the United States and playing Splatoon during the wee hours of the morning, one can fully expect to be playing against players from the other side of the globe. This perfectly segues into one of the amazing yet possibly unforeseen high notes of this title.

Splatoon has to have the most pleasant, courteous and amicable community out of any online competitive shooter. Do not misinterpret this as an admission that the Splatoon community is weak. To the contrary, the game’s community is just a competitive, fervent and outspoken as that of any other game in the current landscape. For some reason, this player base can be rowdy and dish out the trash talk without crossing the line and still manages to be group comprised of good sportsmen whether in victory or defeat; something that is truly respectable. While the multiplayer provide an unbridled and virtually unlimited amount of fun, it is not without its issues.

Map selection is not a choice for players to make, as the game itself usages a stage rotation system that showcases two playable maps for each game variant that rotates every four hours. This seems like an interesting approach to keeping this realm of play fresh, but it suffers from the same issue that hampers the single player and local multiplayer. There is simply not a lot content with this mode and it will not take that much time to experience the modes and content available herein. This is not the only issue with multiplayer Splatoon that stands out. The two most damning design choices have to do with in-game communication (or lack there of) and the implementation of Amiibo support. Voice communication while waiting in lobbies and during matches is simply not a supported feature in Splatoon.

This is absolutely baffling because it is impossible to coordinate any sort of strategy and/or alert allies to sudden hazards. Only by looking at movement patterns and the limited body language can players attempt to forge some semblance strategic planning, which amounts to nothing in most cases. It is quite obvious that, in an attempt to avoid the deluge of gamers who spout hateful and ignorant nonsense, Nintendo omitted this standard feature that could be feasibly done with the tablet controller’s microphone and headphone jack. The goodhearted intentions behind this decision are understandable, but the non-existence of this feature will mostly be a phantom pain felt by anyone who is accustomed to having voice chat in any multiplayer shooter both third-person or first-person.

The usage of Amiibos in Splatoon is truly a disgusting inclusion. There are only three Amiibos that are usable in the game and take the form of an Inkling squid, boy and girl characters. Each one unlocks extra content in the form of exclusive gear and levels to play through in single player. This is content that cannot procured in any other way and these Amiibos, like so many others that Nintendo habitually makes scant production runs of, are already out of print and have since become grossly overpriced collectibles. The fact that the content provided by these toy are intentionally exclusive the inclusion is blatantly anti-consumer and shameless. This feature is simply not needed in a game where the balance is a part of the game’s overall design. The Amiibo content most certainly puts a moderate damper on the experience.

It is unfortunate that these issues exist in Splatoon because they do nothing but hold this charming and inventive title back from being undeniably stellar. Though the few problems seen herein are substantial, they are not enough to destroy the indomitable spirit of the aesthetic, aural and mechanical accomplishments housed within the game’s world. The game is too cool and actually ends up overshadowing these problems in most cases.

The upbeat and totally radical vibes that ooze from every corner in the world of Splatoon shine through every aspect. It is such a lively place with its day glow colors and playfully edgy attitude. This is clearly a setting where all is wicked cool all of the time and hot summer fun reigns supreme. All of the Inklings look like character’s from 90s cartoons like Rocket Power with their skateboarder inspired threads and accompanying lingo. When ink lands on the grounds and on walls it dynamically spreads and cascades depending on the physics involved, which is a cool visual effect. For anyone who grew up during the 1990s it is sort of a fond trip down memory lane, but is still bound to be appealing to those who welcome a diversion from the muddy and dismally gray shooters that constantly spring up like pesky weeds. The solid visuals are further solidified by the game’s soundtrack and sound design.

Sounds are organic and appropriate, delivering a sense of impact and texture that compliment the inclusions of the weapon’s ballistic qualities as well as the footsteps Inklings make while running on wet sticking surfaces. The score of Splatoon tries to marry the synthetic tones of electronica along with the percussive beats and shredding guitar of punk rock to create something that truly complements the fun fresh style that title crafts in the art department. It is quite easy to unknowingly nod your head to these rocking tracks while the game is firing on all cylinders during the thick of the action. In the ways of presentation, Splatoon just feels right.

Nintendo has certainly taken a bold step in a new direction by attempting a third-person shooter, but has handled it a way that gives it a unique character and attitude that is very much its own. By fusing shooter game play with unique environmental traversal and timeless platforming, the game feels natural with its joyous fluidity. The single player, though short, is enjoyable for what it is and the online multiplayer is absolutely addicting. This title is not without its problems, as the controller input debacle and Amiibo implementation plus the lack of voice communication are obvious blemishes that prevent this excursion from being a masterpiece from all vantage points. However, these problems are the result of a development team experimenting with something outside of its comfort zone. A harmonious amalgamation of the 90s inspired aesthetics make it difficult to stay upset with these issues for long and the fun spirited charm is very refreshing. Splatoon is an awesome new take on the shooter formula that is more than worth checking out for anyone who wants that familiar action with a twist and is not afraid of a little color.




Rating IV-V

Id Software Assisted With Fallout 4’s Shooting Mechanics

bethesda and id

It is alleged that Id Software, developers of the Doom and Quake series of games, has lent its assistance to Bethesda Game Studios in an effort to improve the ranged combat game play of Fallout 4. This is not so surprising seeing that Id and Bethesda both fall under the parent company umbrella of Zenimax Media. Director Todd Howard had commented earlier in the year, during E3 2015, on how the first-person shooter combat in the Fallout franchise post Fallout 2 have come a long way.


Todd Howard, the Game Director of Bethesda Game Studios.

“If you were to pick it up and play [Fallout 4], it does feel like a modern shooter,” he said. “I won’t say anything bad about Fallout 3, but we wanted to not make any excuses for how the action felt in a role-playing game. We feel we can layer all of the role-playing and stat systems on top of that…

…So the guns feel great. We have aim down sights, you can play in first and third-person, and then we have the V.A.T.S system…

…Since id Software is part of our company, the first thing we did was call them. [We said] ‘alright, we’re going to do this from scratch, give us some tips…’  ~Todd Howard (Game Director, Bethesda Game Studios)

fallout 4 shooting

This still shows the main protagonist using the V.A.T.S. targeting system that will be present alongside the retooled gun based game play mechanics. (credit to

Fallout 4 is still slated for release on November 10 of this year for the PC, Playstation 4 and Xbox One. This will proceed extra content that will roll out in the following year in via a $30 DLC pass. Aside from the added content, Fallout 4 will have regular updates on top of supporting mods across all platforms.

Quick Look JPN: Deep Fear [SAT]

Jon dives into the dark depths of the unknown as he explores the Sega Saturn exclusive survival horror game called Deep Fear. This was essentially Sega’s answer to Resident Evil 2, it has many improvements made to the formula. It features many similarities with the RE franchise, campy dialogue included.



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Solid State Romcast: The 9-5-15 Show

This week’s Romcast starts off with Jon, Matt and Nate speculating on who the next four combatants will be in Mortal Kombat X’s upcoming DLC pack. Matt really wants John Cena to be one of them, while Jon thinks two of these mystery men could be Wolverine (X-Men) and Dead Pool. After that nonsense, the crew talks about Harmonix’s next yet-to-be-titled new game and its affiliation with the new exclusive video game funding platform Fig. What role will Alex Rigopulos (Harmonix Music Systems), Tim Schafer (Double Fine Productions), Brian Fargo (In-Exile Entertainment) and the other chairmen play in this new organization? Lastly, the guys talk about video game reproductions and the selling of them with other used games on the internet. Are reproduction cartridges fairly priced and/or ethical? What dictates the pricing of games? How do you discern the true value of a used game?


Solid State Romcast: 9-5-15 Show


Solid State Romcast Crew:
Jon “San Juan” Rivera – Host
Matt “Off” White – Cohost
Nathan VanDyke – Lead News Writer


Music Credit:
Introduction Theme – Car Jack [2011 version] by Electric Children
Interlude No. 1 – Unknown Track A by ???
Interlude No. 2 – Unknown Track B by ???
Roundtable Theme – Pumped by RoccoW
Resolution Theme – Skip Sandwich DX by Electric Children

Quick Look JPN: Mobile Suit Gundam Side Story III [SAT]

Jon finishes of his quick look coverage of the Blue Destiny trilogy with the Japan-only Sega Saturn exclusive Mobile Suit Gundam Side Story III. Like the first two installments, this title is an in-the-cockpit mecha combat simulation that is very fast-paced and frenetic. Hope you enjoy!

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Metal Gear Solid: V The Phantom Game?


Among this years’ hot releases is Metal Gear Solid V: The Phantom Pain, but already this latest iteration has caused some upheaval for some gamers. For those whose chosen steed in the PC they received a nasty surprise once they got home with the title.

From Reddit to Twitter to numerous other news publications come reports that the game itself is not on the physical disc. After inserting the disc, buyers noticed this issue quite quickly. Only seeing a Steam installer, with it large gaming retailer that supplies the PC market and is all digital, taking up the space of a small photo gallery, around 8.78 MB has had infuriating effects. For those who have slow connection speed or just want a physical copy will still need to download the whole game from the Steam Store. With a 30GB game and a slow internet connection some players and long time fans may have to instill themselves with yet more patience as they are forced to wait.

While games sales are about 3 million on the 6th of this month (September 2016), Konami still has yet to announce sales numbers officially which doesn’t seem to be boding well for Hideo’s newest development venture. A large bulk of sales for games being right there after release and then dwindle until the next release. These signs aren’t what so many fans want to see. Konami has released the $80 million budget in the Nikkei Report, (original in Japanese), With the cherry on top being an enormous marketing budget that can exceed the cost of development for some games. This is mean that just for Hideo and Konami to break even they may need to sell as many as 5-6 million copies total.

Even the widely positive reviews and large marketing campaign can only do so much. So many games like MGS:V now have taken a very risk-averse approach to game making. With such large budgets and other games failing and forcing the closing of studios it’s no real wonder why those at the top of this business are becoming so weary and dropping their less successful titles.

Quick Look JPN: Mobile Suit Gundam Side Story II [SAT]

Jon joins the battle once again and pilots the Blue GM in the Japan-only Sega Saturn exclusive Mobile Suit Gundam Side Story II. This mecha combat simulation title marks the midway point in the Blue Destiny saga. This title supports the Sega Saturn Twin Stick controller.

As always, thanks for watching! If you enjoyed our video, please rate and subscribe for more video features. Check out our main site for videos, podcasts, written features and more! Look us up at:

If you have and comments, suggestions or criticisms be sure to drop us a line at:

Destiny Original Narrative Heavily Altered Before Release


Recently, various news sources have reported that the lawsuit filed by Marty O’Donnell (previously the composer of Bungie) against Bungie Inc. and Harold Ryan of the same company was ruled in O’Donnell’s favor. The result is a settlement that pertains to profit-sharing with him for his work done on the Destiny franchise thus far. This legal battle began sometime during April, 2014. The lawsuit was filed by the ex-composer in retaliation for being fired “without cause.”

marty odonnel

Marty O’Donnell, previously the composer for Bungie, had worked on many on the studio’s titles such as the Marathon, Myth and Halo series of games.

While this court ruling is big news in the world of gaming, newly released court documents pertaining to this case has shed more light on O’Donnell’s now soured relationship with Bungie and Destiny’s sordid development. According to him, the events leading up to his untimely exodus was a product of him trying to prevent Destiny publisher Activision from encroaching on the Bungie team creatively. This has been theorized by many members of the video game community and press, but these documents go further to state the reasons as to why Destiny was not released during September of 2013 as originally intended by all parties involved.

bingie court doc

The following is a snippet from the court document finalizing the settlement for Marty O’Donnell. This snippet is of subsection 10 of section 2.

The tenth subsection of the second section clearly states that the original plan for the development of Destiny was to release it during Q4 of 2013, but significant changes made to the title’s narrative rendered this launch date unfeasible to meet. The release date was internally changed to March of 2014. The date was once again pushed back to September of 2014. Though O’Donnell allegedly went on holiday during autumn, this was not a factor in the two date changes.

This evidence raises many questions concerning the final implementation of the game’s story and how much of it was originally slated to be in the final incarnation of Destiny. With its eventual release, many have criticized the first-person shooter for not having a well wrought or conveyed story, which is an area of game development that Bungie has achieved with high  aptitude in titles past. The game was heavily promoted with the promise of delivery a deep, epic narrative that would rival the likes of Lord of the Rings, Star Wars and other such storied sagas. In the final game the lore was restricted to text based conveyance through the Grimoire Cards that are only available on a website for the game. Hopefully, these issues will be rectified for the new chapter in Destiny called The Taken King for the sake of gamers who have already invest time in money into the game.



What do you think of this new revelation? Let us know!