Ex-Zodiac a Starfox in 60 fps!

As a child, I often watched my dad and my brother play old game consoles like the Super Nintendo and the Megadrive (Genesis) and among other things they played rail shooters like Starfox and Space Harrier. These are shooting games (shoot them up in back view) in a ship (or with a jetpack for Space Harrier) where although being on a rail you can move all over the screen to avoid shots and aim the enemies.

Later I played it for my own culture with the release of the Snes mini (for Starfox and on emulator on 3ds, later, for Space Harrier) and I admit I got hooked on this little spaceship pilot fox but the game had a flaw for me is that although being a technical feat at the time, the game must run at 20 fps and frankly I who am used to very fluid pc games, I had a lot of trouble staying on the game. Fortunately for me thanks to twitter, I came across a little game that will please all fans and anyone who would like to discover this kind of rail shooter.


From homage to plagiarism, there is only one step, which Ex-Zodiac crosses cheerfully and without complex. However, he does it with such panache that we will gladly forgive him for having so faithfully and scrupulously modeled his excellent models.

For an early access, the quality is surprising, whether it’s the classy realization, the balancing, the handling, or even the adjustment options which already offer the essentials… I take my hat off to this small studio of motivated fans who finally manages very well to reproduce the excellence of the feeling of legendary games of big firms.

The game currently offers 6 main Starfox-style levels, and each of these levels contains a hidden item allowing access to a Space Harrier-style secondary level, which gives a little replayability in addition to the scoring system.

Honestly, I only have minor trifles to complain about, and even as it is, Ex-Zodiac is very well worth its very affordable launch price of €8!

  • I have a joystick that I failed to configure on this game.
  • I would have liked difficulty choices

After all, the game is in early access so these may be things that will be added later.

I haven’t detected any problem serious enough to spoil the pleasure: for me, it’s a little favorite, and an extremely promising early game that is already worth looking into.
A surprisingly clean job that deserves to be rewarded and remunerated, especially given the rather low price demanded for this scoring-oriented rail shooter with excellent replayability potential.

A Hack’n Slash story :

From Golden Axe to Diablo IV

According to the statistics of the burglaries of my city, breaking doors to recover treasures is one of the favorite activities of human beings. This undoubtedly explains why the hack’n slash is almost as old as video games and how an expression formerly depreciative came to designate a successull type of game.

Like almost everything that displays dragons and swords on a computer screen, the hack’n slash come straight line from the role -playing game on the table. It was also in 1980 in a Dragon Magazine issue, an official revealed of Dungeons and Dragons, that we find the first occurrence of the expression: “There is a great potential for More Than Hacking and Slashing in D&D”

With other terms, such as that of “Munchkin” or “minimaxing”, it is associated with the very fighting-xp-optimization approach (or to say it more politely: “Door-Monster-Treasure”) of the game of role. Logically, it is used to designate the first action video games inspired by Dungeons and Dragons, like Golden Axe or Rastan.

By extension the term comes to describe any action game with vertical or horizontal scrolling in which we fight enemia with arms-to-body weapons, like Ninja Gaiden. And in the high spheres of “video game testers” (that is to say, at that time, the twenty-year-olds who tested games in the first specialized journals), the term retains a pejorative dimension: when a More ambitious game in terms of narration, gameplay or universe construction, whether it is a Zelda or an Ultima, we often compare it favorable to “hack’n slash “Which, themselves, boil down to their fights and its destiny for more muscular fingertips than brain.

DISORDER IN THE TYPE OF GAMES. Besides, at the release of Diablo in 1996, the press does not consider it as a hack’n slash but as an RPG, even going as far as not to recognize that it is about ‘A stupid click-click-boom-boom game. Trent Ward writes for example for Gamespot that if the character of the warrior “will appeal to lovers of action games” the Rogue and the magician are “intended for strategy fans”. A game controlled with mouse, descending in real time of the ancient Roguelikes in ASCII (that is what the RPG on PC was more hardcore), which was based on a system of strict rules rather than on the players of the player, could not be another Something that a variation, certainly a little combat oriented from Ultima. It took, for the term hack’n slash to take from its current meaning, the sequence of two events.

First of all, the appearance of the term action-RPG, designating these descendants of immersive Sims who have various degrees, from Daggerfall (second episode of the Elder Scrolls) to Deus Ex, were more and more numerous to mix elements From Role Playing Games and 3D real -time universes, so much so that they have become the norm. To differentiate these games from the heirs of Diablo II, it was necessary for its latest, a new name.

The second is precisely the release of Diablo II, which has registered in marble the codes of a new kind, of the possibility of modifying the objects by setting them from gems and runes to the division of the adventure into acts. Again, the term hack’n slash, this time associated for good with the games that we know today under this name, was used to distinguish, in a pejorative way, this kind of games from another considered more Rich: any “action” as they are, the Elder schools deserve the beautiful name of RPG, when the Blizzard casinos were only vulgar hack’n slash.

THE QUARREL OF HARDCORE AND MODERNS. If the Hack’n Slash after Diablo II have never really managed to break with their model, they have not stopped evolving. Some of the first major competitors sought to stand out by moving away from the Dark Fantasy side and the serious spirit of the illustrious Encitre (Torchlight), and others have renounced to the random generation for the benefit of a gigantic world Hand -created by developers (Titan Quest). But we had to wait for Diablo III (2012) that the first real breakup took place, for better and for worse.

Until now, the hack’n slash, for lack of a particularly deep or punitive gameplay, had the main difficulty rests on the construction of the character. It is to the knowledge of the effective builds that we recognized a good player and most of the skills choices were final or, at least, required large sacrifices of time or gold coins to be canceled.

Blizzard, with his experience with the MMOs, decided to break with this punitive character and further push the logic of incremental play by creating a game in which it was not only impossible to regress, but also where no choice would be final. The release of Reaper of Souls in 2014 further broke the nail by breaking definitively with one of the last elements imported from traditional role -playing games: the “Directorist” narration. No need to follow a story, we could now be content to teleport from one place to another in the world to grinder experience and objects, a level of difficulty that can be changed freely allowing to adjust the level of difficulty (and awards) with the desired experience.

But even the least hardcore of video game genres still has its snobs and certain, especially among the fan of Diablo II, criticized the new blizzard game for having broken with the complexity of traditional hack’n slash. It is notably with them that the excellent Path of Exile has its success, overcoming both the fidelity to the canons of old blizzard and complexity, with one of the most complex and passive skills system from the history of the video game. For the first time a hack’n slash was considered unworthy of the name for excessive simplicity. The times are changing.

I love the hack’n slash since I was very small. I watched Dad playing Diablo II sitting on his lap at the damn of my mom. It is true that I suppose that a game filled with demons and zombies is not necessarily the ideal for the awakening of a baby even if I am sure that it is no less harmful than certain programs for the Youth passing on television !!!

Anyway, I’ve started with Diablo II at 13 and I love it very much. Now I happen to replay it from time to time on his remaster released a few years ago, I continued on Titan Quest then I had to play most games released in the genre.

I also played Path of Exile and Diablo III and I don’t really understand this controversy. Diablo III when it was released was a problematic game but because of a sales hotel system that unbalanced the game and made it unplayable if you didn’t want to spend money. I think that’s what really hurt its reputation. Since it has disappeared and with the arrival of its Diablo III Reaper of Souls extension has been a much better game for me than Path of Exile.

Path of Exile is a very good game of course but to want to play it seriously you have to play with a wiki next to itself. To understand the economic system of the game alone is a nightmare for a beginner. With Diablo 3 anyone who can have fun with the start of the game. And for so much it is still deep enough to discover the subtleties of gameplay after several dists or hundreds of hours of play.

Diablo IV is scheduled for June, I can’t wait for its release! It will bring a real world open to the genre and lots of small novelties which will give a wind of freshness to the genre. I have not yet cracking to read all the previews on the net because I want to discover a maximum of things on D -day but what I could see, I want to play it.

If you like the genre I suggest you closely monitored it, for me it is part of my 2 expectations of the year with the new Zelda. If you do not really know the genre I advise you, even if it is not free unlike Path of Exile, to play Diablo III and its extension in addition it is available in a very good version on Nintendo Switch playable in Coop offline. With all this content you will have fun for hours.

PS: This is not a sponsored post! ^^’

Take care of yourself and you loved one and see you soon guys!

Test Warhammer Darktide

It’s been a long time since I’ve done it but hey this time I really had to test this thing for you.

Well, Vermintide, I lasted 40 hours before not touching it anymore. Vermintide 2 will have me on board for 120 hours. What about Darktide? boarf, about fifteen hours, do you realize? Yes, that’s it: take a chair, I’m going to have to explain a few things to you and it’s going to be long.

Yes, sorry to welcome you with a big bucket of cold water in your face, but Fatshark’s youngest, who was supposed to arrive in conquered territory, has had his face grinded badly since his release. But let’s take things in order and start with his story. Here, your character is a prisoner sentenced to death. Oh, I’m good. Needless to make this face: this kind of sentences in the Imperium of Warhammer 40,000 are as frequent and commonplace as an identity check by the police in our country. A routine when Chaos, always him, will make an incursion on the planet where your character is incarcerated.

At this stage of the text, I imagine I have already lost 75% of you, so let’s try to popularize it a bit: you are a prisoner who is offered an amnesty in exchange for full cooperation with the local authorities, in order to stem the invasion of a force composed of drooling monsters and other zombified soldiers. Well, is it better like this? It’s crazy how we always get a mountain of Warhammer stories when you just have to remove all your “technical” language to see things more clearly. But back to our dear Warhammer fans.

Here, the story is written by Dan Abnett, oh so talented writer, at the origin of very good books like Eisenhorn, Gaunt’s Ghosts, to name only the most famous. And you know what ? It does not feel at all, since the cutscenes, poor, show a mute hero being rebuffed by a bunch of NPCs just able to remind him over and over that he is not trustworthy. Yes, cutscenes, because in Darktide, unlike Vermintide, missions mostly feel like side objectives, letting the story unfold through cutscenes triggered when your character goes beyond certain experience levels.

Come on, we’re going to try to reassure ourselves by saying that the scenario will certainly be developed over the course of the updates, but that doesn’t hide a really curious treatment and tone of the universe, with a few nods to the pop culture and other jokes, which rub shoulders with a strange soundtrack oscillating between the organ and a kind of technoid jam closer to cyberpunk than grimdark. Really strange. But let’s talk about the game instead, starting with its most visible novelty.

If you’re from Vermintide, you’ll be sure to notice that the characters are now player-created. Yes, finished the Inquisitor or the Witch with their predetermined appearance and history. At first glance, it will therefore be enough to choose a class: an Ogryn to take the blows, a Psyker to neutralize special enemies, a Zealot specialized in hand-to-hand combat and, of course, a Veteran who is gifted in hand-to-hand combat. distance.
Combat is more gun-focused and, good news: Fatshark has it covered.

You will have noticed it: that makes four classes against five in Vermintide. A bit of a shame even if the more marked specializations of the Darktide archetypes will help to pass the pill. But that doesn’t mean our avatars are soulless shells, with each agent creation starting with a series of questions. Who are you ? What did you do that stood out? Where are you from ? So many questions to be answered for… nothing. Come on, there are those purple eyes reserved in the character editor for Cadians, but everything else seems totally untapped, with, for example, avatars that will exchange rather generic dialogues during their missions. Weird, weird. There remains, however, the character editor, which is quite complete and allows you to create your own convict. Choice of size, skin color, hairstyle, (many) tattoos… There’s enough to spend a little while there, before you jump into the deep end and go fight.

Inspired by Vermintide 2’s Chaos Waste mode, Darktide’s missions come with a few random modifiers, like this knife-cutting fog.

From the gameplay point of view, the regulars will be in their little slippers, the recipe for this “Left 4 Dead with loot” being taken up, so to speak, identically. In reality, the game mostly offers a change of pace with more gun-focused combat and, good news: Fatshark delivered. No need to dwell on it, but know all the same that the guns are very satisfying to handle and all offer their dose of punch, from the laser rifle ideal for sticking heads in the distance, to the big bolter which becomes enjoyable when necessary to clear a horde.

A point which however did not prevent the developers from improving the melee, with attacks which also offer much more sensations than those of Vermintide, whose donuts sometimes give the impression of hitting in the void. Here, every blow, whether delivered with a knife or a huge hammer, is accompanied by a feeling of startling heaviness and impact.

In Vermintide 2, a shop allows you to buy cosmetics by spending money or Schillings, a currency obtained during our games. Not enough to break three legs at an Aven: those who want to support the studio or have fun will go to the cash register for premium cosmetics, while the others will spend the in-game currency.
This recipe, Fatshark has just abandoned it in favor of a much more classic store and even too close to free-to-play, with its monkey money to buy with real euros. You know, that same currency sold in packs so you always have a little savings left over, but not enough to buy anything else.
Let’s be clear: it’s a disappointment, both for having a cash shop in a rather empty game, and for the feeling of having to pay to look like something, the cosmetics obtained while playing are not incredible.

If we have to remember one thing from Darktide, it’s that it has just been unmolded too hot.
And for the rest ? Again, Fatshark seems to have approached the Vermintide recipe with tweaks at the margin, to make it more enjoyable. Here, it is the Psykers – equivalent to the Witch – who benefit from a final warning before burning themselves out with their spells. There, it’s a system of care stations that allow you to get back on your feet if you manage to bring them a battery. Something to keep regulars busy, while newcomers will see above all an effective mix between cooperative FPS and hack & slash. At least, until all the flaws and other gaping holes in the content are obvious to all of them.

If we have to remember one thing from Darktide, it’s that it has just been unmolded too hot. So hot, even, that I don’t know where to start. Come on, let’s talk about what will probably make everyone scream, with the absence of crossplay. Please note, we are not talking about a problem that prevents PC and console players from playing together, but about the impossibility of joining someone who is playing on the Gamepass version if you purchased the game on Steam. Really ugly, though the developers swear they’re working hard to deliver this essential feature as soon as possible.

The customization of the avatar is much more advanced than that of Vermintide 2. Too bad however that the few really nice cosmetics are reserved for the shop.
In reality, all this is ultimately not much compared to the poverty of the gameplay, which today ignores the craft by limiting it to a stupid improvement of our equipment. And what about the loot, which is almost non-existent, the weapons offered at the end of the game being extremely rare* and replaced by credits. Yes, stupid credits, which should be spent at an equipment supplier whose list is randomly generated. If you don’t feel an ounce of excitement, know that everything is normal.

Difficult to explain such a step back, except that the Covid could have heavily affected the development of the game and forced the studio to put it on sale in this state to recover finances. A theory that will, alas, not make us forget this sad reality, namely a very simplistic Vermintide if we compare it to its elders, including the day of their respective releases. A game where nothing pushes us to chain the games. A game where you complete a mission, you pick up your credits, you lazily take a look (sporotriche) at the shop and “oh but you saw the time, well that’s not all that, eh but there are the road “. Sadness. The pure. The truth.

But let’s leave on a positive note: Fatshark has proven its know-how in terms of game as a service with Vermintide 2 and the foundations of Darktide today seem sufficiently solid to hope for a bright future. You just have to be more patient than expected.

  • Six weapons won in fifteen hours during this test.

On the technical side, if a 3060 runs the game between 50 and 60 fps with practically all the details at full blast, Darktide reinforces its “unmolded too hot” aspect with too frequent crashes to be honest. Launching a game is the promise of seeing one or two players who suddenly disappear due to a crash, a temporary freeze that desynchronizes the client with the server and other things. In short, there is still work to be done.

Monster Hunter Stories 2

At the moment everyone plays Pokémon Arceus, The proposal of the game made me want but while playing it, the gray and dull side of the graphics made me stop. At this time of year, with the bad weather, I want more colorful games.
Talking to my friends I was recommended Monster Hunter Stories 2.

For me, who only played Monster Hunter World alone (because the chat system sucks when you don’t use a microphone) it was a series of boring monster hunting quests. Of course I am aware that I did it in bad conditions and that it is surely a very good license.
In short at first sight, when I was told about Monster Hunter Stories, I said to myself that it was not for me, but in fact although the game takes place in the same universe as the main series, this Spin- off is very different.

The combat system:

Indeed we find ourselves here with a kind of Pokémon where the scenario would take a much more important place than usual. We are therefore in a turn-based RPG where the character fights monsters himself accompanied by a monster who fights at his side. The combat system is based on the principle of rock-paper-scissors. You can choose a Power, Speed ​​or Technical type attack. Power beats skill, skill beats speed, and ultimately speed beats power. Our character can choose their attack type each turn, but each monster has an associated attack type. So you have to choose the right attack and the monster that best suits the opponent in front of you and change your strategy as needed during the fight, because opponents can also change your strategy.

There is a lot going on during fights in terms of animation and sometimes there are quick-time events; quite frankly it is not always clear what triggers what; the combat system is deep and looks complex, but remains simple and intuitive.

On the strategy side, it is possible to attack specific parts of the monsters or to use a specific weapon which will be more effective in a given situation. For example, when a monster is holding a rock in front of him as a shield, it’s best to switch weapons to a hammer to break his makeshift shield. At the end of the fight we are rewarded with loots.

Craft and exploration:

As in the main series, crafting is also central to the “Stories” experience. In addition to the pieces of monsters that we pick up after a fight, we can also pick up all kinds of plants, insects, ores and other resources in nature, which will be used to make weapons and armor, but also potions and others. objects that can be used during combat and in the exploration phases. Equipment crafting is simplified with a point system instead of absolutely requiring specific items. When we craft an armor, it is the whole that we craft and not each piece individually as in the main series.

To expand your team of monsters here you have to find eggs and then hatch them. Sometimes you can even come across a “Shiny” monster. During a fight, only one of our monsters is activated at a time, although we can interchange in the middle of the fight. What drives us to explore.
I have a lot of fun exploring the world of Monster Hunter Stories 2. We are a rider, a rider who can ride on the back of his monsters. We find open and visually rich landscapes where there are always monsters to fight, resources to pick up or secrets to discover. Some areas will only be accessible if you have the right monster activated. For example, some can jump, some can climb, and some can go in the water. We can come back at any time in the regions already explored if ever you do not have the right monster in your team at the moment. The teleportation points already discovered allow you to quickly move from one point to another in the world.

To conclude:

I am very far from having finished the game but I take a huge pleasure in playing it.

  • The game is very beautiful although there are some slowdowns (little annoying) on Nintendo Switch, which must be absent from the PC version;
  • There are plenty of things to do;
  • The story is interesting and although quite public it is not as childish as some Pokémon (no need to have played the first one to understand it);
  • A rich and interesting combat system without being too complex.
  • Exploration is super fun…

In short, if you ever don’t have a switch, that Pokémon Arceus bores you, does not interest you or simply if you like good RPGs, I strongly advise you to play Monster Hunter Stories 2. My only regret is not having played earlier.

Take care of yourself and your loved ones and see you soon!

The near future, a distorting mirror

From Andy Cline’s Ready Player One to Judge Dread to Black Mirror and Pacific Rim, near future works are endless.
Close anticipation is not a genre, it is an approach.
Common point of the corpus: the stories must take place in the near future. Something to get excited about and also often fuel the nightmare machine.

What is sience-fiction?

Science fiction is inextricably linked with anticipation. It is about imagining possible developments in science and technology in order to explore possible future possibilities. In their time, the forerunners of Mary Shelley (Frenkenstein), HG WELLS (The Time Machine) and Jules Vernes (Twenty Thousand Leagues Under the Sea) marveled at the advances of their time to build wonderful philosophical stories. or terrifying. These, among others, invented speculative fiction. Imagining the future, even on the basis of facts and cutting-edge documentation, is still science fiction. SF is written in the conditional, not in the future, and always feeds on the context in which it is born. And too bad if its projections fall short of reality or become obsolete, sometimes in just a few years. Because even when they claim to talk about something else, the works are full of the mindset, values ​​and knowledge of their time, and of their author. It always speaks of the present, and has effects in the present.

The case of near future.

The genres of the imagination, including fantasy and SF, are therefore always situated in relation to the real, and the works of near future undoubtedly hide this even less than the others: their plots are close to their context and time. of creation – and close to us who receive them. For the British writer J.G. Ballard, the near future would be a means of talking about the “true future”, the one that we “see approaching”, as opposed to hypothetical elsewhere, in eras and galaxies far, very distant. On the contrary, from space opera or mythical fantasy, the near future does not open the door to escape, it immediately announces “in not very long” and implies “right here”. Ballard himself was adapted (Crash by David Cronenberg).

In the continuity of Ballard, many works – novels, films, comic series, games – have placed their plots in a futuristic universe, without necessarily exploring a supposed immediate future. Problem: all fiction implies a distancing from reality. Near future works consciously break this convention with the help of a distorting mirror. Everything is familiar and so different.

But why are these works often so terrifying?

Seeing the future negatively, is it for ease? Where has the reassuring cocoon of our daily comfort gone? Do we no longer have the right to dream, to imagine? This is a crucial question. Most of the near-anticipation works outbid the existing, adding a small dose of dark futurism, freewheeling technology, eerie androids, triumphant capitalism, and permanent cops. Just what it takes to smash the glass in our comfort zone. The reassuring daily life becomes deadly, your intelligent vacuum cleaner seeks to kill you, a spaceship is planning its worrying shadow over the city, even it is absolutely necessary to chip or get vaccinated so as not to fall on the cost of law and order. . (get vaccinated guys, this is important)
In the preface to his full short stories, Ballard cautioned against this trend:

“The future […] is a dangerous, heavily mined area that tends to turn around to bite your ankles when you take a step forward. “

Too late the damage is done.
Many works anchored in the near future stage an imperceptible and perpetual shift where each technology, each authoritarian drift, each change in lifestyle or degree of global warming, testifies to the fact that nothing will ever be the same again. Rather than the completely reconfigured worlds of the post-apocalypse, where everything was destroyed and then recast, this is about the cycles of life and death of civilizations. The collapse is not imminent, it is immanent. History is on the move. It happens continuously.
In the fluctuations of a pandemic, the British series Years and Years, or through the words of Chuck in Fight Club:

«This is your life, and it’s ending one minute at a time”

Paradoxically, it is also this perpetual end of the known world that allows all hopes and allows utopias to flourish, however diffuse they may be. Dark futures fuel the emergence of new horizons, new battles to be waged and new hopes to be nourished. Suddenly utopias exist mainly to legitimize the fights waged against them. In reality, the great battle of imaginations, ideas and values ​​is fought deep inside each of us. The fight is brutal, merciless, it spares none of our received ideas, our intuitions and our usual thinking patterns. And test what we think we know as the disgust, fear or revolt that arises over fiction becomes able to inspire us and spur us to action. For example, the treatment of aliens in District 9 strikes us as despicable, because it inevitably reminds us of the plight of refugees around the world. What is terrifying about this distorting mirror is less the distortion it conjures up than the fact that we recognize ourselves in it.

Wouldn’t Western studios be better today than Japanese studios at making Japanese games?

For a long time I didn’t have too much money so to play cheaply I got interested in emulation (not good) and I discovered a lot of games from the 90s.
With the announcement on March 10 of the tribute of “Teenage Mutant Ninja Turtles: turtle in time” with the game “Teenage Mutant Ninja Turtles: Sredder’s Revenge” by Dot Emu, I rethought the remake of “Panzer Dragoon” by a Polish studio, of “Street of Rage 4” and of “Monster boy Dragon’s Trap” by Lizard Cube (French studio) as well as the new opus “Monster Boy and the Cursed Kingdom” made by Game Atelier (another French studio), “Sonic Mania” by Head Cannon and PagodaWest Games (based in Los Angeles) …

Wouldn’t Western studios be better today than Japanese studios at making Japanese games?

How many Japanese licenses are sitting in boxes when Western fans are ready to buy sequels or remakes?

  • Act Raiser 
  • Breath of Fire  
  • Castlevania 
  • Demon Crest  
  • Final Fight  
  • Megaman 
  • Prehistorik Man 
  • … 

It’s as if the Japanese studios were unable to quantify the economic stakes of their catalog. Westerners have to go to Sega to make a new Alex Kid “Alex Kidd in Miracle World DX”.

The only ones that really have a heritage side to come to mind are Square Enix and Nintendo, which are the only ones to regularly offer remakes or sequels. I won’t quote Capcom, because they can make you the same Resident Evil 10 times, but other licenses like Megaman are completely forgotten when it was one of their far series. We arrive at 20 years of Megaman XD, one of the best-selling episodes on GBA and nothing planned.

Many Japanese companies do not manage to capitalize on their catalog because, either those who took care of these licenses had promotions, changed boxes or disappeared … and they do not ask themselves the question of saying :

“Wouldn’t people be happy to find this character again?”

Yet they have the numbers. Namco is well aware that Pac Man is very well known in the US just as Bandai-Namco knows they sell more Dragon Ball figures today there than in Japan.
So why only a few licenses like Mario, Dragon Ball, Final Fantasy and Resident Evil benefit from this resurrection?

Konami was surprised by the sales of Bomberman on Switch but it has been years, 10/15 years that the West has been asking for a new one!

One of the best-known Smash Bros jokes is that Nintendo treats Pac Man, Megaman, Sonic and Solid Snake better than their own publishers and sadly that’s true.

There is a real wealth management problem in Japan.

Maybe it is because they have a different way of thinking. For example when they do exhibitions on manga, what matters mainly is the final work, the manga and not the artist or the preparatory drawings.
In the West we hold a lot more or original boards and the research work of the creator of the comics which can sell very expensive at auction.

After Japan is a country regularly ravaged by earthquakes, where “everything” is regularly destroyed and to be rebuilt. Could their non-attachment come from there?

It can also come from Buddhism which is an important part of the foundations of Japanese culture. In its precepts it is said that nothing is eternal, that all is vain and that the beauty of things rests on their fleeting side.
Yet today, thanks to social media, the Japanese artists who made the pop culture of the 80s 90s realize the attachment there was for their works outside of Japan.

Kinu Nishimura, Illustrator who worked at Capcom alongside Akiman on a little known little series called Street Fighter, is now rediscovering some of her drawings thanks to Western enthusiasts who bought lots of old magazines and posted on their networks scans of illustrations including herself and Capcom had no more originals.

I don’t know if that will ever change there but in any case for me the return of thoses old licenses, whether thanks to a remake or a sequel, still enchants me.