Sunday 29 April 2012

Episode 22 - The Meg White of Podcasts

This week, we talk about iOS ports of Max Payne and Marvel vs. Capcom 2, Trials: Evolution, Crash Team Racing, and my new PlayStation Vita. Wow. That really sounds like we talk about gaming on this show. Tom uses the phrase 'donkey nipples', and we talk about the robot uprising, if that helps. Stip-stiggity story time returns, with news on SimOcean, Batman: Arkham City and Uncharted 3's Games Of The Years Editionses, Nintendo's steps towards an online future, and their financial losses, Portal 2 (Seal of Approval winner)'s upcoming DLC, PlayStation All-Stars: Battle Royale, and The Walking Dead's failure to drag its rotting corpse over to Australia. Also we talk about hologram food, and announce our very own video game, and talk about Sandsky's abandoned career as a soprano, and mine as an ogre.

MUSIC USED:
SSJ Theme 2: Xavier Rubetzki Noonan

CLICK HERE to download!
RIBBETZKI!
Check out the freaking White Stripes. Meg White is a great drummer. We are just fucking around.
Add Sandsky on XBL: colourfast
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If it doesn't fit up your nose, chances are it won't fit in your ear! You probably don't need to even try! You can take my word for it!

Xavier, age 10. Frankly no different to today.

Tuesday 24 April 2012

Episode 21 - Sandsky Hates Black People

This week, on a seriously-not-racist episode of Something Something Joystick, we talk about awful beer, the new theme song, Beyoncé, Mass Effect 2, bingo, Ron Keremy, and Jacked: the Outlaw Story of Grand Theft Auto. Then, subtle as a sledgehammer, stip-stiggity-story-time: our hilarious take on a hundred-year-old comedy sketch, crystal meth, God of War: Ascension, Title Fight (PlayStation All-Stars Battle Royale), New Super Mario Bros. 2Marvel Vs Capcom 2 headed to iPhone, Mario & Pikmin games coming to WiiU, Super Mario Bros. 4 (aka Age of Empires with drugs), The Late Late Show with Craig Ferguson, George Lucas hates Empire Strikes Back, the Seal of Ganus, Big Brother, Insert Coin(s), and viewer mail. Oh, and Tom touches my balls and has a funny voice, and Morgan Freeman is trapped in my brain.

MUSIC USED:
SSJ Theme 2: Xavier Rubetzki Noonan

CLICK HERE to download!
HELLLLLLLLLLLLLLLL. OH.
Check out Jacked!
Check out Insert Coin(s)! It's really really fucking awesome.
Add Sandsky on XBL: colourfast
Add Xavier on PSN: xavierrn
If it's a Sunday, and you usually record a podcast on Sundays, don't agree to play two games of hockey in a row! Your co-host will resent you for the rest of your life!


Tuesday 17 April 2012

Video Game Urban Legends: Pokémon

by Xavier Rubetzki Noonan

As a dominant part of the modern cultural landscape, it’s not surprising that video gaming has attracted a wealth of folklore. From ‘arrow in the knee’ memes to cartridge-blowing nostalgia, one of gaming’s greatest attributes is its ability to unite people through their shared sense of history and experience. And as with all cultures and subcultures, part of the rich tapestry of folklore that video games attract is the urban legend. These legends are pieced together using the things gamers have in common: usually they’re associated with a well-known game, or with a particular gaming experience that people can relate to. From old wives’ tales to spooky stories, the myths and legends that surround video gaming are often extremely interesting. In this series, I will present some of the stories I’ve collected in my time as a gamer. I’m not here to debunk, or cast any new judgment on these stories. Any attempt to do so would merely demystify them. I merely aim to present them for what they are.


This week, I want to write about Pokémon. The Pokémon series is an ideal target for urban legends for two main reasons: one; its massive and overwhelming popularity, and two; its controversial history. Of course, you don’t need me to tell you how hugely popular Pokémon is. From anime to trading cards to an overwhelming amount of merchandise, the Pokémon media empire reflects the games’ international spread. A good urban legend starts with the familiar, in order to establish credibility and plausibility, so it’s natural that the series would spawn some of its own.

What’s more, these myths tie in with a general suspicion with which many view the Pokémon brand. The anime is associated with an incident dubbed “Pokémon Shock”, where over six hundred Japanese viewers were hospitalised with seizures after viewing the episode “Dennō Senshi Porygon” (which featured intense, flashing strobe lights). On top of this, there are many known glitches and errors in the original Pokémon games: the Mew glitch and MissingNo. being prime examples. These examples illustrate the general sense of superstition which is intrinsically tied to the Pokémon brand. Add this to the many criticisms Pokémon has faced over the years (including its promotion of the occult, indoctrination of evolution and deterioration of family relationships)*, and you have the perfect cocktail for an excellent spooky story.
There are two examples of Pokémon urban legends which I’d like to outline: ‘Lavender Town Syndrome’ and the ‘Pokemon Black’ story.

LAVENDER TOWN SYDNROME



The story of Lavender Town Syndrome goes like this: supposedly, the music that plays in the Lavender Town area of the original Japanese Pokémon games caused depressive or suicidal thoughts in children. The games had to be changed for their international release because ‘Lavender Town Syndrome’ was supposedly the cause of over 100 suicides in children aged ten to fifteen in the days following the games’ release. It’s easy to see where the myth sprang from: Lavender Town is the home of Pokémon Tower, a seven-floor graveyard housing hundreds of dead Pokémon, and the site of numerous ghost sightings. As well as this, the music in Lavender Town is simply creepy as hell. Even listening to it while I’m writing this gives me the chills.


Interestingly enough, though, the more fantastic elements of the story still have their roots in fact. For instance, there is evidence that the Lavender Town music was changed between the first and second versions of Pokémon Red and Green (the original, Japan-only Pokémon titles), in order to make the area less eerie and unsettling. However, there is no specific evidence to support the claim that the games were responsible for an outbreak of mass youth suicide. In an interesting epilogue, when Lavender Town was revisited in Pokémon SoulSilver and HeartGold, the music was changed completely, into a peaceful, soothing piece of chirpy Nintendo drivel.

POKEMON BLACK



Now, we turn our attention to something even more fun: the good ol’ fashioned ghost story. It is assumed that the Pokemon Black myth originated online: from a message board like 4chan, or something of the like. The story goes that the writer purchased a mysterious black Pokémon cartridge which was apparently haunted. The player starts off with a Pokémon named ‘GHOST’, which could not be attacked by wild Pokémon. It had just one move - Curse - which would instantly (and spookily) kill (not just defeat) an opponent’s Pokémon. After a Trainer battle, the move could be used again, in the overworld, and would cause the enemy Trainer’s sprite to disappear, to be replaced by a tombstone (like those in Lavender Town’s cemetery).

After playing through the entire game to its conclusion, the writer outlines the game’s new ending - all the Pokémon and Trainers he had Cursed flashed on screen, while the Lavender Town music played, gradually decreasing in pitch. And then, the finale - his character, now an old man, is forced to battle GHOST one-on-one. This battle is impossible to win, and GHOST Curses him, deleting the save file and forcing a total restart.

This story is a classic spooky story. All the hallmarks are there - the game was picked up cheap at a flea market, the cartridge was lost when the writer moved house, and of course, the myriad links to the spookier parts of the Pokémon games (the Lavender Town music, for example). I think what’s really interesting about this one is the plausibility of it. The story isn’t presented directly as a ghost story - by that I mean that it’s never explicitly stated that anything paranormal is going on. It relies on the reader’s imagination to read that into the story. But what’s really cool is the level of believable detail that the story contains. From references to other well-known Pokémon knockoffs and hacks, to explanations of the various sprites used (when the player is represented by an old man at the end of the game, the sprite is that of the man who teaches you to use a Poké Ball in Viridian City), it’s a detailed story that makes logical sense to Pokémon fans. Even the central ‘GHOST’ Pokémon appears in the original games: until the Silph Scope is obtained, Ghost-type Pokémon are displayed simply as undefeatable GHOSTs.

The accuracy or truthfulness of this story is limited by its own specificity - there’s no real way to prove or disprove that some resourceful person could have hacked a Game Boy cartridge and tinkered with a Pokémon game. Interestingly, the popularity of the myth has led to fans creating their own version of the game - a Pokémon FireRed hack called ‘Pokémon Creepy Black’, which aims to provide a playable version of the story. However, in my opinion, a lot of the impact is lost by using a more modern ROM - there’s just something about the older games which is so fundamentally rooted in my mind, that just doesn’t come through in the FireRed hack.

I think that simple truth speaks volumes for the power of myths like these. The classic video game urban legends work because they’re based on something we grew up with: whether it’s their associations with safety, or just their backdrop of common understanding, they work best when they tap into something basic and pure and understood. Maybe in twenty years, there’ll be new scary stories about Modern Warfare 3 or Wii Sports, but for now, I’m quite comfortable shitting my pants over Pokémon.



So this is the first instalment in what I assume will be a series of Video Game Urban Legends posts. I have a few more ideas for future posts, but I’d love you to let me know what you think! Was this too long? Too specific? Not specific enough? Too formal? Too informal? Were there too many questions in italics at the end of the post?

Wing me an email: ssjoystick@gmail.com
-Xavier


*Who am I kidding, these are all the same fucking crazy website...

Monday 16 April 2012

Games As Art

As gamers, we are living in an exciting time. A recent study states that as of 2012, 92 percent of Australian households own at least one gaming device. The advent of smartphones has unleashed a flood of games intrinsically connected with social networks, and console gaming shows no signs of slowing with Call Of Duty continuing to fuel the energy drink and deodorant industry worldwide. But on the flip-side of this rampant mainstream success, a certain breed of independently developed games are gaining traction with a different, perhaps more discerning audience. These games have been labelled with the (highly unimaginative) moniker of ‘art’ games.

This not to say that all indie games are built around a deep and ponderous mechanic or idea. SSJ recently covered the Molydeux Gamejam, an event built around deconstructing these farcically high-minded concepts into simple (and hopefully fun) games. But as far as we can tell from the figures, games sold on the weight of their artistic merit are on the rise.


Aaron Staton recreating A Clockwork Orange during mocap for L.A. Noire.

So what defines an art game? In my opinion, Team Bondi’s L.A. Noire was a work of art. Its recreation of 1940’s Los Angeles was a beautiful (but static) backdrop to what was, in all honesty, a convoluted and cliched story filled with archetypal heroes, villains and femme fatales. However, the performances offered by the actors in those roles plumbed the depths of the uncanny valley, a merit made possible by the implementation of superior motion capture technology that more closely emulates natural human facial expression. Given the technological sophistication of this technique, you can hardly label it is as ‘simple’. But when I first encountered situations where this interaction with (and exploitation of) this feature became necessary to progress, I found myself operating intuitively with the system, recognising and accusing the pursed lips of a liar, or pressing the furrowed brows of a forgetful witness. So whilst the game itself was flawed, I feel it still stands as an artful creation (but not necessarily an ‘art’ game), solely by virtue of its central gameplay mechanic.

Microsoft Kinect: Now also compatible with Shady Jimmy’s acid tabs! (image - Robert Hodgins (2010), used without permission [don’t sue!])

On the other end of the spectrum, technology originally developed exclusively for games is being incorporated into art installations and exhibitions around the world. Right here in Sydney, the MCA turned their facade into a digital canvas using altered Kinect technology, allowed passers-by to create a virtual Jackson Pollock-style mess on the brutalist monolith of Circular Quay. This is obviously not a game - but it certainly could be considered art. I think it’s important for gamers to recognise the gap this is bridging between art and games, and how this might affect a non-gamer’s perception of videogames (hell, the Wii has done enough damage, let the wankers see if they can patch that tear in our credibility).

Shiny glowy things: all the motivation a gamer ever needs.

So finally, to return to the question I asked a little while ago: what defines an 'art' game?

Well, I think Jenova Chen and thatgamecompany’s Journey is a perfect example of art in the videogame medium. Journey is a simple, beautiful game. You are dropped in a desert wasteland, with no instruction other than a subtle direction of the players camera towards a mountain reaching above the clouds, off in the distance. There is little in the way of narrative: a few cryptic cutscenes in between stages are all players are offered, leaving much room for interpretation as to what the game means. The motivation for players lies in just what the Sam Hill is at the top of that mountain, and why your character wants it. Aside from this, Journey's art direction and command of light and colour inspires awe, with swathes of lush, free-floating red cloth and vast expanses of shifting golden sand (thatgamecompany loves them good particle effects). The score accompanies this perfectly, prompting you environmentally as well as emotionally, and sometimes just letting the aforementioned visuals do the talking. As for the matter of actually playing the game, most puzzles are solved using skills that are learned intuitively by the player, as opposed to being taught explicitly in-game. You are no longer hampered by complex button combinations to perform actions as your avatar; you are actually limited to jumping and communicating via vaguely musical noises (varying in pitch and volume depending on the duration of and intervals at which you press the O button). Two buttons and an analog stick. Simple.


I could talk about Journey for 80 pages if I needed to, but I’m sure you don’t want to hear my fan-fiction involving a certain glowing mountain top and its sensual eruption. I think the point I’ve been trying to make with this entry is that videogames are on the cusp of recognition as a valuable and unique art form (they have been for a while now), and I’m sure what I’ve shown you is more than enough for you to believe that. So keep supporting indie developers! Even if what they’re trying to sell you may look pretentious as all get-out, it might make you look at other games in a new light.

So there’s my first entry in what I’m sure will become an excuse to avoid university homework. Email me at ssjoystick@gmail.com about what you think qualifies a game as art, or whether games could ever qualify as art at all. Alternatively, you can ask politely for a peek at my Journey fanfic. Your funeral, dude.
- Sandsky

Sunday 15 April 2012

Episode 20 - Mahalo, Motherf-BOOM (feat. Ruby Giles!)

This week, Xavier and Tom and special guest host Ruby Giles talk about caffeine, Lidcombe, the Ninja Turtles, Big Bad Beetle Borgs, 'Beat Direction', the Tan and Black, and a pretty girl update. Then, like a cold snap: stip-stiggity story time, featuring 0x10c screens, Ni No Kuni's new trailer and release setback, Capcom, Sega and Namco's upcoming crossover, and the revelation that Mass Effect 3 actually was falsely advertised. Then, we waste no time in getting to our main time-waster: a new segment called The Peanut Gallery, in which we spend well over half an hour 'sinking' new release movie Battleship.

MUSIC USED:
Something Something Joystick Theme Song: Xavier Rubetzki Noonan
Motherzucker (Demo): Xavier Rubetzki Noonan

CLICK HERE to download!
Check out Ghostly magazine! It has pictures and words!
Add Sandsky on XBL: colourfast
Add Xavier on PSN: xavierrn
Add Ruby on Twitter: rubyaislyn
Don't leave all your assignments to the last day of uni break! Oh wait.

BONUS PHOTO GALLERY FOR NO REASON





Monday 9 April 2012

Episode 19 - Modern Sounds in Podcasting

This week, we talk about pretty girls, James Squire, Freezy, outdoor podcasting, Fantasia, children's movies, our Easter celebrations, and swearing around women. We propose a fan mail battle royale, and announce our 20th birthday plans. Then, out of nowhere, stip-stiggity-story time: Kinect Star Wars (and 'crunking'), Dick Smith's 'sale', EA crowned 'worst company in America', Sonic's creator joining Nintendo, and Notch's new game 0x10c. We also discuss the Official Mascot of Video Gaming... is it Mario or Pac-Man? Write in and let us know!

MUSIC USED:
Something Something Joystick Theme Song: Xavier Rubetzki Noonan
Gameboy Love: Buskerdroid / CC BY-NC-ND 2.0
wellcome to the funeral: TB / CC BY-NC-ND 3.0

CLICK HERE to download! http://kiwi6.com/file/0r0c247flh
ON-A-YOUR MARK, A-GET SET, A-GO!
Check out Ray Charles! He's a cultural icon, and musical legend!
Add Sandsky on XBL: colourfast
Add Xavier on PSN: xavierrn
If you buy something on Craigslist or Gumtree, make sure you meet in a public place!


Monday 2 April 2012

Episode 18 - Molydeux Can Doo-Doo But Jimmy Carter Is Smarter

This week, on a special Molyjam edition of SSJ, we talk about inFamous 2, Uncharted, EnviroBear 2000 (which receives the coveted SSJ Seal of Approval), the Seedy Apple, cheeseburgers, Worms Revolution, SEGA, Zipper, THQ et al's recent cuts, Triplets, Journey becoming fastest-selling PSN game, TGC co-creator's departure and Audiosurf Air. We (somewhat heatedly) discuss the PS4, Xbox credit card stealery, Dick Smith's big ol' sale, and then get right into our coverage of What Would Molydeux?
INTERVIEWS:
Shaun Skelton, President of the UNSW Game Dev Society
Kieran Macleod & Adrian Vergara, organisers of the Sydney Molyjam event
John Kane: Molyjam developer
Then we chat a little about the monorail, and the Queen, and then we bid farewell in song.

MUSIC USED:
Something Something Joystick Theme Song: Xavier Rubetzki Noonan
Cosmic Waveform: Wizwars / CC BY-NC-SA 3.0
The Final Conflict: Rushjet1 / CC BY-NC-SA 3.0
Synthetisator: Tom Woxom / CC BY-NC-ND 2.0
Helix Nebula: Anamanaguchi / CC BY-NC-SA 3.0
New music for fields: ignatzthemouse / CC BY-NC-SA 3.0

CLICK HERE to download!
AAAWWWW BIG BOWL OF SAUERKRAUT!
Check out the UNSW Game Dev Society!
Check out Kieran Macleod on YouTube!
Check out Level Up Times!
Most importantly, CHECK OUT SYDNEY'S MOLYDEUX GAMES HERE!
Add Sandsky on XBL: colourfast
Add Xavier on PSN: xavierrn
Don't put that in your mouth! You don't know where it's been!