It’s that time again! No, not THAT time, podcast time. Jeez.
I’m once again joined by my good friend and longtime supporter Chris Caskie to discuss a subject that is close to both our hearts: graphics.
Hit the jump to watch the full video episode… and I’m working on getting audio-only versions set up now that we’ve established a good formula for these.
Continue reading The MoeGamer Podcast: Episode 5 – GRAPHICS!!!
Gust’s games are known for having a distinctive aesthetic, but Blue Reflection is one of the company’s most beautifully presented titles.
Offering a combination of high-detail realism in its school scenes coupled with a ton of creativity for the action that unfolds in the manifestation of the collective unconscious known as “The Common”, it really is a lovely game to look at — perhaps not the best-performing game there is, no, but a lovely game to look at nonetheless.
A big part of that is down to the work of Mel Kishida, a frequent Gust collaborator, and an artist with a very distinctive style all of his own.
Continue reading Blue Reflection: Kishida’s Pastel Paradise
One of the most distinctive aspects of the Gravity Rush series is its aesthetic.
As we noted last time, director Keiichiro Toyama’s desire was to create a game that, while still recognisably Japanese, incorporated elements from other locales in order to create something that, in theory, would be universally appealing across the world. The Western influences he chose to focus on were the Franco-Belgian artists of the bandes dessinées tradition.
The Franco-Belgian influence is particularly apparent in the first installment, while the second, in keeping with its much larger scope, draws more broadly on influences from across Europe. Let’s take a look at the specifics of how Gravity Rush got its distinctive look and feel, starting with a bit of background on Toyama’s main influence from Franco-Belgian comic books: an artist named Jean Giraud, better known to some as Mœbius or Gir.
Continue reading Gravity Rush: The Franco-Belgian Tradition, via Japan
Any dedicated JRPG fan will know what an uphill struggle it is to get people who have found themselves drifting away from the genre to actually play one of your favorite games.
All too often, people are keen to dismiss the whole genre as “Japanese bullshit” at best, depraved disgusting sexist paedophilic misogynist nonsense at worst.
Ever-determined and ever-optimistic, I took to a Google+ community (Editor’s Note: I know, I know, this ages this article a bit) I’m a member of that represents a small but diverse cross-section of gamers from all across the world, covering a broad spectrum of ages, experience levels and tastes, and I posed them a question. You can read an archive of the whole thread here if you like, but I’ll summarize my findings below.
This article was originally published on Games Are Evil in 2013 as part of the site’s regular Swords and Zippers column on JRPGs. It has been edited and republished here due to Games Are Evil no longer existing in its original form.
Continue reading From the Archives: Drawing the Line