Speaking of SNES Doom, the Japanese release had some subtle alterations.
In the US release, specific episodes are restricted from play on lower difficulty levels (For example, Inferno is only playable on UV and Nightmare). In Japan, all episodes are available on all levels.
Enemies appear on the automap to an extent, sort of like the IDDT cheat in the PC version but more intelligent (ie. only showing living monsters, not any actor)
The end screen text has been completely replaced, dropping the, uh, prose of the PC and US versions in favor of some much simpler English. Presumably because the English alphabet takes up way less memory than the Japanese one…
Everything else seems to be the same, to the point where the Action Replay codes I used to cheat my asshole off to get these screenshots still worked.
This is a collection of nearly all of Jim’s levels for the original Doom, polished / updated / what have you. Flynn is my favorite Doom author, the creator of large levels that have to be turned around in your head like a Rubik’s cube where the very geometry of the map is used as an adversary. Some may find this to be the antithesis of Doom’s action-oriented gameplay; to me, it’s a different sort of action entirely. Which isn’t to say that the combat sucks - in fact, it’s another one of Jim’s strong suits. I think you’ll know whether this is your sort of thing based on the description alone, but if you’re as into solving Doom puzzles as I am, you can’t do much better than The Enigma Episode and its surreal, abstract texture schemes and layouts.
Seems like you've been getting a lot of Doom player asks recently! But I'll ask anyway: ideas for a Knight of Doom in the Land of Ash and Rats? (The only thing I know is the rats are meant to be friendly, helpful NPCs, since the Knight is fractious, mistrustful, and has it in his head that accepting assistance from others makes him "weak")
You are the Knight of Doom, hero of the Land of Ash and Rats.
Diffusion Reaction ✦ Class (Knight), Fate, Magic Cost: 1 Focus Trigger: An ally is hit by an attack. Effect: Turn all damage dice to their lowest possible face value.
Your planet is the Land of Ash and Rats (LOAAR), a desolate world where all the monsters are giant sized (in addition to any other powers they got from your prototyping chain) and it continually rains ash from the sky. While monster encounters are more rare than they are other planets, literally everything on LOAAR has a size advantage over you and your consorts. Speaking of your consorts, they’ve been waiting for you a long time, and they believe that you’ll be the one to finally part the clouds and stop the endless rain. In fact, they’re prepared to help you take back the planet if you’re prepared to lead them - which it seems like you might not be. But hey, SBURB is supposed to be a learning experience, right? One of the notable features of your planet is the Black Wash, a trio of linked rivers that are sluggish from ash pollution and littered with fallen trees. The delta of the Black Wash is traverseable and reaches miles out into the ocean. The Spine Chain is nothing what it sounds like, because what it actually is a fossilized rainforest, a remnant of your planet before the falling ash. It’s named for the way the trees poke up from underneath a canopy of ashes, like the bones under skin that’s to tight. The stonewood from the Chain is a valuable item for both crafting and magic, so your consorts sometimes risk the trip here to collect it.
Here are some things that might go on:
A group of consorts who claim to be warriors come to your house to pledge allegiance to you.
Consorts are captured by Dersite forces and their friends beg you to intervene.
You discover a Dersite logging expedition in the Chain.
A giant monster threatens your house.
A flood in the Black Wash has apparently revealed the entrance to a dungeon that holds a special item meant for you.
The Feminist Frequency team attended the Electronic Entertainment Expo (E3) in Los Angeles this year to get a glimpse of the latest and greatest in upcoming games and gaming technology.
There has been a lot of discussion about the improvements seen over previous years at E3 in terms of the representations of women in video games announced or presented at the show. And while the presence of titles fronted by and featuring women certainly was better in comparison to past years, it also needs to be said that we have a long way to go before we come close to approaching gender equity.
The following data is based on the games showcased at press conferences by Bethesda, Microsoft, Sony, EA, Ubisoft, Nintendo, and Square Enix at E3 2015:
Numbers on Gender
There were 7 games with exclusively playable female protagonists or 9% of a total 76 titles
There were 24 games with exclusively playable male protagonists or 32% of a total 76 titles
There were also 35 games in which players appear to be able to choose either a man or a woman. It’s always great to see more games with gender choice and this year we saw a few blockbuster franchises like FIFA and Call of Duty finally add playable women. Still, of those 35 titles, only Dishonored 2 used its marketing and promotional space at E3 to predominantly focus on the female character option.
These numbers also reflect the fact that a purely binary understanding of gender was on display in the games featured at E3, with no options featured that might allow players to pick from a wider spectrum of gender identities or presentations.
Some may ask why it is important that there be games led exclusively by women, and why we make a distinction between those games in which the sole protagonist is a woman (such as Mirror’s Edge) and those games in which you have the option to play as either a male or female character (such as Fallout 4).
One reason why we need more games that are fronted exclusively by female characters is that it works to counter the long-established, long-reinforced cultural notion that heroes are male by default. By and large girls and women are expected to project themselves onto male characters, but boys and men are not encouraged to project themselves onto or identify with female characters.
When players are given the opportunity to see a game universe exclusively through the eyes of a female character with her own unique story, it helps challenge the idea that men can’t or shouldn’t identify with women, their lives, and their struggles.
As long as games continue to give us significantly more stories centered on men than on women, they will continue to reinforce the idea that female experiences are secondary to male ones. Stories have the power to influence our understanding of the world around us and when we can virtually embody the lives and experiences of people different from ourselves it opens up greater possibilities for empathy and understanding.
Here’s a bit of info on how we came up with our data:
We counted only those upcoming games which were given full trailers, announcements, or demonstrations on stage, so games that only appear briefly in montages or sizzle reels are not included. Games in which you lead a party made up of male and female characters but which center squarely on a male character, such as Final Fantasy VII, are counted as male-led games (because it’s Cloud’s story). Additionally, we are well aware that Yoshi’s gender has been discussed and debated, but Nintendo uses male pronouns when referring to Yoshi, so for our purposes here, Yoshi’s Woolly World (which looks delightful!) is classified as a male-led game.
Survey on Combat
Of the 76 games counted, only 18 are nonviolent, or at least appear as if they might not have mechanics involving combat or violence. That is only 24%, meaning roughly 3 out of every 4 titles announced or showcased at E3 2015 employ combat mechanics. By this, we mean that the player is either required to or can choose to engage in violence as a means of conflict resolution, not simply that violence exists within the world of the game.
That 24% includes 5 sports games, 3 racing games, 2 separate Animal Crossing games and a mobile game about the Minions from the Despicable Me movie franchise, among others.
If we exclude sports and racing games the percentage of titles without combat drops to only 15%.
In compiling data on whether or not a game’s mechanics incorporate violence or combat, we aren’t making a value judgment, or saying that the cartoonish sword-swinging of The Legend of Zelda is no different from the gratuitous chainsaw kills in DOOM. The numbers by themselves can’t paint a complete picture. Rather, these numbers are presented here only to demonstrate how prevalent violence as a mechanic is in all sorts of games, because it is worth considering how, in relying so heavily on violence as a core component of game design, developers and publishers are not exploring opportunities to tell other kinds of stories and create other kinds of games. When game narratives consistently take place in inescapably hostile antagonistic environments, it severely limits the kinds of stories that can be told.
The medium has near-limitless potential, and in games like Tacoma, Firewatch and Beyond Eyes, we get a glimpse of what’s possible when games approach human experience through a lens of empathy rather than one of violence. Games have only begun to scratch the surface of what can be done, the stories that can be told and the experiences that can be illuminated when combat isn’t employed as a lynchpin of game design. Fully realizing this potential requires that game creators continue exploring the possibilities, investing in innovative mechanics and storytelling techniques to push the medium forward.