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The People of Goomba Stomp: What Games Would We Make?

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‘The People of Goomba Stomp,’ is a monthly series where our site’s team comes together to discuss a broad or controversial topic and provide multiple unique perspectives. Maybe we’ll make our case for our individual Game of the Show’s from E3, or debate which console has the best exclusives. It’s also a way for you to learn a little more about the individual members of the team. This month several members of Goomba Stomp are pitching what type of game they’d develop if they got the chance, and providing a bit of a background around what their role is on the site.


Chris Bowring (Feature Writer and Podcast Host)

I started producing content about video games around 5 years ago and had been working as a freelance games journalist for websites for a about a year and a half before joining the Goombastomp team in mid-2017. I’ve predominantly been a feature writer for the site, producing articles about how video games can help you deal with breaks ups, be a form of meditation or embrace sexuality. I also hosted the debate focused ‘Fist Fight’ podcast, where I interviewed indie developers on the creative process of development. I was inspired to produce this first topic because of an ongoing series I’m writing, where I research and demonstrate how someone with no experience can make a video game on their own. The game I’m producing is a 2D platformer, with gameplay inspired by; Super Mario Bros., Super Meat Boy and Braid, an art style inspired by The Unfinished Swan and the artist Psychic Pebbles, and a story revolving around how video games turn people violent.

So with this in mind, I’ve asked the Goomba Stomp team what type of game they would make, if given the opportunity. What would the mechanics be, what type of genre, what story would fit around it and where would their inspiration come from?

Taylor Smith (Feature Writer and Foreign Gaming Explorer)

Hey, I’m Taylor. I’ve been writing for Goombastomp since its start roughly 2 years ago. I’ve done a lot of different things like reviews and history pieces, but I think my biggest contributions have been the columns I’ve run. The first was “Import Report.” It focused on things related to foreign games, how they’re translated, and the various import games I love. Currently, I write a monthly to bi-weekly column called “Check the Map,” where I look at interesting gaming and hobby-related places in Japan. I love imports and foreign games (obviously), and I think that being able to study media from other cultures is a great way to broaden your perception of the things around you.

I would want to make an online card game if given the opportunity. TCGs are another passion of mine, and I think digital media has the potential to keep the best parts of card games (the cards and interactions) without all the less-fun parts (pulling from packs and overpriced pieces of cardstock). I’d love to create a cheap $20 game up front with extra $5 expansions every 3 months or so. No packs, no pulls, every player would always have a complete set of cards without having to worry about breaking the bank to build the deck they want. Card games also provide an excellent way for a developer to stay in touch with their players through consistent updates and events.

Brent Middleton (Nintendo and Anime Feature Writer)

I was primarily hired as a Nintendo writer, but over my tenure at the site I’ve covered a bunch of indies and the occasional Microsoft game, too. Most recently I’ve fallen headfirst back in love with anime, so I’ve been writing a ton about that this year. If you ever have any suggestions (recent or older) feel free to get in touch and let me know!

There’s nothing I value more in a game than a great story and fleshed-out characters, and to that end I’d love to create a story-heavy JRPG that spans multiple continents/worlds and features a variety of party members that players get attached to along the way. I’d want players to be able to make key choices that affect the game’s story in meaningful ways (and highlight the choices from the previous run to make multiple playthroughs more accessible).  I always said that if I were to produce some kind of visual media, it would be aesthetically very similar to Steven Universe. I love lighthearted, colorful, charming visuals, so my game would definitely reflect that. Whimsical character designs, strong voice acting and a gorgeous orchestral soundtrack would all come together to make an experience that totally envelops the player in the experience.

The most important element in any game that I make, though, would be getting across a true sense of adventure. Some of my most beloved games (Tales of Symphonia and Xenoblade Chronicles, for instance) do a great job of making the player feel like they’ve embarked on a truly epic journey. It’s exciting, it makes players feel like they’re part of something bigger than themselves, and it sets the stage for tons of potential character development.

Katrina Lind (Indie Editor)

I’m Katrina and I’m one of the Indie Editors for Goomba Stomp. I mainly write about any and all things indie gaming, whether it’s reviews, introspective pieces, or industry trends. I like when a game hits me really personally and I can talk about it from a really intimate point of view. I didn’t begin gaming until a few years ago, and when I did, I only played indies. So there are giant chunks of gaming history I haven’t played or experienced, and a lot of my views on games don’t have a tinge of nostalgia to them, which is both a blessing and a curse.

If I were to design a game, I would design probably something similar to Night in the Woods. I love mysteries and whenever I write anything, I draw on my personal experiences. I grew up in the middle of nowhere Oregon, in a town of about 1,000 people. My town is weird as fuck and I used to like to imagine different monsters in the woods outside of my house. Then I got older, and my mom used to tell me all about the actual murders and crimes that would happen in and around my town. Really spooky stuff too, like murder-suicides and bodies in barrels. I’d love to design something based on those stories/experiences because I’d love for people to experience those stories like I did and see the forests I saw. With a rad 2d art style, of course.

Feature Writer/ Reviewer for Goombastomp and founder of Quiet Stories For more info on upcoming books, podcasts, articles and video games follow me @OurQuietStories on Twitter. On a more personal note i'm a beard fanatic, calamari connoisseur and professional fat guy.

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Let’s Discuss the Revamped Sonic the Hedgehog Design

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The internet has breathed a collective sigh of relief following the release of a new trailer for the upcoming Sonic The Hedgehog movie. Some leaks a few weeks back that turned out to be correct showed the design that we see but the trailer shows a lot more of the new redesign of the world renowned video game character. The movie has been the subject of much attention-mostly negative- after the initial trailer was released six months ago. The first trailer (which initially announced a release date of November 2019) was incredibly poorly received due to the odd design choice for the titular character. With small eyes, a tiny snout and human teeth, the original design was weirdly realistic and resembled an odd humanoid rather than the blue cartoon hedgehog that we all know and love.

The first design for Sonic looked a bit like a child in a Sonic the Hedgehog suit. Creepy to say the least.

The new trailer shows off a brand new look for Sonic which is far more in sync with what we already know for the character. He is definitely an animated character, with the exaggerated features that he has always had in every other iteration. The movie itself still looks cheesy as hell but it looks like a tolerable, even kind of enjoyable sort of cheesy.  The controversy surrounding the terribly received first Sonic design has been so prolific that some even argued that the whole thing has been a marketing ploy and that the character was never meant to look as bad as he originally did. Whatever the case may be in terms of what went down behind the scenes of the Sonic the Hedgehog movie, it is clear that even if the film is terrible it will attract a substantial audience of people just curious as to how the whole thing is going to turn out. As a fan of Sonic since the 90’s when I was little, I’m probably going to be one of those people.

Sonic is now appropriately cute, fluffy and more in line with his usual style.

I’m still kind of hoping it can break the curse of the video game movie-like Detective Pikachu did- but alongside the aforementioned cheesiness, it looks like a pretty generic movie aimed at kids rather than diehard fans of the Sonic franchise. Flop or not, at least Sonic is looking far more adorable and less like he might murder you in your sleep. It also shows how the filmmakers were willing to listen to their audience and implement changes following feedback. Incredibly vocal feedback at that.

The comparison between the two designs shows just how much the animators have worked to create a brand new Sonic. Their hard work has certainly paid off.

Sonic the Hedgehog is due for theatrical release on February 14th, 2020.

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Anamanaguchi – [USA] (Album Review)

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Few acts boast such renown amongst uber-nerdy video game enthusiasts as Anamanaguchi. Unveiling their debut EP ‘Power Supply’ in 2009, the Chiptune pioneers have pushed their unique brand of 8-bit powered Rock and Pop across various releases, including 2010’s Scott Pilgrim vs. the World: The Game soundtrack, and 2013’s Kickstarter funded 22 track LP ‘Endless Fantasy’. And with ‘Endless Fantasy’ being their last LP (excluding their stuffed to the brim ‘Capsule Silence XXIV’ compilations), to say fans have anticipated ‘[USA]’ is an almighty understatement.

Six years is a while, so has Anamanaguchi’s latest batch of tracks been worth the wait? Seasoned fans Harry and Kyle are on the scene to offer their takes, from how ‘[USA]’ stacks up against the band’s other offerings, to its effectiveness as an artistic whole.

Background With Anamanaguchi

I first heard Anamanaguchi around 2010. At the time I was neck deep in my Slipknot phase (a phase I’ve yet to grow out of judging by how much I replayed ‘We Are Not Your Kind’ this year), so their goofy electronic schtick didn’t tick my boxes. But as time passed I developed a stronger fondness of them, so much so that I enthusiastically backed their 2013 LP ‘Endless Fantasy’ on Kickstarter. Now I’ve seen them live twice, followed their progress over the years, and can proudly proclaim my superfan status. – Harry

The late 2000s saw a shift in pop culture: suddenly, geek chic was all the rage. G4 was at the height of its popularity, pixel art infested countless pieces of media, and video games were undeniably cool. Few other pieces of media encapsulate this cultural zeitgeist more than Scott Pilgrim vs. the World: The Game. Based on the popular comic by Bryan Lee O’Malley, the Scott Pilgrim game featured Anamanaguchi’s crunchy pixelated Rock sound, which melded perfectly with the colorful 16-bit beat-em’-up gameplay. Older Anamanaguchi albums are more than just music: they’re a trip back in time to a brighter, more innocent era of pop culture and gaming. – Kyle

Introducing [USA]

I was excited for ‘[USA]’, but that’s stating the obvious based on my prior words. The LP kicks off with its titular track, introducing affairs with an amalgamation of predictably glitchy bleeps ‘n’ bloops. It’s straight up Anamanaguchi, their Chiptune flair intact. This is good, as Anamanaguchi sans Chiptune is like spaghetti sans sauce (still awesome, but lacking a key ingredient). “USA” is chanted as instrumentation morphs stylistically, crescendoing in dynamics and tempo, and setting the stage for the lead single.

“Lorem Ipsum (Arctic Anthem)” is an LP highlight. Stepping out the gate with Vocaloid-y singing, an aesthetic of grandiose gorgeousness is speedily cemented. This later juxtaposes with the rapid-fire rhythms of Luke’s drumming and manic synthesizer arpeggios that run around like an 8-bit-ified (Sega Master System) Sonic the Hedgehog. This mental meld of melody, Drum and bass, and all manner of other musical magic finally sinks into a sea of atmospheric spookiness, concluding in an out of left field (yet utterly engaging) way. “Lorem Ipsum (Arctic Anthem)” avoids predictability through each and every beat of its journey, but nails catchy accessibility to a tee. A masterclass in creative songwriting, it sets ‘[USA]’s’ bar sky high. – Harry

The weeks to ‘[USA]’ releasing were positive ones, marked by enticing singles like “Lorem Ipsum (Arctic Anthem)” and “Air On Line”. Anamanaguchi’s distinct Rock-flavored Chiptune style had undergone a stylistic shift in the band’s 2013 release ‘Endless Fantasy’, where the band shed off some of its punk flair in favor of dreamier synth tones. In the six years between LP releases, Anamanaguchi experimented with singles and EPs featuring sonic palettes characteristic of modern J-Pop (“Pop It”, “Miku”). While the band stretched its legs with poppier beats, it did mark a further departure from the traditional Rock-oriented sound that had defined much of their earlier work.

‘[USA]’ in many respects displays a return to Anamanaguchi’s roots. Tracks like “On My Own (feat. HANA)” and “Air On Line” boast driving guitar riffs, thumping drums, and fluidly complex intricacies. Yet, it’s more than clear that Anamanaguchi has evolved beyond their geeky beginnings to cultivate an airy soundscape of bright pastel colors and crystal clear tones. It doesn’t always hit the mark, but the highs that ‘[USA]’ can reach prove that the guys have still got it. – Kyle

Negative Bits

Unfortunately, said sky high bar is scarcely met again throughout the rest of ‘[USA]’. Plenty of tracks, like “The C R T Woods” and “Overwriting Incorporate”, are serviceable, but fall short of the laser focused compositional direction and melodic magnificence that Anamanaguchi are so super slick at. ‘[USA]’ suffers from banality, with tracks like “Tear” and “We Die” meandering noisily without focus, and big chunks (particularly the interlude-like tracks “Speak To You [Memory Messengers]” and “Apophenia Light [Name Eaters]”) feeling akin to ‘Capsule Silence XXIV’ cuts (i.e. decent demos, but not kickass LP standouts). – Harry

Much like Harry, I found a large chunk of the album rather dull to get through. Admittedly, Anamanaguchi has an undeniable talent for their synth instrumentation. However, what pushes their work beyond generic electronic music is their ability to anchor that instrumentation to a melodic through line built on catchy hooks and unexpected turns. “Lorem Ipsum (Arctic Anthem)” is one of the few tracks that manages to pull off this floaty, ethereal sound because it moves forward with purpose and constantly engages your curiosity. The same can’t be said for several of the other synth-heavy tracks, too lost in their own sound to offer anything truly engaging. – Kyle

Positive Bits

Nevertheless, there are flashes of brilliance here. “Sunset By Plane (feat. Caroline Lufkin)” is Anamanaguchi firing on all cylinders, delivering energetic poppy bombast in spades. Porter Robinson’s co production is evident in “Air On Line”, resulting in a smooth stomper of happy hooks. “B S X (feat. Hatsune Miku)” incorporates choppily glitched-out singing from the iconic Vocaloid, serving as a pseudo-sequel to the 2016 single “Miku”. “On My Own (feat. HANA)” sees Anamanaguchi’s Chiptune/Pop/Rock melting pot bubbling away again. And speaking of Chiptune, it’s wonderful to hear mountains of 8-bit eccentricity throughout ‘[USA]’, proving even as their sound matures, Anamanaguchi still celebrate where they came from with beaming pixelated smiles. – Harry

As a whole, ‘[USA]’ still deserves a place worthy of praise in Anamanaguchi’s discography. Porter Robinson only collaborated with the band for “Air On Line”, but his style bleeds wonderfully into tracks like “Up to You (feat. meesh)” and “Sunset By Plane (feat. Caroline Lufkin)”. The kawaii-infused J-Pop rhythms and hooks are infectiously catchy, but don’t let that fool you: Anamanaguchi haven’t lost their edge. “B S X (feat. Hatsune Miku)” and “On My Own (feat. HANA)” show that the band can reach back into their deep musical pockets and bring out their signature hard Chiptune Rock to surprise you with something intimately familiar. – Kyle

Final Thoughts

In typical Anamanaguchi fashion, ‘[USA]’ is ambitious from start to finish. ‘Endless Fantasy’ is bloated, but stylistically spot on, whereas ‘[USA]’ trims the fat, but gets a little lost in its journey. Glistening gold sits alongside stale pies, and that description is a fitting metaphor for elements of ‘[USA]’: it’s odd, and doesn’t make much sense (and perhaps that in itself is a metaphor for the real life USA?).

Still, when Anamanaguchi’s latest is good, it’s really good, and there’s bundles of genius in the 8-bit boys yet!

Check out, stream, buy or consume ‘[USA]’ in your preferred capacity by clicking HERE!

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Star Wars Fan Films Embrace the Essence of A Galaxy Far, Far Away

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There is no doubt that dedicated fans are capable of creating brilliant, fan-made content, but the Star Wars fan base has a habit of going above and beyond in making incredible works of art that often surpass official entries in the franchise. Two relatively recent short fan films — one released last week, the other released in March of this year — are great examples of this.

The first is a 1970s/80s-style cartoon from YouTuber Wilkins Animation called Dark Empire Episode One: The Destiny of a Jedi. This animated short is incredibly reminiscent of classic cartoons — so much so that it is difficult not to feel a pang of nostalgia upon watching it. The style gives off a He-Man vibe due to the quirky animation, stellar voice work, and vibrant colour scheme. The story is set after The Return of The Jedi as Han, Leia, Chewbacca, R2-D2, and C-3PO embark on a mission to save Luke and Lando, who are stranded on war-torn Coruscant. I won’t spoil anything in case you want to check it out for yourself, but the story is engaging, and I couldn’t help but feel that I wanted to see more when it came to an end.

Have a watch below if you want to see more, and to check out Wilkins Animation’s Patreon to support their work, click here.

The second fan made film is a slightly older (from March 2019) one called Battle of the Dreadnoughts, by YouTuber EckhartsLadder. The film is significantly shorter than the 12-minute Dark Empire cartoon, clocking in at about three and a half minutes. It depicts a space battle between the New Republic’s Viscount Class Star Defender and the Empire’s most dangerous of all its weapons, the Eclipse Super Star Destroyer. Battle of the Dreadnoughts may be short, but it is astounding in quality. Upon my first viewing, I was certain I had accidentally clicked on a scene from the movies rather than a fan-made project. The accuracy, attention to detail, and sheer scale blew my mind and — as with the Dark Empire animation — left me wanting more from the content creators involved.

Check out EckhartsLadder’s Patreon here and their Twitch account here.

There is no doubting the talent of the Star Wars fan base, but these two films in particular are incredible works of art both in their own right and as Star Wars fan projects.

For more Star Wars, have a read of our Star Wars: The Rise of Skywalker trailer breakdown.

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