Author Archives: zerocounts

The Nintendo 3DS and the Importance of Ports

Viewers of Nintendo’s 9.13.2018 Direct were witness to a treasure trove of future Switch titles. To name a few:

  • Animal Crossing
  • Luigi’s Mansion 3
  • Mega Man 11
  • Final Fantasy VII, IX, X, X-2, XII ports
  • Yoshi’s Crafted World
  • New Super Mario Bros. U port
  • Diablo III
  • Civilization VI

But the one announcement I keep coming back to is the 3DS port of Kirby’s Epic Yarn — a 2010 Wii title — in the form of Kirby’s Extra Epic Yarn.

This is not the first Nintendo home console port to the 7-year-old portable console — Donkey Kong Country Returns (Wii), Xenoblade Chronicles (Wii), most recently Captain Toad: Treasure Tracker (Wii U), to name a few — but it was the first during this Nintendo Direct. Shortly after, a port of the GameCube launch title Luigi’s Mansion (2001) was announced as a marketing tactic fix to hold fans over for Luigi’s Mansion 3 on the Switch.

In 2017, Nintendo stated that they would continue to support the 3DS/2DS past 2018, alongside the Switch. Current sales numbers of the Switch reflect that of the hugely popular PS4. But even with that success, it’s fascinating to see Nintendo port back-catalog console titles to it’s aged handheld. The telling reason is the 3DS’s continued sales numbers, continuing to post 6.4 million units sold during Nintendo’s fiscal year 2018 ending March 31, 2018 alone.


It’s one thing that Wii U titles are seeing new life on the Switch — Mario Kart 8, Hyrule Warriors, Donkey Kong Country: Tropical Freeze, Captain Toad: Treasure Tracker — but it’s even more interesting the see the same tactic for a device that third-party support has all but dried up.

Nintendo sees continued life in the 3DS — a 2017 version in the New Nintendo 2DS XL is probably one clue — and seems to have found a method to maintaining the growth of an already stellar catalog with it’s own IP.

Short of the minority who still own a Gamecube or Wii, there is no other place to play Nintendo titles like Kirby’s Epic Yarn, Luigi’s Mansion, Donkey Kong Country Returns, or Xenoblade Chronicles — all of which have or will have a Switch sequel. If you don’t have a 3DS/2DS, these games may be attractive enough to pick one up on the opportunity to play or replay alone. But even for existing owners of the 3DS/2DS, this stable of first-party ports are certain to whet appetites for their Switch sequels.

The 3DS is a brilliant promotional tool for the Nintendo Switch.

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The paradox of fun

Play Anything by Ian Bogost

The paradox of fun is this: we think fun is enjoyment, but in practice it often feels like quite the opposite. On the one hand, we’d never think to describe uncomfortable or distressing experience as fun ones, but on the other hand, discomfort or distress often characterize the experiences we later describe as fun. A fun match of soccer might involve physical and emotional injury; a fun trip to the zoo might entail heat exhaustion and stained overalls. And yet fun doesn’t feel like suffering either, exactly, even when it literally involves suffering. Otherwise we’d not call it fun, but hardship.

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We’ve misunderstood fun to mean enjoyment without effort

Play Anything by Ian Bogost

What does it mean for something to be fun? If you wanted to design a fun toaster, or lead a fun classroom, or advertise a fun job, or write a fun book, how would you go about it? If you wanted to find a fun appliance to buy, or a fun course to take, or a fun career to pursue, or a fun book to read, what heuristic would you choose to select one? Most of us have no idea. We don’t even know what fun is, even though we claim to want it in everything. We’ve misunderstood fun to mean enjoyment without effort. Nothing has been spared the cursed attempt to “make it fun”; everything whatsoever hopes to transform itself into a delightful little morsel of sugar in your mouth.

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Under the sail of generosity rather than selfishness

Play Anything by Ian Bogost

My daughter’s mall game illustrates these principles. She saw and acknowledged the tiles, which are separately laid and grouted for the ease of manufacture, transport, installation, and maintenance. But rather than allowing that material distinction to recede into the background, to become mere substrate for our far more urgent pursuit of retail commerce, she made the tile / grout pairing the focus of her attention. She added to them the speed of her gait as pulled along by me, my hand and body as it attached to and pulled her to and fro erratically, the shape and size of her feet, the traction or slipperiness of her shoes, the vectors along which runs counter to our ordinary conception of play as a release of tension and responsibility.

Then, even though I was merely an accessory to her game rather than a party to it, she forced me to recognize and acknowledge the space she’d created. The tiles, the grout, her shoes, and so on—I became newly aware of these things simply by virtue of attending to her indirectly. We must seek to capture that magic everywhere; in everything. Not the pleasure of realizing our own goals—as if we even know that they are or ought to be—but the gratification of meeting the world more than halfway, almost all the way, and reaping the spoils of our new discoveries made under the sail of generosity rather than selfishness.

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The limitations make games fun

Play Anything by Ian Bogost

The lesson that games can teach us is simple. Games aren’t appealing because they are fun, but because they are limited. Because they erect boundaries. Because we must accept their structures in order to play them. Soccer sees two teams of eleven players attempting to use their feet, torsos, and heads to put a ball into a goal. Tetris asks you to position falling arrangements of four orthogonally-connected squares in order to produce and remove horizontal lines. And yet the experiences games like soccer and Tetris create are far larger than those boundaries convey on their own. That bounty results from the deliberate, if absurd, pursuit of soccer and Tetris on their own terms, within the limitations they erect. The limitations make games fun.

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Xbox All Access Pass hardware, software, and services subscription

Ben Thompson, Stratechery Daily Update:

That noted, it is not too difficult to imagine this program morphing into something much more significant in the ninth-generation, which is due in 2020. I’ve already discussed the anticipated shift to streaming, at least for some titles; that, naturally, fits a subscription model perfectly.

What is particularly compelling, though, is idea of assuming regular hardware upgrades throughout the generation. Microsoft could, of course, simply charge its best gamers for those slight upgrades every time they come out, but what if instead of financing new consoles the model was more akin to leasing? Pay one monthly fee, get access to online services, streaming games, and new hardware every few years?

Consumer hardware as a service.

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The television equivalent of the novel

Wonderland by Steven Johnson

Art is the aftershock of technological plates shifting. Sometimes the aftershock is slow in arriving. It took the novel about three hundred years to evolve into its modern form after the invention of the printing press. The television equivalent of the novel—the complex serialized drama of The Wire or Breaking Bad—took as long as seventy years to develop, depending on where you date its origins.

I’ve often thought about today’s serialized, bingeable, Golden Age of Television as the visual equivalent of the novel. Rich worlds. Deep investment in characters. Time to marinate with relationships and stakes.

Before the Golden Age of Television, I was captivated by trilogies — hell, I still am — namely Peter Jackson’s The Lord of the Rings (Extended Editions!) I hadn’t read the books, but I felt an attachment to the characters. Its cohesive production, year-over-year release schedule, and follow-through of Tolkien’s parallel stories and stakes built a world I was able to immerse myself in.

Peter Jackson’s Lord of the Rings runs 9 hours in total, the extended editions running 11 hours — not dissimilar from a Golden Age television series.

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Music seems to send us out on a quest for new experiences

Wonderland by Steven Johnson

One premise unites both sides in this debate: that music “presses our pleasure buttons,” as Pinker describes it. Yet there is something too simple in describing our appetite for music in this way. Sugar and opiates, to give just two examples, press pleasure buttons in the brain in a relatively straightforward fashion. Given a taste of one, we instinctively return for more of the same, like those legendary lab rats endlessly pressing the lever for more stimulants. And we put our ingenuity to work concocting ever-more-efficient delivery mechanisms for these forms of pleasure: we refine opium into heroin; we start selling soda in Big Gulp containers. But music—like the patterns and colors unleashed by the fashion revolution—appears to resonate with our pleasure centers at more of an oblique angle. The pleasure in hearing those captivating sounds doesn’t just establish a demand for more of the same. Instead, music seems to send us out on a quest for new experiences: more of the same, but different.

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Modern life itself could make you sick

Wonderland by Steven Johnson

Visible in these perplexed diagnoses is a new way of thinking about the psyche. Diseases of the mind did not have to be rooted in some biological deformity, as the phrenologists had contended; nor was it attributable to some abstract “lesion of the will”; nor was it tied to basic biological realities like menstruation or masturbation. Instead, the root cause of the disorder was to be found somewhere else: in the lived history of social and economic change. Modern life itself could make you sick.

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You will find the future where people are having the most fun

Wonderland by Steven Johnson

This phenomenon turns out to appear consistently throughout the history of humanity’s trifles. The guilty pleasures of life often give us a hint of future changes in society, whether those pleasures take the form of English ladies shopping for calico fabrics in London in the late 1600s, or ancient Roman feasts laden with spices from the far corners of the globe, or carnival hucksters promoting strange optical devices that create the illusion of moving pictures, or computer programmers at MIT in the 1960s playing Spacewar! on their million-dollar mainframes. Because play is often about breaking rules and experimenting with new conventions, it turns out to be the seedbed for many innovations that ultimately develop into much sturdier and more significant forms. The institutions of society that so dominate traditional history—political bodies, corporations, religions—can tell you quite a bit about the current state of the social order. But if you are trying to figure out what’s coming next, you are often better off exploring the margins of play: the hobbies and curiosity pieces and subcultures of human beings devising new ways to have fun. “Each epoch dreams the one to follow, creates it in dreaming,” the French “historian Michelet wrote in 1839. More often than not, those dreams do not unfold within the grown-up world of work or war or governance. Instead, they emerge from a different kind of space: a space of wonder and delight where the normal rules have been suspended, where people are free to explore the spontaneous, unpredictable, and immensely creative work of play. You will find the future wherever people are having the most fun.

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