The fifth console generation. PS1, N64, Voodoo graphics on PC and now insanely expensive 2D games for the Saturn. This was a time when shamelessly clunky 3D models were put on the front of magazines and game boxes while young people and games journalists tried to forget that 2D was still a thing. A time when you could walk into a store, pick a few random games and end up discovering about as many new genres. Some of them could also be mistaken for movies. Spanning from 1993 to about 2002, so about a decade, the period brought significant technological advancements, cultural shifts and creativity to the gaming industry. In this massive (for me) blog post, I'll delve into the key features and trends of the fifth console generation, highlighting its impact on the gaming landscape.

Demo discs: This generation saw the rise of demo discs, which were often included in gaming magazines (such as PSM or PC Gamer) or bundled with consoles. These discs allowed players to sample upcoming games and demos, creating giddy anticipation and hyping up new releases. In the case of the PS1, they would also include what are called Net Yaroze games, homebrew games that were that period's equivalent of the next generation's indie game scene and would sometimes be complete games given away for free.

Online Multiplayer Games on PC (RTS, FPS and ARPG): This generation brought multiplayer experiences to the forefront for PC players. Games like Command & Conquer, Warcraft 2, Red Alert, Starcraft, Quake 1-2, Team Fortress, Half-Life, Unreal Tournament and Diablo allowed players to compete or cooperate with others from around the world, adding a new layer of depth and challenge to the gameplay. In addition to the multiplayer in-game, the chat rooms and online communities dedicated to these games led to an environment where people would start clans (now esports teams), exchange strategies and tips, and even semi-socialize. This in turn led to many new terms among players that are still in use today, such as fragging, camping, turtling, buffing and nerfing, player killing (PKing, Diablo) and rushing, to name a few.

3D Dominance, CD audio and Pre-rendered Backgrounds: The fifth generation marked a shift towards 3D graphics and gameplay, with many games adopting both 3D environments, controls and character models. During this era, it was fairly common to see both magazines and players dismiss games simply for being 2D. Additionally, CD-based media became the norm, allowing for higher quality soundtracks, sound effects, and just a lot more content in games. MIDI audio also improved, coming closer to the quality of average CD audio recordings. Far from all developers switched directly to creating fully 3D games however. Final Fantasy 7-9, Resident Evil 1-3, Grim Fandango and Blade Runner are some notable games that employed pre-rendered backgrounds, blending detailed 2D artwork (often made up of 3D artwork stills with some animated elements) with real-time 3D character models. This led to a distinct style of both aesthetics and gameplay that, while divisive, is still loved by many.

Decline of Arcades and Arcade-style Games: The popularity of home consoles and console-style games led to a decline in traditional arcades (with some exceptions in the east such as Japan and South Korea). Most arcade-style games transitioned more smoothly to console platforms from this period onwards, thanks to the advancements in graphics on home systems, and players started expecting such ports to have additional features like story or career modes and extra characters. With multiplayer becoming more accessible on some platforms, the convenience of playing with friends or opponents without leaving the house further reduced the appeal of arcades.

Twin-stick and Free Look 3D Games: Towards the end of the fifth generation, twin-stick controls became the standard for console games in 3D. This control scheme, innovated in 2D by the games ​​​Western Gun/Gun Fight (1975) and Space Dungeon (1981), then later on in 3D by Descent on PS1 (which supported the dual analog flight stick controller), allowed players to have more precise control over camera movement and character actions. It was popularized by later PS1 games like Ape Escape, Resident Evil 3, Tomb Raider 3, Mega Man Legends 2 and Ace Combat 3, and to some degree by the Nintendo 64 in that some games (Turok being one of the better examples) used the c-buttons or d-pad as a makeshift second stick. GoldenEye 007 for N64 actually did feature twin-stick controls - the problem was that it required two controllers to do it, limiting the multiplayer aspect of the game. Free Look or mouselook, was first introduced by the FPS games Marathon (MAC, 1994) and Terminator: Future Shock (PC, 1995), however the game that eventually popularized the now standard WASD keys for movement and mouse for looking around setup was Quake (PC, 1996), for which the online MP community would change the default arrow keys for movement setup, to WASD as the preferred setup.

Mainstream Female and Genderless Protagonists: The fifth generation introduced mainstream characters that broke stereotypes. Lara Croft from Tomb Raider became an iconic female protagonist known not just for her looks (or being essentially anonymous like Samus, bless her soul) but for her personality, intelligence, and adventuring skills. Her popularity paved the way for more diverse representations of female leads in subsequent generations. Similarly, Nights, from the game Nights into Dreams, was intentionally designed as a genderless protagonist for Sega's next flagship game for their new console. A game that captivated players with its unique concept and gameplay. Nights as a character challenged preconceptions about video game characters, while metaphorically inviting players via the cypher-like boy and girl player avatars to be the best version of themselves rather than what people around them expect of them.

New (or Evolved) Genres: The fifth generation was in many ways like a new beginning for games as a whole, and man was I there for it as a teenager who had been playing the 8-bit and 16-bit consoles for quite a few years by then. The changes came incredibly fast and it seemed like several times per year there would be an entirely new kind of game waiting to be played. Let's go over the completely new as well as the revived and evolved genres of this era.

RTS Games: Real-time strategy (RTS) games flourished during this generation. Titles like Command & Conquer, Red Alert, Warcraft 2 and Starcraft introduced players to base building, resource management, scouting and commanding armies in real-time battles, now with online and LAN functionality. Not long into the generation, Bullfrog also managed to inject their usual creativity into the genre with the cult classics Dungeon Keeper and Populous: The Beginning.

Trainer RPGs: This generation saw the rise of trainer RPGs, where players could capture and train creatures to fight in games otherwise similar to Japanese RPGs of the time. Games like Pokémon (influenced by the Ultraman TV show Ultra Seven and possibly the games Digital Devil Monogatari: Megami Tensei, Barcode Battler and/or Lufia II), Digimon, and Dragon Quest Monsters offered players the ability to collect, raise, and battle with a wide variety of creatures.

JRPGs in the West: Japanese RPGs gained significant popularity during this era, finally breaking the mainstream outside of Japan. These games featured anime-style visuals, turn-based combat, a focus on storytelling, character-driven narratives, and predefined characters and main questlines. By now these games also often included extensive cutscenes that simulated a cinematic experience. Speaking of which, cutscene heavy games became popular in other genres as well with some notable examples being Metal Gear Solid, Starcraft, Silent Hill, Grim Fandango, Soul Reaver, Resident Evil 2 and Spider-Man. With the CD format becoming the new standard, translations being taken more seriously by localizers, and anime aesthetics becoming more popular in the west, Japanese developers now had the means to better realize their visions and to have them not get butchered on their way to the west.

Mainstream Survival Horror: Survival Horror games became mainstream during this generation, after being pioneered in previous ones by games like Alone in the Dark and (in Japan) Clock Tower and Sweet Home. Titles like Resident Evil, Silent Hill, System Shock 2 and Dino Crisis introduced players to atmospheric horror, challenging gameplay, and engaging narratives.

Rhythm Games: The fifth generation brought the popularity of Rhythm games, where players followed musical cues to score points and progress to the next level and song. Games like Dance Dance Revolution, Parappa the Rapper, and Beatmania created a new genre that blended music and gameplay, where such elements had been relegated to mini-games in a few previous games such as Toejam & Earl 2.

Revival of Stealth Action Games: Stealth Action games made a comeback after a hiatus in the previous generation (besides maybe Covert Action (1990) which is more of a hybrid game). Titles like Metal Gear Solid, Tenchu and Thief, all released in 1998 reintroduced stealth mechanics to 3D gaming. They became highly influential, finally establishing the term as its own game genre to the average player.

3D Collectathon Platformers: The introduction of 3D graphics and mainstream series like Mario adopting the gameplay style led to a huge rise in the popularity of collectathon platformers. These are games where players explore open-ended levels, usually accessed via a hub world, to collect various items required for unlocking the next set of levels. Games like Super Mario 64, Banjo-Kazooie, and Spyro the Dragon exemplified this genre.

Diablo-like ARPGs: The fifth generation saw the emergence of Action RPGs influenced by the success of Diablo, itself a graphical, real-time take on Rogue and other dungeon crawler RPGs with a then new for the genre online multiplayer feature. Games like Dark Stone, Nox, and Throne of Darkness offered similar gameplay mechanics, although Diablo remained the most popular and influential in the genre.

Life Simulation and Virtual Pet Games: The popularity of virtual pet games, a subgenre of life sim games, soared during this era. Games like Dogz and Catz (1995/1996), Tamagotchi (1996), Digimon (the portable 1997 version) and "Hey You, Pikachu!" allowed players to care for and interact with virtual pets, nurturing them and forming a bond. Life sim games themselves experienced significant success a few years later during the transition from the fifth to sixth generation, with games like The Sims, Animal Crossing, Monster Rancher, and Harvest Moon captivating players with their immersive virtual worlds and activities.

Arena Fighting: The fifth generation saw the emergence of arena fighting games. Titles like Virtual On and Super Smash Bros. provided fast-paced, multiplayer combat experiences in dynamic arenas, where the latter also featured a twist in that the goal was to knock the player out of the ring like in a(n over the top version of a) Sumo match.

Western RPG Revival: Western RPGs for PC gained prominence in the latter half of the fifth generation. Games such as Baldur's Gate, Fallout, Planescape: Torment and The Elder Scrolls II: Daggerfall showcased deep narratives, expansive and open-ended worlds, and player choice affecting story outcomes and character relations. I'll discuss most of these in more detail below.

Pioneering Open World and MMO Games: Several titles from this generation walked so that future games in these two genres could run. Grand Theft Auto 1-2 and Ultima Online, while not among the most commercially successful games at the time, were influential titles that established new standards and gameplay mechanics for open world and MMO games, respectively. The aforementioned WRPGs also evolved and influenced these genres, particularly the Open World genre.

Grand Theft Auto 1-2 (1997/1999, by DMA Design) introduced players to expansive urban city levels where they could freely explore and engage in various unwholesome activities, usually leading to them being chased by the police (then getting back at it after avoiding them for a few minutes). Or they could take on missions - should they fail, a level/city keeps going but they would tend to get locked out of certain other missions. Or if playing on PC they could team up in a LAN game and wreak as much havoc as possible until finally being taken out by the police and military. In GTA 2, several rival gangs to work for were introduced along with a diplomacy system that shaped one's path through the mission structure of each level. Yes, these games put their own spin on the concept of open-world gameplay. They're essentially a set of smaller scale open worlds unlocked in a linear fashion, and they opt to not have player characters gain any permanent stat boosts, abilities or tools over the course of the game.

Ultima Online (1997, by Origin Systems) became one of the earliest successful MMOs. It created a vast, seamless and persistent virtual world (4km on a side) where 2500+ players could interact simultaneously, wearing equipment that showed on their player avatars. Ultima Online revolutionized the gaming landscape by introducing players to a shared online experience where they could forge alliances, engage in unrestricted player vs player combat, participate in craft-based and player-driven economies, and take on quests together. The game would go on to inspire Everquest, Runescape, Wurm Online, Eve Online and possibly Second Life.

Baldur's Gate (1998, by BioWare) introduced players to a richly detailed and expansive open world filled with intricate quests, memorable characters, and for its time deep storytelling. A world where players could freely explore with up to six characters and make meaningful choices (although none that substantially affect the main quest as there is only one ending until the sequel's expansion), either controlling the whole party on their own or with others. The game's influence can be seen in games like Neverwinter Nights 1-2, Planescape: Torment, Pillars of Eternity, Tyranny, Divinity: Original Sin and Pathfinder: Kingmaker. Furthermore, the game's isometric perspective (something it shares with Fallout) became defining of the genre for years to come.

Fallout (1997, by Interplay Entertainment) brought a post-apocalyptic setting to the open-world genre, one that greatly expanded on the one created for Wasteland about a decade beforehand. With its branching narratives leading to multiple endings, open-ended gameplay and moral dilemmas, Fallout set a new standard for player agency and choice-based storytelling. Fallout's impact can be seen in the subsequent entries of the series and other open-world games such as Deus Ex (technically semi-open world), Arcanum, Wasteland 2, Underrail and Atom RPG, and some sources state that its perk system inspired World of Warcraft.

The Elder Scrolls II: Daggerfall (1996, by Bethesda Softworks) was a groundbreaking title that pushed the boundaries of open-world design. It presented players with an enormous, procedurally generated world that spanned tens of thousands of square miles, dwarfing its predecessor. Daggerfall's vast world with its numerous towns, dungeons, and factions, showcased the potential for exploration and discovery in open-world games as well as the state of randomly generated content at the time. The game's ambitious scope (it featured 18 character classes, spellcrafting, faction diplomacy, branching quest paths and multiple endings) and sheer scale laid the groundwork for future entries in The Elder Scrolls series. Furthermore, its vast and mostly seamless 3D world that players could be content to just explore and spend time in rather than try to finish the main quest in probably inspired later open-world games that otherwise don't really play like it - Daggerfall still stands out due to its combat system and focus on dungeon crawling.

Collectively, these games expanded the possibilities of open-world games. They demonstrated the power of player agency, the freedom to explore dynamic and interactive virtual worlds, and interactive storytelling. They inspired following generations of game developers, leaving an unforgettable mark on the gaming landscape.

Jackass and Tom Green-style Ads: Advertising during this generation often featured outrageous and humorous content, influencing and influenced by shows like Jackass (itself inspired by '90s skateboarding culture) and personalities like Tom Green. Game commercials embraced this style to capture attention and appeal to a target audience of teenagers and young adults. The influence of Jackass and Tom Green-style content on game advertising was evident in the use of shock value, immature humor, attitude, stunts, and unexpected scenarios to capture attention and resonate with a presumed target audience of teenagers and young adults. Sure, while an edgy attitude and creepy or gross elements had been successfully used by Sega (and sometimes Nintendo as well, see the Yoshi's Island or Gameboy Camera ads) during the previous generation, during this era there was also a DIY vibe to many of the ads, with purposely amateurish filming and a seemingly low budget. This was perhaps best exemplified by the Cash Bandicoot commercials, which resemble the aforementioned influences pretty closely. By aligning with these influences, game advertisers aimed to make their products stand out in a crowded market and create a memorable impression on potential consumers.

Early Browser Games: The advent of the internet of course also led to games accessed through and played while connected to it, some of which became very popular during this era. A few are still being played today even, albeit in updated form. Titles such as Subspace (1997), Archmage (1998), Neopets (1999), Runescape (2001) and Bejeweled (2001) offered accessible and fun gaming experiences for anyone with a decent internet connection. The spread of the internet, however, was in its early days and going relatively slowly - by 1997 only about 20% of North American households had access and about 50% were still without by 2007.

No Backwards Compatibility on Console: Unlike in the previous and most later generations, none of the fifth generation consoles offered backwards compatibility options. Despite early rumours about that very visible cartridge slot on the Saturn and it seemingly making sense given the Mega Drive/Genesis's huge popularity, it ended up being used only for RAM expansions instead. This was a step back from the Master System and Game Boy support for the MD/GEN and SNES, respectively, although those did require separate add-on hardware. Players who didn't keep or never had those consoles would instead have to pray for ports, which were rare in the fifth generation, or wait for the GBA to arrive. PCs, on the other hand, did things differently. They had started receiving decent emulators of previous generations' consoles by the late '90s, which would quickly spread far and wide through Usenet and Geocities pages on the internet along with dumps of the game ROMs. Playable contemporary console games even became (sort of) a reality towards the end of the generation, with the controversial Bleem! emulator being a rare commercial example.

From Doom clones to... Half-likes?: During this generation, mainstream FPS games transitioned from the - usually solitary - shooting tons of bad guys while exploring abstract mazes in games like Doom and Star Wars: Dark Forces (reinterpreted in full 3D in Quake, which also added some platforming to the mix), to what were essentially Action Adventure (sometimes ARPG) games in first-person view. Half-Life and System Shock 2 were two games held in high regard that introduced narrative-driven experiences taking place in mostly continuous game worlds, with various scripted events, basic puzzles and (in Half-Life's case) NPC interaction. Among the transitional games, some of the most noteworthy are Strife (which arguably is more of a traditional Action Adventure game than either Half-Life or System Shock 2, however it is a Build engine game), GoldenEye 007, Unreal, Quake 2, Dark Forces 2, Turok and Powerslave/Exhumed. System Shock (1994) should also be mentioned here as an early example, however its unusual control scheme based on Ultima Underworld separated it further from FPS games as we know them today.

Failed 2D to 3D transitions: Not all developers were well prepared for the great switch back in the mid-late '90s. Consequently, some games struggled to make a successful transition from 2D to 3D graphics during this generation. Titles like Bubsy 3D, Fade to Black (the sequel to Flashback), Earthworm Jim 3D, Contra: Legacy of War, and Castlevania 64 didn't do as well at adapting their gameplay and visual styles to the new dimension as people expected, something that most of them never really recovered from in terms of 3D sequels.

Expansions on PC: Finishing off this list are the various expansions for PC games during this era, the popularity of which continued in the fifth generation and extended into the next. PC games like Baldur's Gate (Tales of the Sword Coast), Warcraft 2 (Beyond the Dark Portal), Starcraft (Brood War), GTA (London), Half-Life (Opposing Force) and Diablo (Hellfire) provided additional content and extended the gameplay experience for players that couldn't get enough of them.

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In conclusion, the fifth console generation was an incredible era characterized by frequent, significant change that had a lasting impact on gaming history. It saw the rise of demo discs, online multiplayer experiences, 3D and console-style games dominance, CD audio and the format's loosening of space constraints, and revolutionizing control schemes. It also introduced various new genres (including RTSs, trainer RPGs, rhythm games, 3D open-world games, MMOs, 3D collectathon platformers, and Diablo-like action RPGs), challenged some stereotypes, and pioneered groundbreaking gameplay mechanics.

Now, I know what some of you are thinking, and you're not completely wrong. "But the tank controls, the sub 20 FPS, the pop-in! The lack of actual faces on the models! Who look like legos by the way. This era sucked!" Nowadays, some of the more experimental 3D games from this era aren't quite as magical, I agree (although I still dig faceless models, call me weird). However, many of the games actually hold up well, and several that don't can be improved upon with mods and emulation features that are just a few clicks away. The spirit and aesthetics of the era also live on in projects like Bloodborne PS1, Hoolopee's demake trailers, and a new(ish) wave of indie games paying tribute to it. If there's a best time to revisit this era and truly indulge in it, it's probably now. So let's mosey. Thanks for reading!

So, the sixth console generation. A period of about ten years if we start counting from the release of the Dreamcast and stop after only the PS2 is left standing. While I gradually gravitated away from modern (at least console) games during this period, towards other interests like music, film and books, I did give most of the bigger PS2 titles a chance and occasionally played through some of them. Nevertheless, I usually felt as though this was a period of safe bets and only slightly tweaking what had worked before in terms of gameplay. Narratively and thematically the games also seemed stuck in "teenage male fantasy" mode, while seemingly competing for the winner of the title "longest and most frequent cutscenes in the industry", and simultaneously taking themselves more and more seriously. While tolerable when it doesn't get in the way much, or even endearing if delivered with some finesse and self-awareness, this was rarely the case in my experience.

Looking back at it in more recent years though, this generation actually marked a significant turning point in the world of video games (both consoles and computers) in several interesting ways. With the advent of hardware that (among other things) could finally make use of contemporary network technology, some innovative gameplay concepts and shifting goals of certain developers, this era brought forth a wave of groundbreaking experiences that laid the foundation for future generations. In this blog post, I'll explore the key features and notable trends that defined the sixth console generation in a bullet point format.

Evolution of Online Gaming on Consoles: The sixth generation saw a major shift towards online gaming on consoles. Games like Halo 1-2, SOCOM US Navy Seals, Counter-Strike, R&C: Up Your Arsenal, Call of Duty 3, TimeSplitters 2 & Future Perfect, Killzone, Star Wars: Battlefront II, Phantasy Star Online and Final Fantasy XI introduced many console players to multiplayer experiences. However, online support was not uniformly implemented across all consoles, with the GameCube retracting external support due to security concerns. This trend would gain further momentum in subsequent console generations, ultimately transforming online gaming into an integral part of the gaming landscape.

The Rise of MMOs and MOBAs: During the sixth console generation, the popularity of Massive Multiplayer Online Role-Playing Games (MMORPGs) skyrocketed, primarily driven by the colossal success of World of Warcraft (WoW). Additionally, the release of Warcraft III introduced Multiplayer Online Battle Arenas (MOBAs) to a wider audience. EverQuest, Eve Online, and Tibia also contributed to the mainstream adoption of subscription-based games. These genres would continue to thrive and evolve in subsequent generations, shaping the modern landscape of online gaming as we know it today.

Expanding Entertainment Capabilities: Console systems further expanded their multimedia functionality beyond gaming. While earlier consoles like the PlayStation 1 and Sega Saturn offered music playback, the sixth generation saw the emergence of portable multimedia players such as the PSP and Nintendo DS. The ability to play movies and music on the go or even connect the portable devices to a TV marked a step towards the convergence of gaming and entertainment. Furthermore, consoles like the Xbox introduced DVD playback capabilities, making them versatile home entertainment systems. This trend would continue in later generations with the integration of streaming services, media apps, and virtual reality.

Artistic Recognition in Gaming: The sixth console generation saw a growing realization that video games could be considered an art form. Titles like Ico, Shadow of the Colossus, Okami, and Silent Hill 2 pushed the boundaries of storytelling, atmosphere, and visual design. These games garnered critical acclaim and demonstrated the profound emotional impact that games can have on players. This newfound appreciation for games as an artistic medium would continue to thrive and expand in later generations, with more games exploring unique narratives and thought-provoking themes.

Expansion of Genre Diversity: The sixth generation brought forth the mainstream popularity of several new genres. Action-adventure games with significant open-world elements, inspired by the success of Grand Theft Auto III, became a staple in the industry.

Hack 'n Slash (as in weapon-based beat 'em up) games experienced a 3D revival and evolution with titles like Devil May Cry, Prince of Persia, God of War, and Ninja Gaiden - games that blended elements of beat 'em up and fighting with action-adventure and/or experience point leveling from RPGs.

Rhythm games, exemplified by Guitar Hero and Singstar, captivated players by incorporating peripherals and enabling them to unleash their musical talents. The Sims and Animal Crossing made life simulation games popular, while Persona and Shenmue incorporated social simulation elements.

Games like Metal Gear Solid 2, The Getaway, Kill Switch, and CT Special Forces: Fire for Effect popularized the cover-based shooter mechanics standardized by Operation Winback (itself inspired by the first MGS), reaching peak popularity in the next generation thanks to games like Gears of War.

Finally, the Xbox was known for popularizing Western/Computer RPGs on consoles. Titles such as The Elder Scrolls III: Morrowind and Fable showcased the immense potential of these immersive, choice-driven experiences to console players.

More and More Similar Multiplatform Releases: The similarities in console hardware led to an increase in multiplatform releases which were also more similar. No longer would you get wildly different versions of the new multiplatform games like Aladdin for SNES and MD, although there were a few exceptions like Spider-Man 2's PC version.

Changing Distribution Models: While the technology goes all the way back to the early 1980s, the sixth generation saw digitally distributed games becoming popular, especially on PCs through platforms like Steam. Indie games like Cave Story, Dwarf Fortress, La-Mulana and Braid and World of Goo gained recognition and became influential examples of the creativity and innovation possibilities that existed for a developer with a relatively tiny budget, less or even no publisher control and/or a small team. Furthermore, the era saw the introduction of downloadable content (DLC) on consoles, expanding the lifespan and content offerings of games. The first examples of this seem to have been the DLC for Sonic Adventure (DC). This transition towards digital distribution would become even more prominent in subsequent generations, with the rise of digital marketplaces and the emergence of indie games as a driving force in the industry.

Four Controller Ports Became the Norm: Inspired by the Nintendo 64's design, the sixth console generation saw this feature added to all consoles but the PlayStation 2, somewhat surprisingly. This distinction, though seemingly minor, symbolized the subtle variations between these consoles, each offering a distinct gaming experience.

Backward Compatibility: Backward compatibility, a coveted feature among gamers, (re)found its footing in the sixth generation. The PlayStation 2, a frontrunner in this regard, allowed players to indulge in a treasure trove of nostalgia by seamlessly playing PlayStation games on its hardware. Meanwhile, the GameCube took a different approach, providing compatibility with Game Boy Advance games through a peripheral, catering to handheld enthusiasts seeking expanded experiences on the big screen.

Decline of Point-and-Click Adventure Games: The sixth console generation saw a decline in the popularity of point-and-click adventure games, a genre that had once captivated players with its intricate puzzles and immersive narratives. As the industry gravitated towards more action-oriented and visually dazzling experiences, with a lot of them also incorporating the more open-ended exploration focus of the genre, the demand for point-and-click adventures dwindled, leading to a scarcity of notable releases.

Phasing out of Memory Cards: The advent of built-in hard drives and storage systems marked a significant shift in how game data was preserved during the sixth console generation. This shift rendered traditional memory cards gradually obsolete, as consoles such as the PlayStation 2, GameCube, and Xbox provided integrated storage options. This evolution in data storage further streamlined gaming experiences, ensuring players had ample space for their virtual escapades without making additional purchases.

Focus on Console Versions: As the sixth generation progressed, some developers and publishers prioritized the console versions of games, often resulting in compromised quality when it came to PC ports. While the console market thrived with optimized experiences, PC players occasionally faced subpar adaptations that did not fully utilize the platform's potential. There were games considered exceptions however, such as GTA: San Andreas and The Chronicles of Riddick: Escape from Butcher Bay.

Mystery Loot Boxes: During the sixth console generation, MapleStory, an MMORPG, introduced a feature that would later spark both controversy and popularity: mystery loot boxes. These enigmatic virtual treasure chests added an element of chance and excitement to the gaming experience, offering players the possibility of obtaining rare items or bonuses. While the concept found limited implementation at this stage, it would go on to become a significant part of gaming monetization in subsequent generations. A common critical opinion is that nobody should be paying real money without an option to know exactly what they're getting, and that loot boxes feed into addiction while hiding actual costs.

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While the sixth console generation laid the groundwork for many trends and features that persisted in later generations, subsequent eras further refined and expanded upon these concepts. Online gaming became more prevalent. The inclusion of multimedia functionalities in consoles expanded further, culminating in all-in-one entertainment systems. The artistry in gaming continued to flourish, with games like Journey, The Last of Us, and Red Dead Redemption pushing the boundaries of storytelling and visual design. The indie game scene experienced exponential growth and influence (see for example Shovel Knight, Limbo, The Binding of Isaac, Terraria, The Stanley Parable, Super Meat Boy and Undertale), while the distribution of games shifted significantly towards digital platforms.

In conclusion, the sixth console generation represented not only a period of refinement in the history of gaming, but a transformative one as well. In terms of the former, twin stick controls became the norm for 3D games while major camera and framerate issues were solved, and similar to the fourth generation a lot of franchises saw "more and better" style sequels to games from the previous generation making the average game more accessible from today's perspective. In terms of transformation, it saw the rise of online gaming, the recognition of video games as an art form, a decent expansion of genre diversity, and the emergence of digital distribution. Many of the trends and features that originated during this era continued to shape and define the subsequent console generations - in fact, most things mentioned here are still popular today besides peripheral-based rhythm games, and maybe cover-based shooters. It's been interesting and in some ways surprising to discover the lasting impact of the sixth generation on future generations of video games, and I hope you all enjoyed this concise recap of it as much as I enjoyed making it.

This blog entry is part of a series covering games that are featured on my website about the Platform Adventure (aka Metroidvania) subgenre's history. It's a site created mainly as a quick reference guide for those looking for the next game to play or relevant and detailed info on earlier games in the subgenre for their other projects.

The platform adventure subgenre, when seen as a retro revival movement, has had one of the biggest surges in popularity in recent years under its later and more specific name metroidvania, with games like Ori, Bloodstained and Hollow Knight managing to capture what made the classics great while also expanding on them in some ways. More unique games such as Yoku's Island Express (a pinball hybrid) and A Robot Named Fight! (a rogue-lite hybrid) have also seen decent commercial success, proving that the subgenre still has plenty of room for experimentation within its basic framework. The Japanese roots of this beloved subgenre can be traced back to an influential game released in 1985 called Dragon Slayer II: Xanadu, itself boldly experimenting with blending different genres that were only a few years old at the time. This time, I'll delve into the historic significance of this trailblazing title and its impact on the birth of the platform adventure subgenre.

Developed by Nihon Falcom for the PC-88, Dragon Slayer II: Xanadu (Multi, 1985) was one of the most successful Japanese PC games of the 1980s and broke new ground in the realm of platform adventure games. This groundbreaking title embraced a unique blend of action, role-playing and dungeon exploration. It presented players with a mostly interconnected and sometimes non-linear world to explore, filled with secrets, creative spells and giant creatures lurking in towers (mini-dungeons) within the large, interconnected main dungeon.

In the game, players assumed the role of a nameless adventurer who ventured into the mystical land of Xanadu, an interconnected world containing a large and dangerous dungeon, used as a base of operations by the evil dragon Galsis. The adventurer's goal was to find four crowns which unlocked entry to the tower within the tenth and final floor of the dungeon, gain the Dragon Slayer sword on that floor and save the kingdom by slaying the dragon.

Xanadu significantly differs from previous games as well as its prequel in several ways: First off it's an ARPG with two kinds of leveling systems: Experience points gained from defeating enemies are used to level up the player character and players are given control over the stat distribution. Stats include the usual stuff one would expect from an ARPG but also charisma which affects shop prices, wisdom which affects the effectiveness of items, and dexterity which here only affects how quickly one can open chests. For spells and weapons, an action-based growth system (see FF2 or Daggerfall for example) is instead used.

Secondly, tying into the RPG mechanics it also introduces a town located above the dungeon, where previously Journey to the Centre of the Earth had an empty surface area, and Below the Root had more of an organic integration of two towns and its overworld, which also made up the vast majority of its game world. Xanadu starts players off in this town, where the first goal is to talk to the king to receive the main quest and some gold, much like in other RPGs of the time. The town is also where one goes back to level up the hero after gaining enough experience points. Make no mistake though, NPC interaction in this game is extremely limited and the focus is almost entirely on the dungeon crawling and stat growth.

Thirdly, it's the first case in the subgenre of a developer experimenting with different game engines and viewpoints within the same game - the main gameplay mode consists of side view exploration with some unusual platforming, while monster encounters (which are also avoidable) as well as the aforementioned towers switch the game to a flip screen top down view mode where players can't jump, but then the game also switches back to side view for the boss fights. This aspect alone was quite influential on Japanese developers of the time, with various games such as Zelda II, Golvellius, Wibarm, Esper Dream 2 and Tales of Phantasia doing some variation of it.

Finally, there is a karma system in place which is rather odd and unforgiving in its execution. Doing something bad actually raises ones karma, and if one raises it too much, one can't level up at the temple in town and also can't get to the Dragon Slayer sword. Bad things include saving without having the money for it (while there is actually an auto-save happening at certain points such as when entering a tower, it's not enough for most players), or killing a "good" enemy. See, every enemy in Xanadu is arbitrarily classified as either good or bad, even though both attack the player unprovoked, and killing the "good" ones will raise the player's karma. To lower karma, one can't just kill "bad" enemies either - one instead needs to drink poisonous black potions which reduce a good chunk of the hero's HP, potions which also cannot be bought.

If the weird karma system wasn't enough, there's also a hunger system, the fact that weapons level up individually, grinding to be able to beat the bosses and to enter the next floor, important and hidden stuff without much in the way of clues (such as the item shop located at the beginning of the dungeon requiring solving a looping segment puzzle), AND resource management due to a finite number of enemies! All of these added up make the game rather unwelcoming to modern players. However, there are later versions that lower the difficulty a bit, such as the MSX one, and that version is also in english (sadly the later Saturn remake is not). There are also consumable teleportation items moving the player either up or down one dungeon floor, as well as some "same floor" teleporters, cutting down on backtracking. Furthermore, an elixir lets you revive where you died (like the fairies in later Zelda games) and there are a few enemy types that can drop these.

Xanadu's ability gating aspect comes in the form of tools and consumable items which can be replenished, and there is decent variety and creativity here: A mattock lets players break brick blocks diagonally below or straight below you, feeling a bit like the main mechanic in Solomon's Key from the next year. A mantle consumable allows players to pass through most walls for a short time. Finally, the winged boots consumable (later seen again in the more well known Faxanadu) allows for time limited flight. This flight ends up being an alternate way of getting out of traps as well as into one of the towers. As an aside, an hourglass consumable stuns enemies and even lets the player stand on them, though the latter is never needed to progress as one can actually stand on them briefly by default without triggering an encounter. Perhaps this inspired the ice beam from Metroid?

I feel the platforming of the game could use a bit of explaining too, considering how it's both pretty odd, and allows for unexpected maneuverability that can even lead to some sequence breaking. Movement in the game is tile-based, and normally, the hero can only jump 1 tile's length, which is almost useless. However, jumping three times and on the third one holding the button down actually allows for a 2x long jump, and pressing diagonally this can either be used to cross single tile gaps, or to jump up and on top of a block platform right above the player avatar. While falling, one can also nudge the player avatar to the left or right to enter paths this way, and while on the ground one can move diagonally downwards into a single tile space even if there are walls to all sides of it. Getting into another less intuitive aspect, it's also possible to escape the separate enemy encounters and have the direction used actually put you on that side of the enemy, which can sometimes be used to access otherwise inaccessible parts of the game. Which parts is something I won't spoil here.

In conclusion, Dragon Slayer II: Xanadu holds a prominent place in the history of video games, specifically within the two subgenres mentioned here. The release of the game paved the way for future platform adventure games that combined elements of platforming, action and RPG, although the action part is very basic by today's standards. Its impact on the gaming landscape of Japan was significant, as it inspired many subsequent titles that would further define the genre. Also, due to how convoluted some of its gameplay was it led to what can be called guide culture, where guides would be sold to make the games beatable in a reasonable amount of time and creating more buzz around them at the same time, something that would soon pop up in the west as well through popular gaming magazines like Nintendo Power. As we continue to enjoy the immersive worlds of modern platform adventure games, let us pay homage to this influential pioneer that helped set the stage for the "Igavania" part of metroidvania.

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The following year, an expansion pack called Xanadu Scenario II: Resurrection of the Dragon was released, one of the first in gaming. While I haven't played it, it's apparently very non-linear in structure meaning you can explore any of its 11 dungeon floors from the get go, however you'll get crushed if you start with the later ones. It also introduced a weight mechanic, effectively limiting the amount of items you can carry, so it might be even more frustrating to play.

Some games that may have influenced Dragon Slayer II: Xanadu (besides its prequel):

-Early Ultima and Wizardry series: Xanadu and these series share the role-playing mechanics and fantasy theme from D&D, which the latter two popularized in a digital form focusing on the dungeon crawling aspect. However, Xanadu introduced several unique or different elements such as its side view perspective, real-time combat, distinctive platforming mechanics and various items, which set it apart from these games. Fun fact: A lot of the shopkeeper graphics in the original Xanadu releases were actually traced from the manual for Ultima III.

-Pitfall II: Pitfall II and Dragon Slayer II: Xanadu both embraced the concept of exploration within an interconnected world. But while Pitfall II was a maze platformer, Xanadu introduced RPG mechanics, tool gating and a more complex world to explore.

Some games that may have been influenced by it:

-Legacy of the Wizard/Dragon Slayer IV: Drasle Family (1987): Both games feature interconnected worlds, a surface area above and vendors within the dungeon, some non-linear exploration, and platforming puzzles. The diagonal aspect to movement in Xanadu was also revisited in Legacy of the Wizard. However, Legacy of the Wizard ditched most of the RPG elements from Xanadu and instead added multiple playable characters with different abilities, while focusing on the puzzles. It actually feels more like a Lolo or Solomon's Key game placed in a platform adventure world at times. Finally, it kept the gameplay side view throughout.

-Romancia/Dragon Slayer Jr. (1986): Romancia, also developed by Nihon Falcom, can be considered a spiritual successor to Dragon Slayer II: Xanadu. It continued the tradition of blending action, platforming, and RPG elements, while introducing a harsh time limit to the main quest, and a more fleshed out narrative. It too kept the gameplay side view throughout.

-Faxanadu (1987): Actually developed by Hudson Soft, this game expanded upon some of Xanadu's concepts while streamlining others for an overall more accessible experience. Both games feature interconnected worlds, platforming and RPG mechanics, and using consumables for their ability/tool gating. Faxanadu further developed its world building with multiple towns and a variety of NPCs, and it incorporated a greater emphasis on side view platforming action while also keeping the gameplay side view throughout.

-Zelda II: The Adventure of Link (1987): Xanadu and Zelda II share some similarities in that both games explored using multiple perspectives and avoidable enemy encounters in an ARPG, and both allowed for manual stat allocation after leveling up. However while Xanadu features a mostly interconnected world, Zelda II features a large, top down view overworld containing a variety of side view dungeons and towns. Furthermore, its combat is more advanced, featuring high and low attacks, blocking, and up- and downstab moves (which it probably got from Dragon Buster from 1985). It also let players gain several permanent abilities with which to progress, such as a high jump spell and a fairy transformation spell.

-Castlevania II (1987) and Castlevania: Symphony of the Night (1997): These entries in the Castlevania series probably drew inspiration from Dragon Slayer II: Xanadu's (and perhaps some of its sequels') gameplay structure, emphasizing exploration and character progression. Symphony of the Night, now seen as the first Igavania, seems to have borrowed the Spectacles item idea in particular. This item lets you read an enemy’s stats and inventory in Xanadu, whereas in Symphony, the Faerie Scroll shows an enemy's name instead. Castlevania II unfortunately took the obscure puzzles and expanded on that aspect, making it more of a guide game as well. It is also structured more like a Zelda game, with most of its game world consisting of an overworld.

-Zeliard (1987) - This ARPG by Game Arts follows the structure of Xanadu quite closely, starting you off in a small town, making you return to town to level up and even copying the transitional scenes when moving between sub areas as well as one of the boss designs. As for differences, it does streamline the leveling and make the dungeon to dungeon progression linear (unless you sequence break which is possible at a couple of points). While there are some permanent upgrades such as high jump boots added, there is also less ability gating than in Xanadu. Furthermore, the combat is a bit more advanced (like Zelda II it features up- and downstab moves), it adds multiple towns, stays side view throughout, and removes some frustrating elements like the finite enemies.

For a brief overview of the game's features, see its page on my Platform Adventure history website.

This blog entry is part of a series covering games that are featured on my website about the Platform Adventure (aka Metroidvania) subgenre's history. It's a site created mainly as a quick reference guide for those looking for the next game to play or relevant and detailed info on earlier games in the subgenre for their other projects.

Released at the tail end of what in the US was an in-between period of the first arcade golden age and a switch to console dominance thanks to the NES, Hero of the Golden Talisman (C64/CPC, 1985) by Mr Chip Software emerged as a fairly unique experience, a couple of years before the term "platform adventure" was coined. The game's story goes like this: An evil wizard has cursed the (unnamed) hero's hometown, and the only way to lift the curse is to find and assemble all five pieces of the broken Golden Talisman, scattered around a dungeon which the wizard calls his home. That's it, there's no story progression or NPCs in-game and the ending consists of two short sentences. Moving on.

From what I've looked at so far, only three games actually merge all of the elements of platform adventure games in a manner we'd expect from a Metroid era release. This is another one in that it also features an interconnected world design, partially non-linear progression, and permanent upgrade usage to progress, although the execution of the last one is a bit of a step back from previous games but we'll get to that. Like Aztec, Below the Root and Journey to the Centre of the Earth, it also features an on-screen item inventory, in this case with 5 slots, where the player stores everything from colored keys opening corresponding doors, weapon upgrades, to consumable spells and items. Whether a technical limitation or a design choice, it leads to players having to commit to what they're going to use for the next 20-30 mins or so of gameplay, and to backtracking for previously dropped items if they weren't carrying what they needed later on (or if they messed up using a consumable). Unfortunately one can't simply drop an item anywhere but have to replace it with an existing pre-placed one, breaking the game's "flow" or sense of steady progression quite a bit. Like Journey this is also a strictly tool gated experience, the player character itself doesn't gain an ability to jump higher for example.

Unlike previous games however (and several following ones, by the way), Hero of the Golden Talisman includes a notable quality of life feature: A mini-map which from the get go shows the full extent of the game world as a checkerboard pattern of unexplored sub areas, quite similar to Legend of Zelda from the following year. It's also an auto-map showing which rooms the player has and hasn't been to yet, and which alerts the player to the presence of items within a given sub area. While it looks like one square on the map would represent one room, it's actually a collection of 4x4 rooms meaning there's more of a navigational challenge to the game's exploration than one might expect from a first glance.

Speaking of differences, the game sadly is a step back from some previous games in terms of its save system, as there isn't even a password save. It's also pretty unforgiving when it comes to the jumping controls as they are in the style of Ghosts 'n Goblins or Impossible Mission - something the game basically teases players with as there are several platforming challenges across multiple screens (this is another flip screen game) where one has to replay a fairly long segment should one fail a jump. I'm assuming this was meant as a more forgiving take on death pits in other platformers, so potentially a good thing, but for me personally the time wasting aspect is as frustrating as dying and repeating a standard platformer level at times. Taking both of these aspects into account, this is a game that most today will not have the patience to sit through without using an emulator. On the other hand, this is likely how most who read this would try out the game anyway.

Looking more closely at the items and how they're used for progression, the game is sadly relatively simple in this regard. Players can find oxygen tanks to let them swim further (they can swim by default), but these are consumables. They can find peaceable ropes which let them reach further in certain spots, and find candles that completely light up dark rooms, functioning like metaphorical keys. Then there are invincibility spells via scrolls, which have to be carefully used so as not to waste them but don't change one's move repertoire or challenge one's timing or aiming skills. There are also scrolls that let players break walls with their shots, similar to the previous ones in use but with less skill involved as these walls are essentially large doors that block a path - you don't need to be selective about blocks to destroy to make it to the other side of a puzzle. Lastly there are different weapons, which players have to switch between at points to deal with different bosses. Yeah, this is the first game in the subgenre to have boss fights, as well as an early game where bosses have particular weaknesses. However, don't get your hopes up because functionally, the weapons all behave the same way (a forward shot), and so do the bosses. This means that while the game does innovate in this area, it comes off as unfulfilled potential to anyone who's been playing games after 1985.

Hero of the Golden Talisman, although largely forgotten like the previously covered games, and maybe not quite as interesting overall, nonetheless played a role in the evolution of the subgenre. With its early exploration of interconnected world design that features some clever spatial awareness challenges, multiple bosses, and its now commonplace but then much appreciated mini-map feature, it helped lay the groundwork for the subgenre's future successes. So let's recognize and appreciate the contributions made by this and other unsung games from the early days of platform adventure history.

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A few games that may have influenced Hero of the Golden Talisman:

-Impossible Mission (1984): This game, also incorporates challenging platforming segments that require precise jumps and timing in the context of an interconnected world, while giving players limited control of their jumps. It also features a mini-map system, however its design is pretty different, and it's only accessible while using the elevators. However it doesn't make use of ability/tool gating nor an item inventory.

-Journey to the Centre of the Earth (1984): Journey to the Centre of the Earth also features a limited, on-screen item inventory and tool gating only. See the previous entry for more info on it.

-Underwurlde (1984) - Both games feature different weapons to deal with bosses (although the ones in this game are simpler), an item inventory and an interconnected world. This game also features ropes, with more advanced physics, however they are preplaced in the game world. Underwurlde doesn't make use of ability or tool gating in a platform adventure sense though.

-Pitfall II (1984): Like this game, Hero of the Golden Talisman features an interconnected world design that requires exploration and sometimes clever navigation. However, as mentioned before, Pitfall II has no ability or tool gating.

A few games that may have been influenced by it:

-Possibly any later C64 or CPC game with a mini-map, perhaps also some console games.

-Zillion - While the main inspiration for Zillion seems to be Impossible Mission, its map system resembles the one used in Hero a lot more.

For a brief overview of the game's features, see its page on my Platform Adventure history website.

This blog entry is part of a series covering games that are featured on my website about the Platform Adventure (aka Metroidvania) subgenre's history. It's a site created mainly as a quick reference guide for those looking for the next game to play or relevant and detailed info on earlier games in the subgenre for their other projects.

Brain Breaker (1985) is an early platform adventure game developed and published by Enix for the Sharp X1, exclusively in Japan. The game's story is shrouded in mystery, with no official information available on the protagonist or setting in English. However, the game's innovative gameplay mechanics and level design helped set the foundation for the subgenre in Japan, the country that would shape most of its early history starting with Metroid (1986) and continuing up until around the mid-2000s.

The game starts with the player's spaceship crash landing on an alien planet that appears to be deserted. Armed only with a radio (which can be used to communicate with their ship for clues), the player must explore their immediate surroundings, searching for equipment and abilities that will aid them in discovering the planet's true nature.

Brain Breaker features a fairly large, interconnected world which is mostly horizontal in layout, and unusually consists of mostly outdoors spaces in a futuristic urban setting. Its intro gameplay is actually strikingly similar to Super Metroid in terms of its environmental storytelling - the first area seems abandoned until you find a weapon and return, at which point the enemy robots are activated. Since I haven't beaten the game, it's hard to say much more about it in terms of world building or storytelling but it does score extra points for stuff like having a continuous soundtrack (the second example within the subgenre so far after Journey to the Centre of the Earth) and explosions from destroyed land vehicles creating little craters in the ground.

The player eventually gains access to a variety of tools and abilities, including a jetpack for flying, psychic powers for melting walls (you basically go Super Saiyan in the late game, way before that was an online meme), and the titular Brain Breaker - a tool which can disable electronic devices, including force fields and a tank which can then be used as a vehicle. The game also features an item system that allows the player to pick up and drop objects using the Z key. Additionally, the F keys can be used to call the player's ship and create a save state at the current location - quite forgiving for its time when compared to the average console or arcade game.

Throughout the game, the player can enter buildings containing elevators, which operate similarly to those in Elevator Action and Impossible Mission. As the player progresses, they will uncover more of the planet's secrets and eventually gain access to the central computer, which takes us to the ultimate goal of the game: The computer has gone rogue and must be destroyed.

Brain Breaker is sometimes regarded as one of the earliest examples of the platform adventure or metroidvania subgenre, and it does check the boxes by being a basic platformer with an exploration focus and the acquisition of new abilities and tools that allow for access to previously inaccessible areas. It seems to have a completely linear ability acquisition path however (see the dependency graphs in Game Maker's Toolkit's videos on Metroid and others for a good explanation), meaning there's no sequence breaking, and it doesn't challenge players' spatial awareness to the same degree as some of the previous games covered.

While it's hard to say if the game had much of an influence, there are clear similarities to the early Metroid games as well as later mech action games like Wibarm, Thexder, the Assault Suits games, Ranger X and Front Mission: Gun Hazard, which all expanded upon Brain Breaker's gameplay mechanics in different ways. It's not entirely unlikely that Nintendo took some inspiration from it given the similarities between Zelda and other earlier Japanese computer games like Hydlide and Dragon Slayer. Even if official sources cite Ultima and Black Onyx (Zelda), and Super Mario Bros. and Legend of Zelda (Metroid) as early game inspirations.

In conclusion, Brain Breaker (1985) is another pioneering game that helped lay the groundwork for the subgenre, especially in Japan, and which is mostly forgotten nowadays. The game is a decent time, even if it feels quite sluggish compared to its possible influencees mentioned above, and the zoomed out view gives it a distinct vibe. Although its story and characters mostly remain shrouded in mystery, its innovative gameplay mechanics and level design helped set the standard for several similar games that followed. Hopefully we'll see an english translation (or even a fan remake? yeah that's very unlikely) at some point, so as to make this early piece of platform adventure history more widely accessible.

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A few games and other media that may have influenced Brain Breaker:

-Gundam (1979) and Macross (1982): Both of these anime series feature mechs and futuristic technology, and Brain Breaker shares a similar futuristic setting with advanced technology, such as the player's jetpack and the Brain Breaker device that disables electronic devices.

-Kagirinaki Tatakai (1983): This is an earlier game by the same developer. It's a linear, vertically scrolling shooter, however it also features destructible terrain and a jetpack.

-H.E.R.O. (1984): This is a flight-based platformer by Activision, and it's possible that Brain Breaker was influenced by its gameplay mechanics in that the game features a jetpack-wearing protagonist who can fly around and use explosives to destroy obstacles.

-Pitfall II (1984): This other Activision game features an interconnected world with a focus on exploration and backtracking, an exploratory platformer or maze platformer if you will, and it is relatively forgiving for the time much like Brain Breaker. It's a game without ability gating however. While a couple of games I've mentioned earlier are more similar to Brain Breaker than this one, they are also much more obscure.

For a brief overview of the game's features, see its page on my Platform Adventure history website.

This blog entry is part of a series covering games that are featured on my website about the Platform Adventure (aka Metroidvania) subgenre's history. It's a site created mainly as a quick reference guide for those looking for the next game to play or relevant and detailed info on earlier games in the subgenre for their other projects.

Below the Root (AII/C64/PC, 1984), developed by Windham Classics, is a game that was based on the Green-Sky Trilogy by Zilpha Keatley Snyder. In this post, I'll explore how it fits into the larger context of the platform adventure subgenre and how it helped to establish the subgenre's defining features.

The game takes place in the world of Green-Sky, where the people known as Kindar, have developed a society in harmony with nature, and essentially magical skills. These include the use of a form of telekinesis known as "kiniporting" (which in-game translates to moving items around or even the player character around) and "grunspreking" which in the game allows for slowly growing out temporary tree branches to traverse certain pits. Players take on the role of one of five different playable characters, tasked with exploring part of Green-Sky, interacting with its inhabitants and solving puzzles to ultimately rescue someone called Raamo, a gifted boy who reunited the once separated two race (Kindar and Erdling) that inhabit the game's world.

Wikipedia tells me that Below the Root has been cited as an early example of the metroidvania subgenre by at least one publication, but it is a mostly forgotten game nowadays and one that saw no sequels*. Which is a shame, because it has more to offer than one might expect.

The game's world is relatively large and well interconnected, with a variety of environments to explore, including forests with giant trees, small towns consisting of buildings that players can enter, an underground cavern and even a brief visit to a dream world at one point. Players can climb trees, glide jump using something called a shuba, use the aforementioned magical skills for further exploration, and interact with various characters. While the game is mostly linear in terms of what one must do to progress, a first time player is likely to stumble around quite a bit early on, just trying to figure things out. It's also possible to get some items in any order in the first area, and to explore part of the cavern before getting what's required to complete the game. An interesting design choice related to this is having players start in different homes depending on which character they choose to play as. This was perhaps done to differentiate them more as, while a couple of them belong to the Erdling race (affecting some NPC interaction) and they have different starting stats, they all gain the same skills.

One aspect that set Below the Root apart from other similar games, around its time as well as for years to come was its emphasis on NPC interaction and world-building. These aspects are relatively rich and complex - players can trade, uncover clues and piece together parts of the backstory through NPC interaction and exploration of Green-Sky. Mechanically speaking, this translates to a verb system with 15 verbs including for example buy, drop, examine and rest. In fact, not engaging with this system is discouraged as using violence (even on animals and insects) actually makes the player character lose so called spirit levels which are needed to use certain skills. Instead, something like a sword can be used to get rid of certain obstacles.

Besides that there's a day/night cycle, and players have to keep both fatigue and hunger in check to survive. Interestingly, not all NPCs are trustworthy even if they at first seem harmless, and this is where an interaction-focused skill called pensing comes into play as it lets one read the mood and later the mind of the person it's used on, which is also used to gain spirit levels needed to use certain skills. Some people, if one tries to rest in a bed in their house, will actually kidnap the player character and this forces a restart back at their house. On top of all this there is also a time limit of 50 days, however this seemed pretty generous to me. At the same time the game both gives players an item inventory of 9, unlimited "lives" (the character just gets knocked out and wakes up at their house) and the option to restart where they started at any point. There's also the option to save via the main menu seemingly at any point, so it's actually pretty forgiving for its time. One last notable feature relating to worldbuilding or immersion, which I think is also a first in this context but was probably inspired by Adventure (1980), is item persistency meaning one can place something on the ground and it will still be there if one leaves and comes back. This seems to work on all but one type of item in the game. All in all, it's pretty impressive stuff for 1984.

Before we round this one off, let's briefly talk about that one other game from 1984 that I would say qualifies as part of the subgenre. No, not Pitfall II. Nope, not Impossible Mission or Montezuma's Revenge either. It's Journey to the Centre of the Earth (C64), a game that in some ways is more similar both to the previously discussed Aztec (1982) and to Metroid (1986): It mainly takes place in an underground environment, it consists of a single maze (although it is more straightforward in its overarching structure than the other games mentioned here), it features no NPC interaction at all, and like Metroid it scrolls - an uncommon sight in 1984. Using tools to progress is required as expected (including bombs which can destroy the environment). However, Journey to the Centre of the Earth is solely focused on tool gating with persistent inventory items, making it a bit of an oddball in its own way. The standouts here are using water to grow a plant (not unlike grunspreking in Below the Root) which can then be climbed, and using a magical egg as a teleporter beacon. Sadly, the game has an annoying habit of making players move back and forth between the underground maze and the surface to drop off collected treasure repeatedly due to its limited item inventory, which is also why I didn't finish it yet.

In terms of its place in the history of the platform adventure subgenre, Below the Root certainly shares enough with later games such as Metroid to be considered one of the first among them, even including one or more examples of sequence breaking through clever use of a shuba. Still, it is often overlooked in discussions about early examples. I would say it's likely due to a combination of things: 1. its limited availability on early platforms, 2. its methodical pacing reminiscent of games like Prince of Persia (here you unfortunately get knocked back even from walking into a wall, and the verticality of the world sometimes slows things down further), 3. it having no sequels or remakes, and 4. its non-violent approach to problem solving which as I'm sure you all know isn't as popular among action (as in real-time) game fans. However, it's a pretty unique game even now, and one that deserves recognition as one of the pioneers of this now beloved subgenre.

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A few games that may have influenced Below the Root:

-Adventure (1980) - Another early graphical and real-time representation of early adventure games, this one also features an interconnected, maze-like world in which the player navigates a series of rooms, solves basic puzzles using persistent tools, and avoids enemies to reach their goals. Meanwhile, Below the Root features characters to interact with, a more fleshed out world, and a dialogue driven story to unfold.

-Previous adventure games - Below the Root was released during the golden age of adventure games, and it shares similarities with other games of the time, such as King's Quest and Enchanted Scepters (seemingly the first game with an on-screen verb menu accessed at the top of the screen, which also came with hotkeys). Like these games, Below the Root features a rich and detailed world to explore, puzzles to solve, and a story to unravel which relied more on text than the average AA game for years to come.

-Aztec (1982) - Aztec is a game released in 1982 for the Apple II and Commodore 64 that shares some similarities with Below the Root. Both games feature a nonlinear world where the player can explore and interact with various characters and objects. However, Aztec is set in ancient Mexico and focuses more on combat than exploration and puzzle-solving.

-Hydrax (C64, 1983) - Hydrax is a game released in 1984 for the Commodore 64 that also shares some similarities with Below the Root. Both games use a side view perspective, feature an interconnected world to explore, NPCs to interact with and puzzles to solve. However, Hydrax is set in a science fiction world and uses a text parser system even for basic movement, plus it's not a platformer.

A few games that may have been influenced by it:

-Spellbound (1985) and Knight Tyme (1986) - These are side view graphical adventure games that also feature an interconnected world for players to explore. Like Below the Root, they're set in fantasy worlds and feature magic as a central theme. All three games also feature puzzles that must be solved to progress.

-Dan Dare (C64, 1986) - A side view graphical adventure game that shares some similarities with Below the Root in terms of its world structure and puzzle-solving elements. However, Dan Dare is more focused on action and combat than Below the Root.

-Everyone's a Wally (1985) - An action adventure/puzzle game with basic platforming elements and pretty advanced NPC AI for its time. While it is not an adventure game in the same ways as Below the Root, it does share some similarities in terms of its structure and there are five playable characters with different skills.

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*It is actually a sequel to the books it's based on. I recently learned that the majority of the trilogy's fans were disappointed with how the third book concluded. Some time afterwards, a programmer named Dale Disharoon approached the author to see if she was interested in making a game based on her creation. Seeing this as an opportunity to continue the story, and hopefully produce a new conclusion that would satisfy fans, Snyder agreed to help make the game. There was also a spiritual sequel of sorts, Alice in Wonderland, made in 1985 by the same developer.

For a brief overview of the game's features, see its page on my Platform Adventure history website.

This blog entry is part of a series covering games that are featured on my website about the Platform Adventure (aka Metroidvania) subgenre's history. It's a site created mainly as a quick reference guide for those looking for the next game to play or relevant and detailed info on earlier games in the subgenre for their other projects.

The pre-Metroid era (ca 1979-1986) of Platform Adventure games was a time of experimentation, when basic concepts of platformers and action adventure games themselves hadn't been fully established yet. For example, the first scrolling platformer, Jump Bug (1981), is a mostly auto-scrolling game while the first major scrolling platformer hits didn't release until 1985 (Super Mario Bros. and Ghosts 'n Goblins). The first proto Zelda-like Action Adventure games, meanwhile, are from 1980 and 1982 (Adventure and AD&D: Cloudy Mountain respectively).

As such, you tend to see some of what we now see as defining traits of this subgenre represented in various games, such as exploration-focused areas and permanent character upgrades, while others are missing. Or traits associated with other genres such as Rogue-likes or Point & Click Adventure games being combined with these traits and resulting in games that don't fit neatly into one category.

One such game is the PC game Aztec (Multi, 1982). Developed by Paul Stephenson and published by Datamost, it was first released for the Apple II computer. Now, something that was immediately noticeable about Aztec to me was the similarity in concept to Indiana Jones, which saw its first entry in 1981. Both the game and the movie series share a fascination with ancient ruins, treasure hunting, and traps waiting to spring on unsuspecting adventurers. They also share a certain disregard for historical accuracy: the game features anachronistic weapons like guns and dynamite found in boxes or piles of bones and debris, and a dinosaur and a stationary, giant octopus are featured among the enemies. Video games!

At its core, Aztec is a flip screen platformer that tasks players with exploring a large (for 1982) labyrinthine temple, filled with traps, enemies and basic puzzles, to find an ancient idol and try to make it out alive with it. Perhaps owing to the previously covered Superman (A2600, 1979) or some contemporary arcade game, players are encouraged to act quickly as the faster the goal is achieved, the more points they get. They also share a looping world, meaning the player ends up where they were if they keep moving horizontally.

What sets Aztec apart from other platformers of the time and brings it closer to platform adventure games is its non-linear structure and interconnected world as well as its tool gating, a first in a platformer context. Players explore a single maze level made up of single screen rooms, which is also quite big for the time. They have to explore to find new weapons, ammo and health (a handy inventory is included), but they also have to create new paths to progress using dynamite sticks. This is similar to Castle Wolfenstein from the previous year, but fleshed out to an impressive degree - one can destroy walls, floors, drop the dynamite to a floor below them, and even destroy stairs. Stairs that might be important for progression, so players have to be careful about placement (one can also use it for optional shortcuts if a room has too many enemies to deal with at the moment), but luckily the bottom floor of the maze is indestructible.

Another unique, if less relevant mechanic is the game's "fight mode" stance which allows for different moves, something later used in games like Prince of Persia, Usagi Yojimbo, and Little Big Adventure. Finally, the game also features a randomized world layout (a feature heavily associated with Rogue-likes), meaning every new playthrough will be a bit different, and the difficulty curve can also vary a lot between them. This game does let you save however. Aztec's gameplay structure and these other notable aspects were innovative for its time and it helped set the foundation for what would become the platform adventure subgenre, while putting the game in its own category at the same time.

So is it a "proper" platform adventure game? We're not quite there yet, but it's close. The dynamite sticks are actually a permanent tool in the sense that there is an unlimited supply if you find them in a box (at least in the Atari 8-bit version), meaning you can always go back for more if you run out. However, there's no movement ability gating or other tool gating, and you also start with 3 sticks of said dynamite so it is not a gained tool like the bombs and other tools in Metroid. The game is also much shorter than even the first Metroid, clocking in at around 30 minutes to an hour per playthrough, or even less if you happen to get an easier layout. Unlike previous games, it does feature the gameplay loop of encountering an obstacle, finding the tool or ability (which isn't just a key or equivalent) to remove it, then coming back and overcoming it to progress to the next room or area.

Despite its groundbreaking gameplay and surprising complexity, Aztec has largely been forgotten by modern players. The game's graphics and sound may not hold up to today's standards, and the controls in the original release are quite clunky, but its gameplay and design are still impressive and helped set a foundation for the subgenre. Aztec is a prime example of how a game can be ahead of its time without getting the recognition it might deserve. The Atari 8-bit version does control better, so check that one out if you're interested in trying it out.

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A few games and other media that may have influenced Aztec:

-Raiders of the Lost Ark (1981 movie): Aztec shares a similar theme with the Indiana Jones franchise, with its focus on exploring ancient ruins and collecting valuable artifacts. However, Aztec's gameplay is focuses on exploring a single maze and features only one type of puzzle, rather than a variety of action-packed set pieces, puzzles and riddles seen in the movie.

-Castle Wolfenstein (1981): Both Aztec and Castle Wolfenstein involve navigating a maze-like environment and collecting items along the way (including bombs that can destroy walls), ultimately escaping the maze with a key item in hand. However, Aztec's side view perspective, randomization and being able to also blow up floors and stairs sets it apart from Castle Wolfenstein, and the latter is also an early stealth game.

-Adventure (1980): Like Adventure, Aztec features an open world to explore and some tool gating. However, Aztec's platforming elements and combat in a side view perspective make it distinct and it is not as puzzle oriented.

-Rogue (1980): While Rogue and Aztec may not seem to have much in common on the surface, they both feature randomized worlds and the exploration of a single maze or dungeon.

A few games that may have been influenced by it:

-H.E.R.O. (1984): This one shares some similarities in terms of gameplay mechanics. For example, both games use a side view perspective and require the player to navigate through mazes and avoid traps, while also using a limited amount of bombs to remove obstacles. However, HERO is a level-based game that doesn't let you go back to previous levels, has no significant backtracking and you don't gain any new tools in it. It's also a flight-based game and not a platformer in the stricter sense.

-Journey to the Centre of the Earth (1984) and Below the Root (1984): I'll probably write a bit about both of these as they are a fairly significant evolutionary step during this period (influential or not), so I'll just mention them for now.

Impossible Mission II (1988): This game also requires the player to navigate through a series of interconnected rooms and seems to borrow the same bomb mechanic where the player can blow up floors. However, Impossible Mission II focuses on avoiding combat, using computer terminals to manipulate your environment, and unlocking doors with keycodes. Its room layouts are also quite different, making it more of a precision platformer.

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For a brief overview of the game's features, see its page on my Platform Adventure history website.

This is the first blog entry covering games that are featured on my website about the Platform Adventure (aka Metroidvania) subgenre's history, a site created mainly as a quick reference guide for those looking for the next game to play or relevant and detailed info on earlier games in the subgenre for their other projects.

Released in 1979 for the Atari 2600, Superman was a groundbreaking game that helped to establish superhero themed video games. However, beyond this achievement, Superman also laid some of the foundation for what would later become the platform adventure subgenre, which combines elements of exploration, platforming, and Action Adventure (AA) games. While Superman may not immediately seem to fit within the platform adventure subgenre, it shares some key elements with later games.

The goal of the game is to repair a bridge destroyed by Lex Luthor, capture him and other criminals, and return to the Daily Planet as Clark Kent in the shortest time possible. The bridge is split into three parts, and players must collect the missing parts and return them to the bridge to repair it. Additionally, players must avoid obstacles and enemy attacks as they navigate through the city to capture Lex Luthor.

While Superman is not a true platform adventure game, nor even a proper platformer since the player can't jump, it did help lay some of the groundwork for the subgenre's future development. One of the most notable similarities between Superman and later platform adventure games is its non-linear exploration with some backtracking. Players are free to fly around the open world and explore at their own pace, rather than being confined to a set path. Additionally, the game's transforming into a different form to gain new abilities (at the start of the game, you go into a phone booth to turn into Superman which allows you to fly) and basic puzzle-solving mechanics are reminiscent of the subgenre. Furthermore, it's probably the first game of its type to feature shortcuts that cut back on backtracking, which are accessed by moving off screen vertically instead of horizontally. While a bit confusing in execution and not exactly necessary for such a small game world, it's impressive to see in such an early game when considering many later ones could've used such a feature.

In conclusion, Superman (Atari 2600, 1979) played an important role in the evolution of the video game industry. By introducing some concepts that would later become hallmarks of the platform adventure subgenre and of early action adventure games like Adventure, Superman helped pave the way for some of the most beloved games in video game history. However, while Superman may have been groundbreaking for its time, it is a relatively simple, short and repetitive game by modern standards.

A few games that may have influenced Superman:

• Zork and Colossal Cave Adventure: Both of these games are text-based adventure games that rely heavily on exploration and puzzle-solving. While Superman is obviously not a text-based game, it does share some similarities in terms of its focus on exploration and problem-solving.
• Steeplechase: This game was one of the first to feature a scrolling landscape, which allowed players to see more of the game world as they progressed. Similarly, Superman's open-world environment allowed players to explore a large area without being constrained to a single screen.
• Shark Jaws: In this game the player controls a character swimming freely and trying to collect fish while being chased by a shark. Superman features similar movement as the player navigates through the city, an indestructible enemy in its helicopter, as well as a focus on collecting.

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For a brief overview of the game's features, see its page on my Platform Adventure history website.

Popular Game OSTS by Year

I decided to go through my Impressive VGM by Year lists and rank game OSTs by popularity based on Youtube views. I went with YT since it's linked to Google and those two are by far the most popular in their respective fields.

A few things to note about YT uploads:

1. Various video uploads to YT have been removed over the years, some as recently as 2018-2021 and a bunch of them had been up for a long time and/or gathered a lot of views. I've tried to note this when I could, but sadly I can't recover the numbers on the removed videos and there are only a few cases where I had written down a number earlier (I started on a list over a year ago but then restarted a couple of months back) and noticed the video having been removed and the current number being lower now. Some OSTs that I'm pretty sure are popular will rank lower than they're supposed to. These numbers are from April, 2022.

2. Earlier games in long running series benefit a lot from later games' popularity

3. A game on a popular system or by a popular company will generally benefit from that and get more views. Similarly a popular game's OST will often benefit

4. A lot of NES uploads specifically have been remastered by fans with added reverb, stereo and more and these tend to be more popular. I went with the most popular upload while commenting on the changes and tried to also list the most popular authentic upload.

5. Early PC games seem to have their views divided due to there being different sound setups and some (such as MT-32) being more expensive. The former is sometimes the case with NES, MSX, X68K and SMS games as well

6. Numbers are based on the most viewed song in an OST if the full OST video isn't the most viewed

7. Some uploads become memes and gain much more views because of it

8. You don't get any info on popularity over time, just the total amount of views since the video was uploaded. These stats used to be a YT feature, but it was removed for some reason.

9. I've generally used a "(game) (system) music" format for seaching, or variants like ost or bgm instead of music if I don't come up with anything.

So with that said, this should give some idea of which game soundtracks are still held in high regard, as well as what can reasonably be considered a hidden gem (my own lists focus more on technical achievement as I've mentioned elsewhere). Oh and a 1990s page is something I'm working on, though it will be a WIP for quite a while. Enjoy!

One last note: The lists are based on original release dates, not any later, localized dates.

A recurring discussion in MV circles (and I bet various other popular subgenre forums) is the definition itself and whether or not game x or y fits within it completely, partially or not at all. Let's start with a basic definition:

A Metroidvania, also known as a Platform Adventure, is a subgenre of Action Adventure and Platform games. In short, these are real-time games that focus on platforming, exploration, gradually making the player character better able to traverse the world that they're exploring by acquiring various upgrades, and (usually light) puzzle solving. They feature interconnected worlds with some degree of persistency, that is gated in content by persistent abilities or tools acquired by the player (as opposed to just keys, non tool/ability-based puzzles or combat) and which gradually opens up more as the player overcomes its obstacles. Generally these games have some degree of non-linear progression while subtly guiding the player towards the next intended path, and to some extent a "loopback" structure where the player happens upon ability gates that they'll come back to later on to progress. Historically they have been side-scrolling and in 2D but they can be third-person or first-person and in 3D as well.

Today we're looking at Elder Scrolls II: Daggerfall (PC, 1996), more precisly the Unity ver. and its opportunities for modding. It is an Open World RPG with real-time movement and combat, and a Dungeon Crawler RPG. Some call it a Fantasy Life Sim. I'll go ahead and make the case for and against it as a MV:

For:

-Movement abilities like jumping and flexible climbing including jumping between walls (you can climb any wall and turn around while clinging to a wall), swimming, upgradeable running speed and jump length+height, as well as glide jumping and flight via spells. Invisibility and stealth can be considered traversal abilities, and torches too if you use mods to make them important.

Out of these only climbing is mandatory but you'll probably want to use flight and glide jumping, as well as spells for faster swimming or underwater breathing for shortcuts, additional loot and convenience. Gliding or flight are also good for avoiding fall damage. Your movement abilities also let you explore where enemies are too tough to fight as you can run past them and generally shake them after a while

-Some backtracking into previous dungeons to progress

-Both the main quest chain(s) and the side questing are non-linear

-Some town-like locations within dungeons and some of the town castles connect to a dungeon

-While not a requirement for MVs it has a detailed map feature that lets you place markers in dungeons and town buildings. There's also various forms of fast travel including a teleport beacon spell. Info mode also helps with directions as you can look at a building from far away and have the game identify it for you

-Some decent switch and spatial awareness puzzles

Against:

-Dungeons are not persistent so the enemies and puzzles reset even for the handmade quest dungeons when they're exited (and the layouts for the rest), however there is a persistent dungeons mod that changes this

-Outdoors gameplay is not very interesting from a movement perspective besides climbing or flying to break into walled off towns at night and escaping from guards if you're a thief, though are are mods that can make the wilderness more interesting

-Overworld and dungeons structure and you generally don't backtrack into the latter. Furthermore, when you do it's not because a new movement ability lets you progress further but because you have a new quest item to deliver and/or an NPC called for you. You can actually gain access to the aforementioned spells related to movement abilities very early in the game, by joining a mage guild and buying or crafting the spells, and climbing and jumping are abilities that you have from the get go. You're just gonna be worse at using them as the game employs a use-based leveling system. This can't be modded, currently

-Some dungeons aren't really designed with the movement abilities in mind and most have an abundance of corridors for fighting monsters in. This aspect also can't be modded (yet)

-Time limits on most quests though they can be removed with a mod

-While some dungeons have more than one entrance, they all lead to the same place inside

-No real bosses if you care about that, just stronger versions of monsters for some quests

In conclusion, Daggerfall has decent appeal to MV fans, particularly when modded. However, the open world and leveling systems go against the more strictly structured nature of MVs. With the current terminology, it can be called a MV-lite, or an Open World MV.