“How on earth did we manage to play those games with the annoying beep-boop music on repeat?” That’s the question I was met with while discussing NES (Nintendo Entertainment System) games with a classmate of mine. It’s true classic games like “Bubble Bobble” and “Space Harrier” had tracks that looped for far too long; even games with multiple memorable themes, like “Metroid” or “The Legend of Zelda,” have 60-second loops that might extend upwards of 20 minutes, depending on your skill.
If these games had music as buoyant as Sega’s 1986 arcade classic “Fantasy Zone,” we might never complain. Though “Fantasy Zone” offers multiple versions of its core music (later offering a few less-memorable melodies) it scarcely requires the variation. Absurdly upbeat, “Fantasy Zone” offers a light, childlike experience, widely different from other games in its genre.
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After the rain.
Deadly Premonition,” a game inspired by “Twin Peaks,” remains one of the gaming world’s most underplayed entries. Released in the U.S. in 2010 as a budget title with mediocre box art, its often hideous graphics, and its mixed reviews running the gamut from “pretty close to perfect” to “awful in nearly every way,” the mystery-as-life-sim title has almost been washed from gaming’s history.
I, however, happen to know several of its most adamant fans—and not because I’ve searched for them. A strong undercurrent of devotion surrounds “Deadly Premonition” and an appreciation stands for its surreal, socially awkward, tragic protagonist FBI Special Agent Francis York Morgan. None of these traits are liable to be called his “primary state” at the start of the game. These are visions of the York we will come to know, a foreshadowing of his arc. Rather, York at the start of the game is idiosyncratic, confident and probably too smart for his own good.
In the first scene, York loses his cell phone and laptop. His repeated jabs at Greenvale, the game’s setting, as being set back in the “Middle Ages” wash over the player, distancing York from someone who can turn off their console and begin text messaging friends right away. But York is cut off from the outside world in Greenvale. These links to the outside world are lost for good after their inclusion at the beginning of the game—when York reports to the FBI, he must do so by landline, and when he writes summaries of the case thus far, he must write them on a typewriter.
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