Episode Transcript
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Speaker 1 (00:00):
Hey, Ty, you know how we usually cold open every
show with a jokey back and forth. Of course, well,
after giwing Bomb and Paul gonj just got got it,
I'm not really feeling it.
Speaker 2 (00:10):
Yeah, neither am I, and since the subsequent outpouring of
support for independent games media resulted in literal thousands of
new Blue Sky followers, listeners, and even fun Factor ultraate
members for us, I also don't think it feels right
to start the first episode all those awesome new people
are going to hear with a goofy Mortal Kombat gag,
(00:31):
especially not without acknowledging the incredible loss to the games
media world.
Speaker 1 (00:35):
Yeah, I mean, so many of the very best writers, editors,
and artists and games media just lost. Some of the
very few full time unionized gigs left in the industry.
Know that we treasure every second of your time, listeners,
and every cent of your money. It goes directly into
supporting the show, and we really appreciate that you give
to us at a time when everyone who reads, loves,
(00:56):
and creates games media is honestly scared for the future.
Speaker 3 (01:00):
Do you mean, weird, dude?
Speaker 2 (01:11):
You've got fun Factor Two old gamers reviewing old video
game magazine reviews. I'm Ty Shelter, He's and Mower. We're
two professional writers who grew up loving the video games
and video game magazines of the nineteen eighties, nineteen nineties,
and two thousands. Every episode we take a critical look
back on the games media that, for better or worse,
inspired us to do what we do. First, go to
(01:31):
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(01:53):
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Speaker 1 (01:58):
As I've mentioned a future time now, I'm a big
Chrono Trigger fan and its presence is heavy and like
a lot of the issues we're covering from this transitional
time and the gaming industry is Sony sort of entered
the fold. We moved from the you know, the heights
of Nintendo in the sixty bit era and into the
thirty two slash sixty four bit era. This issue that
(02:18):
we're going to talk about today of Electronic Gaming Monthly
was a favorite of mine, not just for the Chrono
Trigger strategy guide midway through, but also because it has
one of my all time favorite gaming ads. Just a
couple of pages in, there's a two pager for Chrono
Trigger that starts off with big black letters on a
red background, and it reads, you've got it in your hands,
(02:39):
you don't have enough of it, You've got it on
your side. You're pressed for it, you spend it, you
waste it. It's in, it's out, it's now, it's past,
it's running out, it's drawing near Chrono Trigger. It's about time.
And like, first of all, this seemed so deep and
like edgy as fuck to me as an eleven year old,
but I also really like how it highlights and creates
(03:00):
conflict by looking at like the contradictory nature of time,
how it's such a precious resource for us, but then
Chronal Trigger sort of turns it into something malleable, and
I think that's really interesting. So it always stuck with
me as just creative and bold and interesting in a
way that like a lot of video game ads tried
to be like bombastic and like you know, you have
(03:22):
for Final Fantasy six, you had mog like blowing up monsters,
but this one was a little more clever. Underneath that
red and black text, there's a more traditional description of
the game, including a claim of like seventy hours of playtime,
which is like kind of funny because Chrono Trigger is
really short. But I've also lapped seventy hours of Chronal
Trigger like multiple times, right, Like I've played hundreds of
(03:43):
hours Chrono Trigger, so you know, thirty years later, they
were right. It's kind of like laid out sideways, so
you're not your eye is not necessarily drawn to it,
but it looks cool and it kind of gives you
like a brief description of the game. Notably, it mentions
the involvement of a curator Yama and the quote unquote
creators of Final Fantasy, but nothing about Ugi Horror Your
(04:06):
Dragon Quest, because that series, though it had a huge
impact on Chrono Trigger, was just not very popular in
the in the West at that point. It almost just
didn't really exist. Underneath that, or I guess beside that
Sideways Texas. An illustration of Chrono with his sword out
and a map marker reading you are here. From there,
(04:27):
there's a dotted line you follow that to the next
page is a ping Pong's chaotically between eleven different screenshots
from the game and highlights stuff like the trial, the
Dragon Tank, Magus's Castle, zeal And like a whole bunch
of iconic moments before landing on the game's box. It
was really vibrant and rich. But what really sticks out
to me in hindsight is how like they knew what
(04:48):
they had, Like they knew which moments in that gas
were going to like persevere because those are like the
moments the trial, Magus's Castle, like Kingdom Azile, like those
are the iconic moments from the game, and they knew that,
And that's really interesting, Like a lot of the times
games don't necessarily know what's going to stick with their fans.
But that worked. And you know, this issue came out
(05:10):
in September, which was the same month Groner Trigger came out.
I didn't get my copy of the game until December,
but this ad did like more to tie me over
in those like two to three months than like pretty
much anything else, Like I spent I must have spent
hours looking at this trying to piece together all these locations,
all these scenes and figure out how it created a
whole game, a whole narrative.
Speaker 2 (05:32):
Yeah, I was surprised, Like I remember the ad right,
and when we looked at the game players from a
couple episodes ago, the review of Krono Trigger, there were
a bunch of ads in that magazine and it was like, well,
you know, they did really push that. They did have
a lot of advertising budget behind this, which is not
typical really then or now for Square, right, they were
(05:52):
absolutely pushing it. And yeah, they knew the big, splashy
graphics they had on the cards.
Speaker 1 (05:57):
Trying to sell like a Super Nintendo game when the
PlayStation was like right around the corner as well. Yeah,
it was a hard like we missed out on a
lot of these, like Japanese made RPGs like Trials Amana,
like Treasure of the Rude Dress because they just didn't
see an opportunity to be able to sell big games
like this on the Super Nintendo with the Nintendo sixty
four in the PlayStation around the corner. But this one
(06:18):
worked for me, obviously. Do you have any like memories
of standout gaming ads whenes it like have kind of
lived inside you sin.
Speaker 2 (06:25):
Yeah, Well, there's the the bad ones also, you know
that we talked about, but many, many, many many bad ones.
And you and I have talked off Mike and on
Mike on this show about some of the like the
Virtual League Baseball Chili dog farts one with just the butts. Actually,
I think, and I'm just looking at the thumbnail you
this is in here too, the series of virtual boy
(06:45):
ads with like a white guy with dreads kind of
giving like caveman energy, like like a monolith situation, like oh,
like Dawn of tot here's virtual boy and it's this
really really like red saturated like he's on some sort
of like but or like rocky outcropping and like moaia
Utah type looking thing. And I remember being like, Okay,
(07:07):
I see what you're trying to do here kind of
but there's as we record, there's a virtual boy behind
me that I was a launch day Virtual Boy getter
and owner, and I remember just being like, man, they're trying.
I don't know if anybody else is gonna be into this,
but they're trying. I think the one that really worked
for me most was actually sega US's Saturn campaign with
(07:30):
the body ones like the rods and the cones, the
guys in the theater, and I think a lot of
gaming media maybe panned it at a time. I think
a lot of people panned it because it was weird
and I'm on guard. My mom worked in advertising for
most of her career, and so I just I appreciated
it as advertising. I'm like, they are they are swinging big,
(07:53):
they hired a good agency. You know, this is really
conceptually interesting and challenging. And to go from like the
coolest thing in the world is Sonic wagging his finger
at you like eighteen months ago, to like just like
really high concept, like, uh oh, this is the body,
the theater of the mind, Like oh, the sphincter's tightening
(08:14):
and he's.
Speaker 1 (08:15):
Like, what's going on up there?
Speaker 2 (08:16):
You know, just this very very interesting that it stuck
with me both and they recycled it, you know, in
print and in TV, and that really had an impact.
Speaker 1 (08:26):
It worked really well for the Saturn too.
Speaker 3 (08:28):
Yeah.
Speaker 1 (08:28):
Yeah, I think you're the only person who is positively
like influenced by the Saturn ad campaign, just based on
a sort of Western reception. I feel like we could
do a whole bonus episode on games could wink wing.
Speaker 2 (08:41):
Uh huh, absolutely.
Speaker 1 (08:43):
But that might be for for another day.
Speaker 2 (08:45):
Yeah, we could do an episode on gay bads right now. Instead,
we have a magazine to get to. It's time to
open the cover. If you're not already a member of
fun Factor Ultra and getting ad free episodes, hang tight.
We will dig into the issue and the review when
we come back right here on fun Factor. Welcome back
(09:26):
to fun Factor. Where to old gamers review old video
game magazine reviews. Of course we want you to review us.
Do we get a full five point zero in fun Factor?
Leave us a review on Apple podcasts and we'll read
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Speaker 1 (09:48):
What's the deal with EGM?
Speaker 2 (09:50):
Truly?
Speaker 1 (09:50):
I think in the history of what's that?
Speaker 2 (09:52):
I said, truly, truly, what is the deal with you?
Speaker 1 (09:55):
What is the deal with EGM? I mean, over the
course of like video game magazine history, I think EGM
most people would agree that it was one of if
not the most sort of consequential and like culture forming
video game magazines, especially because it kind of spawned what
Zif Davis and oneup dot Com were doing in the
early aughts in terms of like driving forward personality based
(10:17):
games journalism. Game Players was my mag of choice through
a lot of my adolescents, as we talked about on
a previous episode, but over the course of my life
and now this eventual career I have, it really was EGM.
I think that influenced me more than any other video
game magazine, the way they approached writing about video games,
(10:38):
the type of games that they covered. Over that time,
I feel like I learned a lot about what I
wanted to do as a games writer. A lot of
it has to do with like they're hot and heavy
run in the aughts with EGM was running like a
dream team of writers feeding into One up dot Com,
like I said, But even in the mid nineties, like
with this issue, I could see the start of what
(10:59):
Steve Harris was building as a publisher of EGM. What
were your thoughts on on EGM in the landscape of
mid nineties gaming mags.
Speaker 2 (11:07):
Yeah, I think we're kind of tuned to like Coke Pepsi, Nike,
Ebach McDonald's, Burger King. You know, you got to have
a favorite, right And for whatever reason, I was a
game player's partisan. I think I thought of them as
being more thoughtful review wise, and EGM, I think that
was just a little bit more nineties, more grabby, you know,
(11:27):
more in your face and splashy, and for whatever reason,
it just didn't click with me as much. And that's
probably unfair to the magazine and to whoever. But like
at the time when I was like in the market,
you know, thirteen, fourteen, fifteen, it was kind of like Gameplay,
this is the one I like more, and I'd pick
up an occasional EGM. I would be more likely to
(11:47):
pick up GamePro. But then between game Players and Next Gen, uh,
you know, I was those two I subscribed to. It
was like, eh, just EGM just didn't click quite as much.
Speaker 1 (11:56):
Kind of felt fell through the cracks a little bit.
I mean, as like adolescence, we had to convince I
had to convince my parents to buy me the magazines,
and there was only so many times a month I
could convince them to buy me a magazine, and so
I definitely had to pick and choose, and that was
probably where I would leave with game players more than
EGM until I started engaging more with, like, you know,
the gaming community, especially online, started spending my own money
(12:20):
on magazines. Eventually I had a subscription to EGM, which
I like never had subscriptions to game magazines, and so,
you know, as I grew older, I think I connected
more with what EGM was doing. They were, like, especially
in the mid nineties, looking at this issue, a little
more focused on stuff like strategy and sports games. And
their review section is fairly small in a way. We'll
(12:42):
get to that in a second, but it didn't have
the full length, feature length reviews like Game Players right like,
it has these capsule reviews. But you know what, let's
get into that. Let's get into the numbers for this issue.
We're looking at EGM number seventy four from September nineteen
ninety five. It's one hundred and forty eight pages. A
lot of ads on those one hundred and forty eight pages,
(13:03):
and as we get into the main review section, we're
looking at fourteen different games reviewed by the review crew.
But after those fourteen we get into EGM's quote unquote
Hot fifty, which took fifty games from past issues and
averaged out the score. So it was sort of a
matrix of like, hey, like maybe you miss these past issues.
You're looking for some games. You want to know what
(13:23):
we thought, here's a rundown of what came previously. Out
of those fourteen like reel reviews, ten systems recovered. But
if you count the hot fifty coupled with like the
full on reviews, you get ten different systems reviewed for
which still like blows my mind these days from this,
you know, like there's barely three and then there's Steam
(13:45):
Deck these days. But yeah, and in September nineteen ninety five,
EGM had scores for ten different consoles, the Super nes Genesis, Neogo,
game Boy three d O, Sega CD, thirty two X,
Jaguar CDI, and the Sake of Saturn. Like, that's a
pretty wild collection of consoles with a lot of a
(14:05):
lot of good potential games. Looking at the masthead, President
Steve Harris kicks things off at the top, and I think, like,
you know, we could probably again if we're talking about
bonus episodes, like do a whole episode on what Steve
Harris sort of built through the nineties and continuing on
to today, Like he was involved in the online revival
of EGM a number of years ago. He's involved again
(14:27):
in this EGM compendium Kickstarter that collects and archives all
the old EGM issues. And so he's always sort of
been around in his his fingerprint for like better or worse,
because I think, you know, it can go on on
both sides. With with Harris's work is indelible on gaming
mags below, Steve working in sort of the editorial suite.
(14:48):
We had editor in chief ed Samad, senior editor Daniel
Carpenter Manning, and editor Howard Grossman quote unquote third party
liaison whatever that is John Stockhausen. News editor was Todd Mowatt,
and then they had nineteen assistant editors nineteen. We're in
(15:10):
an age where, like, you know, a video game website
might have like four editors that do everything their staff
writers and their editors and they do everything else. And
this had a full on suite of like managing editor
and senior editor and e I see, and then nineteen
assistant editors.
Speaker 2 (15:27):
Incredible, that is preposterous, and like what are they all doing?
Like is it each you know? Is there like three
out reviews five on preview at like is that contractors?
Is that that's probably just bullpen from sister publications in
the same office building. Honestly, it's just whoever's doing what
at the time, whoever's free to cover something.
Speaker 1 (15:48):
And there's not a lot of credit in these old
game eggs, right, So like somebody might be in there
and they might have written like an eighty word preview
of a sports game, and they're in there as an
assistant editor. They might maybe they don't even write anything
on this issue. They're just sort of like you say,
in that pool. But in any case, nineteen people and
there's some interesting names as you kind of dive into
those nineteen Sean Smith was the lifestyle editor. He was
(16:12):
a fairly prominent voice at EGM and even into the
one up dot com days. But in two thousand and
two he launched Shawnamal's in Ninja Town, which was like
a toy company based on his personal art and it's
still going strong today. Like you can go to the
website Shawnamal's website. It's a beautiful website with a ton
of product, ton of toys, which is really cool to
see because I remember, like again going back to like
(16:34):
personality based games journalism. I remember when he was just
kind of doodling all of those and sharing them online.
And then when he left games journalism to start this company,
you didn't know what was coming next for him, but
it has obviously worked out. And then there is also
a friend of the show, gnob Ogasawara, who was responsible
for localizing like many early Pokemon games, including Pokemon Red
(16:56):
and Blue, Gold and Silver all the way through Pokemon Platinum.
So it was neat to see him in there as
a I think he's like foreign correspondent.
Speaker 2 (17:04):
Very cool, very cool. All right, you want to flip
through this.
Speaker 1 (17:07):
Thing, let's do it. A big theme of the season
is the transitional period between Nintendo's heights during the sixteen
bit era and they're looming downfall at the hands of
Sony's upstart.
Speaker 2 (17:24):
Place I was gonna say, and their lack of heights, the.
Speaker 1 (17:28):
Yes, yes, the lows, the valleys. Page twenty six of
this issue, We've got a feature called will the release
of PSX ignite gamers Interest, which I think is really
interesting because, you know, we think back on this era
as like a golden era for gaming, but at the
time they were looking at the PlayStation as like, hey,
is this going to kickstart things again?
Speaker 2 (17:49):
Well, and you know some of this other stuff you
look in the issue you talk about all of the systems,
Oh Neogo Sega thirty two x, CDI, CDI existed. You know,
it's like, Okay, is this gonna be one of those
that is Wow, it comes in hits like a brick
and it's the new thing. Or is it one of
a whole bunch of other successful, well backed, well respected
(18:14):
electronics companies coming in and just making a console that's
gonna disappear in eighteen months and we'll never think about
it ever again.
Speaker 1 (18:21):
Yeah, it's just like Atari's next Jaguar, is it Phillip's
next CDI or is it Nintendo's next Super? Yes, you know,
like nobody really knew. I think we all had an
idea that it had more backing and a lot more
potentially looked more exciting than any of those, but we
didn't know. And like one of the wild things we
talked about on a previous episode was reports that they
(18:41):
might have just gone for like a surprise early launch
in response to the Saturn doing that. This issue I
thought was interesting because it actually reports on those rumors.
So I think it was previously in Game Players that
we're reading about the rumors in early launch. Here's EGM
reporting on those same rumors. This obviously didn't happen, Like
we all know that the PlayStation ended up launching in
September as it was planned to. But this issue in
(19:06):
this feature they clarify like that there were like a
bevy of reasons why they didn't do an early launch,
like beyond it was an insane id yeah.
Speaker 2 (19:17):
And Sega did it and it didn't work.
Speaker 1 (19:20):
Yeah, exactly, Sega did it and it didn't work, and
they were probably like, oh, well, that's not a good idea.
But like some of you know, some of the the
reasons in here are like they didn't have like a
product designed for boxes on the shelf, so like you
can't just whip that together. You need to manufacture that stuff.
But why don't you go ahead and read a section
here addressing some of the you know, the early launch
(19:40):
plans and those rumors and and why EGM sort of
said Sony held off on doing an early launch.
Speaker 2 (19:46):
All right, here we go. One of the more interesting
rumors is that Sony was planning to test market fifty
thousand PlayStation units in New York, Chicago, LA, and San
Francisco on July twenty first, but that ended up being
entirely false. This statement made Sony so angry that they
even tried tracking down the instigator of this evil email.
(20:07):
There are many other unconfirmed reasons for the PlayStation not
being released before September. The most logical came from our
Sony source, the same who told ECIM that the pricing
structure two ninety nine for the PlayStation wasn't arrived at
till the early hours of the morning, shortly before their
E three keynote a dress at the Museum of Contemporary Art,
Los Angeles and May. According to the sources, the reason
(20:27):
for the PlayStation delay was we felt that the summer
wasn't the best time to release a new system, and
parents didn't want their children inside playing video games when
they should be outside and enjoying outdoor activities. That is blowney,
That is hilarious.
Speaker 1 (20:44):
Like it's wild to me like for two reasons. One
like console launches are so locked down on precise now
that it's wild to look back to a time when
like the PlayStation's price point, which is a ginormous reason
behind its success right, coming in at two ninety nine
having forty nine nine nine dollars games was decided mere
(21:04):
hours before the announcement at E three. Like, the idea
that that stuff wasn't locked months before the announcement is
crazy to me. Yeah. The other one is that, like
even then, like Sony's big thing was sort of positioning
gaming as something for people who were growing up who
weren't kids anymore. Right, it appealed to the kids who
were playing any Ass and Super any Ass. Now they're
(21:25):
getting their first jobs, they're in high school, they're able
to buy their own consoles. But Sony is still saying, oh,
we don't think parents are going to buy this for
their children right this summer, rather than saying, hey, we've
got a bunch of teenagers who are working their summer
jobs and need something to do. We want to, like,
you know, we want to get this into their hands
(21:45):
while they're out of school. So it's an interesting sort
of like look at the positioning of where they were
trying to like penetrate the market, which was probably still
parents buying that for their kids.
Speaker 2 (21:57):
Yeah, frankly, I just don't buy this. Also in this context,
you know this is partly a pr thing where you're
trying to cover for internal business decisions, I think. But
then it's also they have the nineties environment, right, You're
like trying to pander to these parents who are like, oh,
Mortal Kombat on the cover, is my child going to
(22:18):
be an insane axe murderer because of these video games?
You know? And like, I mean maybe truly one of
the factors that they were considering was, Hey, it's summer.
Kids are not begging to buy video games. They have
stuff to do. So it sort of the opposite of
their art, like they are right literally that yeah, So
like I maybe that's what I just I it's wild
(22:41):
to me that they would say this. I don't believe
that they meant it at the time, and it doesn't
come across the v as genuine either in the context
or now.
Speaker 1 (22:49):
I think we can all see what actually happened, right.
Sega came out with the early surprise launch of the
Saturn Sony probably responded internally being like, oh shit, like,
what do we do We weren't anticipating this, do we
need to launch early? Then the Saturn crashed and they went, oh, no,
we're fine. We're just gonna stick there that really state,
you know, like that's probably as like the simplest answer, right,
(23:12):
Like the Aucam's raiser is like they watched the Saturn
crash and burn by launching early and said, oh, we
have no rush to get out to market. And it's
funny you bring up violence too, because that was a
big hot topic at the time, you know, like parents
worried that video games were poor influence on on their kids.
And if you go to the letter section in this issue,
there's like a whole letter from somebody basically calling the
(23:36):
Doom release on Super Nes like a travesty and like,
you know, like a huge debacle because like, how could
it possibly be violent, like as violent as it needs
it needs to be if it's on a Nintendo console,
which I thought was funny. And you know, PlayStation really
did find success by by marketing towards people who felt
(23:56):
like they were growing out of what the nintend No
consoles and Sega's consoles were offering.
Speaker 2 (24:03):
Yeah, that's the branding is so strong. It's that's so
funny that people made that association. Even you know, we're
years past the original Street Fighter Mortal Kombat thing at
this point, right, like Nintendo to an extent, had already
lost the battle the fact that they're even porting doom
to mess at all.
Speaker 1 (24:19):
Right, absolutely, but I think you know they were they
were they were trying right like, and they probably did
sort of see the writing on the wall there. Uh.
And you know what, we're going to talk about doom
for the Supernas a little bit more coming up. One
of my favorite features from this era of EGM, though,
was their what if column. Readers would write in with
little scenarios, uh, you know what if scenarios, and thirty
(24:42):
years later these are like such a major dose of
just how quaint adolescence in the mid nineties was for
like suburban like kids gamers. Uh can you uh, can
you pick out a couple of here and uh and
read one of them?
Speaker 2 (24:56):
Yeah? Sure, I love What if Magneto went to a
videotape rental outlet?
Speaker 1 (25:04):
I can just imagine trying to read this joke to
my kids, like who are ten and six and then
being like, what are you talking about? What's a video right?
Or what is a rental outlet?
Speaker 2 (25:14):
You know, like happen.
Speaker 1 (25:15):
It's just such a perfect little Uh. They'd be like,
I don't know who magnet it Why why would it
matter if a Magnet guy went to a videotape.
Speaker 2 (25:23):
Rent this spot.
Speaker 1 (25:25):
But I was just like in the mid nineties, like
X Men was huge, going and renting a game or
you know, a movie on VHS with such a like
core feature of growing up in the nineties, and that's
so encompassed just in like that one. What if here's
another one for you. What if Sony put out a
game for the PlayStation called Nintendo Versus Say, guy, there.
Speaker 2 (25:49):
Would be lawyers in a hurry, but I would play
that game.
Speaker 1 (25:52):
Right, is it?
Speaker 2 (25:53):
Like?
Speaker 1 (25:53):
I mean, we eventually get that you can play Mario
versus Sonic? Like, is that? Is that the culmination of
of Nintendo versus Sega? Or are we talking like you
know Genesis Consoles fighting superes Yeah?
Speaker 2 (26:05):
I picture that also, or you know you get Yamochi
versus who is the Sega guy? You know what I mean?
Like executives Eugene yeahah yea yeah, yeah, yeah yeah versus
Naka I would like to see.
Speaker 1 (26:20):
Yeah, I think, I mean Naka is like a criminal
in jail, Isn't that's true? I feel like I know
where I'd put my money.
Speaker 2 (26:26):
What if Siskel and Ebert reviewed video games.
Speaker 1 (26:30):
Oh oh, Joe Tagaro from Pittsburgh, Pennsylvania, you have no
idea the can of worms you're opening here.
Speaker 2 (26:38):
Man.
Speaker 1 (26:38):
No, obviously didn't get involved in the video game discord,
but Ebert, after this issue, I guess, you know, really
opened uh, you know, a big logoing. I mean we
still talk about it today. The are video games art
really goes back to Ebert sort of weighing in and
saying that, no, they're not. But one of the interesting
things about Ebert, I think is over time, you know,
(27:00):
before his passing, he started to reflect on that a
lot and recognize the way that like video game applications,
like development tools like Unreal were started starting to be
used in film to create movies. And he started to
realize that, you know, there was crossover and video games
and film were sort of like, you know, influencing each
other in turn. And so you know, I think Joe
(27:21):
here was just way ahead of uh, way ahead of
his time with he was you know, his desire for
Cisco and neighbor to get involved.
Speaker 2 (27:28):
You also wonder thumbs up thumbs down video game. You know,
if some of this rubric had been a little simpler
at the time. Who knows. Who knows if it would
have had the impact that it had on us as
reviewers and critics. Who also knows if maybe it might
have been better in general if we didn't have composite
average weighted scores in the mid nineties and now people
(27:51):
addicted to Metacritic today.
Speaker 1 (27:53):
Yeah, I mean the Reddit scoring system has fixed everything, right.
That's a good example of thumbs up thumbs down.
Speaker 2 (27:59):
Yeah, it works, sure, But when it comes to the
reviews our listeners give us on Apple podcasts and YouTube comments,
there's another scale we're hoping they will use all of
and that is the five star scale. Stick around through
the break and you will get your letters to us
read on air, just like we always do right here
on fun Factor, We've got mail. As promised, we always
(28:41):
read the best, funniest, kindest, and most entertaining five star
Apple podcast reviews and YouTube comments on the air. Bonus
points if you say who your favorite host is and why.
Double bonus points if it's aiden from Guycott on Apple podcasts.
So many themes podcasts, save the big one for years
(29:02):
down the road. Food casts waiting on McDonald's movie casts,
holding tent Poles, Hostage, et cetera. By all counts, Fun
Factor could have opened their pilot episode with Computer Game
Players review of Iron Sword or Dragon Warrior two, but no,
these two hit the ground running with PSM and Final
Fantasy seven right out the gate with all the fun
recollecting of the era you'd expect, excited to see where
(29:24):
they go next. Ps Who is My Favorite host and
why is it? Aiden? Guycott, Thank you for the five
star rating and review. Thank you also for the extraordinarily
literal interpretation of say who your favorite host is and
why is it? Aidan?
Speaker 1 (29:40):
It got them on air, it works.
Speaker 3 (29:42):
Yeah.
Speaker 1 (29:43):
I just want to give this review of five aidens
out of Aiden because I think it's brilliant, but not
just for the reason you think. I'm also really excited that,
you know, our gamble to go into big games and
topics early and not feel like we have to hold
back because we understand how rich and deep this history
we're getting into. Is like, we don't need to hold back.
(30:05):
There's so much out there for us to talk about.
We're never going to run out of big games, big moments,
no big issues to talk about, and that was kind
of the core of this This podcast, I think, so
I'm glad that's working for listeners me too. Next up
from YouTube, we have user I'm Aidan, who's not this
Aidan No, but he is Aiden, just a different Aiden
(30:29):
on YouTube, who says I always wanted a geriatric gamer
podcast where it feels like I'm part of the conversation.
I kind of take a little bit of, you know,
guff with being called geriatric. I guess we are geriatric millennials,
so I'll lay off.
Speaker 2 (30:47):
I prefer the term. I think the cusp X millennial
thing versus the geriatric millennials.
Speaker 1 (30:54):
I'm the most millennial, like geriatric millennial. There is like
I'm not no gen x any.
Speaker 2 (31:00):
Mean that's right, Yeah, you're like CUSP CUSP, CUSP, Cusp
of the Cusps.
Speaker 1 (31:04):
Yeah, I'm Cusp CUSP. Yeah. Yeah. But it's funny because
I have friends who, you know, we're born at the
same time, and it's like we're right on that you know,
old millennial age, and some of them are like total
gen xers, and some of us are like total millennials.
And it's funny how we fell on either side of
the line. But either way, we are old, yes, and
it's fun to be able to talk about it from
that perspective.
Speaker 2 (31:23):
From Kick Kickflip k Kickflip on Apple Podcasts, compelling exploration.
Growing up with gaming magazines, I spent hours per week
scouring for new games to play, our opinions to claim
as my own. They honestly taught me to read and
gave me a broader understanding of what cultural spaces gaming
took up as I was entering young adulthood. Fun Factor
(31:44):
is a great concept for revisiting these magazines that I
really miss. As time goes on, I look forward to
further exploring how the print media days of gaming set
the pace for discussing video games then and now. I
appreciate the host's wealth of experience and they're casual, free
flowing conversations. He appreciate you, Kickflip, thank you so much
for taking time to read and review. All Right, that
(32:06):
is it for this week. Keep those ratings and reviews coming.
We love them. They give us the motivation to keep
doing this at that five star level. We hope we've
earned your five star rating and your positive review. Please
leave those on Apple Podcasts, Please leave those comments on YouTube.
Keep it coming. They help the algorithm boost us up.
Get more eyeballs, get more ears, and get more opportunities
(32:28):
to do what we love to do for you all,
stick around through the break or just enjoy a brief
bit of music fun Factor Ultra subscribers, and we will
be back right here on fun Factor thumbs up, thumbs
(32:58):
down out of one hundred, out of five out of ten.
It is time to do that thing we do. We
review the review.
Speaker 1 (33:11):
So last episode you passed on the review of Doom's
PlayStation ports for White Man Can't Jump. Yes, I did,
and I just cannot let that slide TI. So this
time around, we're going to take a look at EGM's
review of one of the all time marvels, Doom on
the Super nes. I'm sure you've played Doom, but did
you play Doom on the Super nes and all of that?
Speaker 2 (33:33):
I did not play the Super Ds. I think we
talked about a couple episodes ago. We played it extensively
on the PlayStation, me and my friends, and we would
have like linked up of you know, TVs, and with
a PlayStation link cable, you still needed two PlayStations, two
copies of Doom, and two TVs to pull that off.
But it was it was really satisfying and fun port.
(33:53):
I never played the Super and S version.
Speaker 1 (33:55):
Yeah, I didn't play it when it came out. I
had it on PC and I would play it a
lot on c on DOSS. I ended up getting a
red cartridge version of Doom like probably in like two
thousand and four, like well before I was sort of
into trying to collect retro video games when I should
have been buying all these games. But you know, I
was just in a music store at one point and
(34:17):
saw a copy of Doom and it was probably like
ten bucks, so I picked it up and that was
my first experience with it on the Super As. I've
only really come to appreciate it though in the last
like two years, as i've revisited it on supers and
also after I read John Romero's sort of personal memoir
where he talks about creating Doom and also the challenges
(34:38):
of stuff like Wolfenstein three D on the Super nes
and then doing Doom on the Super as as well.
They're not, like they're technically not good versions of the game,
but I still think that there's something so marvelous about
playing Doom in sort of a reduced form with the
controller that you know, it. It sounds good, and it
(35:00):
it gives you that Doom feeling, and that's all I
really want from Doom. Like at this point, it runs
on literally everything, Like I saw Doom running on a
pregnancy test, yes, you know, on a printer, you know,
like stuff like that. Doom on the supers is probably
in the upper you know, fifteen percent of Doom ports.
And I really like it. I think it's a fun
(35:20):
way to go back at this point and and experience
the game. It doesn't have like floor textures and ceiling textures,
like it looks janky. You can barely see enemies if
they're you know, further than five feet away. But you know,
it feels good, sounds great.
Speaker 2 (35:34):
Well that's more than what you ask for nowadays. Yeah.
At the time, though, it was the biggest game franchise
in the world, and a lot of kids with only
Super Nintendo's had no other way to play it.
Speaker 1 (35:44):
Yeah. Absolutely, And you know what, like when I was
playing it on Doss, a lot of the time, I
was having to shrink the window down, like to get
lower resolution. And it wasn't an ideal situation too, And
so you know, for it to exist at this point
was good for people who didn't have access to it elsewhere.
You know, with the PlayStation version coming, which I think
was a better version, Probably I didn't play it very much,
but you know, accessibility is something we talk a lot
(36:05):
about with games, Like just making games accessible to people
was really important. EGM has a really kind of unique
review format that persevered through most of its run through
the nineties and like late into its lifespan. They call
it the Review Crew, and each month, the magazine's four
reviewers each write a capsule review and provide a score
(36:27):
out of ten with like half point gradations for every
game reviewed that month, which is bananas. So all four
of them go and play in this issue is fourteen games,
So they have to play fourteen games, and then they
write reviews that, while they're short themselves, only about seventy
five words or so, they have to play over a
(36:49):
dozen games long enough to form an opinion. Yeah, and like,
while this way work for licensed platformers sports games, it's
like undoubtedly questionable for longer RPGs. Fourteen games one ish, like,
did you like this format? What did you think of
the capsule reviews? The same reviewers taking a look at
at all the games instead of diving them up.
Speaker 2 (37:07):
Yeah, I liked more in depth reviews, but I also
did appreciate this format because getting different perspectives is huge.
That's why game players started including the like second opinion
on some of the bigger releases. I think, because you
get somebody who is you know, all in on a game,
it loves a gamer, it just tickles them and write
the right spot and it's oh, yeah, this game is
so great, da da da, and you have someone else
(37:29):
who's like, no, that doesn't hit them, and then you're
in the magazine going okay, well, officially the score is
this and just the next review over ray Man their
game of the month nine nine nine seven point five.
Speaker 1 (37:41):
Yeah, you see that spread of scores and opinions. A
big issue right now we're dealing with is this idea
of like what the enthusiast press is, like what reviews
mean objectivity and subjectivity and this reviews, like this capsule
review style in EGM at least sort of went to
show that, like, yeah, these are subjective experians and opinions
and that's okay, yes, right, Like you might not connect
(38:04):
with Danian Carpenter's game like the games that he likes,
but you really like the same games as Al Manuel,
and so when you see Al review something and give
it a high score and Danian give it a low score,
you're like, oh, yeah, but I like games the same
way Al likes them, Yes, and so I'll probably like this, Whereas,
like in a single reviewer format like we have now,
(38:24):
if Danian Carpenter reviewed it and you just have different tastes,
you're gonna get that situation where you're like, oh, well, this,
you know, feels like you know, it feels wrong, this
review is bad or whatever. When it's not bad, it's
just subjective. And I think that the caps will review
the review crew format kind of worked well to establish that.
Speaker 2 (38:44):
Yeah, no, it did. It doesn't give us a whole
lot extra here for this Doom review specifically, but there's
trade offs and it's interesting that they went this way,
and I'm glad somebody did this issues.
Speaker 1 (38:53):
EGM review crew consisted of Daniel Carpenter, Al Manuel, Andrew Barron,
and Sushi X, who everyone who's like in the know
knows was secretly Nintendo president Hiroshi Yamauchi. Overall, though, it's
still decent, Uh yeah, definitely absolutely. Okay, let's start off
(39:17):
with uh, we'll go with Danie and Carpenter's review verse.
It was at the top as well. He wrote, it's
very easy to dismiss this game as less than worthwhile,
primarily because it's sixteen bit. I'm just surprised how close
this translation is for starters. It uses the FX two
chip that gives Doom the sense of depth that it
(39:37):
needed for a game like this. The music, which is
a sped up and more hyper sounding version of the PC,
is very good. Doom isn't without its problems. The scrolling
is quite choppy, and the game is very pixelated. Overall,
though it's skill decent.
Speaker 2 (39:50):
Six point oh there the FX two chip mentioned, uh,
drop your celebration meme there. The idea of SNS is
still legitimately trying to complete compete with the PlayStation at
this point, as it's very funny that, you know, legitimately
they were still making good games and you know, putting
up stuff that people could take time to play. But
(40:13):
the sixteen bit there, that little ding. Let's you know, hey,
it doesn't matter how good the game is. I want
the new cool thing. I want to be reviewing PlayStation games,
and that's that is the thing that this just cannot
run away from.
Speaker 1 (40:28):
No, and games just couldn't escape from that. Notably though,
e GM's top ten from this issue loaded with sixteen
bit games, including Doom for the Superins. Yeah, so you
know they they wanted more, but they still couldn't really
get away from the idea that you know, these were
still good games at the time.
Speaker 2 (40:46):
The PC hit finally comes to the super nes but
to my disappointment, this version is more of a downgrade
than a poredover. Everyone will tell you that enemies at
far distances are difficult to see, but the ones in
the virtual stealth mode are impossible. It's just two darn pixeli.
On the other hand, the music and sound effects are outstanding,
and the play control is fair. This game definitely needs
a balance. It's still a good game, but I think
(41:08):
I'd rather wait for the Ultra sixty four version. Was
there an Ultra sixty four that was al al Manuel?
Speaker 1 (41:14):
Yeah, so that was Almanuel's review. It's funny to me
because like he's complaining that the stealth enemies are hard
to see, which is like, that's the point. But there
is an Ultra sixty four or Nintendo sixty four version.
Doom sixty four, but it's a completely different game, like
from the ground up right. It's actually pretty good, but
it's not Doom Like. It's not a replacement for the
Super Anis version of Doom. It's its own thing. Little
(41:36):
did all know though, thirty years later, in God's year
twenty twenty five, that's this year his wish for like
a rebalanced, fixed Super Anis version of Doom would become
a reality. One of my favorite twenty twenty five projects
is limited runs remaster of the Super Anis version of Doom.
It's got the fourth episode. It adds FMVV support, it
(41:56):
adds gameplay improvements like circle straypene, improved frase rates, and
it also adds rumble functionality. Oh to a Super Nintendo
game through an actual like a new controller being developed
just for this version of the game. It's playable on
the Super As. It's honestly a marvel and I really
(42:16):
want to cover it more somewhere and get my hands
on it.
Speaker 2 (42:20):
It's pretty neat, that's incredible. I want star fucks with
that also, Holy cow.
Speaker 1 (42:25):
Yeah, starfucks. Like with the frame rate, fixed is like
a new game. You can kind of overclock it on
stuff like a SUPERFX. Uh sure, sure through it like
FBGA and stuff, and it like you play it at
sixty frames per second and it's like a new game.
Speaker 2 (42:38):
It's wild Rumble genuinely, Starbucks sixty four is Rumble is
one that stuck with me. Is like really ahead of
its time. It's really really additive and not just a
you know, goofy gimmick.
Speaker 1 (42:50):
Yeah, that was one of the ones that really, like
with the Rumble Pack for the Nintendo sixty four, really
started to you know, like show the potential for Rumble
or at least sell it as a feature for next
ten consoles. I don't think rumble got good until this generation,
like with the PlayStation five and the Switch with their
like high fidelity rumble. I've never really been a fan
of haptic feedback and stuff, but I think it's finally
(43:12):
gotten to a place where it adds to games rather
than just sort of like is there al Manuel, I
think we forgot to say, gave a five point five.
We're going to go into Andrew Barn's review, which is
a five point oh out of ten. Doom for Super
nes suffers from a lot of things. Not comparing this
to other versions of Doom this one just lacks as
(43:33):
a game in general. The screen is two pixelized and
the sound is off. It'll seem like you're getting hit
for no reason at all. Enemies are hard to see
at a distance of more than a few feet. The
control is okay, the music is outstanding on this cart
and I wish there was a CD of it. Doom
takes the super Nes to its limits, but those limits
just aren't enough for the game. He gives it a
(43:56):
five point zero, which I think, you know, like, is
probably a fairly objective look at Doom. It is a
compromised version of Doom, and how much you're gonna enjoy
it kind of falls back on how much you want
to enjoy it, and I think that's kind of represented
there in Andrews Andrews review. You want to wrap things
(44:16):
up with Hiroshi Yamouji's Yes, absolutely.
Speaker 2 (44:20):
For the Supers Sushi X, but we'll have to do
another thing on Sushi X sometime. But this is a
pretty good job considering it's a super Nes cartridge trying
to hold all the info of a computer game. However,
the graphics are very pixelated and it is quite hard
to see and interact with enemies. From a distance. The
overall engine and structure is very doom like, but it
(44:41):
can't help be visually compared to other platforms. The soundtrack
is done very well and it handles decently the looks
of the major drawback for this veteran of the computer version.
This is hilarious to me also because Sushi X, like,
you know, they like have the art for all of
these guys, and they've had for a various points different
character art for Sushi X, and he's always spoken about
(45:03):
in the letters and in editorial as this mysterious Dingja character.
But this is easily the least personality driven or grabby
writing of these four capsule reviews. This is probably the
wordiest like however, the graphics are very pixelated and it
is quite hard to see and interact with enemies from
(45:25):
a distance. You know, this is not like wah, Sushi X,
like radical reviewer. You know, this is just like another guy, right,
another reviewer.
Speaker 1 (45:34):
And that's really what Sushi X was. It was just
whoever they could get. So like Sushi X is the
fourth reviewer on all of these, but it's probably like
three or four different people in hindsight, like that's sort
of the role Sushi X played, and so you do
kind of get that more generic writing. I think, yeah.
Speaker 2 (45:48):
I actually I remember when we were doing early research.
I googled and the like the Google search for did
they ever reveal who Sushi X was? And like that
search itself has so many like forum and Reddit threads
and you know, articles and various claims. Again, we could
probably do an episode or a big chunk of an
episode on Sushi X specifically, but we'll try to.
Speaker 1 (46:09):
Hunt down Sushi X. We'll bring some of the x
EGM crew on to reveal the secrets of Sushi X
for sure. Let's wrap this up. Yes, each review in
EGM sort of summarizes things with a quote unquote best
feature and worst feature. The best feature for Doom on
super anis is quote unquote everything kept in. Worst feature
(46:35):
choppy scrolling. I'd say that's pretty fair. Like performance takes
a big hit on super As, but it is genuinely
impressive that they managed to fit like a full fledged
version of Doom on a sixteen bit console, right like
Sega needed the thirty two X for Doom. Even the
PlayStation version of Doom is not a like perfect version. No,
So I think you know, those are probably fairly fairly close.
(46:57):
I do like the idea that like quote unquote choppy
scrolling as a stand in for like what we think
of as like frame rate and frame pacing. We have
all these technical terms for it now, but like people
did talk about stuff like frame rate back then, we
just didn't have the language for it. Time to complete
for Doom is medium, whatever that means.
Speaker 2 (47:14):
If you heard me laugh a second ago, that's what
that was. I saw the time to complete medium. I
was like, okay, okay.
Speaker 1 (47:22):
Let's see other games that have medium time to complete.
In this issue, Weapon Lord for the Genesis, The Ooze,
also for the Genesis, Mega Man seven for the Super As. Uh,
let's see Batman and Robin on the Sega CD got long.
So did wild Woody on the Sega CD. Also long.
(47:43):
So wild Woody is a platformer where you play as
a pencil.
Speaker 2 (47:48):
Oh it's very low apparently, Okay.
Speaker 1 (47:50):
Yeah, yeah, I don't know. They also suggest that if
you like Doom or you want something similar, you try
Wolfenstein three D, which also has a subpar any sport
with all the Nazi iconography removed, which makes it less.
Speaker 2 (48:07):
Fun Boy, the Ooze here four, and a half, three
and a half, three, four and a half again on
a ten scale. I didn't see a lot of scores
that low then or.
Speaker 1 (48:16):
Now, hey man, using the full like the full scale right,
rather than just defaulting to seven and above. I think
as you look through a lot of these other reviews,
you see, like you know, the the reviews generally end
up being fairly consistent. Like you don't get a huge spread.
The biggest spread that I'm finding here is like an
(48:38):
eight to a five for that Batman and Robin on
the Sega CD. Yeah, seven to four. That's a three
point gap. But again it goes back to the idea
that like, you know, you've gathered together opinions and people
writing about them from specific subjective perspectives, and that helps
you understand what they like and what you might like.
What do you think did they get doom for the
(48:59):
super Did these reviews like nail it for you? Or
are they? Are they doomed?
Speaker 2 (49:05):
Yeah? No, I mean I think the good reviews. My
big problem, and again this is part of the format,
is like there's only so in depth you can go.
I don't know to what extent they read at each
other's reviews and try to touch on different things, because
again they all basically say the graphics are really rough,
the animation is really rough. It's it's tough to make
things out. The sound is incredible, you know, and again
(49:28):
with with so few words, there's only so much you
can say. You know, each of them do have one
or two things they said that are unique. But yeah,
I think they just about got it right. I don't
think anybody thought Doom for Supernets was like hidden classic
or like like a hidden gem, or nobody thought that
there's so many better versions. I'm I'm fascinated that Limited
(49:52):
Run went to pluck this one out of the dust
bin and give it this polish up. But it's yeah,
I think that there you right about on.
Speaker 1 (50:01):
Yeah. I think like the notable thing for me is that,
like it does feel like they have a bit of
a checklist, like I want to mention graphics, I want
to as some sound, I want to mention controls, I want
to mention you know, like uh, playability or whatever, and
each of them sort of hits on that same template,
maybe in a different order. They all seem to have
very consistent you know, bluses and minuses. I think Doom
(50:22):
is probably a five point zero out of ten version
of Doom. Right, Like, it's not that I would say
the super As version is playable and enjoyable. It's not
completely busted and broken, but it is you know, just
not you know, not an excellent version. And I'm really
excited to see what Limited Run does. One thing I
want to go back at that I just realized as
(50:43):
I'm reading through this again. They also categorize all of
their you know, review all of the games. So Mega
Man seven is its category is action weapon, Lord is
fighting Batman, and Robin is driving. Doom's category is carnage.
Oh nice, pretty hard guys. Yeah nice. So how many thumbs.
Speaker 2 (51:07):
Up are you given thumbs to Doom review?
Speaker 1 (51:10):
Yep, how many thumbs up?
Speaker 2 (51:11):
Yeah, you know what, I'll give seven out of ten
thumbs up. I think on this one, like I said
the review crew, I like it, but there's not as
much of a spread in score, and there's not a
ton of variety in the reviews themselves, because again it's
like the graphics were stand out bad, the music was
stand out good, and it was a many time there's
(51:34):
the thing that everyone was familiar with at this point.
So yeah, seven point zero.
Speaker 1 (51:38):
Yeah, I think seven seven thumbs up out of ten
is pretty good. Like you say, the standardization, you know,
it tells me that they probably didn't dive too deep
into this version of Doom, and specifically, like every single
opinion that they're write about you could form by playing
through the first level. You know, you play through the
first level, you're like, oh, yeah, control is okay. I
couldn't really see the imp up on the raised platform.
(51:59):
I would hard right. Somebody did mention invisible enemies, which
don't show up for a couple of levels, but for
the most part, you could play it for ten minutes
and be like, okay, here, here, here, here, and that's
what made it in So I do think, you know,
there's probably a little bit of a little bit of
a limitation on their time with the game, but I
think they also knew what they needed to know about Doom,
(52:20):
and that's okay when you're reviewing thirteen other games that month.
Speaker 2 (52:23):
Yeah, one hundred percent, that's probably why they got this done.
And Sushi X did close his review with the looks
are the major dropback for this veteran of the computer version,
and it's like, yeah, if you have played this to
death on computer. You're you're just gonna know so much
about it and you're just constantly going to be comparing it,
you know. But if you're a kid only at a
Super Nintendo, no PlayStation, no PC, this was the only
(52:46):
way you're gonna play Doom, and you're probably gonna like
it a lot more in a five point or five
and a half, And don't I don't know how you
square that circle or if it's even fair to expect
a reviewer at this time to not compare it to
the versions that were available.
Speaker 1 (53:00):
Yeah, I'm surprised that none of them touched on the
lack of multiplayer, like that was such a big oh yeah,
the Doom experience, Like it was the first game that
I was like able to play multiplayer over the internet
or locally and do deathmatch and that was just such
a game changer. And Doom without deathmatch at this time,
you know, that was a big chunk of the game
(53:20):
that didn't exist in that version.
Speaker 2 (53:23):
Yeah, and actual land parties, which me and my friends
eventually did graduate to having, thank you, But there are
sort of proto land parties with duel like cabled PlayStations,
you know, three four pairs of TVs like that itself
was a blast instead of tournaments of that and you know,
setting TVs back to back, no all it was. It
was very very cool and you could.
Speaker 1 (53:44):
Not not having to play on the corner of a screen. Yeah,
and being able to like camp and watch what your
friends are doing and stuff like it really did change that.
In person dynamic land parties are such a like lost yes,
lost experience that I hope that someday we find our
way back to like altiplayer gaming in person one hundred percent.
But anyway, Doom one super As did not have that.
(54:05):
It was a single player game only. But Doom is
also one of the best single player games of all time.
So if you're playing it on the super As, if
you're playing on the PlayStation, you're playing on a kitted
out modern uh PC with ray tracing mods and everything else,
Doom is always good. Except maybe on a pregnancy test.
Speaker 2 (54:23):
Yeah no, refrigerator door, sure, pregnancy test not so much.
Speaker 1 (54:28):
No.
Speaker 2 (54:28):
And that's our review of EGM's review of Doom. Did
we get it right? Leave a review a review at
Apple Podcast, post it as a comment on YouTube, and
we will read the best ones on air, and hey,
go ahead, pass the show around to all your friends
like it's third grade and we're on the playground. Shout
us out on Blue Sky YouTube and TikTok at fun
Factor Pod. But unlike all these old magazines, you won't
(54:50):
have to wait a whole month for your next installment.
We're dropping you episodes every two weeks. So go to
fun factor pod dot com follow our show on you're
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It's the big button in the top right at fun
(55:11):
factor pod dot com. If you do, you and we
will have a maximum score in the fun Factory.
Speaker 1 (55:27):
So, last episode you passed on the review of Doom's
PlayStation port. Yes for white men can't jump? Yes I did,
I did. I just can't let that slide Doom, Doom.
I just can't let that slide tie. Let me try
that again. I just can't let that slide tie. So
this time around, I'm going to dedicate the sect. So
(55:50):
this time around, I'm gonna dedicate this segment to Todd Pargosh.
As we take it, he is he's the one that
wrote about Doom being too violent for the super nin Ghato. Okay,
I'm going to dedicate this segment to uh, you know what,
I'll take that out because I had a big section
about that letter. Sorry, let me just start this whole
section over again. Okay, So, last episode you passed on
(56:14):
the review of Doom's PlayStation port for White Man Can't Jump. Yes,
I did, and I just cannot let that slide tie
one of my favorite twenty Just a couple of pages
in there's a two pager for Chrono Trigger. It starts
out with like big black letters. Wait, okay, just a
(56:37):
couple of pages in. There's a two pager for Chrono
Trigger that starts with like big red letters. Okay, wait,
I have black and red in my script. I need
to figure out what it actually is.
Speaker 2 (56:47):
It's red.
Speaker 1 (56:48):
Okay, here we go, got it, black letter black on red. Okay.
A Dragon ball Z character appeared in a Michael Jackson
music video.
Speaker 2 (56:56):
Now they put in here. Oh yeah, never mind, I'm
a just have missed this at the time.
Speaker 1 (57:02):
Oh you miss reallyh man. Okay, we're gonna do some
mid episode googling. Uh, let's see, there was Okay, what
(57:27):
was he? There was a video we can obviously cut
all of this. I can't believe you miss this. We
could just cut this joke then because I'm not finding it.
There was a video where he like screams at the beginning.
There's like a dragon ball Z like clip of like
vegeta screaming or something.
Speaker 2 (57:43):
Oh weird.
Speaker 1 (57:44):
Okay, yeah, I can't believe you missed that. Yeah, huh,
apparently a curetory. I don't know that's Twitter. Okay, anyway,
let's cut that one, sure, because I can't find these
stuff and I'm amazed that you.
Speaker 2 (58:06):
Me too?
Speaker 1 (58:06):
Is that okay? So yeah, just go into the next
little joke there, sure, and then yeah, I give that
episode ten dooms out of ten. That's good stuff.