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Washington Square news | THURSDAY, SEPTEMBER 22, 2011 | nyunews.com
Washington Square News Editor-in-Chief JAYWON ERIC CHOE Managing Editor
FROM R O T I D E E H T When I was 10 years old, my favorite band in the world was N’Sync. To me, “No Strings Attached” was the perfect album, a slab of pop-y fun that I as a hyperactive child could relate too. “It’s Gonna Be Me” and “Bye, Bye, Bye” both sounded tough, but not in a way that scared my 10-year-old ears away. “Space Cowboy” (hilariously subtitled “Yippie-Yi-Ya”) always got me excited, and I could never figure out why I didn’t hear it on the radio more often. These were guys who sounded like stars. I recently found a copy of “No Strings Attached” in a Mr. Cheapo’s bargain bin on Long Island. Listening to it today, it’s surprising to hear how much this boy band sounded like they were trying to be a star group but never actually managed to sound like stars. The beats somehow sound both overblown and cheap, as if the producer just hit a couple loud synth chords and called it a day. The lyrical content is absurd. “Bye, Bye, Bye” may be the most insincere kiss-off song ever, with lyrics like, “I live for you and me” juxtaposed with vague threats like, “So give me one more reason.” It’s whiny, impotent and aggressive. And “Space Cowboy” is still hilarious to me, but I don’t think in the way N’Sync intended. It turns out that this millennium has got “everybody talkin’ ’bout Jerusalem,” wondering “if this is the beginning or the beginning of the end.” But it’s okay, because N’Sync had other thoughts: They want to make love to you in space. It’s one of the few songs out there that ties the Y2K panic to sex.
KELSEY DESIDERIO Deputy Managing Editor
RUSSELL STEINBERG Assistant Managing Editor
KIRSTEN CHANG Creative Director
FRANCIS POON senior staff
university JAEWON KANG city/state AMY ZHANG arts CHARLES MAHONEY features AMANDA RANDONE sports JAMES LANNING multimedia LAUREN STRAUSSER enterprise ARIELLE MILKMAN production TERKA CICELOVA brownstone JAKE FLANAGIN copy jack brooks senior editors elizabeth gyori,
amanda shih
deputy staff
university gentry brown, julie
devito, susannaH griffee city/state hanqing chen, brian
tam, emily yang music parker bruce film/books stefan Melnyk theater ERIC SHETHAR features EMILY MCDERMOTT dining SARAH KAMENETZ fashion CARRIE COUROGEN sports SANCHAY JAIN production MERYLL PREPOSI multimedia DAVID LIN
opinion page
opinion editor JOHN SURICO deputy opinion editors ATTICUS
BRIGHAM, MARIA MICHALOS
advertising business manager
REBECCA RIBEIRO sales manager
Needless to say, it wasn’t what I remembered. But then I heard the CD again, and I noticed something else. Everything that I wanted from a pop star was there in some way. The music is sugary and energetic. The singing is fast paced and fun. There is something audacious in the blatantly stupid lyrical content, as if N’Sync didn’t really care what they were saying as long as they were having fun.
Stefanie Yotka circulation manager
MEagan Driver
Advertising coordinator
Emily Chen
university sales coordinator
Emilia Mironovici sales representatives
“No Strings Attached” is an irredeemably bad album, but it has so informed the way I think of pop music that I can never really step away from it. When I hear Justin Timberlake demand that “It’s gonna be me,” I don’t just remember the emotions I felt in the past — I see the emotions I feel now put into perspective. I see their roots and growth rate. This is what nostalgia is; it is our past irrevocably tied to our present. It is the clarity of seeing how we are today. In this year’s Arts Issue, we asked our writers to think of our generations past and how it has helped shape the way we look at the present. Have we been held back by the past? Or has it perhaps informed us and prepared us for the struggles we face today? — Charles Mahoney, Arts Editor
Kaitlyn O’Brien, MICHAEL RYAN, Melissa Ynegas
advising editorial adviser
keith leighty EDITOR-AT-LARGE
KATIE THOMPSON About WSN: Washington Square News (ISSN 15499389) is the student newspaper of New York University. WSN is published Monday through Thursday during NYU’s academic year, except for university holidays, vacations and exam periods. Corrections: WSN is committed to accurate reporting. When we make errors, we do our best to correct them as quickly as possible. If you believe we have erred, contact managing editor Kelsey Desiderio at managing@nyunews. com or at 212.998.4302.
nyunews.com Photo Credits:
Film: p. 3: Muppets: Disney Studios; Eve: IMDB; Soloist: IMDB; p.4: Cars: Disney Studios; Paris: Sony Classics; Super8: Paramount Pictures; Help: thehelpmovie.com; Tree: Fox Searlight Pictures; Drive: FilmDistrict TV: p.6: Arnold: Nickelodeon; All That: Nickelodeon; p.7: World: Lions Gate Home Entertainment; Amanda: Nickelodeon Video Games: p.9: Metroid: Nintendo; Chrono: Square Enix; p.10: Zelda: Nintendo
nyunews.com | THURSDAY, SEPTEMBER 22, 2011 | Washington Square news
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No movie is an island. Everyone
in the movie industry, from screenwriters to studio executives, is constantly being inspired and influenced by the movies around them. But often, we mistake a current fad for a trend; we see a genre emerge but neglect to mention when it fades from popularity. When analyzing the trends of three very different types of movies — sequels, prestige pictures and romantic comedies — figuring out where these trends came from and where they are going is crucial. In every case, a look to the past is the key to the present.
FILMS
ROMANTIC COMEDIES SEQUELS At the beginning of this year, someone discovered that 2011 was scheduled to host a record 27 sequels. Immediately the Internet was filled with film lovers throwing up their arms in despair at the creative bankruptcy of the modern film industry. But before we sink too deeply into despondency, we must remember Mark Twain’s dictum that there are three kinds of fibs — “lies, damned lies and statistics.” Once you get over the shock of the raw number 27 and start looking at specific titles on the list, you begin to condemn less and think more. The upcoming sequel “The Muppets” is Jason Segel’s passion project, no matter who’s putting up the money for its production. Even sequels that failed with the critics and at the box office were often pet projects for respected artists; “Cars 2,” contrary to popular belief, was a pet project for Pixar founder and avid NASCAR aficionado, John Lasseter. There can be no doubt that Walt Disney Pictures greenlighted the project because they knew there was plenty to be made from merchandising, but we must separate these disparate motivations. One man’s cash-in is another man’s dream. Perspective is essential. Many say that foreign films are better than domestic ones, but they forget that only the best films from those countries get distribution stateside. If European audiences only ever saw the best two or three American films each year, they would probably hail Hollywood as a filmmaking Eden. Similarly, only the best films of the past are remembered. As much as film fans adore the ’70s and say it was a golden age for film-making, let us not forget that a year like 1978 brought us such deathless classics as “Jaws 2,” “Damien: Omen II” and “The Bad News Bears Go To Japan.” Thirty years from now, “Alvin and the Chipmunks: Chipwrecked” will be little more than a bad memory, a matter between us and our shrinks. The legacy of our age will be films like “There Will Be Blood,” “The Dark Knight,” “Eternal Sunshine of the Spotless Mind,” “No Country For Old Men” and “Up.” And our children will be wondering why Hollywood isn’t making movies like those anymore. — Stefan Melnyk
PRESTIGE PICTURES
Years ago, Audrey Hepburn received Oscar nominations for three romantic comedies: “Roman Holiday,” “Sabrina” and “Breakfast at Tiffany’s.” If that proved anything, it’s that romantic comedies don’t need to be awful. However, most modern romantic comedies fall somewhere between “mediocre” and “horrific.” Why? To understand this, take the position of studios. Instead of Audrey Hepburn, we’ve got Katherine Hiegl. Just put her alongside Ashton Kutcher and film them yelling at each other for two hours and then watch them kiss and make up. It’s a well-worn, risk-free story that consistently rakes in a profit. And actors and actresses of all genders, from Cameron Diaz to Gerard Butler, seem to fall into the same trap. The end result is a movie that only pretends to be about love. In truth, its heart is made of nothing but dollar signs. And yet, audiences go and see them nonetheless. It’s not hard to see why. Romantic comedies are easy; they never require you to think, and they bring you into a world of smiles and sunshine. Sure, characters may have their problems, but they’re guaranteed a happy ending. Romantic comedies expect you to leave your fears and anguishes at the door, and take pleasure in knowing that despite any problems these characters have, they’ll make it out okay. And really, who wants to watch “Sophie’s Choice” after a long day of work? Romantic comedies may not be going anywhere, but I do have hope that their quality is beginning to improve. “Friends With Benefits” managed to create two likeable and self-aware characters that refused to fall into the standard traps of romantic comedies. “Crazy, Stupid, Love” featured a cast of genuinely real characters who made mistakes and tried to better themselves. And both of these movies were successful at the box office. Maybe as society grows more outspoken and critical, studios will start to add a little more depth to the rom-com formula. They can keep their smiles, sunshine and happy endings and still create well-written and interesting characters. Today’s romantic comedies are stereotyped as “dumb,” and even if many of them are, they don’t have to be that way. We are more than capable of making films that are reminiscent of the Audrey Hepburn days. Still, with “New Year’s Eve” coming out in a few months — featuring the on-screen reunion of Katherine Hiegl and Ashton Kutcher — we might still have a long way to go.
To those in the film industry, the changing seasons can only mean one thing — the season of fall prestige is upon us. This is the period between September and December when studios begin releasing movies aimed at grabbing that coveted Oscar statuette. Most Oscar-bait movies rely on a combination of reliable elements to ensure a nomination. For starters, they are usually helmed by a highly esteemed director or headlined by a cast of Hollywood heavyweights. When it comes to the plots, they can always be boiled down to heart-warming tales, powerful biopics or intense dramas. They also tend to run in the later months of the year with the hopes of being fresher in the minds of Academy voters. Details may vary in setting, cast and genre, but these few factors are constant. Take, for example, 2009’s “The Soloist.” Featuring Oscarnominated actors Robert Downey Jr. and Jamie Foxx, this movie tells the true story of the journey and relationship shared by LA Times journalist Steve Lopez and the musically gifted yet mentally ill Nathaniel Ayers. After discovering the homeless Ayers playing his cello on the street, Lopez chronicles their time together in his column. Celebrated actors? Yes. Inspirational tearjerker? Yes. Academy Award nomination? No. The movie’s story line was not fully thought-out and did not pause to delve into the details of Ayers’ mental illness. Without a clear message and by depending only on cheap appeals to sympathy, “The Soloist” was left out of 2010’s Oscar race. On the other hand, 2006’s “Dreamgirls” had all the trappings of a mere Oscar-bait movie but managed to present itself in a way that was worthy of its nominations. Released on Christmas Day and starring Beyoncé Knowles, Eddie Murphy and Jamie Foxx, “Dreamgirls” was a biopic with the added advantage of musical numbers. Its standout star was vocal powerhouse Jennifer Hudson, who played betrayed singer Effie White and who delivered the chill-inducing “And I Am Telling You,” which all but wrote her name into the golden envelope for her award. Rather than relying on its big-name stars and Broadway origins, “Dreamgirls” got its power from its dialogue, supporting actors and attention to detail, exemplified by its spectacular costumes and set designs. The difference between Oscar-bait movies and Oscarworthy films is often difficult to distinguish. Both employ a mix of talented actors, captivating stories and beautiful cinematography, but past winners have demonstrated that it takes just a little more care, as well as a certain “je ne sais quoi,” to make it to the final round.
— JEREMY M. GROSSMAN
— Alexandria Ethridge
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Washington Square news | THURSDAY, SEPTEMBER 22, 2011 | nyunews.com
The fall is best known to movie-goers as “Oscar Season.” Big studios take a step away from the loud
pandering of summer blockbusters and move to the quieter, muted pandering of prestige pictures. However, it seems as though some studios and directors have started preparing for the Academy Awards early this year. With a whole glut of premiere movies crowding theaters, it’s time to take a moment and sift through the pile. Can any of these early Oscar hopefuls make it to the red carpet this year?
“Cars 2” This unfortunate sequel to Pixar’s mediocre 2006 feature “Cars” will not be able to keep up the momentum of Pixar’s Oscar success. Don’t expect another Best Picture nod. Instead expect it to be trounced in Best Animation by the superior, heartwarming “Winnie The Pooh.” — Jonathon Dornbush
“Midnight in Paris” Critics and audiences alike loved Woody Allen’s charming time travel fantasy “Midnight In Paris,” but it’s unlikely to get more than a Best Picture or Screenplay nod. Late-era Woody Allen productions, no matter the quality, can hardly expect more. — Stefan Melnyk
“Super 8” With “Super 8,” J.J. Abrams effectively captures a Spielberg-esque sense of wonder. But the film suffers by comparison with the actual thing. Oscar prospects are dim for this charming but ultimately unmemorable pastiche. — Chris McEwen
“The Help” The film tackles the themes of race and society in 1960s Mississippi and owes its chances at Oscar victory to Viola Davis and Octavia Spencer. Their heartbreaking performances as black maids risking everything to be heard could mean Best Supporting Actress nominations. — Brittany Mania
“The Tree of Life” Terrence Malick’s masterpiece is a gorgeous meditation on innocence and religion. Its Oscar chances are limited by its nebulousness, but a Best Visual Effects nomination is definitely in order. — Alex Greenberger
“Drive” An immaculate film of sheer thrill and emotion, “Drive” is an irresistibly solid work featuring an equable and frighteningly alluring performance by Ryan Gosling that deserves attention come Oscar time. — Erin Faigh
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nyunews.com | THURSDAY, SEPTEMBER 22, 2011 | Washington Square news
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C I S MU Fall Playlist
It’s always hard to come back to school.
We understand. So to help ease the pain of papers and studying, here are a few great tunes that will help you get back into the fall months.
1 | “Don’t Smoke” by Mount Eerie Consider this the next time you light up a cigarette in front of your freshman dorm. — Thomas Collins 2 | “Piledriver Waltz” by Alex Turner The ephemeral quality of the song and the way Turner plays with time always calls to mind the transition from summer to fall. — Patrick Caddick 3 | “Fall Creek Boy’s Choir” by Bon Iver & James Blake This incredible collaboration feels rough yet still mellow, expansive yet isolated. It’s perfect for that quiet, contemplative autumn morning. — Daniel Fuchs 4 | “Temptation Greets You Like Your Naughty Friend” by Arctic Monkeys (feat. Dizzee Rascal) This song is sure to pick up your spirits during the dull and dreary days of autumn with its seductive melody, killer drums and entrancing vocals provided by the always-alluring Alex Turner. — Alexandria Ethridge
5 | “Katy On A Mission” by Katy B Katy B’s distinct feminine vocals provide the perfect complement to this bass-heavy techno track. — Jason Hang
6 | “Back To School” by Cheap Time This song makes the thought of impending homework just a little less daunting with its punk take on this bittersweet time of year. — Gabi Jensen 7 | “Glazin’” by Jacuzzi Boys Summer’s vibe is eternal with the radly titled song
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from Jacuzzi Boys’ new album. “I’m glazin’,” are you? — Gabi Jensen 8 | “Junk of the Heart” by The Kooks This song is the epitome of a feel-good song for a mellow autumn day filled with reading and watching the leaves adorn the New York City ground in Washington Square Park. — Erin Kim 9 | “Life of the Party” by The Weeknd This sensual beat lures us into a world most people wouldn’t dare to pass up: the life of the rich and famous. And hey, who doesn’t want to be the life of the party? — Alaina Berry 10 | “Gangsta” by tUnE-YarDs Refreshingly unpredictable and dangerously catchy with its pounding drumline and unreserved vocals, this song will make you feel like strutting down the streets of New York. — Monica Skoko 11 | “Blister in the Sun” (Violent Femmes cover) by Indigo Girls Summer has just about been replaced by fall, so listen to this catchy cover of Violent Femmes’ “Blister in the Sun” by Indigo Girls to get back in that carefree summer mood again. — Mackenzie Taylor 12 | “You” by TV On The Radio Honest, yearning and soulful — this is a ballad done right. — Natalie Hawley 13 | “Video Games” by Lana del Rey Lana del Rey is a pouty-mouthed singer-songwriter showing her sexy orchestral pop style, which she describes as “gangsta Nancy Sinatra.” — Veronica Wyman 14 | “Blue Monday” by New Order Yes, you have class at 8 a.m. on Monday, but New Order’s seven-minute tune will wake you up and get you there with a corroboration of pinching drums that induce a lilting gait in the listener. — Parker Bruce 15 | “First Day of My Life” by Bright Eyes It’s the song that keeps you grounded, that reminds you why you came to New York. The acoustics on the track add warmth to the everyday rush; the intonation on “happy” halfway through just makes everything feel worth it. — Maximilíano Durón
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Washington Square news | THURSDAY, SEPTEMBER 22, 2011 | nyunews.com
This past summer, Nickelodeon
began replaying its old ’90s television block in a bid to regain their old viewers. It worked. “Nick’s New Nineties Nostalgia Block” was a smash hit, so much so that Nickelodeon is considering making an entire channel devoted to nostalgia. But while nostalgia may be fun to indulge in, it’s never easy.
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TV Hey, How is Arnold?
It was like “Saturday Night Live” for the elementary school set. “All That” ran for 10 seasons from 1994 to 2006, including a brief time off-air between 2000 and 2002, enchanting thousands of kids during its time on Nickelodeon. Looking back now, it is obvious that “All That” was a launch pad for teen stars the same way “SNL” is a launch pad for older comedians. It spun off shows such as “The Amanda Show” and “Kenan and Kel.” It kicked off the careers of Amanda Bynes, Nick Cannon and Kenan Thompson (now a regular on “SNL”). More than 10 years since “All That” premiered, the show has become a target for the new wave of ’90s nostalgia. But if the show were to premiere today, would it hold up against the onslaught of new kids’ shows? Or, are the now grownup fans of the show merely looking back through nostalgia-tinted glasses? “All That” was great not because of its particularly highbrow comedy or its educational value. In fact, it was great for the opposite reasons. The show appealed to the dirty, stupid, fart-joke-loving kid everyone was back then. But that
doesn’t mean the show did not include intellectual jokes. Often, cast members impersonated important figures of the time, from Bill Clinton to Bill Cosby, and there were parodies of shows like “Star Trek” and “I Love Lucy.” “All That” took adult-oriented popular culture and made it accessible to preteens. Even at its lowest comedic points, the show succeeded in the one aspect that mattered most: It made kids laugh. Compared to kids’ television today, which is usually either a suspiciously trippy cartoon or a sitcom filled with pretty teenagers, “All That” covered a wide spectrum of interests. It appealed to young children the same way “SNL” appeals to adults. There was a perfect mix between high and lowbrow comedy, which drew in viewers of all kinds. Whether “All That” is just another example of young 20-somethings looking back fondly on their childhoods through glazed eyes is up to the viewer to decide. But it is undeniable that the show was quality television, and that it had a lasting impact on shows of its kind. — Carrie Lowe
The dissonance between how we remember the past and how the past really was can be both jarring and enlightening. When looking back at your favorite shows, ask yourself this: Do your memories mesh with your reality?
One of Nickelodeon’s more unique premises for a character began with the titular football-headed fourth grader of “Hey Arnold!” Living in a boarding house with his pseudo-senile grandparents, Arnold resided in a world that included a demolitions expert with a Napoleon complex, a Vietnamese immigrant working at a Mexican restaurant, a mixed-raced couple that could never agree on anything and the mysterious and never-seen Mr. Smith. It’s often easy to reduce nostalgic shows into just a few memorable episodes. With “Hey Arnold!,” however, memories flood back of the diverse cast of characters, and it’s the show’s surprising level of intelligence and pathos. Although “Hey Arnold!” seems to be comprised only of stock characters, the truth is a lot more complex. Over time, the show made an effort to allow viewers an entry point into these characters’ lives, and the characters grew over time. There is a clear, conscious effort to portray these characters and their flaws through the central conflicts, a rare effort from a network that targeted
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young audiences. Helga Pataki is broadly remembered as a bully in Arnold’s presence who is actually in love with him. In the episode “Helga on the Couch,” we see a surprisingly dramatic turn as Helga starts visiting a child psychologist. Through her sessions, she vents about her negligent parents who display clear favoritism toward her overachieving, perfect sister, thus explaining some of her hostile tendencies. Yet the true value of the show comes from Arnold. Whether it’s helping Mr. Hyunh, who had to give up his baby daughter during the Vietnam War, or the Pigeon man coming to accept his childhood isolation, our protagonist is there primarily to help others come to grips with their problems. Arnold epitomizes altruism in the most genuine way through his compassion and level-headed nature. He’s just old enough to understand people’s real needs and young enough to be morally rational. And as we all remember Gerald telling him, he’s a “bold, bold kid.” — Hannah Borenstein
Is This All That?
nyunews.com | THURSDAY, SEPTEMBER 22, 2011 | Washington Square news
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Boy Re-Meets World
Among the legions of ’90s after-school special dramedies, few sitcoms have stood the test of time as well as ABC’s “Boy Meets World.” Without the heavy religious message of “7th Heaven” or the alarming drama of “Degrassi,” this seven-season series enjoyed the freedom to entertain and provide serious moral lessons. “World” functioned as a coming-of-age story for Cory Matthews (Ben Savage), a wholesome, average kid from Philadelphia who attempted to maneuver his way through middle school, high school and college. Episodes often revolved around Cory’s struggles to reign in the debauchery of his best friend, Shawn Hunter (Rider Strong), or to pursue and maintain his relationship with eccentric and brainy girlfriend Topanga Lawrence (Danielle Fishel). Cory’s world also frequently included his older brother, Eric (Will Friedle), the resident jester and pretty boy, and younger sister, Morgan. The older Matthews generation, Alan and Amy, while not exactly “the cool parents,” played
key roles as support to their kids whenever needed. George Feeny, Cory’s teacher and next-door neighbor, rounded out the cast, serving as a voice of wisdom and a mentor to the whole cast. Unlike many shows of its genre, “Boy Meets World” felt realistic and sincere. Viewers believed in Cory and Shawn’s friendship, Amy and Alan’s marriage and Feeny’s grudging affection for his students. Because of this authentic setup, dramatic situations, such as Shawn’s brief alcohol problem, did not come across as artificial. The unrealistic story lines, such as time travel back to World War II, ribbed audiences good-naturedly, amusing them in the show’s attempt to teach a lesson. On occasion, as if to thank viewers for their patience and benevolence, the show even poked fun at itself, evidenced by Eric’s brief stint as an actor on “Kid Gets Acquainted With Universe.” How does “Boy Meets World” hold up in the 2011 TV landscape? For the most part, well. Yes, there is a bit of ’90s cheese, and the comedy is quite tame by today’s TV and film standards. Nevertheless, the show boasted a talented cast, funny writers and an integrity that’s rarely found in modern television. Though perhaps not as classic as a John Hughes movie, “Boy Meets World” is definitely a coming-ofage show for the ages. — Clio McConnell
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If the success of ’90s Nickelodeon cartoon shows could be judged based on how catchy their theme songs were, “The Amanda Show” might be the most successful of the bunch. The show launched Amanda Bynes’ career into tween superstardom. Even after all these years and many poorly received releases, Bynes is still able to snag supporting roles in movies like “Easy A.” Even before the show was off the air, we didn’t necessarily think about the people who played the charac-
Bring Out the Dancing Lobsters!
ters. The show was based on the people themselves and the situations they found themselves in. The sketch “Moody’s Point” is a perfect example of this. Viewers remember Moody, who had a father with no toe and a mother lost in a hot air balloon. This over-the–top parody of another Nickelodeon show, “Caitlin’s Way,” had a story line that progressed throughout the run of “The Amanda Show.” The most classic of sketches was “Judge Trudy,” a thinly veiled “Judge Judy” parody. The tiny judge took the cases of children who had grievances against adults for giving them detention or grounding them. Bynes would then invariably sentence the adult to a ridiculous punishment and would proceed to call out the dancing lobsters to come dance with her. In many ways, “The Amanda Show” was an adolescent version of “Saturday Night Live.” Bynes almost always
played the lead part, which corresponds to “SNL’s” format of giving the significant parts to that week’s host. Bynes included an opening monologue in every show, much like “SNL’s” tradition of the hosts giving their own opening monologues. “The Amanda Show” also combined elements from “SNL’s” early run, like the show’s dancing lobsters acting as counterparts to the “SNL” players dressing up as bumblebees for no reason at all. If one takes a look back on the show now, the appeals to a young adult audience are clear. In her opening monologues, Bynes always appeared to be the girl next door, and in the sketches, she was unabashed in her attempts to do anything for a laugh. So while we chuckled away at the situations Bynes got herself into, and remember them fondly, what we see now is the framework of the show we saw back then. We see the appeals, the hooks, the blueprint. The show stands the test of time because it contains a capsulated version of our younger selves. More Amanda? Yes, please. — Bethany McHugh
nyunews.com | THURSDAY, SEPTEMBER 22, 2011 | Washington Square news
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Technically speaking,
the Super Nintendo Entertainment System was first released when most NYU students were busy being born. And while we may not remember this great system, the changes it
VIDEO GAMES
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pioneered still influence the gaming world today. Every genre of game, from role-playing to first-person shooters, would look different had the SNES never come to be. Our writers took a look at this historic console, and tried to trace the line from innovation in the past to creativity in the present.
“Super Metroid”: Gadgets and Gradually Expanding Worlds Released: APRIL 18, 1994
Critical Acclaim
“Super Metroid” is often considered the best of the “Metroid” series because it established the traits that made the franchise great. While it may feel like a given for most games today, the inventory system introduced by “Super Metroid” allowed gamers to enable and disable weapons to suit the given situation. This system is prized for granting protagonist Samus Aran the ability to combine power-ups to defeat certain enemy types and unlock specific doors. Despite being a 2D side-scroller, “Super Metroid” was considered great for the sense of isolation that engrossed players, creating an atmosphere on an alien world that a number of games have attempted to recreate over the years. Most importantly, the game made popular the idea of an open world that is gradually made accessible to the player through the collection of new power-ups and weapons. Known today as “Metroidvania” (due also to the innovations of “Castlevania,” the other game that started this trend), this design style is used heavily in both side-scrollers and 3D games.
Impact Today
“Super Metroid” has a system of upgrades and expanding world that’s been used on a number of occasions to great effect. Most surprisingly, however, is its application to one of the greatest comic book games of all time: “Batman: Arkham Asylum.” In the game, Batman must survive one evening trapped in Arkham with some of the most gruesome members of his rogue’s gallery. Parts of the institution open only as Batman acquires
new gadgets, permitting him to discover new sections and secrets of Arkham, just as Samus does during her travels on the planet Thebes. This style of game play has also influenced the downloadable space, as the Metroidvania style was adopted in one of the best Xbox Live titles, “Shadow Complex.” The game’s protagonist, in his attempt to rescue his girlfriend, uncovers the mysteries of an underground sprawl by obtaining new weapons that allow him to traverse more of the complex’s vertical drops and spacious pathways. Whether in the largest retail releases of the year or unique and impressive titles for download, the effects of “Super Metroid” are apparent throughout the industry in some of its highest quality titles. — JONATHON DORNBUSH
The RPG Dream: “Chrono Trigger’s” Open-Ended Adventure Released: MARCH 11, 1995 critical acclaim
The role-playing game “Chrono Trigger,” was created by a team of Square developers nicknamed the “Dream Team.” These designers, the best in the field, set out to raise the benchmark for their peers. While the game did not change the world, it established the basis for how role-playing games are designed to feel more realistic.
This classic RPG expanded upon the turn based, menu styled combat of “Final Fantasy” by adding what they called an “Active Time Battle.” This allowed for individual members of a player’s party to fight at staggered times, rather than in sequence. Each character acts only when their individual timer permitted them, giving combat a more realistic flow. One of it’s even greater innovations was the creation of an intensely vivid world that players actually cared about. With a unique treatment of characters and story, the game showed that video games could craft stories as great as books or movies. “Chrono Trigger” not only allowed players to focus on individual side character’s back-story through side quests but also made famous the concept of multiple endings. Rather than playing a fixed story, players have the choice of when to fight the
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Washington Square news | THURSDAY, SEPTEMBER 22, 2011 | nyunews.com
ing twice as many worlds. Instead of having Link inhabit one land, the game offered both a light and dark to adventure through. This dichotomy changed the fundamental play style of “Zelda” as environments would be altered in each world. This parallel world phenomenon also introduced a staple of the “Zelda” series — Link transformed into another creature in the Dark World. In this outing, for example, he became a little pink rabbit. The increased memory and power of the SNES allowed Nintendo to employ some behind-the-curtain magic in the game’s programming. This afforded them to build larger worlds, new features and graphics that were stunning for the time and continue to display a beautiful retro tone.
2 final boss and end the adventure. When the player ultimately completes the final mission, he or she will witness one of thirteen endings, providing a sense of choice.
impact TODAY
With time comes refinement and innovation. In lauded titles like “Mass Effect,” developer Bioware has picked up where Square left off. It has taken the concept of multiple endings, and expanded it to encompass the entire game. Now, choice affects the ending, as well as individual events and interactions throughout the story. For example, killing a particular alien could cause a chain reaction, denying players quests or even leading to the death of a team member. Concerning party members, “Mass Effect” took the idea of developing characters to another level. It offers gamers progressive conversations and relationships with certain characters over the course of the game. By far the greatest refinement, however, is their combat system. The game employs “Chrono Trigger’s” now oft-used “timers,” improving the system by making party members intelligent enough to conduct combat in unique, autonomous and dynamic patterns. Players can still maintain control by queuing up attacks through a menu system reminiscent of “Chrono Trigger.” For a game over 15 years old, this classic RPG’s DNA is still evident in some of the most acclaimed games of this generation. — KAI ZHENG
Impact Today
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Two Worlds: Zelda’s Link to the Past and Present
Released: NOVEMBER 21, 1991
Critical Acclaim
Critics praised “The Legend of Zelda: A Link to the Past” as innovative when it was released because of its distinct graphics and game play. Nintendo originally planned to develop “A Link to the Past” to be developed on the original NES, but switched production to the SNES due to its superior hardware. The game broke new ground thanks to the system’s expanded memory, allowing the developer to employ the innovative idea of creat-
While old innovations are all well and good, “A Link to the Past” is really important for how it continues to influence games today. Many of its game play basics are still in use, albeit modified to conform to modern 3D gaming. The existence of two worlds is a feature that has not only continued to propel the “Zelda” franchise but has also been adopted by a number of famous game series. In Link’s most recent console adventure “Twilight Princess,” the dark version of the Hyrule, had the green-clad hero transforming into a wolf, fundamentally changing the way the game plays. Games of almost every genre, from horror games like the “Silent Hill” series to action titles like “Darksiders,” have divided their world into two. While many attributes of “Zelda” games have become mainstays of the industry, the idea of creating a dichotomy within a single game has been one of its most important contributions to the modern gaming landscape. “A Link to the Past” is not only remembered fondly as one of the crowning jewels of this spectacular franchise, but for the groundwork it provided for so many of today’s major titles. — MATTHEW CHEN
nyunews.com | THURSDAY, SEPTEMBER 22, 2011 | Washington Square news
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