So, last night, Nintendo pulled the plug on its Miiverse social network. This means I just lost a convenient method to take screenshots of Wii U games. Not only that, I also lost the only method I had to take screenshots of the video feed on the Wii U Gamepad.* I hope the screenshots I’ve saved so far are enough to illustrate any future writing!
Of course, we could ask why players ever needed to connect to a social network to take screenshots of a game in the first place. (Certainly, the ever-reliable twelve seconds required to reach the Miiverse servers was never welcome.)
But, in honor of its passing, let’s cut the Miiverse some slack. The Wii U was, after all, the first console to launch with a built-in screenshot taking mechanism, catching up to Steam’s well-worn “F12” key. And it remained, up until last night, admirably responsive. Despite the network-induced downtime, you were still guaranteed to capture the exact frame up on the screen when your thumb hit the “home” button, with none of the guesswork-inducing delay of the PlayStation 4’s “share” function.
That’s not the only feature the Wii U sported that was demonstrably superior to those of its competitors. It gave the world the first web browser for a home console that didn’t completely suck. To this day, I still curse the Steam and PS4 browsers for not auto-filling your browser search bar with the game you have suspended, a cherished Wii U feature. And the notion that strategy tips posted on Miiverse would transform every game on the console into a pseudo Souls-like was intriguing, even if never got implemented beyond a few choice first-party titles like Super Mario 3D World.
Ah, and now I’m getting all misty-eyed. I missed a prime moment to post a retrospective on the Wii U console, back in March when the Switch launched. But the Miiverse’s death seems like a worthy milestone, so let’s commemorate.
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A couple years back, I wrote a dissertation on Heidegger and videogames. This was, from the outset, a contradictory endeavor. Heidegger would not have liked videogames.
Already in his lifetime, Heidegger did not like the cultural changes brought about by newly emerging digital technologies. “Cybernetics transforms language into an exchange of news,” he wrote in 1972, the very year Nolan Bushnell debuted Pong. “The arts become regulated-regulating instruments of information.”[i]
Moreover, Heidegger wasn’t big on moving-image culture, in general. He had no particular love for the cinema, which he saw as sapping our sense of the wondrous (das Er-Staunen, Heidegger’s translation of the Greek θαυμαστόν) in lived experience. “We might think in passing of all the extraordinary things the cinema must offer continually,” he writes, “what is new every day and never happened before becomes something habitual and always the same.” The uncommon acquires an “insidious habituality.” Genuine wondrousness is supplanted by manufactured spectacle.[ii]
In titling this category, I fought against a perverse desire for maximal irony: I didn’t call it “wondrousness.” I wanted to, though. Absent the burden of context, “wonder” is precisely the word I would use to describe the feeling these games provoke in me.
I chickened out, though. I went with the word “delight,” instead.
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This week, finishing off our run of cats exclusive to Nintendo platforms, I turn to Tokyo Mirage Sessions ♯FE (Atlus, 2015). It’s a game about J-Pop stars using the powers of the performing arts to battle monsters and shake the residents of Tokyo out of their collective ennui, thereby saving them from certain doom. Obviously, it goes without saying that it is one of the most delightful games I have ever played. The cherry on top is that it has a great scene with a great cat, Little Devil.
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