In 2005, a child was born to the videogame world. Its father? The music industry. The little bundle of joy would go on to be christened Guitar Hero. The inspiration of this would-be giant came from peripheral maker RedOctane, who had recently developed a guitar-shaped controller for Konami’s arcade game Guitar Freaks. It would go on to have an unbelievably large effect upon both of its parent industries.

The release of Guitar Hero is one of those events in videogame history that everyone remembers to some degree or another. “Cultural phenomenon” became the phrase to describe it; some journalists even went a step further to call it “one of the most influential products of the first decade of the 21st century.” Sound like a little much? It did to me at first, too – until I took a step back and realized what it had accomplished. Not only had GH single-handedly spawned an entire genre that raked in, literally, billions of dollars worldwide, it had also boosted sales of music globally – and not just new artists, but old ones, as well. As if that weren’t enough, here’s a piece of trivia that may surprise you: researchers at Johns Hopkins University have used Guitar Hero as treatment for amputee patients and those needing new prosthetic limbs. Additionally, the music and dexterity-based controllers are credited for helping stroke patients regain coordination.

And then there’s the franchise’s offspring. RedOctane had teamed with Harmonix Music Systems to make the first GH (which was then distributed by Activision), but RedOctane would go on to be purchased by Activision, and Harmonix – which was acquired by Viacom through its MTV Networks division – would strike out on their own to create Rock Band, a game which took the Guitar Hero concept by the hand and guided it a step further, adding more instruments, such as drums, vocals, and even (later on) keyboard. In this way, the two games are cousins… or step-brothers… or something like that.

The next six years would see Guitar Hero become an incredible success – such a success, in fact, that, by 2008, the market for the newly-dubbed rhythm genre was worth $1.4 billion. Activision would go on to pump out more then 15 different versions, expansions, and spin-offs (such as Band Hero and DJ Hero). All the while, its relative, Rock Band, was doing the same to a lesser degree. Some of the expansions were specific to certain bands, such as The Beatles and Metallica. Other sequels offered new graphics, modes, and other goodies. But things weren’t destined to stay so bright and sunny. In 2009, a new word was being used to describe the games that everyone had clamored to buy four years earlier: over-saturation.

So what did it? Was it Activision in the lounge with the lead pipe? Or perhaps it was recession in the library with the revolver? It’s no secret that Activision had received some criticism for making all the GH games virtually the same; several prominent journalists and analysts in the videogame community pointed out that it would have behooved the publisher to continue to innovate and find new ways to mix gaming and music. Instead, they flooded the market with the same game over and over again. Like any good fad, people continued to purchase the living daylights out of GH – until they caught on to what was happening, and then many turned their focus to Rock Band, which had at least innovated in the form of new instruments. Despite all the indications of impending doom, Activation continued with its blind strategy of pumping out more of the same.

But perhaps the company isn’t all to blame. They had a great concept with Guitar Hero. There’s the old saying: “If it ain’t broke, don’t fix it” – and the series wasn’t broken, per se. And goodness knows that the recession that hit our country in the latter half of the 2000s did its fair share of damage; there were virtually no industries anywhere in the United States that weren’t affected in some way by the sudden tightening of purse strings. There is, in fact, the going theory that, perhaps, if the recession hadn’t happened, Activision would have had more cash to pour into making something more out of GH then just the same old, same old. This is all speculation, of course, but well worth pondering.

Finally – and most sadly of all – maybe people were just over rhythm games. It’s a fact that Rock Band’s sales have also been down, so much so that 15% of Harmonix’s 250-person workforce has been laid off and MTV Games has been completely shut down for good. Not enough bad indicators? Then how about this: Viacom, who was so quick to buy Harmonix at the peak of their popularity for millions of dollars, just recently turned around and sold the company – back to their shareholders, which was the best deal they could find. (On the plus side, though, this transaction effectively makes Harmonix an independent developer again. And since they still hold the intellectual rights to both Rock Band and newly-released Dance Central, there just may be a silver lining in this gloomy cloud.)

With the fad of rhythm games coming to an end, we are left with those few, but faithful, fans that actually loved the genre for what it was, not just for the moment of glory that it had. The only problem here is that these fans aren’t enough to keep the genre going at the pace it was – but, to some of these diehards, that’s actually a good thing. Many people were upset by the previously mentioned lack of innovation, and more then one fan has commented to me, since starting this editorial, that they hope the demise of Guitar Hero would allow Harmonix to step back, reevaluate the situation, and come up with the Next Big Thing. It’s just sad to this writer that the catalyst of this possible change is the death of the entire original series, as well as that of RedOctane, the original brainchild, who was axed one year ago by parent company Activision (yes, they bought the peripheral manufacturer hand-in-hand with GH) when the market started to sour. They were 12-years-old.

So I leave it up to you, dear reader, to decide for yourself who killed this once-dominating giant. For one to climb so high and to fall so far is a sad thing to behold, but, more than anything, it should serve as an important lesson to the entire industry that innovation and change are key. One would like to think that Activision will, indeed, take this to heart, but, then again, I’ve often been accused of giving people too much credit. Or perhaps the morale of the story is that fads come and go with the tides. Or maybe – just maybe – the fault lies with the conservatives for causing the Great Recession. Just kidding! (Or am I?)

Whichever school of thought you subscribe to, however, I hope that you’ll give a moment of silence to our fallen comrade, Guitar Hero.

Ten years is a long time. To survive in a highly competitive environment, you need tenacity. Electronic Arts Redwood Shores (EARS, to some) has been producing games for ten years now in 2011, starting with James Bond 007: Agent under Fire. Their pedigree of games had been composed of licensed properties, including James Bond, Lord of the Rings, and The Simpsons. As is often the case with licensed properties in the realm of videogames, this safe – but uninspired – approach to game-making is often a necessary evil; licensed properties sell (keeping food on the table for the hard-working game-makers) but are characteristically meet with mediocre reviews and fade into the darker corridors of gaming history.

Then came a change in leadership at Electronic Arts: in February 2007, then-CEO Larry Probst stepped down, and his handpicked successor, John Riccitiello, took the reins. The games published by EA had been “under fire” for some time, many citing that they simply didn’t meet expected quality standards. The brand was in danger. Although it was in 2006 when EA announced it intended to produce more intellectual properties (IPs), the actualization of the promise would take time. One game – originally in development for the Xbox – would soon find itself at that mythic convergence of critical and commercial success… a game that would “make EA whole” in the eyes of action-horror enthusiasts.

In September 2007, Dead Space was announced. Shockingly dark and viciously bloody, the game hinted at a twisted future – one of terrors ripped from the annals of sci-fi horror classics such as Alien and Event Horizon. The game grew a following, and EA Redwood Shores fed their fans with a sophisticated pre-release multimedia marketing campaign, including six issues of a comic book mini-series and a website with supplemental content called “No Known Survivors.” However, in September 2008, Dead Space community manager Andrew Green claimed that the title had been completely banned in Germany, Japan, and China. This was a lie. Shortly after the announcement, it was revealed that this was merely a marketing ploy, intended to insinuate that the game was so truly horrifying, that it was simply “too much horror” for the aforementioned countries. This was to be the beginning of a darker legacy for EA Redwood Shores, one of artificially generated hype in the guise of an “attack” on their own product.

Dead Space was a success. With a Metascore of 89/88/86 (360/PS3/PC) and two million copies sold as of August 2010, it has thrived in the difficult gamescape of IPs, where balancing creativity and clever design with profitability can mean the difference between having a job tomorrow or not, especially at the time of the 2008 economic crisis. Like a modern-day David and Goliath story, DS had found itself a fervent following, and its team of hard-working developers must have been truly satisfied at their victory. One could almost hear “The Eye of the Tiger” playing somewhere distant…

This calls for a celebration – or a change in name, at least. The lengthy name of EA Redwood Shores would henceforth don the new mantle of “Visceral Games,” and, with it, a commitment to “action, intensity, [and] excellence.” Furthermore, they did not simply rest on their laurels; Visceral Games would continue to produce games in 2009, namely The Godfather II and Dead Space: Extraction. (Godfather II still managed to ruffle some feathers by its inclusion of brass knuckles sent to several members of the gaming press – an illegal item in some states.) While these games did not amount to the same caliber of success as DS, Visceral was about to unleash the floodgates of unparalleled graphic content and questionable taste with their “loose” adaptation of Dante’s Inferno in early 2010.

And yet, a significant amount of time prior to the launch of Inferno, a strange thing happened: around 20 protesters appeared at the Entertainment Electronic Expo event. Claiming to be from “a church” in Ventura County, these “protestors” decried the game as sacrilegious, even condemning EA as the anti-Christ. Unsurprisingly, many saw through this thinly-veiled hoax, perhaps because the game was still fairly unknown, making the protests more confusing than anything; shortly afterward, Electronic Arts spokeswoman Tammy Schachter confirmed the incident was a hoax. But Dante’s Inferno – and the extensive pre-release viral campaign that was to follow – was only getting warmed up…

Inferno seemed to positively revel in its own self-generated controversy – it was an example of a game determined to push buttons outside of its own context-sensitive environment. Electronic Arts partnered with GameStop for an event held on September 9th, 2009, offering customers who pre-ordered Dante’s Inferno a $6.66 discount. They even sent unsolicited checks to videogame reviewers of $200, with a note describing the nature of “greed”; should they redeem the check, their sin would have “consequences.” The International Nanny Association even attempted to (genuinely) boycott the game, due to the inclusion of an achievement earned for slaying numerous “child-like” demons, an achievement called “Bad Nanny.” Between these stunts, the websites featuring fake games and ads that would result in accusing the participant of various sins, and a quirky Super Bowl commercial featuring Bill Withers’s “Ain’t No Sunshine,” the marketing campaign surrounding Dante’s Inferno was reminiscent of a spoiled child “acting up,” and that old adage that “there’s no such thing as bad publicity” was becoming a new mantra for Visceral.

Inferno would score moderately amongst fans and critics both. Whether the games boundary-ravaging content was a factor to its benefit or detriment is difficult to pinpoint; it certainly faired well enough with regards to sales in its first month, though its legacy is a mixed one. Had Visceral gone too far? Was it trying to be the game whispered amongst parents, as they warned one another of its potential for corrupting their children? Was it coveting that role Grand Theft Auto (still) has in this capacity? It’s all conjecture, sure, but Visceral Games had made a bold decision that seemed to scoff in the face of anti-videogame legislative fear-mongers like Senator Leland Yee… or, regrettably, endow them with additional ammunition.

Shortly after Dante’s Inferno launched, Dead Space 2 was announced. It was heralded as one of the most highly anticipated titles at E3 2010. The technical prowess and design had truly evolved, with stylish zero-g combat, exciting new monsters, and highly polished environments and characters. The IP that had put Visceral Games on every core gamers’ radar was back. Visceral even created a downloadable game to flesh out “The Sprawl,” the location featured in DS2, called Dead Space: Ignition. Dead Space 2 was a game that was well-known to its fans months before launch, and would almost assuredly be a success. But that wasn’t enough.

“Your Mom Hates Dead Space 2.” Just when you thought it was safe to release a game without negative phantom-hype…

Possessed of questionable verisimilitude, “Your Mom Hates Dead Space 2” was a series of web and television advertisements for DS2, portraying a selection of roughly 200 women selected for their “conservative values and lack of familiarity with videogames”. They were exposed to some of the most graphic scenes in the game – without context, presumably – and their reactions were recorded. Expectedly, the “moms” reacted with disgust and shock. But the intention of the campaign – to drum up excitement over a product so horrifying that it must be cool, because mom hates it – backfired. The campaign was decried as sexist, ageist, and simply missing its mark. By suggesting that “moms” hate this game, it implies that the game’s audience must be of an age where mom’s approval matters; as a Mature-rated game (ages 17+), this seems wildly inappropriate, as the only people who should be playing this game should have little concern whether Mom hates the game or not. The portrayal of moms (read: older women) as being ignorant and/or judgmental of the content of the game as a whole based on limited exposure is also confusing. Mary Elizabeth Williams puts it succinctly: “The videogame’s campaign hinges on a unique premise – one that ignores how much the culture of gaming has changed.”

So what legend is it that Visceral Games is attempting to found? Surely their work speaks for itself. Dead Space is one of the premier IPs in the modern gamescape, and even Dante’s Inferno is a startling adventure game that forces its player to experience the horrors of Hell with its uncomfortable subject matter. And yet, their continued attempt to draw attention to their work through bizarre – and somewhat irresponsible – fabricated hype only seems to detract from their impressive catalog of games since they began to twinkle as a bright star in the world of game development with DS. Can Visceral learn to simply accept that their body of work is strong enough to stand on its own, or will they continue to degrade themselves by exploiting the popular animosity held that violent videogames are a “threat to our children”? To do this, they will have to be truly confident and assured in their amazing abilities as developers, and not fall prey to the sin of just being “cocky.”

It seems like just the other day when PlayStation 3s still had backwards compatibility and we wondered who would ever pay $500 or more for a console (not that many people, as it turned out), but here we are, four years after the launch of the PS3, and the little console that could has finally gained some traction and doesn’t need to have little brother syndrome anymore.

So how does the TPS staff feel about the Triple on its fourth anniversary? Do they, like me (Aram), lament the loss of some of the quirkier games we saw released regularly on the PlayStation 2? Or are we happy many of them found a home as downloadable titles on the PlayStation Network? Are there really six years left in this system, like Sony would have us believe? We gathered some of the staff around the DualShock 3-shaped conference table and pretended to listen to each others’ thoughts…

Aram Lecis
Señor Editor
Man, four years goes by fast. When the PS3 was born, so was my daughter, and much like having kids, I can’t remember what life was like before I had this black battleship. The ubiquitous console not only plays two generations of games, it has replaced the old Xbox as the media center of my world. I can watch Netflix movies, Vevo music videos, Hulu TV shows, and stream virtually any video file of my own straight to my TV with little effort. After a slow start, the PS3 is rife with great exclusive content and robust offerings on the PlayStation Store, which has become a haven of sorts for indie development houses. I’m not too ashamed to admit that the idea of Trophies is far more compelling to me than Achievement points ever were. Sony seems poised to deliver an almost unbelievable amount of exclusive content in the next six months. What’s not to love?

Well, for starters, I’m not drinking the Sony Kool-Aid when it comes to backward compatibility. I’m a subscriber to the theory that we could still have the ability to play last generation’s games – only Sony realized they could monetize those old titles again by locking us out and forcing us to buy remakes. Don’t get me wrong, I fully support remastering old titles, but we all know that it is a highly selective process, and many titles we consider “classics” will never get updated.

Which brings me to my other issue… where are this generation’s Disaster Reports and Katamari Damacys? (Yes, I realize there is a “new” Katamari game, but I am talking metaphorically, not literally here). One of the hallmarks of both the original PlayStation and the PlayStation 2 was the plethora of “non-traditional” games that graced their catalogs, many of which came from overseas. There has yet to be a Mister Mosquito or even a God Hand appearing in our stores. I appreciate that we can play most import games natively now, and I am pleased by the appearance of quirky little gems like Trash Panic and Noby Noby Boy gracing the PSN, but I miss those wacky, fully-translated titles like IllBleed. We still have time to reverse the trend, but my hopes are not high.

Parjanya Holtz
Senior Editor
I knew I was in love when I plugged in my PS3 for the first time and MotorStorm’s intro started playing. Neither my HDTV nor my surround sound system had ever been able to fully demonstrate their potential until that point. Admittedly, the Xbox 360 was a console that I only got my hands on after getting a PS3, so the technological leap from my beloved PS2 was quite the significant one.

I remember thinking, “Man, this is the future.” The irony is that it wasn’t. Sony’s online system was solid but nowhere near what the 360 offered with Xbox Live at the time. Many of the multiplatform titles were graphically inferior on Sony’s big black box, and we were told rumble was “last gen.” Fortunately, it didn’t take Sony long to realize that they had to look at what the competition was doing if they wanted to catch up – or even surpass them in the never-ending console wars.

With time, we were given the DualShock 3, Trophies, better third-party support, Netflix, the video store, and a lineup of exclusives that I think is far superior to that of the 360, and all of this coupled with the initial selling points of the PS3. There is no denying that Sony has allowed the PS3 to mature into a unique and sophisticated gaming machine that is just far more user-friendly than its competition.

But what’s so attractive is also a form of character that has grown around the system that I simply don’t see anywhere else. Kevin Butler is a pop-culture phenomenon, the PlayStation Blog has become one of the most charismatic “official” sources for gaming news on the web, and the unique option of being able to swap and upgrade your system’s harddrive any time are just a few of the reasons why I consider the PS3 the system of my choice. I truly believe that if Sony keeps up the hard work and eventually realizes that you can have both backwards compatibility and remastered originals alongside one another, the transition from the once-arrogant industry leader to maybe and arguably its most important asset is perfect. I, for one, can’t wait to see where the PlayStation brand goes from here.

Marc N. Kleinhenz
Features Editor
Well, if that brand future manifests itself in the form of PlayStation Portable Phones (PSPPs) and more wishy-washy initiatives like PlayStation Plus, I’m not quite certain that it will either be bright or that arrogant-less.

Kyle Heimbigner
Staff Writer
I didn’t get a PlayStation 3 until December of 2009, when all of the really good exclusives were out or were about to come out within the next three months or so. I had just bought a HDTV (50″ 1080p plasma <3), and Blu-ray was one of the first things I really wanted to try the TV out on. The PlayStation 3 was the only thing I could think of; I’ve always been a huge fan of Sony’s consoles – I loved the PlayStation 2 – and I had started hearing rumors of Gran Turismo 5 coming out soon (not surprisingly, I would have to wait an extra year for it!), so it was a no-brainer.

Looking at the list of exclusives, I knew I would love this system. Demon’s Souls, Uncharted 2, and Metal Gear Solid 4, at the time, were the games that really sold me. (Although I still need to give Demon’s Souls a proper play-through one of these days – I have only ever rented the game. ) The free online play is what sold me on the console, as well. I’ve noticed that those games whose online play is key really survive a long time on the PS3; their online communities keep going a lot longer than on the PC or Xbox 360. This was a major plus that I discovered shortly after getting the system.

Even though I originally mentioned that the strong Blu-ray capabilities were one of the top reasons for me getting a PS3, I have actually ended up only buying a handful of BR movies. With Netflix taking off big time in early 2010, along with other large streaming services providing HD content, there wasn’t a whole lot of reason to go with Blu-ray, it has turned out. The format is great, though, and I don’t see it going away anytime soon.

But, ultimately, the PlayStation 3 is such a strong gaming system that everything else is overshadowed by this fact. It just has the best exclusives available. While I am not always happy with the way Sony handles system updates and provides new features, the games are what is most important, and, in this regard, the PS3 delivers a lot better then anyone else. I’ve always been a fan of Sony’s consoles because they just simply stick to the most important aspects. Sometimes the little things get ignored by them or put aside for long periods of time, but when it comes to providing the most original game titles, they deliver every time – and that is what is really important to me when I am ready to spend my money on my favorite hobby.

Shaun Mason
TPS Mascot
The first time that I saw the PS3, I was blown away by the demos, videos, and launch lineup that looked like it was going to redefine the gaming industry. Then I saw the price, and I was definitely dismayed – while the games were going to be affordable, the launch systems were in the realm of the NeoGeo (an impressive system, technically, at the time, but an incredible failure). It felt like Sony had freely given up the dominance that they’d established over the PlayStation and PS2 years to Microsoft.

While some of the obvious gaffes, like realistic giant crabs and “Riiiiiiiiiiidge Racer!” became internet memes and cast doubt on the future of the system, Sony battled back in some of the ways it knows best – producing high-quality games. Titles like Resistance and MotorStorm were huge in rebuilding faith in the PlayStation fan community, and this was supported afterwards with incredibly solid hits over time: The Show has consistently been the best baseball series ever produced, LittleBigPlanet redefined user content, and God of War III blew users away with its storytelling.

Sony also managed to score a crucial victory in the format wars by trouncing HD-DVD and establishing Blu-ray as the successor to DVDs. Given Sony’s track record in backing formats (Betamax, anyone?), the win of Blu-ray was huge and was due, in part, to the fact that the player was central to every system. Sony gave consumers a system that could play their old DVDs but also gave them HD-quality new releases and games. The PS3 was a Swiss Army Knife that became the center of many a home entertainment system, and it’s hard to imagine sitting down and watching movies without it – whether that’s with a physical disc or streaming movies through Hulu or Netflix.

However, Sony still has done things that will make even the most die-hard fan scratch their head in confusion. While they have no problem touting the support of DVDs and Blu-rays, they completely eliminated backwards compatibility from post-launch systems. This was a huge selling point that helped Sony retain their fans over the years (and console generations) because fans didn’t feel as though they had to abandon their old game libraries. As someone that still has his old “George Foreman”-style PS3 with backwards compatibility, I will scream out my dissatisfaction with this decision ‘til my dying breath. Then I’ll come back from the grave and scream some more like a banshee.

It’s obvious that Sony decided that they could squeeze and bilk users out of more cash by offering digital versions of older games. However, there’s a large problem with this system: many of the games that are posted in the PS Store aren’t games that anyone wants to play. Personally, if I wanted to play Cool Boarders or Syphon Filter, I’d pull out my old PSX copies. But I don’t. Nor do I care about Rayman 2 or Dirt Jockey – if I did, I would’ve bought them years ago. I’d rather play SSX, MGS2, or DMC3, but those aren’t available in the Store. I applaud the repurposing of older games in collections – the God of War Collection is great, I’m sure that the Sly Collection is awesome (I’m looking forward to diving into that for Christmas), and the forthcoming Ico/Shadow Collection is sure to be unbelievable. But it’s taking far too long to produce these titles or post them on the Store for download

Another issue is that many of the games or genres that were mainstays for Sony aren’t there any longer. Sony used to host incredible RPGs and quirky games that captured the imagination of tons of gamers. Where are they? The PS Store seems to be the lone repository of these titles, like EchoChrome or PixelJunk Monsters.

Will Sony right the ship and reestablish its dominance in this generation? I hope so. Many people believe that the Move has better technology than the Kinect or Wii MotionPlus, and now that developers are starting to get comfortable with programming for the system, some of the truly unbelievable games for the console are on the horizon. However, it does seem like Sony needs a show-stopping string of games or piece of tech that Microsoft and Nintendo can’t match or equal – something that Kevin Butler could constantly Mon-Tage in commercials over and over. Since the whole “Marcus PSP” campaign seems dead, it’s time for the big VP of Everything Gaming to step up and lead the console into the gaming promised land.

Aram Lecis
Señor Editor
It really is a shame that the early years of the PS3 were essentially lost to the unexpected shadow of the Wii and the established dominance of the Xbox 360, a fate that was exacerbated by the aforementioned economically unfriendly pricing. I paid $700 for a 3DO back when it launched in 1993, but I couldn’t bring myself to purchase a PS3 until the price hit $400 – not just because I couldn’t afford one (somehow I can always find the money for something as important as videogames), but because there wasn’t a compelling console exclusive until Metal Gear Solid 4 came along. And even then, it was actually Flower that finally pushed me into purchasing one.

Since that time, my Wii has become merely fodder for my toddlers, and my Xbox 360 barely gets turned on (for which my ears thank me), as I have embraced the return to my true love, for whom I sincerely apologize for ignoring for those two years. I’m here with you on your fourth birthday, and I’ll be there for you when you turn 10 (if not you, then your newer, slimmer sister).

Is it wrong for fans to remake older games?

I thought about this after learning the outcome of the Chrono Resurrection project a few weeks ago. Despite being relatively four years late to that party, I’m admittedly a huge role-playing fan, and I sharpened my teeth on many Square Co. Ltd. classics on both the Nintendo Entertainment System and the Super Nintendo Entertainment System. Final Fantasy, Final Fantasy II US, Final Fantasy III US, and Chrono Trigger were staples of my early years, so imagine my excitement regarding a re-imagined Chrono Trigger using an updated 3D engine.

That was the essence of the Chrono Trigger Resurrection project. Back in 2004, a talented group of individuals got together and asked “What would Chrono Trigger look like if updated for the modern PC?” With a custom built 3D engine that “…runs on GameCube, Xbox, and PC…,” the Chrono Resurrection group set out to craft one of the finest looking examples of fan remakes ever conceived, taking ten key sequences from Chrono Trigger and updating them for the modern audience.

Chrono Trigger Resurrection was set in a fully 3D world, with lighting, shadows, fantastic camera work, and the same Chrono Trigger charm that fans of the series have come to expect. But with a project this huge, it’s only a matter of time before it began garnering attention from all over the globe. After all, Chrono Trigger was one of the greatest games for Super Nintendo and one of the most cherished RPG experiences the world over. The fact that a “dream team” of developers, artists, and sound composers crafted it is icing on the cake. How could something this massive be kept secret for long?

With that in mind, the Chrono Trigger Ressurection project was fully underway, but little did they know that the dark cloud of Square Enix Co., Ltd was hovering on the horizon. In September 2004, Square Enix Co., Ltd issued a “Cease and Desist” order and the project was shut down soon after. The team scattered to the proverbial winds but not without strewing their work across the ‘net, sharing everything they’d created, aside from playable code. In that way, all of the team’s hard work would live on as one of the greatest achievements in the name of fan remakes.

But was Square Enix Co., Ltd right in asking the team to cease the project? Was the Chrono Trigger Resurrection team wrong for wanting to recreate ten of the most memorable sequences that Chrono Trigger had to offer? Considering it was non-commercial, with only the Gamecube and Xbox ports being internally playable when all was said and done, was it necessary for Square Enix Co., Ltd to step in?

Forgetting the fact that Square Enix Co., Ltd repackages all of its older content and, besides Final Fantasy III and IV for the Nintendo DS, leaves virtually the original experience untouched, what would lead the company to call for the cancellation of Chrono Trigger Resurrection? Would it be that Square Enix Co., Ltd wants to redo Chrono Trigger as a 3D world all their own? That would be nice, but it’s unlikely.

There’s a fair amount of politics surrounding anything Chrono related. The primary developers associated with the project have either left Square Enix Co., Ltd. or work under their own companies in association with Square Enix. You could fill a landfill with the amount of paperwork it would take for a re-imaging to get underway. Even with tidbits dropping once every few years concerning a possible Chrono Trigger sequel (Chrono Cross is widely considered an extension of the universe and not a true sequel to Chrono Trigger), nothing has yet to materialize. The best fans could hope for is an update of the holy grail of all things Chrono.

But it goes beyond Square Enix Co., Ltd. As the industry pushes forward with better technology, it’s becoming more expensive to craft the AAA experiences core gamers require. If a company like Square Enix Co., Ltd wants to re-release a previous franchise, then it’s easier, and less expensive, to re-release it with all previous assets intact than to re-imagine these assets. If Square Enix Co., Ltd. wanted to re-imagine those assets, then they would turn to portable systems. A redone Chrono Trigger, or any other popular franchise that has yet to find life in the latest generation of consoles, would have to be on the PlayStation Portable or Nintendo DS.

That’s assuming that major corporations want to attempt a repackaging. More often than not, companies cancel intellectual properties that don’t succeed. We have only to look at Clover Studios, which was forced to shutdown, and Capcom for an example of that. Though Okami was finally released on the Wii, the idea of a sequel or a higher resolution re-imagining for the PlayStation 3 is virtually out of the question. And what if fans wanted to create a non-commercial remake of it for PC? Capcom would most likely issue a cease and desist order, even though it would be highly unlikely that the release of the non-commercial fan remake would hurt Capcom’s potential sales for a true, developer sponsored canon remake.

Where does that leave us then? It leaves us with IPs that fans create messageboards about, trade valiant tales of victory over, and write fan fiction about that have yet to get either sequels or developer remakes. When fans wish to continue the adventure with characters that they’ve grown to love, where else is there to go?

So are fans at fault for wanting to create remakes of groundbreaking game series? If major corporations won’t do it, and as the physical game machines and physical media of the respective games dwindle in number as time goes by, are we supposed to forget these experiences? Are cease and desist orders really warranted when all fans wish to do is play the games that brought them into the industry to begin with? We’ll never know, honestly, but that still doesn’t stop us from wondering what Crono would look like with a nice splash of normal mapping and the processing power of a quad-core CPU behind him.