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Downtown Tokyo, Present Day

From the Database of Home of the Underdogs

GAME DESIGNER:John Kean

GAME DEVELOPER:Freeware

GAME PUBLISHER:Freeware

Copyright 1998, John Kean

Downtown Tokyo, Present Day is a very short game even by the 2-hour limit of the IF Competition, but is very funny, entertaining, and even innovative. As usual, Paul OBrians got the best scoop on this largely overlooked gem:

“With a game this short, it’s hard not to give away plot spoilers in any extended discussion, but I’ll try to be as discreet as I can. I’ll only say as much as this: Tokyo is a very funny spoof on a beloved Japanese film genre (and it’s not martial arts movies), one which often features the city of Tokyo (or the rubble thereof) as a setting. There are several reasons why Tokyo is fun, not the least of which is the writing. Random description “events”, while having no effect on the main storyline, give the chaotic scenes an antic charm, and the depictions of movie cliches should bring a knowing smile to the face of any film buff.

One interesting experiment in Tokyo is its use of a split PC. In other words, the player actually controls the actions of two characters, both a rather anonymous individual watching a movie and the hero of that movie. This is an imaginative idea, and it sometimes works very well. At its best, Tokyo evokes the kind of split consciousness that actually happens while watching a movie. We are present, in the theater, there with the plush seats, the popcorn, and the people around us. But once we become immersed in the movie, we are inside of it as well. We forget about the theater and become part of the story, at least until the baby behind us starts crying, or the teenagers in the front make a wisecrack. However, the game is not always at its best. The split focus creates some confusion as to how commands will be interpreted — you can never be sure whether your command will be executed by the viewer or the hero. This generally doesn’t cause a problem, but it might have worked better if the transitions were smooth and complete, and the only interruptions happened outside of the player’s control. In addition, the standard library has been mostly unmodified, so that its messages remain mostly in the second person voice. When that’s the voice of the entire game, this is not a problem, but Tokyo asks second person POV to take on the special duty of signaling that the viewer, rather than the hero, is reacting. Consequently, messages like “You can’t see any such thing” (rather than “Our hero can’t see any such thing”) can create a little confusion.

Finally, I can’t review Tokyo without mentioning its graphics…. Tokyo has some surprises up its sleeve. Finding them provides some of the funniest moments of the game. Tokyo does a great many things well, and is one of the better short-short games I’ve played. Again, it’s a bit disappointing when a game this enjoyable ends so soon — I think this concept had quite a bit more mileage in it than was used by the author. Still, I enjoyed it while it lasted — it won’t entertain you as long as the average summer blockbuster movie, but it will probably entertain you more.” Two thumbs up!



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