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Star Fox and the limits of nostalgia
After years of continued demands from gamers demanding a new Star Fox game, Nintendo finally provided a new entry in the long running series, yet what gamers wanted wasn't what they received, form a certain point of view.
After years of continued demands from gamers demanding a new Star Fox game Nintendo finally provided a new entry in the long running series, yet what gamers wanted wasn't what they received, from a certain point of view.
Star Fox games have tended to have had an innovative/unique element that makes them stand out from its contemporaries. They have also shared a similar progression route and story; for Miyamoto this has not been the main focus of the games (or even his other games) as the way that player is able to interact with the game is regarded as the core of the experience.
The original Star Fox was a polygonal (3D) video game at a time where such a visual style was very rare, especially on a console, and despite its rudimentary design, was astonishing for the time. This meant that the player was navigating within a 3D space (despite limited linear control) rather than via a 2D plane. Star Fox 2 would have taken this further, but with the forthcoming release of the Nintendo 64 saw the release cancelled and its many new ideas incorporated into later titles, and its design features influencing other Nintendo titles such as Super Mario 64. Star Fox 64 (or Lylat Wars as it was known in Europe) greatly improved upon the 3D graphics on display, but this was not the most innovative feature; Star Fox 64 was one of the first games to support rumble feedback from the controller via the "Rumble Pak". This helped bring a new dimension to the game, despite being optional, and provided the player with another sensory attachment to the game, thereby altering the experience. The inclusion of rumble feedback was highly successful and has been included as standard in every included controller for home consoles since (with the exception of Sony's initial PlayStation 3 controller the "Sixaxis").
Star Fox Zero (the latest entry in the series) only exists because Miyamoto saw it as an opportunity to utilise the Wii U's unique implementation of a second screen on its GamePad controller (as well as the motion controls). If it could not do something new, then to him a new Star Fox game was not worth making. Star Fox (especially Zero) is odd then, in that the use of the same characters, bringing back the original voice cast, the same music, level designs and even credit sequence, are there almost exclusively to invoke nostalgia. Yet its gameplay is something very new, almost as if the nostalgia is needed to support and familiarise players into accepting the new.
This has not exactly worked, as there has been a backlash by fans wanting an "authentic" experience, not one that just tries to replicate elements of what fans remember from their childhood. Except given the relatively brief history of the video games medium, it could be seen that the audience has a short memory, for Nintendo has already appealed to the nostalgic desires of fans by releasing a version of Star Fox 64 with updated graphics and features (such as a proper save function) for its 3DS handheld, with the release of Star Fox 64 3D. Yet a complaint found in some of the reviews criticised it for being too similar to the original and that there was not enough new material. This identified that fans did not want the exact same experience, but instead one that is reminiscent of the familiar, yet simultaneously providing a new one. Zero was released almost five years later and could be seen as an attempt to address these concerns. This was possibly a consideration for Platinum Games who co-developed the latest game with Nintendo, having forged a closer relationship with the development of Bayonetta 2, and is now gaining a reputation for creating quality games out of nostalgic franchises.
With Star Fox Zero Nintendo appear to have fallen into the same situation that George Lucas found himself in throughout the release of the Star Wars prequels. In both cases the series' were brought back only when the creator concluded that technology was available to achieve their new vision. This meant embracing a shift in approach that was received by some to detract from the original, despite retaining many elements that connects to the original entries. Whilst both series' were led (in this instance) by the original creators, ownership could now seem as if they have transferred to the fans instead, or at least that is the impression perceived by the fans. Many consider themselves the "authority" on how the series' should continue.
Although it can be claimed that both creators had ulterior motives influencing their decisions, and ultimately impacting upon the form that their creations took. George Lucas wanted to move cinema technology forward and away from the reliance on what he saw as a century old technological method, and instead explore what could be done with digital technology. Likewise, Miyamoto wanted to demonstrate the potential of the under-utilised GamePad controller for the Wii U and provide a new way to play video games – whether fans wanted it or not. But Zero is also the first time since Super Mario 64 that he is credited as a director (albeit "supervising director"); the first time in 20 years. Illustrating that Miyamoto's decisions for the game were important to him, he mentioned during an interview that "[he] was the one who originally said he wanted to make Star Fox" and that "[he] had no choice but to decide how it was going to be made".
There are of course differences between these two examples; the Star Wars prequels can be seen as being stylistically different to the original trilogy (both trilogies have pushed technology) leaving behind stylistic elements that some consider essential to the look of the series, whereas Star Fox Zero retains the majority of its stylistic features (almost to a fault) but its design is considerably different. In addition to new functions and vehicles, it is the use of the two different screens simultaneously combined with the motion controls that separate it from previous entries, which in turns affects how the missions are approached.
Miyamoto might want to take his games forward via utilising new gameplay methods, but he is aware of the cache of nostalgia and the importance of its inclusion in his games. This is notable with the eventual release of Star Fox Guard alongside Star Fox Zero (and included in the limited edition). Star Fox Guard was previously known as Project Guard and was one of Miyamoto's tech demos that he had shown at previous E3 press events, and was created to show off the benefits of the Wii U's unique control scheme. Guard now takes place in the same "universe" as the Star Fox titles with characters and locations now present and informing the games backstory, despite sharing no gameplay similarities with any of the other titles. Whilst injecting a new title into an existing series' universe does not detract from the core game in this instance, it also does not add much. Stylistically it might have benefitted from having its own style, therefore it comes across as a financial decision to turn it into a "Star Fox game", and market it as a companion piece to Zero, to help generate more sales. Conversely was there a lack of confidence in the saleability of Guard and that by utilising a nostalgic shell meant that a video game with a new core could be given a better chance in a difficult market (especially given Nintendo's struggle of promoting the Wii U)?
Star Fox Zero has received a considerable number of mixed reviews (unusual for a core Nintendo game), the main criticism being the control method. Is this targeted because it is different to previous entries, because it is not very good, or maybe a combination of the two? Regardless, the control scheme does not allow for instant pick up play that many Nintendo games are known for. Like Nintendo's most recent new IP from last year, Splatoon, the control scheme does take getting used to. But once it becomes familiar it can result in something truly unique. For me it providing an exhilarating experience where I was having to make use of all the different elements of the game, interacting within a digital space in a way I had not done so before.
Star Fox Zero for now will unfortunately not be remembered fondly, not just because of review scores, as many players have had similar experiences. With Zero Miyamoto has inadvertently created a niche game. One where the barriers of entry are higher than usual, but the reward from a sense of personal satisfaction can also be high. If this a different game, would the criticism be the same? Would a new IP be praised for also having a unique means of interaction, or would it too be criticised? Maybe it would just fall into obscurity. In addition, would a Star Fox game that did play like previous entries provide the experience fans want? Or would they just complain that it did not do anything new?
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The 3D Super Mario games ranked, from worst to best
As Super Mario 3D All-Stars comes to the Nintendo Switch, we take a look back at the long and varied history of Mario's adventures in three dimensions.
As Super Mario 3D All-Stars comes to the Nintendo Switch, we take a look back at the long and varied history of Mario's adventures in three dimensions.
Super Mario 3D All-Stars might not be the celebration of Mario that many fans wanted, but there's no denying the quality of the games it includes. Each one has its fans – even Super Mario Sunshine – but how to do they rank among Mario's other 3D exploits?
Here is our official ranking, ordered from worst to best.
7. Super Mario Sunshine
Well, this is a rare pleasure, a ranked list of video games in which there are no absolute stinkers. That said, it's probably no surprise to see Super Mario Sunshine as the first entry.
Despite its flaws, Super Mario Sunshine only sits seventh place because of the high quality of the titles that surround it. Its problems are well documented: the camera can be a nightmare, some of the character design is dreadful, and the fiddly blue coin quests overstay their welcome.
But, there is so much to like. Delfino Isle is a wonderful, secret-filled playground. The swoonsome music and balmy holiday tone is a delight. And consider the flawed but fun FLUDD mechanics, which have subsequently influenced Splatoon, the Zelda series, and Super Mario Odyssey. Sunshine is the weakest 3D Mario game, sure, but it's still full to bursting with wild ideas and concepts. And, of course, it has that adorable rideable Yoshi.
6. Super Mario 3D Land
Although positioned in the lower reaches of this list, Super Mario 3D Land can comfortably lay claim to being the best handheld Mario game ever made. Alongside Mario Kart 7, it helped to revive the fortunes of the stumbling Nintendo 3DS, proving that the device was capable of delivering immersive and fresh experiences.
On release, 3D Land felt like a slimline version of Super Mario Galaxy, but in retrospect, it's clearly the first title in a third tier of 3D Mario games. In contrast to the open sandboxes of Super Mario 64 and Sunshine, or the kaleidoscopic planet-hopping of the Galaxy series, the game takes a more controlled approach. With a wealth of levels to explore, 3D Land's bite-sized structure is closest to NES classic, Super Mario Bros 3. The result is a joyous game that will forever remain the franchise's best portable-only excursion.
5. Super Mario Galaxy
One of Super Mario Galaxy's greatest achievements is how effortlessly it surpasses the constraints under which it was made. Developed for Nintendo's breakout – but relatively low-powered – Wii console, the game had to both improve on its flawed predecessor, and make complex three-dimensional gaming accessible to the console's casual audience. It also had to do it using an idiosyncratic control scheme that swapped sticks and buttons for motion and pointer controls.
Super Mario Galaxy achieves all of these things with ease. The game's emphasis on spherical worlds removes the reliance on a user-controlled camera and keeps the moustachioed plumber centre-stage at all times. The sandbox structure of Mario 64 and Sunshine is replaced by a series of increasingly elaborate and carefully constructed miniature worlds to negotiate.
An abundance of gameplay ideas display a refreshed enthusiasm from Nintendo, with Yoshiaki Koizumi's team flexing their creative muscles with new power-ups, enemies, and gravity-bending platforming. Combined with sumptuous visuals and a triumphant, orchestral score, Super Mario Galaxy is a giddying adventure from start to finish.
4. Super Mario 3D World
Ranking Super Mario 3D World above Super Mario Galaxy may prove contentious. The game may not be as recklessly inventive as Mario's Wii adventure, but it's a masterclass in the art of 3D platforming. 3D World is a more measured outing, but this allows for every block, platform, and jump to be crafted and polished with scientific precision.
The game is equally enjoyable played solo, or in multiplayer with up to three friends. And Cat Mario is an elegant – and often hilarious – way for younger or less skilled players to keep pace. Super Mario 3D World also looks glorious, with a chunky, toys-to-life consistency that is lacking from the next game in this list. And let's not forget that one of its finest achievements was spun off into its own game with Captain Toad: Treasure Tracker.
3. Super Mario Odyssey
Super Mario Odyssey is the toughest game to place on this list. Its biggest achievement is not the level design, or its cap-based transformations – although they are all quite wonderful – but its generosity. Every corner of the game rewards experimentation, risk, exploration, and curiosity.
Super Mario Odyssey charts an expansive – and often overwhelming – new direction for the series, but it also doffs its cap to those that came before it. On at least two occasions, a nod to the past brought a tear to my eye. At all other times, I was grinning from ear to ear. It's an amazing experience and capped (pardon the pun) a wonderful launch year for the Nintendo Switch.
2. Super Mario 64
If you wanted to put Super Mario 64 at the top of this list, it would be hard to argue. Much of what we take for granted in the series – and 3D game design in general – debuted here. Like many titles of the era, it can feel rough around the edges, but its ideas still feel fresh, playful and creative.
Having refined the art of 2D platforming with Super Mario World and Yoshi's Island, fans might have expected Super Mario 64 to be a cautious first step into three dimensions. But no, its a supremely confident long jump, followed by a ground pound to mark the game's place in history.
1. Super Mario Galaxy 2
On paper Super Mario Galaxy 2 has the simplest brief of all the games on this list: make more of the same. Using the core concepts introduced Super Mario Galaxy, Koizumi and his team expand upon that template, and then some.
Gameplay mechanics and ideas that could easily be the foundation of entire games are introduced, chewed up, and disposed of with abandon. The variety is astonishing. Each course is a memorable test of mental mettle and physical athleticism. Each power-up is a delight. Each boss is a thrilling, fast-paced puzzle to solve.
In its post-credits end game, Galaxy 2 is also one of the most demanding, and fulfilling, platformers Nintendo has ever created. Super Mario Galaxy 2 is where Nintendo's talents in design, artistic expression, and desire to entertain all come together. It's Mario's best ever game, and its omission from Super Mario 3D All-Stars is baffling.
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Tabula Rasa: In defence of the amnesiac video game protagonist
It's a trope so overused it borders on cliché, but perhaps the amnesiac protagonist route is so well-trodden precisely because it is so effective?
It's a trope so overused it borders on cliché, but perhaps the amnesiac protagonist route is so well-trodden precisely because it is so effective?
Plato theorised that we are all born with all the knowledge in the world – we simply need to remember it. Marie Antionette once said, "There is nothing new except what has been forgotten."
Playing with memory and memory loss is a staple of media, and always has been. In The Madness of Hercules by the ancient Greek poet, Euripides, the hero is gripped with madness and can't remember his own family. In this crazed state, he murders them all and must make amends by undertaking his famous 12 labours. In film it's been used in every genre – from action movies like Total Recall to romcoms like Eternal Sunshine of the Spotless Mind.
Amnesia is also an absolute staple of soap operas – the Australian mainstay of Neighbours uses it frequently. One famous example was in 2002 when fan-favourite Susan slipped on some spilt milk (queue obvious jokes) and lost 3 decades worth of memories. That other beloved form of soap opera, wrestling, also uses amnesia. In 1993 Cactus Jack was powerbombed by Big Van Vader into the concrete floor of the stadium. The character was institutionalised, eventually escaping his mental hospital and developing amnesia before eventually returning to the ring.
Video games are no exception to this ancient trend – and though amnesia plotlines have a reputation for being lazy and schlocky, I am here to defend them. So from Hercules to Cactus Jack to Link – what makes memory loss and retrieval so appealing?
Let's start with Monument Valley. This British app-game won a Bafta in 2015 for Best British Game. It's deceptively simple – you must twist and turn the Escher-inspired architecture to navigate the beautiful and geometric landscapes. But as we progress through the first level we are told that Princess Ida must return all the Sacred Geometry that she's stolen. Just like Hercules, Ida must undertake her own series of labour. We follow Ida on her emotional journey – the shame of discovering her crime, the loneliness of the empty cities, the fear of the antagonistic crows and eventually the joy of redemption and release.
In 1922 Proust wrote In Search of Lost Time, which includes his famous "madeleine moment":
"No sooner had the warm liquid mixed with the crumbs touched my palate than a shudder ran through me and I stopped, intent upon the extraordinary thing that was happening to me […] And suddenly the memory revealed itself. The taste was that of the little piece of madeleine which on Sunday mornings […] my aunt Léonie used to give me, dipping it first in her own cup of tea or tisane. The sight of the little madeleine had recalled nothing to my mind before I tasted it. And all from my cup of tea."
This hugely evocative moment has been referenced and resurrected many times – most famously in the Pixar movie, Ratatouille, where the food critic Anton Ego is instantly transported back to his rural childhood with just one bite of the eponymous dish.
Old Man's Journey, like Monument Valley, is another literal voyage into memory and emotion. Like Proust with his madeleines, the player character of this game has memories periodically triggered as you traverse the dreamy landscape. We all know this feeling – a long-forgotten memory that floods our minds, transporting us into a past moment. (As Proust said: "And suddenly the memory revealed itself".)
This game perfectly represents that feeling. The memory washes over the screen, the sounds and colours so evocative of the past moment. But it is also fixed and nearly static, a fragment we can recall but can't interact with. As Proust was in search of lost time, so is the main character in Old Man's Journey. We already know where he has ended up – old and alone on the sea shore – but as we walk with him we uncover that lost time and what has come before.
The Legend of Zelda is one of the most well-recognised legacy properties in the games world. But significantly we know it as Zelda, and it's her name we remember, even as we take up another game to play as Link. Link is left deliberately blank so that we can project ourselves into him. Scott McCloud, in his excellent book Understanding Comics: The Invisible Art, he writes: "When you look at a photo or realistic drawing of a face, you see it as the face of another. But when you enter the world of the cartoon , you see yourself."
The blankness of Link, the simplicity of the sketched out person, leaves room for projection. Enter: The Legend of Zelda: Breath of the Wild.
This is Link at his most blank, most characterless. As the game begins he is stripped of even his iconic outfit – as well as all of his memories. Even the marketing of the game plays into this, the website stating: "Forget everything you know about The Legend of Zelda games". Forget what came before, just as Link has.
Gradually he recovers his identity, his memories, even the landscape opens up and unfolds before him as he recovers memories. Critically we, the player, build our skills, knowledge and identity alongside Link. This mirroring leverages an enormous emotional payout at the game's conclusion – good friends of mine wept at the close of Breath of the Wild.
Amnesia used in clumsy hands can be silly and schlocky. But when the rediscovery of memory is used with skill, it builds the closest of relationships between the player and the player character. The Tabula Rasa – or blank tablet – of the character allows us to project ourselves onto them. We discover the past and personality, abilities and history of the PC at the exact moment as the character themselves. We might be separated by the screen, but in that moment our minds are as one, the feelings evoked are perfectly in sync.
Roger Ebert once called cinema an "empathy machine" and games have the potential to create just as much, or even more, empathy for our main characters. Through amnesia plots, alongside the device of having us work to discover memories in tandem with the player character, video games are engineering a significant amount of empathy.
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Found it interesting, entertaining, useful, or informative? Maybe it even saved you some money. That's great to hear! Sadly, independent publishing is struggling worse than ever, and Thumbsticks is no exception. So please, if you can afford to, consider supporting us via Patreon or buying us a coffee.
The Tony Hawk's Pro Skater soundtrack, as told by the bands who made it
The soundtrack of a generation: We spoke to Bad Religion, Consumed, Fu Manchu, Lagwagon, The Suicide Machines, Swingin' Utters and The Vandals about the impact of Tony Hawk's Pro Skater.
The soundtrack of a generation: We spoke to Bad Religion, Consumed, Fu Manchu, Lagwagon, The Suicide Machines, Swingin' Utters and The Vandals about the impact of Tony Hawk's Pro Skater.
There had been licensed music on video game soundtracks before Tony Hawk's Pro Skater. With the advent of Sony's PlayStation, a disc-based system that allowed for full reproductions of songs rather than chiptune melodies, came the inclusion of licensed music.
Gran Turismo, released in late 1997, was one of the first. It featured a somewhat disjointed mix of British rock album fillers, including Ash's Lose Control, Garbage's As Heaven is Wide. Not that they're bad tracks, of course, but why not Kung Fu or Girl From Mars from Ash? Or Stupid Girl or Only When it Rains from Garbage?
The only arguably "big" songs on the Gran Turismo soundtrack are Feeder's Tangerine (the game also features a bunch of B-sides from the band) and Everything Must Go by Manic Street Preachers. But this rocky iteration of the soundtrack wasn't even universal; in other countries, like Sony's native Japan, the game featured a completely different list of tunes.
Meanwhile, the Grand Theft Auto series – most people's go-to for "good" licensed video game music – didn't really get its act together on licensed soundtracks until it hit its retro stride, with the 80s disco mix of Grand Theft Auto: Vice City in 2002, and the heady blend of early 90s grunge and hip-hop in Grand Theft Auto: San Andreas in 2004.
And then, slap bang in the middle of those two frames of reference for licensed video game soundtracks, is Tony Hawk's Pro Skater. It's the perfect storm of gameplay, music, attitude and style. It's crammed full of absolute bangers and, on its release in September 1999, fast became the soundtrack of a generation.
I recall seeing Goldfinger at Leeds Festival in 2002. It wasn't on the main stage, even though other US punk bands – including The Offspring, Weezer, Less Than Jake, and even Sum 41 – got the nod. No, Goldfinger were playing in a tent. It was also two in the afternoon on the first day, while the hungover (or still-drunk, or still-high) masses fought their way from the campsite to the stage area through a literal festival quagmire.
Third on the bill, in a tent, at two in the afternoon, on the first day of the fourth- or fifth-best musical festival in the UK. It was not what you would call an auspicious start.
But Goldfinger had a secret weapon. They still do, 20 years on. It's a song with enduring popularity and reach that most any band would be jealous of. A song that brings with it a legion of fans and, even better, acts as a conveyor belt to bring in new ones. That song? Superman, the de facto anthem of classic PlayStation game, Tony Hawk's Pro Skater, released worldwide three years earlier.
I think it was early – maybe I was hungover, or drunk, or high? – but I don't remember at what point in their set Goldfinger hit the staccato, ska-punk intro to Superman, but the effect was instantaneous and inspiring. A half-empty tent began to fill. The dribble of crowd meandering outside became a torrent. It was as though they had flipped the switch on an enormous electromagnet, attracting every punk, geek, and skater for miles around.
There were, of course, a few gatekeeping grumbles in the crowd, people complaining that the PlayStation generation weren't "real" fans of Goldfinger. But those dissenting voices were soon crushed under a throbbing mass of jubilation, of far too many people crammed into far too small a space, united in a singular goal: to dance their asses off to the song from Tony Hawk's Pro Skater.
I really don't recall much else of that Goldfinger show. It was a delirious blur. I had come dressed for the occasion, in a Superman "costume" cobbled together from a vintage DC Comics t-shirt and some things I had begged, borrowed, or stolen then the night before, and spent pretty much the entire set crowd surfing. At one point, I came together with an inflatable – I think it might have been a rubber dinghy? I have no idea where that came from, or how I collided with it – and was dumped into a crashing heap in front of the stage.
Winded and a little groggy, possibly sporting a concussion, a very kind security guard got me a bottle of water and allowed me to sit on steps on the edge of the stage. I recall singing along to 99 Red Balloons, looking out at the biggest crowd I've ever seen crammed into a festival tent.
I'm not saying that Goldfinger owes their success to Tony Hawk's Pro Skater, of course. They're a brilliant band with an incredible catalogue and a killer live show. But the positive impact of featuring on that soundtrack is obvious.
And they're not the only band who saw a shift following the release of Tony Hawk's Pro Skater.
The Vandals, formed in 1980 in California, were part of a burgeoning punk rock scene with the likes of Bad Religion, Black Flag, Suicidal Tendencies and Social Distortion. They signed for Epitaph Records, the Los Angeles label run by Bad Religion's Brett Gurewitz, in 1982, and the band's popularity grew.
In 1999, when Tony Hawk's Pro Skater launched on the PS1 – featuring Euro Barge, from their 1998 album Hitler Bad, Vandals Good – The Vandals had been established for almost two decades. But the impact, even to a group of punk rock veterans, was noticeable.
"We were in our 20s and 30s when the Tony Hawk's Pro Skater game was released," Joe Escalante, founder member and bassist of The Vandals, tells me. "Soon we started seeing 8-year-olds at our shows. It took a while, but we finally started asking their parents from stage what they were doing there and they said it was [because of] Tony Hawk."
The Vandals, along with Primus and punk veterans Dead Kennedys, were the big-name artists on the roster. For a band like The Suicide Machines, however, who had a much smaller fanbase and were by their own admission struggling to make an impact via traditional channels, being on the Tony Hawk's Pro Skater soundtrack was enormous.
"We were already pretty deep into DIY touring before Tony Hawk Pro Skater and would have a few hundred people at most shows," vocalist Jason 'Jay' Navarro recalls. "We signed to Hollywood Records and they tried pushing our songs No Face and SOS at MTV and radio and it really didn't work. I swear after the game our shows were packed up to 1000 people a night. It did more for our band then our label did for our band."
Rumour has it that Tony Hawk himself had a hand in the selection of the bands and tracks. With such a positive impact on the bands involved, it's yet another story of the good the skating legend has had on the community and the scene as a whole.
"I'm not sure how [it happened], honestly? We were on Warp [the Warped Tour] out West when Tony was on it a few days skating. Maybe he saw us? No clue how that song was chosen. We didn't pick it," Navarro tells me, but he is very glad someone did.
"The lyrics [to Euro Barge] are an homage to the pains of touring Europe, that's why Tony latched on to it," Escalante says, confirming Hawk's part in selecting the soundtrack. "He's paid his dues over there and there are deep cultural differences that all Americans struggle with. The "Euro-Barge" was our term for how Europeans have no problem cutting in lines anywhere. But the song goes on from there, calling them out for all their sins. All in fun, of course!"
The funny thing is, in spite of its popularity among their fans (in no small part due to Tony Hawk's Pro Skater), The Vandals rarely play Euro Barge live, if at all.
"We hardly ever played the song Euro Barge, maybe because we played the game so much in the tour bus we were sick of hearing it," Escalante says. "But over the years, even though we seldom play it, it remains the #1, 2, or 3 top-performing song on any list ranking our songs, in sales or streams, etc."
"The truth is it's actually hard to play," he confesses, "because Josh wrote it in this f'd up 7/8 time signature, so we never thought we were getting it exactly right, even though we love the song."
Not all of the bands we spoke to for this feature played Tony Hawk's Pro Skater – more on that later – but like Escalante, Navarro remembers it fondly.
"It was a fun game to play," he says. "Played tons of hours on it. I have been skating since 1985? Or 86. I felt it represented skating well. As far as all spectrums of our culture."
That's the crux of it, isn't it? Neversoft's Tony Hawk's Pro Skater was, of course, a very good video game. It plays brilliantly and it captured the sense of freedom that comes with creative skateboarding. But that in itself is not enough. Games don't get remade, 20 years down the line, unless they're something truly special.
And Tony Hawk's Pro Skater was something incredibly special, probably because it fell at the intersection of so many different subcultures, a Venn diagram of things that are so close to overlapping, of punks and skaters and nerds. The soundtrack was a core element of that, stitching together skateboarders and gamers with a fabric of punk rock, with hints of ska, metal and hip-hop.
With the success of the first Tony Hawk's Pro Skater, it was inevitable that there would be a sequel. It was also inevitable that the stakes of the soundtrack would be upped. If people thought it was surprising to see anti-establishment punk pioneers Dead Kennedys on the first game's tracklist, it was a real shock to see Rage Against the Machine's Guerilla Radio and Bring the Noise by Anthrax & Public Enemy on the sequel.
But at the heart of the sequel's California skate scene, punk rock roots, was You by Bad Religion, from their 1989 album, No Control. I asked Jay Bentley, bassist and founding member of Bad Religion, about the impact of Tony Hawk's Pro Skater 2 on the band and the wider punk scene.
"The game went hand in hand with a burgeoning lifestyle that was taking hold, with the advent of the X Games and the Warped Tour," Bentley tells me. "Bands like us were the soundtrack to this Southern California lifestyle. The impact of Pro Skater 2 just blew the roof off skate culture. We met a lot of people whose introduction to Bad Religion was from that game."
For a massive band like Bad Religion, a younger generation of fans is a bonus. But Bentley found one young skater in particular, a lot closer to home, who he connected with over Tony Hawk's Pro Skater 2.
"My oldest son was 9 when it came out. He loved it. Played it religiously. I thought the game was fantastic. I wasn't any good at it," Bentley admits, "but it was still cool. It led to us building a half pipe in the backyard for him to skate, and that's all that matters."
"Get out and skate!" He adds.
As with the first game, all of the bands I spoke to weren't entirely sure how their track came to be chosen, but the underlying theme was that the skaters involved – and, of course, Tony Hawk – had a hand in selecting the tunes.
"It is my understanding that the individual skaters that Tony asked to be in the game came in with songs they wanted," Bentley recalls. "It may have been Eric Koston (but I really can't remember) that wanted You. Anyway, Tony reached out to Brett [Gurewitz, guitarist with Bad Religion] and that was that."
Joey Cape, vocalist of Lagwagon, also credits Hawk himself with their place on the soundtrack. He also recognises the power of Tony Hawk's Pro Skater 2 in pushing the band to a wider audience, far beyond the traditional reach of radio and MTV.
"I think a friend at our record label said Tony had reached out and asked for the song specifically," Cape says. "I remember being offered the chance to be a part of a skateboarding video game backed by Tony Hawk and saying, 'Hell Yeah!'. I do think the song choice was the right one for the game. I'm so happy they picked May 16th because, whatever song they had chosen, it would inevitably be on every setlist from then on. Lucky for Lagwagon, we still enjoy playing the song, and now we have our own day."
"I have said it many times before, "Cape continues, "it's almost like May 16th is our only single. Tony Hawk's Pro Skater 2 soundtrack made the song a hit in our world and beyond. Somewhat miraculous for a band that did little in radio and video. Other bands involved seem to feel the same way. The soundtrack is kind of legendary now."
When asked if he enjoyed the game, Cape is one of the musicians that remembers it fondly.
"Oh yeah, I played it," he says. "It's a great game regardless of your background in skateboarding and even cooler if you grew up in board sports. I remember not being all that skilled at the game, but thinking it was so well-done and it was a rush to hear our song while playing it."
But as I said earlier; not every band on this list played the game on their tour bus, jamming out tricks between shows. Scott Hill, guitarist and vocalist of Fu Manchu, is very quick to admit that he's not a big gamer. But he does recognise the value of a new generation of fans brought in by Tony Hawk's Pro Skater 2.
"I'm not the biggest video game player," he admits, "but I have younger nephews who played it a lot and I did play it. It was fun,"
"We did notice a lot of younger fans getting into the band," he continues. "A lot of people that would have never heard Fu Manchu heard us because of that game. We get fans all the time telling us that they first heard of us from the game. Not sure about increased record sales, but I'm sure it didn't hurt!"
"I'm embarrassed to say that I have never played it," Johnny Bonnel, lead vocalist of Swingin' Utters, also confesses. "I've watched it a few times and it looks fun, but I'm just not that dude. I had a few dreams playing it but my reaction time was underwater. Everyone that has played it says it's siiiiiiick! I guess I'm missing out on the sickness."
But like so many of the bands I spoke to, Bonnel doesn't underestimate the importance of getting their shot on the Tony Hawk's Pro Skater 2 soundtrack. (Even if he doesn't know how they ended up there.)
"I wish I had a cool story about getting on the soundtrack. Maybe there actually is a cool story but I don't know it. I remember Erin and Mike being happy about it, so that made me happy. Max was the one who told me and I couldn't believe it!"
"It seemed so huge at the time that it made me nervous," he recalls. "Five Lessons Learned was the song choice and it is one of my favourite songs. Jennifer Koski wrote most of it which makes it that much better! I dedicate Five Lessons Learned to all women skaters when we play it at our shows."
"The game is globally popular so we were seeing an influx of new, younger followers on our tours," Bonnel says. "It was the height of our popularity and buzz. I heard our sales increased – makes sense. I, often, mingle with the people who come to our shows and there is always a few people that offer unsolicited information about how they found out about Swingin' Utters and most of the time it is Tony Hawk's Pro Skater. All over the world, I am known as the dude who sings on a song on the soundtrack of Tony Hawk Pro Skater 2."
"Pretty sweet," he adds. "Thank you, Tony!"
But for all of the big bands on the Tony Hawk's Pro Skater 2 soundtrack, it was again the opportunity afforded to lesser-known bands that was most exciting. Far from the skateparks and sunshine of Southern California were Consumed, a punk rock band from Nottingham, right here in the UK.
"Consumed was never destined for huge success," Chris Billam, the band's drummer, tells me. "We were happy with being reasonably well known within the UK punk scene back in the day, but we lacked any real ambition to push the band to where it perhaps could have got to. After being picked up by Fat Wreck Chords in the late 90s, we were lucky enough to travel that bit further and reach a wider audience. These were good times for the band and we were very lucky to have the opportunities and experiences we had. One of the biggest opportunities for further exposure came when we were told by the label that Activision wanted Heavy Metal Winner to feature on the soundtrack to Tony Hawk's Pro Skater 2."
Like Dead Kennedys, Bad Religion, Rage Against the Machine, and other bands with an anti-establishment bent, however, Consumed faced some flak from parts of the punk rock world, who felt it was "corporate" and "selling out" to appear on a video game soundtrack.
"Inevitably, there were a few grumbles from the punk rock elite who believed Consumed had sold out," Billam recalls, "and that we'd let the scene down terribly by agreeing to be involved. I also remember hearing rumours that we'd been paid enough money to set us all up for life. In reality, we did get a small one-off payment which went towards the band's debt and a copy of the game each."
I'd argue that if people are giving you the same grief as they're giving Dead Kennedys and Bad Religion, you're at least in some very good company. Like all of the bands I've spoken to, though, Billam was keen to reiterate how positive the experience was for the band.
"We were aware of the success of the first game," he continues, "and that one of its biggest draws was the soundtrack, so we felt honoured to be asked to be on the soundtrack of the sequel. For a virtually unknown band to be sitting alongside huge names from the world of punk, metal and hip hop will always be something for us to be extremely proud of."
When the Tony Hawk's Pro Skater 1 + 2 remake was announced on May 12, 2020 – and the initial excitement over playing them again (without having to dig my PS1 out from the attic) subsided – my thoughts immediately turned to the soundtrack. Which songs would be on it? Would Activision be able to reacquire all the licenses? Would the bands involved the first time around even still be interested?
So began this feature and, over the intervening four months, I reached out to (pretty much) every band on the soundtrack from the original games. Some of the bands involved no longer exist, while others haven't made it back onto the remake's soundtrack for unknown reasons. But every band I spoke to, without exception, is thrilled to be back on the soundtrack for Tony Hawk's Pro Skater 1 + 2.
"I'm honoured and grateful to be part of the remix," says Jay Bentley of Bad Religion. "I hope it spawns a whole new generation of skaters. That's how I grew up and look at me!"
Like Bentley two decades earlier, building a halfpipe in the garden with his son, Lagwagon's Joey Cape sees his band's presence on the Tony Hawk's Pro Skater 1 + 2 soundtrack as a link to his teenage daughter's love of skating, in addition to a great opportunity for the band.
"When Pro Skater was first released, many of Lagwagon's fans were already skaters. I do think the new version could bring some younger fans to the soundtrack and in turn, the bands," he says. "My daughter, for example, is 16 and she and her friends are skaters now. It's really cool to witness the relationship between skateboarding and punk rock resurface. It always made sense. The sound and sport reunite over and over again."
"It's great. It did turn a lot of people onto our band and if people like the song on the soundtrack, I think they will do some digging around to find more by our band," Fu Manchu's Scott Hill tells me."
"Always looking to gain new fans!" He adds, acknowledging the function of Tony Hawk's Pro Skater as an on-ramp for fans, turning them on to a band's whole back catalogue through hearing one song while playing the game.
Johnny Bonnel of Swingin' Utters, meanwhile, promises to make the most of being on the soundtrack for a second time.
"I'm really pleased with being on the remastered soundtrack! Looking back, I was not in a good frame of mind at the height of our popularity," he recalls. "We were touring with Social D [Social Distortion] and NUFAN [No Use For A Name] and Lunachicks! I should have been ecstatic at the direction we were headed. Instead, I was a grump. I want to make a promise to the new generation of fans: I will love you unconditionally."
"I played the original Tony Hawk's Pro Skater 2 a year or so ago and it still feels great when our song pops up," Chris Billam says, of Consumed's return to the soundtrack. "To be included in the remake feels just as exciting as it did 20 years ago. As well as a welcome nostalgia trip for us older folk, it's a chance for a whole new generation of gamers to hear the original soundtrack and discover musical avenues they may not have explored without playing games from the THPS series."
"Yes, I'm pretty excited," Jason 'Jay' Navarro of The Suicide Machines tells me. "We are also on the documentary about the game with a new song. I just hope it's as fun as the first game and or better. We were insanely lucky to be on this game it changed the path of our band I believe. I just hope it interests gamers of all walks of life to go out and get on a board for real."
Only time will tell if Tony Hawk's Pro Skater 1 + 2 has the same impact as the original games. The critical reception to the game has been incredible (our review is coming soon) and if the game's popularity follows the same trajectory as the originals, then the experience should again be positive for everyone I've spoken to.
But for a new generation of bands, they're also getting their shot. For every song that didn't come back for Tony Hawk's Pro Skater 1 + 2, another three have taken their place. There are over three dozen new tunes on the remake's soundtrack, including punk luminaries like The Ataris, Less Than Jake and Reel Big Fish. But there are also bands you might not know, bands you may never have heard of if they weren't featured on the Tony Hawk's Pro Skater soundtrack.
And that's the most exciting thing, isn't it? The idea that any scrappy little band can be given a meteoric boost, just because they got the nod from Tony Hawk and his crew.
The soundtrack of a generation is back, then. It's still the soundtrack of my generation, but now, it's the soundtrack of the next generation of skaters, punks and geeks, too.
I'd like to say a big thank you to all of the bands who took part in this feature, and to all the representatives who made it happen. You've all been excellent sports and this article literally wouldn't have worked without you.
(And if you're reading this, John Feldmann, I'd still like to talk to you and hear your thoughts on Tony Hawk's Pro Skater. Goldfinger quickly turned into my white whale for this feature!)
Enjoyed this long read? Then why not share the article on Twitter or Facebook, buy us a coffee to say thank you, or support Thumbsticks on Patreon to enable more long-form features.
Enjoyed this article?
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Dan Marshall on growing (and feeling) old in the video game industry
Taking a moment out from promoting the console release of Lair of the Clockwork God, BAFTA-winning indie developer Dan Marshall writes about growing (and feeling) old in the world of video game development. (And draws a Bulbasaur from memory.)
Taking a moment out from promoting the console release of Lair of the Clockwork God, BAFTA-winning indie developer Dan Marshall writes about growing (and feeling) old in the world of video game development. (And draws a Bulbasaur from memory.)
I'm turning 40 in a couple of weeks. By the time this article runs, I'll be well into my forties, crying into my All-Bran – which I now presumably have to eat every day for breakfast – and mentally eyeing up coffin prices. It's all downhill from here.
One of the great things about growing up loving technology, surrounded by the latest tech, and going on to forge a career in video games, is that I always felt up-to-date with the latest hot youth trends, even if I had no personal interest in them.
When Pokémon came out, it was my first year at University. Cartoons about pocket monsters were the last thing on my list of interests at the time, and I immediately dismissed it. I was still aware of it, though. I never played it – I never played any of them – but I could probably bluff my way through a pub quiz on it, if only because I've absorbed a lot of information by osmosis over the years. I could probably draw a Bulbasaur from memory, even if I don't actually know what the hell one is. [This was a red rag to a bull, so we called him on it. Now the artwork above makes sense, right? – Childish Dares Ed.]
It kept me "young", you know? Knowing what the tiny people were up to, being subliminally drip-fed information about Fortnite even if neither my countryside internet connection nor my greying synapses could handle it, there was a connection there, a connection to a youth culture that kept me feeling like I was "in the know". Which I'd like to say is important in my job as an indie game developer, but the actual truth is I'm not sensible enough to pay attention to "trends" or "metrics" or what-have-you, and I still just bloody-mindedly make whatever I want to make. I'm not spending 3 years of my life crafting games for other people, I'm doing it for me. I'd go mad, otherwise.
But I'd always wondered when old age would happen. That neat, underscored line in my life where I can no longer tolerate even the slightest incursion from things I reflexively deem "lesser". When the young person stuff would be deemed so astonishingly unimportant that I actively seek to keep it out of my brain.
I remember when it first happened, and it was celebrity YouTubers. I remember people actively engaging in what I felt was just the most poorly-produced waffle, and mentally my brain just went: "You know what? This isn't for us. Let's bounce all information about this topic right out of the park, and get back to focussing on grown-up things like which brands of weedkiller are socially and morally acceptable to use and hey is that a new Ben Folds album and wait where was I?"
Most recently, it's been Animal Crossing: New Horizons. I don't understand people who are my peers, who are my age and have jobs that require them to wear a suit, and they're getting all worked up over something that looks-and-sounds like the sort of thing my 4-year-old has grown out of. "Oh no, Teddy Tummy has sold my turnip collection to a badger, and now I need to sweep up all these leaves before sunset! What am I going to do?"
It's. I mean… come on. I'm all for all sorts of games in every genre imaginable, not everything needs to show skulls smashing to pieces in Ultra HD 4k resolution at 60fps, but this one thing my brain has actively repelled.
I'm wrong, of course. It's clearly a brilliant game. Maybe 4 years of children's TV with my kid has made me slightly more on-edge about stuff with that ultra-kiddy preschooler tone. I'm 100% sure if you took Animal Crossing and replaced everything with spaceships I'd be all over it like a rash.
Besides, life's too short to get angry, you know? Here I am, 40 already, and it's all slipping away like grains from a Palossand's arsehole. See? I told you I know Pokémon stuff, somehow.
Lair of the Clockwork God is out now on Nintendo Switch and Xbox One. It's also available on PC, Mac and Linux via Steam and GOG.
Read our review of the game here (we loved it) and our extensive interview with the man himself, on the reception to Lair of the Clockwork God and the future of Ben and Dan.
Enjoyed this article?
Found it interesting, entertaining, useful, or informative? Maybe it even saved you some money. That's great to hear! Sadly, independent publishing is struggling worse than ever, and Thumbsticks is no exception. So please, if you can afford to, consider supporting us via Patreon or buying us a coffee.
That's time gentlemen, please: Lair of the Clockwork God 'a nice swansong' for Ben and Dan
We caught up with Dan Marshall to ask about expectations for Lair of the Clockwork God, designing games in the pub, and the end of the road for Ben and Dan.
We caught up with Dan Marshall to ask about expectations for Lair of the Clockwork God, designing games in the pub, and the end of the road for Ben and Dan.
Lair of the Clockwork God is one of the first games on the list for our inevitable "best games of 2020" article later this year, and let me tell you now, there's no shifting it. It's indelible.
There are only a handful of games this year – yes, even big AAA behemoths – that I would consider as good as Lair of the Clockwork God. You can count the games that might be "better" on one hand. (With strong emphasis on the "might" depending on the mood I'm in.)
The critical consensus would tend to agree with me. It's "mighty" on OpenCritic, with 100% of critics recommending it, has a Metascore of 84, 99% positive reviews on Steam, and has been the one of the top "undiscovered gems" on Steam for months now. But for some reason, Lair of the Clockwork God doesn't have the sales to match its critical reception.
The working theory at Thumbsticks, incidentally, is that people have been "waiting for it to come to Nintendo Switch". Yes, even though the Switch version of the game – which releases September 4, 2020, alongside the Xbox One version – wasn't announced until last month. (Switch port begging is wild, huh? And if you were doing that, you'd better buy it. We don't like looking foolish.)
So with the console release right around the corner, I caught up with Dan Marshall of Size Five Games to ask about the reception to Lair of the Clockwork God, the joys of designing a game in the pub, and what's next for Ben and Dan.
Thumbsticks: I am aware that Lair of the Clockwork God hasn't sold as well as you'd hoped – I follow you, I see the tweets – so I'd like to home in on the commercial success/failure aspect a little bit, if that's OK?
Dan Marshall: I mean, look. By any realistic measure of success, Clockwork God is doing well. It's selling well enough to prop the company up and should do enough to make another game. I think the problem is that when you're self-funded you need to be making that "next game" with some idea of what your budget's going to be like, and that's where things have gone tricky.
So, ideally, Clockwork God would have immediately made £100k and I can go, "you know what, that's fab, I can hire an artist for the next game and we can do X, Y and Z," and the reality is in 2020 games don't sell like that. They sell when they're on sale, they sell when they're on Switch… So it's way harder to work out what I do going forward. Which sucks.
I think a lot of my "waaah this hasn't sold as well as I'd hoped" also comes from the critical reaction to the game, y'know? In that it got ace reviews, both from critics and users, and was in mid-year GOTY lists and stuff and… I mean I had assumed if I'd ever made a game that was that well-received, the money would flow along with it. That I'd be actually rich, and that side of things definitely hasn't happened.
But, it's not like I've made a stinker of a game, so career-wise it's been brilliant. It's a near-universally liked game, and that's a huge boost for me personally, even if I'm not typing this from my own personal yacht.
The critical reception to the game has indeed been fantastic, but the number of critic reviews seems – I'll be honest – absurdly low. Are you hoping the console releases will give the game a second shot at generating some sort of buzz?
Yeah, I mean, I get it. I think the big outlets will only really review games that are proven to bring in clicks? Stuff that's already popular and successful? I don't know how it works; I'm guessing. But it felt like that. Even when we had the 84 Metacritic under our belt, and I was taking the game to big outlets and going "LOOK. SEE? GOOD GAME, OF INTEREST TO YOUR READERS." it was getting nowhere. And you know, Clockwork God was never a viral-y sort of game. Great puzzles and funny dialogue don't gif well, so it has an at-best modest following, so I understand how it bounced off those big sites.
Even now, I don't know how many outlets will take it "seriously" for the console launch. I don't think it's a game that brings in clicks. Lesson learned. But it's certainly a second opportunity to talk about the game, to thrust it in peoples' faces, and get a second wave (sorry, poor choice of words) of buzz.
Is there anything you might've done differently, then?
No, I mean by this point Ben and I have been designing the game in pubs for a decade. It needed making, we'd had too much fun talking about it and throwing ideas around. It needed to come out of my brain and into a computer, really. Short of suddenly changing it into a Roguelike, there's not much that can be done.
I mean, when I started development on it, narrative games like Night in the Woods/Thimbleweed Park were getting great buzz and good numbers, so it seemed like a reasonable thing to be taking on. So, I guess you just can't tell.
I'm talking like it's done badly. It hasn't! I'm just slightly bitter that it hasn't done as well as the reception would suggest!
Down the pub, though, with your best mate – you did have a lot of fun making it?
Oh, it was the best time. Just, the absolute best bit of the job, sitting around, throwing ideas back and forth. I wish I could do that forever and not have to worry about all the messy practicalities of actually making the game afterwards.
But yeah, amazing. We laughed so long and so hard it was just magical. We're going to have to find something else to design when we meet up, because I think I'm just addicted to that specific part of game development, now.
So, what's next, then? Is it the dinosaur game or, dare I say it, Behold the Clipmen, or something else?
Yeah, the Dinosaur Game next. It was something I was tinkering around with and having learned my lesson from Clockwork God I was like, "I'll put this up on Twitter, see if I can gauge if there's an appetite for it," and it did really well, so it's a strong direction to go in, I think. It feels unique, it feels like there's nothing quite like it. I can't believe there aren't many games where you get to play as a dinosaur out there, it seems so…. obvious?
Behold the Clipmen came to a crashing halt because it just didn't hang together very well – I wanted to make something quick and easy, but Clipmen required a depth of mechanic I wasn't willing to invest for such a gamble of a game.
And will Ben and Dan be back?
Dan and Ben probably won't be back, to be honest. I'd love to, because it means Ben and I can do some more "design meetings" but I think it'd only happen if the console versions do so astronomically well it'd be daft not to. We'll see, but for now I think this is a nice swansong for the characters, a well-received lovely little game that's funny and unique and a bit clever, and doesn't sully the good names of Ben There, Dan That! and Time Gentlemen, Please! It feels like an apt "out" for them.
Oh man, well that's bummed me out for the day ahead! You're right, though – it is a lovely swansong and a fitting place for their story to end. Speaking of endings, then: I remember you saying that you tried to get a licensed bit of music for the end of Clockwork God but it didn't come off. What's the story there, and what was the song?
Hah, at first I wanted I Think We're Alone Now by Tiffany, which I thought would be hilarious, and then briefly looked into Nothing's Gonna Stop Us Now by Starship, but there's a Beach Boys song called That's Why God Made the Radio and some of the lyrics fit how the game ended, and it's a beautiful track. It has this washy, free, relaxed, happy feel to it and it just felt "right". The entire end sequence was written and designed with that song in mind.
So I set about trying to clear it, and the lady I was dealing with was… I mean, I assume if you're not some big movie studio she felt like you're wasting her time? That's how it came across, anyway, as if I was a nuisance because I wanted to give her money. Like, some tiny indie game wasn't even worth the effort of typing a reply.
So I chased and I chased and I chased and eventually after many weeks the quote came in as about £2-3k which was… I mean, it's manageable but a lot. But the license expired after 5 years so I sent her an email saying, "what's the quote if it's forever because I'm not interested in changing the game 5 years down the road because of a song," and as I recall she didn't even bother replying, so I thought, "fuck it, I'm not chasing this again, I'll just write my own damned song," which, actually, I think worked out better.
I love that Beach Boys song, but that's a good call, I reckon. If even Microsoft and Remedy fell foul of expiring music licensing rights (and it pulled Alan Wake off sale for the best part of a year while they sorted it out) then that's not the sort of headache you need as an indie developer.
And you're right, you know? The ending worked out pretty much perfect the way it is.
Lair of the Clockwork God releases on Nintendo Switch and Xbox One on September 4, 2020. It's also available on PC, Mac and Linux via Steam and GOG.
Enjoyed this article?
Found it interesting, entertaining, useful, or informative? Maybe it even saved you some money. That's great to hear! Sadly, independent publishing is struggling worse than ever, and Thumbsticks is no exception. So please, if you can afford to, consider supporting us via Patreon or buying us a coffee.
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What is Family Leave Insurance (FLI)?
Six weeks of partial wage replacement over a 12-month period to bond with a newborn or newly adopted child or to care for a seriously ill child, parent, spouse, domestic partner or civil union partner.
People taking this leave will receive up to 2/3rds of their usual wage, with a maximum of $633/wk* in 2017. This limit will rise yearly to keep up with the cost of living.
Who gets it?
Most employees** who work in New Jersey are eligible.
You must have worked at least 20 calendar weeks where you earned at least $168/week*, or you earned at least $8,400* in the year before you take family leave.
All eligible employees began contributing to the FLI program through their normal paycheck on January 1, 2009.
When should you file an application for family leave insurance benefits?
An applicaiton, or "claim", must be filed within 30 days after the commencement of a period of family leave. A penalty may be imposed if the claim is filed late. You may give a reason for a late application.
Where can you get an application for FLI benefits?
Application forms are available on the Department of Labor and Workforce Development's website, by telephoning the Division of Temporary Disability Insurance's Customer Service Section at (609) 292-7060, or by writing to the Division of Temporary Disability Insurance, PO Box 387, Trenton, NJ 08625-0387.
When can new parents apply for FLI to bond with a newborn or newly adopted child?
Family Leave Insurance benefits for bonding with a newborn or newly adopted child are only payable during the 12 months after the child's birth or adoption. You may apply for FLI anytime within those 12 months. If mothers take FLI immediately after taking temporary disability for pregancy related reasons, they only have to submit the 1-page FL2 form which will be mailed 35 days after delivery, it can also be found here.
Does an employee have to notify an employer if he/she intends to claim FLI benefits?
Yes. Employees intending to take leave to bond with a newborn or newly adopted child must provide the employer with a minimum of thirty (30) days notice prior to commencement of the family leave. Failure by the employee to provide this notice will result in a 2 week (14 day) reduction in the claimant's maximum FLI benefits entitlement for the 12-month period unless the time of the leave is unforeseeable or the time of the leave changes for unforeseeable reasons.
Employees intending to take leave to care for a seriously ill family member on a continuous, non-intermittent basis must provide the employer with prior notice of the family leave in a reasonable and practicable manner, unless an emergency or other unforeseen circumstance precludes prior notice.
Employees intending to take leave to care for a seriously ill family member on an intermittent basis must provide the employer with a minimum of fifteen (15) days notice prior to the commencement of the intermittent family leave unless an emergency or other unforeseen circumstance precludes prior notice.
Is there a waiting period before FLI benefits can be paid?
Yes. The first seven consecutive days of a claim is called the waiting period. If benefits are payable for any period during each of the three consecutive weeks following the waiting period, then benefits are also payable for the waiting period.
In the case of intermittent family leave, in a single period of family leave taken to provide care for a family member with a serious health condition, Family Leave Insurance benefits are payable with respect to the first day of leave taken after the waiting period and each subsequent day of leave during that period of family leave. If benefits become payable on any day after the first three weeks in which leave is taken, then benefits will also be payable for any leave taken during the waiting period.
Exception: There is no additional seven-day waiting period for a Family Leave Insurance claim for benefits to bond with a newborn when the Family Leave Insurance claim is for the period immediately following a Temporary Disability Insurance (TDI) pregnancy-related claim.
Is a FLI claimant required to take FLI benefits all at one time?
If the leave is to care for a seriously ill family member, the leave may be taken during one continuous period, up to a maximum of six (6) weeks or intermittently up to a 42 day maximum in a 12-month period.
If the leave is to bond with a newborn or newly adopted child, the leave must be taken during one continuous period of time unless both the employee and the employer have agreed to an intermittent leave schedule. In those cases, leave may be taken in non-continuous intermittent periods of seven (7) days or more. All leave taken to bond with a newborn or newly adopted child must be taken during the 12-month period immediately following the birth or adoption of the child.
Can an employer require an employee to use paid time off during the period the employee is claiming FLI benefits?
Yes. The employer of a claimant may require the claimant, during a period of family leave, to use up to two weeks of paid sick leave, paid vacation time or other leave at full pay. This option does not relieve employers of any collective-bargaining provisions with respect to paid time off. Employees are permitted to take the paid time off during the waiting period. Although the employer may "require" the claimant, during a period of family leave, to use up to two weeks of paid sick leave vacation time or other leave at full pay, the employer may only "permit" the claimant, during a period of family leave, to use more than two weeks of paid sick leave, vacation time or other leave at full pay.
Does FLI provide job protections?
No. The Family Leave Insurance program does not protect anyone's job. The program provides partial wage replacement. Some employees may have their job protected under other laws, such as the federal Family and Medical Leave Act (FMLA) or the New Jersey Family Leave Act (NJFLA).
Can you apply for FLI when unemployed?
Yes. If a claimant applies for Family Leave Insurance benefits more than 14 days after his/her last day of work, benefits may be payable under the provisions of the Family Leave Insurance Benefits During Unemployment Program. Individuals claiming benefits under this program must meet all the eligibility requirements of the Unemployment Compensation Law, but are not required to establish availability for work.
Can someone get FLI benefits if you have to provide care for a sick family member out of NJ or the country?
Yes. A claim may be submitted for Family Leave Insurance benefits to care for a family member with a serious health condition who is out of the state or out of the country. Benefits may be payable provided the medical certificate is properly completed and establishes a need for care.
If eligible, benefits are paid for full weekly periods starting from Sunday through Saturday. There is no provision to pay for intermittent days under the Family Leave Insurance Benefits During Unemployment Program.
When did it become available?
Payroll deductions began in January 2009 and benefits became available July 1, 2009. Workers wanting to bond with a new child can receive FLI benefits during the first 12 months after the child's birth or placement for adoption with the worker's family.
For more questions, call: 848-932-1294 or E-mail: email@example.com
Click Here For Family Leave Insurance Resources, Research and Reports.
*Amounts are current for 2017, visit http://bit.ly/NJFLIDOL for any updates
**Employees of all private and governmental employers subject to the New Jersey Unemployment Compensation Law are covered.


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I have an Ubuntu 11.04 server in a remote location on another continent, so I have no physical access to it. I only interact with it by
ssh (and
scp), and intend to only ever interact with it that way.
For security purposes, I want to ensure that absolutely all ports on the server are closed, except for
My understanding is still vague, despite having tried to find instructions on the web. What I've gathered so far is that I need to "flush" the "iptables", and also that I need to edit some files (
/etc/hosts, maybe?), and reboot the machine.
Obviously, though, I want to be very careful about this, because if I do it wrong, I could end up accidentally shutting down the ssh port, making the server inaccessible to me.
I'm looking to establish a fool proof set of steps before I do this.
So, how do I shut down all ports while still preserving my access?
Bonus question: While doing this, should I, and can I, change the
ssh port from 22 to a non-standard one? Does it really make a difference?


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Facebook releases camera app for iPhone
Facebook has released a camera application that lets people take Instagram-style pictures which can be shared with iPhones.
The stand-alone application synchs to the leading social network, letting friends admire one another's photos.
The new mobile app "makes using Facebook photos faster and easier," according to product manager Dirk Stoop.
"You'll see a feed of great photos from the people you care about," Mr Stoop said in a Facebook post.
"You can swipe to see more of any album or tap to enlarge an individual photo."
The mini-program also let people share many pictures simultaneously instead of having to post them one at a time to the social network, according to Mr Stoop.
Facebook Camera was to be available in Apple's online App Store on Thursday.
Menlo Park, California-based social network made a billion-dollar deal in April to buy the startup behind wildly popular smartphone photo sharing application Instagram.
The big ticket purchase was seen by some as a move by Facebook to strengthen defences against Google and blazingly hot newcomer Pinterest.
"For years, we've focused on building the best experience for sharing photos with your friends and family," Facebook co-founder Mark Zuckerberg said in announcing the deal.
"Now, we'll be able to work even more closely with the Instagram team to also offer the best experiences for sharing beautiful mobile photos with people based on your interests."
An Instagram application tuned to Apple's iPhones, iPads, and iPod touch devices has been downloaded more than 30 million times since the first version was released in late 2010 by the San Francisco startup.
A version of the application tailored for smartphones power by Google-backed Android software racked up more than a million users in the 24 hours after its recent release.
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Probably more painful, too, because chances are the average wedding-party member would be a lot less musically adept than the performers in the sweetly funny dinner-theater production "Once Upon a Wedding."
The show, running through Saturday at the California Center for the Arts in Escondido, has nine characters who are all grappling with matrimonial disaster (or at least disappointment) of one kind or another.
Actually, the story casts a wider net than that, if you count all the playgoers who are coaxed and cajoled to participate. (Take that as either a promise or a warning.)
The talented singer Lisa Laughbaum, head of Laughing Tree Productions (and the show's chief writer), plays the wedding entertainer Liza, who is lamenting her own lack of marital luck. She's in a long-term but lackluster relationship with the musician Bill (real-life husband Michael Laughbaum).
The lucky couple at the ceremony's center have their own woes: Daisy Dudley (Lindsey Pino, an appealing actress with a powerful voice) is getting cold feet while her parents, Robert and Zina (Eric Olson and Debbie David), bicker. That leaves the groom, a bit too cutely named Davis Do-Wright (Mitchell McCollum), to cool his own heels on the sidelines.
Zina also is near fisticuffs with the loopy bridesmaid Debbie (an amusing Anna Suzette), while young Chris Crost (Ian Laughbaum) is freaking out over taking over as wedding coordinator from his dad, who's stuck in Mexico with the rest of the wedding party. Meantime, the serial groom Uncle Julie (likable Harold MacPherson Jr.) is trolling for his next bride.
It all proves a lot to take in. (And one heartwarming moment in which longtime couples in the audience are asked the secrets of marriage runs awkwardly into a bit about infidelity).
But the setting is attractive, and there are gentle laughs on the menu, along with a satisfying dinner, plus champagne and cake. And at least in this tuneful vision of (eventual) wedded bliss, there's nothing that can't be solved with a nice round of "All You Need Is Love."
"Once Upon a Wedding"
When: 7 p.m. Friday; 7 p.m. Saturday.
Where: California Center for the Arts, 340 N. Escondido Blvd., Escondido.
Tickets: General admission $69; VIP $99. (Dinner is included; discounts for children and seniors.)
Phone: (760) 591-3113
Online: onceuponaweddingthemusical.com


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Local churches and people are preparing for Operation Christmas Child, hoping to collect a record-breaking 3,650 shoe boxes from Southwest Colorado for children in need around the world.
The operation is part of Franklin Grahams Samaritans Purse, which anticipates crossing the 100 million-shoe-box mark this year.
Anyone can participate in the project, which involves collecting toys, school supplies and hygiene items for needy children overseas. Everything must fit in a shoe box, and empty shoe boxes are available at the First United Methodist Church of Durango, 2917 Aspen Drive. The church is serving as the collection point again this year.
Then, using whatever means necessary trucks, trains, boats, bikes and even elephants and dog sleds, the organization said in a news release, the gifts will be hand-delivered to hurting children in 100 countries around the world.
Donors can track their shoe boxes to the destination country by using the Follow Your Box form found at www.samaritanspurse.org.
Through the power of a simple gift and the message of hope through Jesus Christ, the organization said, children learn they are loved and not forgotten. For many children, the shoe box gift will be the first gift they have ever received.


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Milwaukee Archbishop Prays for Sikh Community After Deadly Shooting
'It is in times like these that we turn to God, who is the consolation and hope for all of us,' Archbishop Listecki said in reference to Aug. 5 temple tragedy.
Milwaukee Archbishop Jerome Listecki expressed sorrow and promised his prayers after a gunman fatally shot six people at a local Sikh temple before being killed by police.
"Our prayers go out to the congregation at the temple and to the entire Sikh community," Archbishop Listecki said in an Aug. 5 statement responding to the Sunday morning murders, committed by Wade Michael Page at the Sikh Temple of Wisconsin.
"It is in times like these that we turn to God, who is the consolation and hope for all of us," the Milwaukee archbishop reflected.
The archdiocese expressed its closeness to victims as well as families, friends and emergency responders involved in the shooting.
Several dozen adherents of the Indian religion were reportedly gathering for a service when Page began shooting with a 9mm handgun, killing six people and seriously wounding three, including one police officer. A fourth victim has been treated and released from the hospital.
Page was shot dead by the police. He was later identified as a 40-year-old U.S. Army veteran who had served for six years before being discharged for misconduct in 1998. His motive for the shootings is unknown.
The FBI is investigating the murders as a case of domestic terrorism. The Southern Poverty Law Center, which tracks white supremacists and others it classifies as "hate groups," said on Monday that Page was "a frustrated neo-Nazi who had been the leader of a racist white-power band."
Sikhism, founded during the late 15th century, is one of India's main religions and the majority religion in the Punjab region. It has around 27 million members, around 500,000 of whom live in the U.S.


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- Bushwacker 100034-01 Pocket Style Fender Flares Bolt Kit - Black Stainless Steel for 1970-2020 UniversalBlack oxide stainless steel bolts and washers are chemically treated to add a mild extra layer of corrosion and abrasion resistance. They feature a sleek black look to use with existing Pocket Style Fender... View MoreSpecial Price $40.49 Regular Price $44.99
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Dear Aspirants,
As the Prelims examination for SBI Clerk and PO 2018 has been completed, we have started special classes based on the new pattern for the SBI PO/Clerk Mains exam and here we are providing you the pdf of "#MMC: Important Questions For SBI Mains Exam 2018" held on our Youtube channel. This will also be helpful for your upcoming exams like IBPS PO, Clerk, RRBs and other competitive exams. You will be surely benefited with this pdf. We are determined to provide you the best content and wish success of all our students so, keep following us for the content based on the newest exam patterns and the most important questions for your exams.


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Published by Harlequin Genres: Contemporary
Source: Publisher
Reviewed by Vanessa
Reformed confidence artist, Breanna "Bree" Dalton, is on a mission to protect her younger sister, Josie. She had no idea that when she ventured to that table she would be faced with her pasta past that destroyed her life at the time. Bree had never truly gotten over that night with Vladimir, but she persevered trying to be better than she once was.
Russian Prince Vladimir Xendzov, did not come out of their past relationship unscathed. He has changed since Bree's last encounter with him, and not for the better. He is now a cold, ruthless man, whose heart has long since died! And Prince Vladimir still desires Bree. Vladimir wagers for the opportunity to own her body with a flick of a card for as long as he desires her. Feeling confident of a win, Bree can't resist the temptation that Vladimir promises if she wins and so she accepts that gamble. However, have they both gambled more than they are willing to lose?
Dealing Her Final Card was a sizzling HOT tale with a surprisingly steamy encounter between Vladimir and Bree. I was a little hesitant to go along for the ride as Bree seemed a bit more than what I had expected. However, I was pleased with the outcome because Bree held true to her character in Dealing Her Final Card.
Dealing Her Final Card had a very alpha male in Vladimir, but he really was more than that at the center. I enjoyed watching his transformation, and I believed in their HEA. I understood the difficulties that both Vladimir and Bree endured in Dealing Her Final Card as they worked out their issues with one another. I was glad that Vladimir and Bree took that final gamble as it proved the most rewarding for both. The unconditional love that was spoken in Dealing Her Final Card was truly heartwarming for me, as well.
I never really felt that Vladimir was overly cruel to Bree in Dealing Her Final Card, as she agreed to the deal before it began. Bree needed to hold to her word and be honorable when all was said and done. Yet, she finds that it is a little harder to be so honorable than what she had though before in Dealing Her Final Card. However, given all that Vladimir and Bree endured to get to the HEA, the truly priceless moment was when he gave up that which he most wanted for something else. That makes this a Joyfully Recommended read an alpha hero who is more than the sum of his parts!!


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- "As we all know..." and its variants, "Everyone knows," "Everyone should know," and "We all enjoyed...": These sweeping, absolute statements may stem from a desire to make the audience feel included or to create a sense of community. Instead, they more often make the speaker sound arrogant or just plain inaccurate. The moment you start telling the audience what it knows, feels or does, individuals who don't fit that mold will start to squirm, object or just tune out.
- Using yourself as the only data point to prove your assumptions: It's human nature to turn to your own experience to explain or illustrate a point, but as any good researcher will tell you, a study where the number of subjects observed = 1 is not valid. While this may seem to be the opposite of the grandiose statements in number 1 above, you'll often hear this used to prove an absolute, as in, "Everyone had a great time at the annual meeting. I know, because I really enjoyed..." Make sure you use personal references and stories to illustrate a point, not to prove it, and speak for yourself.
- "I know [insert a boundary/rule/time limit/announced topic here], but I'm going to [do the opposite/go overtime/talk about something else]": Speakers do "have the floor" and the mic and the attention. Announcing and acknowledging that you are about to abuse that power immediately tells the audience you are not thinking about them--and doesn't give you a pass or permission. Instead, you've just signaled that those who were expecting an on-time, on-topic presentation can tune out, if they wish. This is much less amusing an approach than it may seem to many speakers.
- Any sentence loaded with acronyms: Even an audience familiar with your shorthand might want to hear the actual words behind the acronym. What's more, acronyms rob you of the chance to use language to persuade and move your audience. It's nearly impossible to make a call to action with acronyms--at least, not one that will have people leaping to their feet, ready to take part. In some sense, the assumption that everyone knows what you mean is another version of saying "Everyone knows..."
- Time-wasters at the start: "I was going to talk about this, but...." or "I can't tell you how pleased I am to be here today" or "As I was walking across your lovely campus this morning" might be buying you time or sound to you like a heartfelt insight, but these statements are what's commonly referred to as "throat-clearing"--the empty nonsense or obvious statements most speakers use to back into their actual remarks. In reality, you're wasting those golden moments when the audience's attention is strongest. Why not plunge right into your talk?
Attention! Why speakers need a strong, fast start
roundup of the best public speaking blog posts for the week of June 12, 2010.
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This lightweight tote is perfect for shopping and errands.
- 100 gram, 100% polypropylene
- Self-fabric handles
- Dimensions: 12"h x 16"w x 6"d
Note: Bags not intended for use by children 12 and under. Includes a California Prop 65 and social responsibility hangtag.
*Due to the nature of polypropylene fabric, special care must be taken throughout the printing process. Heat transfer or screen printing are preferred decoration options.


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While George Clooney and Amal Alamuddin themselves have not actually spoken out about their engagement, Alamuddin's London law firm nevertheless confirmed it by way of a congratulatory statement on Monday.
"The barristers and staff of Doughty Street Chambers offer their best wishes and congratulations to Ms. Amal Alamuddin, a member of Chambers, and Mr. George Clooney on their engagement to be married," read the statement, reported Reuters.
So we now know officially that human rights lawyer Alamuddin will soon be Mrs. George Clooney, but she wasn't the first. That honor goes to actress Talia Balsam, who was married to the 52-year-old movie star from 1989 to 1993.
U.S. & World
In the years between his former wife and his future wife, however, Clooney romanced a number of women. What happened to the actor's former flames after they called it quits? E! News investigates.
Clooney dated Kelly Preston from 1987 to 1989. The actor shared a home in the Hollywood Hills, and at one point, Clooney bought his girlfriend a black potbellied pig named Max. Post-split, he retained custody of Max until his death in 2006. Preston, meanwhile, married John Travolta in 1991 and gave birth to three children: Jett Travolta (1992-2009), Ella Travolta (born in 2000) and Benjamin Travolta (born in 2010).
Two years after his divorce, Clooney romanced Karen "Duff" Duffy. The two dated in 1995 after Clooney hit it big with "ER" and Duffy gained notoriety for roles in "Reality Bites" and "Dumb & Dumber." She wed tech company consultant John Lambros in 1997; they welcomed a son via surrogate in July 2001.
NEWS: George Clooney's quotes on love, marriage and children
In 1996, while Clooney was filming "The Peacemaker" in Paris, he met a 23-year-old waitress named Celine Balitran. She followed him to L.A. and they dated until 1999. "We haven't even mentioned marriage," Balitran told People in November 1997. "We love each other too much to get married." The blond beauty went on to marry indie film director David M. Rosenthal; the couple divorced in 2002.
Visit NBCNews.com for breaking news, world news, and news about the economy
After meeting at a photo shoot in 2000, Clooney began an on-and-off relationship with British model Lisa Snowdon. "The hardest thing is dealing with people who think I was going out with George to further my career. In fact, offers almost totally dried up," Snowdon told The Sun in 2008. "People assumed I wouldn't be modeling again." She proved them wrong, as she hosted "Britain's Next Top Model" from 2006 to 2009 and currently co-presents "Capital Breakfast." The couple broke up in 2005.
VIDEO: Why George Clooney and Sandra Bullock never dated
Clooney briefly dated a Canadian waitress named Maria Bertrand in 2002. From 2002 to 2004, the two-time Academy Award winner romanced soap opera star Krista Allen. Six years later, the "Days of Our Lives" star married Mams Taylor, an Iranian rapper. The newlyweds separated in April 2011 and Allen filed for divorce in February 2012. She most recently appeared on an episode of "Hawaii Five-0."
In 2007, Clooney stepped out with Sarah Larson at the Deauville Film Festival. The onetime "Fear Factor" winner was a cocktail waitress at a Las Vegas nightclub in the Palms Casino Resort. The following year, she became the first girlfriend to ever accompany Clooney to the Oscars; they split in June. As of July 2013, Larson worked as a part-time yoga instructor and full-time medical spa director in New York City.
PHOTOS: George Clooney on the big screen
Enter Elisabetta Canalis, the Italian model who swept Clooney off his feet for two years. In September 2009, the couple stepped out publicly at a screening of Clooney's film, "The Men Who Stare at Goats," at the Venice Film Festival. In March 2010, Canalis accompanied Clooney to the Academy Awards. By June 2011, things went sour. Just a few months after celebrating the actor's 50th birthday, Clooney and Canalis ended their high-profile relationship. "We are not together anymore. It's very difficult and very personal, and we hope everyone can respect our privacy," the exes said in a joint statement. In 2012, "Dancing With the Stars" contestant Canalis had a fleeting romance with "Jackass" star Steve-O.
In July 2011, Stacy Keibler visited Clooney at his Lake Como villa. They'd met at an Oscars party in 2006 after Clooney approached her and said he'd seen her perform on ABC's "Dancing With the Stars." The pair made their red carpet debut at the Toronto Film Festival in September 2011, and Keibler--a former WWE Diva--became the third girlfriend to join Clooney at the Oscars (after Larson and Canalis). After two years of dating, they called it quits in July 2013. Keibler married tech entrepreneur Jared Pobre in March 2014 and is currently pregnant with her first child--a baby girl--due in the fall of 2014.
NEWS: Five things to know about George Clooney's fiancee Amal Alamuddin
Never single for long, Clooney was first photographed with Alamuddin in London in October 2013. In March 2014, they traveled to Tanzania and the Seychelles. A few days later, the press-shy pair were spotted together once again in New York City after sharing a romantic meal at a French restaurant.
Just days ago, a source tells E! News that Alamuddin flashed a "massive" ring on her left ring finger while dining at Malibu restaurant Nobu with Clooney, Cindy Crawford and Rande Gerber. And when Edward Norton approached their table mid-meal, the couple proudly told the actor, "We're engaged!"


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The Rays have designated DH Pat Burrell for assignment, and selected Hank Blalock from Triple-A Durham.
Burrell, who signed a two-year, $17 million deal before last season, had been a disappointment, with his struggles continuing this season (hitting .202). Blalock is expected to be here at the Trop around gametime.
He sucked. But for a blogger that feasts on crapisms, The Bat will be missed.


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SR14 SOLDER RING 90DEG FEMALE ELBOW 15MMx1/2'' BSP
£2.18 Inc VAT
£1.82 Exc VAT
£10.67 RRP 80% Saving
In stock
Available for Next Day Delivery
if order placed before 3:00pm
SR14 Solder Ring 90º Female Elbow - 15mm x 1/2'', Copper x BSP Parallel Female Thread.
Suitable for use in hot and cold water services for potable water, in small bore and mini bore central heating systems, in low pressure steam heating systems, pressurised unvented heating systems and in chilled water applications. Also suitable for sanitation services, compressed air lines, gas distribution systems and engineering pipeline services that convey liquids, oils, air and gases at temperatures up to 110°C.
Fitting contains a precise amount of lead-free solder - when heat is applied, the solder is released into the gap between the tube and the fitting, creating a reliable joint without the need for end-feeding additional solder.
Manufactured from copper/copper alloy.
Image is for illustrative purposes only.