Fondos públicos, entidades privadas

Las líneas de financiación para empresas del ICO son una constante cuando hablamos de las mejores vías que tienen las Pymes para conseguir financiación. Sin embargo, su funcionamiento (a medio camino entre la gestión pública y la privada) confunde a muchos. Pero eso no quiere decir que sea mejor o peor, solo diferente. Para el que no lo sepa: las líneas ICO para pymes son líneas de financiación con fondos públicos pero que gestionan algunos bancos. ¿Lo malo? Tener a los bancos como intermediarios, con todo lo que eso supone: gestiones, análisis de riesgos, etc. ¿Lo bueno? Tener a los bancos como intermediarios. Sí, es raro... pero tiene sentido. El ICO establece las características y las condiciones de sus líneas, pero son los bancos los que aceptan o deniegan operaciones según sus criterios de riesgo internos. ¿Entonces? Pues que no estás limitado a un solo criterio de concesión, sino que puedes intentarlo en todos los bancos que han firmado como intermediarios de las líneas ICO en 2019. Por lo tanto, misma línea y mismos fondos pero muchas más probabilidades de éxito. Si quieres que te ayudemos a disparar tus posibilidades de conseguir un ICO: Déjanos tus datos y te llamamos Un saludo, Ana

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Shawn Elliott Approves Of Critical-Gaming

Well, Shawn Elliott didn't mention the Critical-Gaming blog specifically. However, the comments he made in the latest Gamsutra podcast on GDCRadio are in line with exactly what's been going on here at the blog for almost a year now.

You can listen to the podcast here.

Doesn't that look like the face of approval?

Among the things he mentions in that podcast and others are...

• reviewing/writing about games after reflecting on the experience that was hopefully done away from pressing time constraints
• writing about games with a thesis instead of creating buyers guides
• finding a unique angle to write from that's as meaningful as it is personal
  
• making a bridge between literary critical theory to talk about video games
• using the structures and unique metaphors of other practices/disciplines/art forms to approach game writing and game design.
  
• taking small investigative ventures probing some aspect of the gaming culture
• writing cross game analyses
  
• being responsible/held accountable for one's writing. Taking a stance and arguing points.
  
• developing and applying a critical eye to video games

Sound familiar?

Good luck Shawn Elliott. It's good to know we're fighting the same fight.

Download Tekken 6 Full Version For Pc

Download Tekken 6 Full Version For pc

Tekken 6 Full Review

Welcome to Tekken 6 is one of the best fighting game especially for fighting lovers that has been developed  and published by Bandai Namco Games.This game was released on 26th November 2007.

Screenshot

System Requirements of Tekken 6 For Windows PC

• Operating System: Windows XP/Vista/ Windows 7 ( 64 Bit )
• CPU: Intel Pentium 4 or later.
• Setup Size: 700 MB
• RAM: 1GB
• Hard Disk Space: 1GB

Lord Of The Rings, Vol. II: The Two Towers: Summary And Rating

             

Lord of the Rings, Vol. II: The Two Towers

United States

Interplay (developer and publisher)

Released in 1992 for DOS, 1993 for FM Towns and PC-98

Date Started: 5 February 2019

Date Ended: 15 March 2019

Total Hours: 18
Difficulty: Easy (2/5)
Final Rating: (to come later)
Ranking at time of posting: (to come later)

Summary:

A shallower, smaller, shorter sequel to a superior predecessor, The Two Towers tells the second of Tolkien's three books from the perspective of three adventuring parties. While the top-down perspective and interface (recalling Ultima VI but with a bigger window) are both adequate, and the game follows its predecessor in offering a number of non-canonical NPCs and side-quests, it remains under-developed in RPG mechanics like combat, character development, and equipment. The switching between parties, over which the player has no control, is jarring, and by the end it feels like no party ever got any serious screen time.

*****

I'm not sure that it's possible to make a truly excellent RPG based on an existing plot with existing characters, particularly ones who live as largely in the imagination as the canonical members of the Fellowship of the Ring. This is different, you understand, than setting a new adventure in a familiar universe. If I had made a Lord of the Rings game, I would have told a story of a group of rangers, or Rohirrim, or even a motley group like the Fellowship, engaged in a struggle ancillary to the main plot, perhaps featuring Frodo, Aragorn, et. al. as NPCs. Games based on Dungeons & Dragons' Forgotten Realms largely seem to take this approach, although with much less well-known source material.
           

Offering an option to execute Gollum took some guts.

        
The problem with using existing plots is that either the player is on a railroad towards a predetermined destination, or he's jarred by the detours. Perhaps the only way to do it well is to allow such detours (as Interplay did here) and then give it to a player who doesn't care much about the original (e.g., me). In that sense, the game world worked out very well. Before we get into a litany of complaints, we have to at least admire the flexibility of the plot, plus the game's ability to introduce side quests that work thematically with the main plot points. It was a strength of Vol. I as well.

The game fails, on the other hand, in just about every possible way as an RPG. There is no experience or leveling. Character development occurs through the occasional increase in attributes and the occasional acquisition of skills as a reward for exploration or quest-solving. None of these improvements mean anything because, first, combat is so easy that your characters don't need to improve to beat the game, and second, every party starts with all the skills they need spread out among the characters. Inventory upgrades are scarce and essentially unnecessary for the same reasons. Combat couldn't be more boring, and there's essentially no magic system: "spells" are keywords that solve puzzles, more like inventory items.
             

Very late in the game, Aragorn can learn skills he won't need for the rest of the game.

          
Even worse is the way that it undercuts nonlinear exploration and optional encounters, essentially its only strength. While many of the side-quests and chance encounters are interesting, hardly any of them offer anything material to the characters. In fact, every time you stop to check out an unexplored area or building, you run the risk of some extra combats that leave the party weakened for the required encounters. This is related to the game's absurd healing system, by which characters are only fully healed at a few plot intervals, with meals and Athelas curing just a few hit points in between.

Now, it turns out that I missed a lot of side quests, mostly towards the end. The open world is nice, but the game only gives you any directions along the main quest path. I never returned to Dunland, and thus missed the side adventures there. Ithilien had at least three side quests that Frodo and his party didn't do, including a crypt, a Haradrim deserter who will join the party, and recovering the eye of the statue. If I'd gone another way in the Morgul Vale, I would have met Radagast. Aragorn missed the entire "Glittering Caves" sub-area, which culminated in a fight with a dragon and would have given him some powerful gloves. I still don't know what I did wrong here. I did find the way to the Glittering Caves, but I somehow missed the transition to the multiple levels that the hint guide says exist. I guess I was supposed to return after the Battle of Helm's Deep, but that would have meant embarking on a lengthy side-quest while on the threshold of victory for the game at large.
             

I'm not sure how I was supposed to get past this.

            
It's also possible that I missed some of these side quests because of another problem: the interface. There are parts that aren't so bad. The top-down perspective, the commands, and the auto-map all basically work, and I like the way you can make the interface go away and use the full screen for just exploration. What sucks is the approach to triggering encounters. You don't see an NPC or group of enemies in the corner of your exploration window. No, they just suddenly pop up because you've happened to walk on the right set of pixels or brushed up against the right object. There's very little correspondence between visual cues on screen and the appearance of encounter options. Sometimes, you see chests but walking up to them and bumping into them does nothing. Other times, you're in a blank room, and you're told about items and people that aren't on the screen at all.
            

Note that there are no orcs anywhere on this screen.

          
Finally, we have the matter of pacing. It's like the game itself has no idea what's going to come next. The battle of Helm's Deep involves six combats in a row, in two sets of three, with only a little bit of healing offered between the sets. After this epic battle, the party can rest and get fully healed, then (apparently) go off and find some magic gauntlets, when there's only one more (easy) combat remaining in the game. On Frodo and Sam's side, late in the game they have to figure out how to cut through Shelob's web. The option I chose (use the Star Ruby) causes the hobbits to get burned a little bit, which would suck--except that the endgame happens five seconds later. Why bother to attach a penalty to the choice?

And while we're talking about pacing, it's important to remember how all the erratic cutting between parties makes it hard to keep track of what any one party is doing. I completely missed an opportunity to recover Anduril because the game lurched to a different party when I was on that quest, and by the time it took me back to Aragorn, it was shouting that Helm's Deep was nigh.
           

Making the least-optimal choice hardly matters when the game is over at the next intersection.

        
Lord of the Rings, Vol. I had a lot of these problems (except the last one), and it ended up with a relatively-high 49 on the GIMLET. Before we rate this one, it's worth thinking about some of the differences. One is size. Vol. I is quite a bit bigger. Although Vol. II is good in this regard, Vol. I offered more opportunities for side quests, inventory acquisition, character development, healing, and general exploration. Pacing issues were caused as much by the player as by the plot.

Vol. I gave you a lot less direction on what to do next. There was a general sense that you had to keep moving east, but you weren't constantly getting title cards explicitly explaining the next step of the quest. For that reason, NPCs and the dialogue system took on a much greater importance. Here, although you can feed NPCs a variety of keywords, they mostly just tell you what the game has already told you in long paragraphs. You never really need them for any clues.

NPCs themselves were more memorable. They had personalities, agendas, side quests, and even a couple of betrayals. Vol. II only marginally developed any of that. There was a poor economy in Vol. I, but Vol. II had no place to spend money at all despite showing that the characters had it. Also keenly felt is the loss of nice graphical (or animated, in the remake) cut scenes between major areas.

Both games do reasonably well in the area of encounters. I've always liked the way Interplay games (including Wasteland and Dragon Wars) require you to read clues and then figure out the right skills to directly employ. Sometimes, items can substitute for skills. But Vol. I's encounters of this nature were less obvious and a little less generous in the variety of things that would work. You couldn't ignore options to improve skills or acquire quest objects. In Vol. II, you can pretty much just walk from beginning to end, knowing that your starting characters have whatever they need.

The rest might just be a matter of bad memory. Recalling the first game, I feel like the graphics offered a little more detail, that encounters didn't depend on hitting quite such a small set of pixels, that there was a little more character development, a slightly better inventory system, and so forth.
            

The game tries to evoke the majesty of Middle Earth without showing much.

         
Let's see how they compare:

1. Game world. The Two Towers definitely makes good use of the Middle Earth setting. The backstory and lore section of the manual are thorough and interesting. It wasn't until I read it that I finally understood some allusions from the films and the previous game, such as what "Numenor" refers to and what Gandalf actually is. While the game doesn't do a lot to build on this setting, it certainly is in keeping with it. Score: 6.

2. Character creation and development. There's no creation at all and only the slightest, near-invisible development. You mostly forget that the attributes even exist. Aragorn started with 70 dexterity, 28 strength, 33 endurance 75 luck, and 75 willpower, and he ended with 74, 28, 38, 79, and 77. Clearly, some development occurred, but never was I notified of any of these increases, and I really have no idea what caused them. The skills system would get more points if the game was a bit more balanced in how you acquire and use them. Score: 2.

3. NPC interaction. I always enjoy keyword-based dialogue systems, but here it's mostly purposeless. When a title card has just told you that "Orcs have ravaged this village and its people are forlorn," you don't need six different NPCs saying, "Orcs destroyed us!" and "We have lost hope!" I did like the few NPCs who could join the parties. Without them, the game would have been forced to either avoid combat with the hobbit parties or make the hobbits uncharacteristically effective. Score: 5.
          

I'm sorry we didn't see more of Eowen.

        
4. Encounters and foes. Despite Tolkien featuring a large bestiary, you only really ever fight orcs and men in this game (aside from a few one-off battles). The only points I give here are for the non-combat encounters, which are frequent, require some puzzle-solving skill, and offer some role-playing opportunities. As mentioned, I don't like the way that they appear, but that's more of an interface issue. Score: 5.

5. Magic and combat. Combat features no tactics, no magic, no items to use. Just "attack" and select your preferred foe from a menu. The "magic system," as such, is just the acquisition of some spell keywords that occasionally solve puzzles, but I only had to use one of these words once. (This is in contrast to the first game, where they were constantly required.) Score: 1.
           

The easy, boring combat system.

         
6. Equipment. I found a few upgrades throughout the game: leather to chain, chain to magic armor, sword to magic sword, and so forth. It just didn't feel like any of it did anything. Most of the items that burdened my inventory were quest items, and I found no use for a lot of them. Score: 2.

7. Economy. In contrast to the first game, there is none. The game keeps track of a "silver" statistic for each character for no reason. Score: 0.

8. Quests. Perhaps the strongest point. Each party has a clear set of main quests, an equal number of side quests, and even a few options about how to complete them. I enjoyed the side quests most because with them, I was exploring Middle Earth rather than just hitting a series of determined locations and plot points in a row. Score: 5.
          

9. Graphics, sound, and interface. The graphics aren't objectively bad, but I do think they fail to live up to the player's imagination of storied places like Helm's Deep and Minas Morgul. The failure to show so many things that the game tells you is also pretty stark. Sounds are mostly beeps and the occasional "oof" in combat.

             

The staircase to Cirith Ungol hardly seems hidden, tight, steep, or foreboding, especially with the silly "mountains" on either side.

           

There are aspects of the interface that work well. The size of the game window seems practically luxurious, and you have to wonder if Ultima VII took a lesson from this game or its precursor. The automap works pretty well. There are some nice touches like the star that appears next to the most recently-saved game when you go to load a game. I definitely appreciated the use of keyboard commands for most major actions, in addition to the buttons. Overall, the game would earn a high score in this category except for the encounter-triggering issue, which is both a graphical problem and an interface problem, and comes close to ruining the game on its own. Score: 4.

10. Gameplay. Vol. II is a bit more linear than Vol. I, but not compared to other games. I suspect that Frodo and Sam could have turned around in the last chapter, left the Morgul Vale, and walked all the way back to the Dead Marshes, cleaning up side quests along the way. The nonlinearity coupled with the side quests lend a certain replayability--in fact, I think the game would probably improve on a replay, with a better understanding of the pacing and terrain.
        

I found it far easier than its predecessor, as exemplified by the battle in which Frodo killed the vampire. I was supposed to solve that with a quest item. The game should have made combats harder and the healing system less erratic. Finally, it's also a bit too short, particularly with the action split among three parties. I suspect you could win in a speed run of just an hour or so. Maybe I'll try when I get some more free time. Score: 4.
        

That gives us a final score of 34, as I suspected quite a bit below Vol. I and even below my "recommended" threshold, though just barely. The engine was a bit better than the game itself, and was used in a superior way in the first title. This one seemed a bit rushed and perfunctory.

              

I did like some of the "instant deaths."

               

Computer Gaming World disagreed with me on the first game by largely hating it: reviewer Charles Ardai obsessed about divergences from the books and didn't even seem to notice the more revolutionary elements of the interface. He dismissed it as "not special enough to carry the Tolkien name." But in the October 1992 issue, reviewer Allen Greenberg gave a much more positive review of the sequel. In particular, he addressed the carping of people like Ardai by pointing out that Middle Earth had taken on a certain life of its own, and if we can forgive Tolkien himself for his many appendices and allusions, why complain about a few side-quests and side-characters in a game that's otherwise relatively faithful to the material?
        

Greenberg also offers a relatively nuanced discussion of the party-switching system, pointing out (correctly) that the very approach is revolutionary, and while Interplay might have refined the approach ("Interplay may wish to consider allowing the player at least a vote in the decision making process as to whether it is time to switch locations"), the innovative system offered a "depth of narrative which would not otherwise have been possible." Greenberg's comments led me to avoid subtracting points for this element despite complaining about it several times.

MobyGames catalog of reviews for the game has them averaging in the high 50s, which is pretty miserable. On the other hand, the lack of any seriously rabid fan base must have softened the blow when Vol. III was never released. A couple of years ago, Jimmy Maher published an excellent entry on what was happening with Interplay during this period. The summary is that the company was struggling as a developer/publisher, with Dragon Wars not having sold well in a crowded RPG market. Founder Brian Fargo managed to secure the rights the trilogy from Tolkien Enterprises, figuring that the Lord of the Rings name would make the games stand out among their competitors. 

Interplay was already in the midst of a new RPG called Secrets of the Magi that would feature a free-scrolling interface. Fargo pulled the team off that project and put them to work on Lord of the Rings. By the time the game was released, the company had been badly hurt by the collapse of Mediagenic, publisher of Interplay's Nintendo titles. Interplay rushed production to make the Christmas 1990 buying season. They ended up releasing the game with a lot of bugs and cut features (including an automap), missed the Christmas season anyway, and got lukewarm reviews.

The company was saved by the unexpected success of a strategy game called Castles. Now understanding that the Tolkien name alone didn't ensure success in sales, Vol. II was produced with a smaller staff. When it, too, got poor reviews, and when repackaging Vol. I on CD-ROM also failed to generate significant sales, there was no impetus to move on to Vol. III. Some sites claim that before it gave up on III, there had been plays to turn it into more of a strategy game. 

". . . no one."

        

Maher memorably concludes:

         

Unlike Dragon Wars, which despite its initial disappointing commercial performance has gone on to attain a cult-classic status among hardcore CRPG fans, the reputations of the two Interplay Lord of the Rings games have never been rehabilitated. Indeed, to a large extent the games have simply been forgotten, bizarre though that situation reads given their lineage in terms of both license and developer. Being neither truly, comprehensively bad games nor truly good ones, they fall into a middle ground of unmemorable mediocrity. In response to their poor reception by a changing marketplace, Interplay would all but abandon CRPGs for the next several years.

             

Indeed, the next RPG we'll see from Interplay isn't until 1995 (Stonekeep), followed by two in 1997: Fallout and Descent to Undermountain. It's hard not to see a little of the Lord of the Rings interface in Fallout's: axonometric graphics, continuous movement, a large main game window, and commands hosted in a set of unobtrusive icons with keyboard backup. (Vol. II and Fallout even share at least one designer, Scott Bennie.) Fallout shares these characteristics with the Infinity Engine, which was developed by Bioware but with a close relationship with (and financing from) Interplay. I'm probably grasping at straws, but I look forward to exploring the engines' history more when we get to those games.

The Two Towers was the last attempt to make an official Middle Earth game until after the Peter Jackson film series, which spawned a host of new games that, like the films themselves, are controversial among fans. (We won't see another one until 2002's The Lord of the Rings: The Fellowship of the Ring.) The 1990s were the only era in which Tolkien fans were likely to get an RPG that was technologically and graphically advanced enough to be fun, but not yet influenced ("tainted," as I'm sure some would have it) by the films. While the two Interplay titles have some promise and fun moments, it's too bad that they were the only attempts.

****

While we're wrapping things up, I think I might be ready to throw in the towel on The Seventh Link. I hate to do it, particularly when I know the developer is reading, but I can't seem to force myself to map and explore all the large dungeon levels. I'll chew on it for another couple days while I get started with Star Control II.

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Fishery

Abstract: This article covers an uncommon yet influential sector of Hong Kong -- Fishery. The sector has provided us with unique landscapes that aren't expected in a modern metropolitan: sampans, Tanka fishermen, floating villages, pang uks and floating restaurants. What is more, the sector has rooted certain key cultures to our society: the naming of the city and street food. A few video game developers have recorded some of these features in their works, and we are going to use these video games to introduce these distinctive Hong Kong characteristics.

Sampans

Well before Hong Kong was established as a British entrepôt in 1842, there had already been human settlements. A few of them involved fishermen living by the ocean. From the various fishing tools and praying stones that have been found, Hong Kong was believed to be a thriving fishing port back to the Stone Age (香港政府漁農自然護理署, n.d.-a).

Fishery remained a major industry of Hong Kong for quite a long time after 1842. Till the end of 20th century Hong Kong, we could find quite a lot of sampans (舢舨) for fishing. A sampan is a relatively flat bottomed Chinese wooden boat of length of 10-20 meters, and many of which include a small shelter on board. When you see sampans, you know you are not in anywhere else but Southeast Asia (Wikipedia, n.d.-e).

You can find sampans in video games based on Hong Kong in the 1980s and 1990s, such as Shenmue II (Sega. Dreamcast: 2001, Xbox: 2002), Shinobi Legions (Sega. Sega Saturn: 1995), Street Fighter Alpha 3 (Capcom. Arcade et. al.: from 1998) and Lost Horizon (Animation Arts, Microsoft Windows. 2010).

Sampans. Source: weshare.hk

A photo of sampans, in Hong Kong Mahjong (Nine Dragon. DOS: 1991, Microsoft Windows: 1996)

Sampans in Shinobi Legions (Sega. Sega Saturn: 1995)

Sampans in the Hong Kong stage of Street Fighter Alpha 3 (Capcom. Arcade et. al.: from 1998)

A sampan cluster in Aberdeen of Shenmue II (Sega. Dreamcast: 2001, Xbox: 2002)

A sampan in Bruce Lee: Quest of the Dragon (Universal Interactive. Xbox: 2002)

A sampan in Bruce Lee: Return of the Legend (Universal Interactive: Game Boy Advance: 2003)

Sampans in Lost Horizon (Animation Arts, Microsoft Windows. 2010)

Tanka Fishermen

Many fishermen in Hong Kong have been from an ethnic group known as Tanka (蜑家) which has been settled in the territory for a long time, which could be as early as prehistoric times (Grolier Incorporated, 1999). Tanka people have their own traditional clothes featuring a round-edged, round-topped Tanka hat (蜑家帽), which you could find in the Hong Kong stage of Street Fighter Alpha 3 (Capcom. Arcade et. al.: from 1998).

A fisherman wearing a Tanka hat, taken in Aberdeen harbour in February 2017.

Traditional Tanka people clothes shown in a Hong Kong museum. Source: Wikipedia

A fisherman wearing Tanka hat in Street Fighter Alpha 3 (Capcom. Arcade et. al.: from 1998)

Floating Village

For a long time, the Imperial Chinese government didn't accept onshore residence registration from fishermen. Thus, the fishermen set up their permanent habitation with their fishing boats on inland waters (香港政府漁農自然護理署, n.d.-b). Even though the restriction has long been lifted, at the end of the 20th century we could still see sampan homes inside typhoon shelters of Hong Kong.

One such floating village could be found in Aberdeen (香港仔). It was once home for 150,000 people in the 1960s (Wikipedia, n.d.-a).

Location of Aberdeen in Hong Kong

Aberdeen Floating Village in 1946. Source: Wikipedia

A photo of floating village, in Hong Kong Mahjong (Nine Dragon. DOS: 1991, Microsoft Windows: 1996)

Aberdeen Floating Village in Shenmue II (Sega. Dreamcast: 2001, Xbox: 2002)

A fisherman family having meal on its boat. From the TV show Below the Lion Rock (獅子山下) by RTHK (香港電台電視部, 2012).

Sleeping and cooking in a boat dwelling in Aberdeen typhoon shelter in Shenmue II (Sega. Dreamcast: 2001, Xbox: 2002)

Aberdeen is not only once the home of many fishermen but also the origin of the city name Hong Kong. In Ming Dynasty (1368-1644), "Hong Kong" became the original name for the presently-named Aberdeen village. In the early 19th century, foreigners who landed near Aberdeen Village mistook the name of the village "Hong Kong" for the whole island. When the foreigners eventually realized their mistake, the name "Hong Kong" was already commonly used to refer to the entire island. Literally, Hong Kong means "fragrant harbor", and it was Aberdeen where incense trees from the New Territories used to be brought for export to other cities in China (Wikipedia, n.d.-c; Wikipedia, n.d.-d).

Pang Uks

Tai O (大澳) on Lantau Island was another place where fishermen settle (Wikipedia, n.d.-f). A unique scenery in that place is the large number of pang uks (棚屋) which a kind of stilt house built right over the waterway. They are due to Imperial Qing Emperor Yongzheng (雍正) who allowed fishermen to set up onshore residence (香港政府漁農自然護理署, n.d.-b). You can find pang uks in the Tai O stage of Stranglehold (Midway Games. Xbox/Microsoft Windows/PlayStation 3: 2007).

Location of Tai O in Hong Kong

Pang uks in Tai O. Source: Wikipedia

Concept art of Tai O in Stranglehold (Midway Games. Xbox/Microsoft Windows/PlayStation 3: 2007) featuring pang uks (middle right)

A pang uks in Stranglehold (Midway Games. Xbox/Microsoft Windows/PlayStation 3: 2007)

Floating Restaurants

In Hong Kong, associated with the fishermen are floating restaurants. These restaurants were started in the 1920s as feast boats (酒艇) for wedding banquets of fishermen living in Aberdeen typhoon shelters. Later, they caught the attention of some rich traders, therefore had their business expanded to serve everyone, and quickly became where locals and foreigners looked for fresh seafood (Wikipedia, n.d.-b) coming from local fishery. The one in Inspector Gadget: Mission 1 - Global Terror! (Azeroth, Inc. DOS: 1992) gives you an idea on how these Feast boats look like at the beginning.

A small floating restaurant. Source: weshare.hk

Inside the Tai Pak floating restaurant in 1962. Source: weshare.hk

The floating junk restaurant in Inspector Gadget: Mission 1 - Global Terror! (Azeroth, Inc. DOS: 1992)

Inside the floating Chinese junk restaurant in in Inspector Gadget: Mission 1 - Global Terror! (Azeroth, Inc. DOS: 1992)

Later, some major floating restaurants got larger and larger and more and more extravagant and become everyone's luxury for seafood in a Chinese imperial palace environment. A few well-known floating restaurants include Jumbo Kingdom Restaurant (珍寶海鮮舫), Tai Pak Floating Restaurant (太白海鮮舫), and previously Sea Palace (海角皇宮) as well. They altogether have served over 30 million visitors (Wikipedia, n.d.-b).

Fatal Fury 2 (SNK. Arcade et. el.: since 1992) that came out in the 1990s captures the gone Sea Palace besides the Jumbo Kingdom restaurant. In later games, such as Wreckless: The Yakuza Mission (Activison. XBox/PlayStation 2/GameCube: 2002), Sleeping Dogs (Square Enix. Microsoft Windows/PlayStation 3/Xbox 360: 2012) and Resident Evil 6 (Capcom. Microsoft Windows/PlayStation 3/Xbox 360: 2012), only the running and biggest Jumbo Kingdom restaurant shows up.

Jumbo Kingdom pier along Aberdeen Promenade. Source: Wikipedia

Jumbo Floating Restaurant. Source: Wikipedia

Tai Pak Floating Restaurant. Source: Jumbo Kingdom

The old Sea Palace Floating Restaurant. Source: weshrae.hk

Hong Kong stage of Fatal Fury 2 (SNK. Arcade et. el.: since 1992) featuring the pier and two floating restaurants at that time: Jumbo and Sea Palace

A floating restaruant in 3x3 eyes Juuma Houkan (Banpresto, Super Nintendo, 1995)

The floating restaurant in Wreckless: The Yakuza Missions (Activision. Xbox/PlayStation 2/GameCube: 2002)

The floating restaurant in Stranglehold (Midway Games. Xbox/Microsoft Windows/PlayStation 3: 2007)

The floating restaurant in Lupin the 3rd Rupin Zenigata ni wa koi wo game ルパン三世 ルパンには死を、銭形には恋を (Banpresto. PlayStation 2: 2007) which is based on an  ficticious Asian city that looks like Hong Kong

A floating restaurant in Sleeping Dogs (Square Enix. Microsoft Windows/PlayStation 3/Xbox 360: 2012)

The floating restaurant based on the Jumbo Floating Restaurant in Resident Evil 6 (Capcom. Microsoft Windows/PlayStation 3/Xbox 360: 2012)

A floating restaurant in the Dragon's Teeth expansion of Battlefield 4 (Electronic Arts. Microsoft Windows/PlayStation 3/PlayStation 4/Xbox 360/Xbox One: 2013) 

Interior of the real Jumbo Floating Restaurant

Interior of the real Jumbo Floating Restaurant

Interior of the floating restaurant in Stranglehold (Midway Games. Xbox/Microsoft Windows/PlayStation 3: 2007)  

Interior of the floating restaurant in Stranglehold (Midway Games. Xbox/Microsoft Windows/PlayStation 3: 2007)  

Dried fish and fish balls

What happens to those leftovers fishery harvest that high-end markets (such as floating restaurants) refuse to take?

Traditionally, fishermen dry (and often with additional salting) their excess harvest with sun and wind so they can be kept for a much longer time. That is why you can see fish hanging all around fishing villages or dry seafood markets just like what you see in Tai O in Stranglehold and the stalls in Sleeping Dogs (Square Enix. Microsoft Windows/PlayStation 3/Xbox 360: 2012). Considered to be economic dishes of the poor in the past, now some of these processed seafood (such as salted fish and shrimp paste in Tai O) have become signature products of the fishing villages and key ingredients of delicacy.

Salted fish hanged in Tai O. Source: Clare Jim via flickr.com

Salted fish hanged in Tai O of Stranglehold (Midway Games. Xbox/Microsoft Windows/PlayStation 3: 2007)

A typical dry seafood store in Tai O. Source: Clare Jim via flickr.com

Salted fish hanged in a stall of Sleeping Dogs (Square Enix. Microsoft Windows/PlayStation 3/Xbox 360: 2012)

Short smart food stall owners in the 1950s-1960s were much more aggressive. They created a new demand using these leftover fish by making fish balls out from them. First deep-fried to produce their golden appearance, next boiled in a spicy curry satay sauce, and finally sold at food stalls with five to seven balls on a bamboo skewer or in a bowl, these fish balls have become the most famous food of the city. You can get yours easily when you wander around Hong Kong just like the virtual counterpart of Sleeping Dogs.

Fish balls. Source: Wikipedia

A skewer of fish balls. Source: Wikipedia

Curry Fish Ball on a bowl, served with noodles and beef offal. Source: Wikipedia

A stall offering fish balls in Aberdeen of Sleeping Dogs (Square Enix. Microsoft Windows/PlayStation 3/Xbox 360: 2012)

Fishery nowadays

With more and more people are moving to other more promising businesses, nowadays Fishery contributes less than 0.5% of employment and less than 0.1% of GDP as in 2013 (Labour Department of Hong Kong Government, 2016).  It is now rare to see sampan homes as most fishermen have moved to homes on land. It is also difficult to find Tanka fishermen dressing in native clothing in everyday life. That is why floating villages and Tanka fishermen are found in video games set in the 20th century but not 21st century. Nonetheless in the real world, books have been written, exhibitions have been set up, and Tanka fishermen are purposely dressed up in special occasions to make sure the stories are still circulated.

A group photo of fishermen and guests for a university project on launching a Mobile Living Museum in Stanley in 2016 spring and a new book on oral histories to disseminate the culture of fisheries and water communities in Aberdeen. Source: The University of Hong Kong

Memoryscape: Aberdeen Fishermen Oral Histories (《記憶景觀：香港仔漁民口述歷史》)

What remains are the sampans and pang uks, though their purpose has been transformed to public transportation and tourism (Wikipedia, n.d.-c; Hong Kong Tourism Board, n.d.).

Small sampan being used as public transportation and sightseeing in Aberdeen. Source: Wikipedia

Inside a sampan being used as public transportation. Note the electronic card fare payment scanner in the middle. Source: Wikipedia

A sampan in Sleeping Dogs (Square Enix. Microsoft Windows/PlayStation 3/Xbox 360: 2012). You can drive it yourself.

Hong Kong Tourist Board's page that introduces Tai O pang uk. Source: discoverhongkong.com

Fresh seafood coverage by local fishery has also been diminished to 28% (Agriculture, Fisheries & Conservation Department of Hong Kong Government, 2016), which means higher and higher dependency of fish ball industry and floating seafood restaurants on imports (長訊月刊, 2013 July).

Final Remarks

In short, the fishery industry in Hong Kong contributes to the uniqueness of the city, including scenery untypical of a metropolitan such as the sampan village in Aberdeen, the stilt houses in Tai O, traditional Tanka ethnic group clothing, seafood product display, and the floating seafood restaurants, and key cultures to our city such as the city name "Hong Kong" and the signature seafood street food fish balls. Even though the industry is no longer feeding as many people as in the past, and some of the above are transforming or have even gone as time moves on, we shall do something to make sure that the interesting story behind all these distinctive features be passed from generation to generation.

References

香港政府漁農自然護理署. (n.d.-a). 香港漁民文化與海洋及地質資源導賞團 - 西貢水域. Retrieved January 03, 2017, from http://www.hktraveler.com/HKFish_SK2013/edu_history.htm

香港政府漁農自然護理署. (n.d.-b). 香港漁民文化. Retrieved December 30, 2016, from http://www.hktraveler.com/HKFish_SK2013/edu_culture.htm#01

香港電台電視部 (2012). 香港故事第18輯05：浮家泛宅香港仔. Retrieved January 03, 2017, from https://www.youtube.com/watch?v=YAI6Qo-RxJs

長訊月刊 (2013 July). 香港還剩多少真魚蛋？. Retrieved January 03, 2017, from http://www.goldenage.hk/b5/ga/ga_article.php?article_id=1864

Agriculture, Fisheries & Conservation Department, Hong Kong Government (2016). Hong Kong: The Facts - Agriculture and Fisheries. Retrieved January 03, 2017, from http://www.gov.hk/en/about/abouthk/factsheets/docs/agriculture.pdf

Grolier Incorporated (1999). The encyclopedia Americana, Volume 14. Grolier Incorporated. p. 474. ISBN 0-7172-0131-7.

Hong Kong Tourism Board. (n.d.). Tai O Stilt Houses. Retrieved January 04, 2017, from http://www.discoverhongkong.com/us/see-do/great-outdoors/outlying-islands/lantau-island/tai-o-stilt-houses.jsp

Labour Department, Hong Kong Government (2016). Hong Kong: The Facts - Employment. Retrieved January 03, 2017, from http://www.gov.hk/en/about/abouthk/factsheets/docs/employment.pdf

Wikipedia. (n.d.-a). 香港仔艇家. Retrieved January 03, 2017, from https://zh-yue.wikipedia.org/wiki/%E9%A6%99%E6%B8%AF%E4%BB%94%E8%89%87%E5%AE%B6

Wikipedia. (n.d.-b). 珍寶王國. Retrieved January 04, 2017, from https://zh.wikipedia.org/wiki/%E7%8F%8D%E5%AF%B6%E7%8E%8B%E5%9C%8B

Wikipedia. (n.d.-c). Aberdeen floating village. Retrieved January 03, 2017, from https://en.wikipedia.org/wiki/Aberdeen_floating_village

Wikipedia. (n.d.-d). Aberdeen, Hong Kong. Retrieved January 03, 2017, from https://en.wikipedia.org/wiki/Aberdeen,_Hong_Kong

Wikipedia. (n.d.-e). Sampan. Retrieved January 03, 2017, from https://en.wikipedia.org/wiki/Sampan

Wikipedia. (n.d.-f). Tai O. Retrieved January 04, 2017, from https://en.wikipedia.org/wiki/Tai_O