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Showing posts with label 2007. Show all posts
Showing posts with label 2007. Show all posts

Sunday, February 23, 2025

Jeanne D'Arc

Loosely based on the story of the real Joan of Arc (though with many fantastical liberties), Jeanne D'Arc is Level 5's attempt at making a tactical RPG as well as getting a hit of their own on the PSP.  But does it effectively showcase their talents and provide a worthwhile experience for tactical RPG fans, or is it simply outclassed by its contemporaries?

As a big fan of tactical RPGs and Final Fantasy Tactics in particular, I... oddly missed this one when it launched on the PSP in 2007.  Even more odd considering it was developed by Level-5, a company that ranks among my favorite contemporary RPG developers; I quite enjoyed the Ni no Kuni games and a couple of the Professor Laytons, and Dragon Quest VIII and Dark Cloud 2 still rank among my favorite games of all time.  Odd, I know.

Having played it now, though, I found quite a fun experience.  The game has quite a bit of production value behind it for a PSP game with animated and fully voice-acted cutscenes (pretty well, at that), and Level-5's usual high-quality music and polished design are out in full force.  It makes good use of the PSP's limited control scheme too, utilizing the thumbstick for camera control and the d-pad for menuing and selection, though this does take a little getting used to if you're playing the emulated PS4 port like I am.

In terms of gameplay Jeanne D'Arc most closely resembles Fire Emblem than Final Fantasy Tactics, though Fire Emblem than FFT, though thankfully with FE's more annoying elements filed off - there are no permadeaths or breakable weapons or "Weapon triangle", though elemental affinities follow a similar pattern - Sol (Sun) is strong against Stella (Star), Stella is strong against Luna (Moon), and Luna is strong against Sol.  Some new gameplay elements are added though, like "Burning Aura" - striking an enemy creates one in the space behind them, and another character can then stand in it and attack for greater accuracy and damage.  They can also stack up to three times, allowing you to take down some particularly stubborn enemies with chained attacks.  If allies stay in close proximity (within 2 squares) they also get "Unified Guard" whenever an enemy attacks or counter-attacks, reducing their chance to be hit and taking less damage when they do - a good thing as enemies can generally take down characters in two or three blows.  Jeanne (and a couple other characters) also steadily build up points as turns pass, and once they have enough they can Transform into a substantially powered up form once per battle, gaining some quite powerful abilities - Jeanne herself gets Godspeed, which grants her another turn if she defeats an enemy (and can be chained multiple times in a single round as long as you keep getting kills).  It also surprisingly doesn't feel overpowered, particularly as each battle has a turn limit and some stages also end immediately if particular characters (or even any character) should be defeated, so utilizing any advantage you can quickly becomes key to victory.  As expected for a portable game, fights are fairly brisk - maps are generally fairly small and you can finish them in about 15-20 minutes on average, though they do get a bit more involved as the game progresses.

Equipment upgrades are found in shops (naturally), but you also find plenty in the course of completing story battles, and should your levels ever be lagging, you can take part in "free battle" maps to power up, so you shouldn't ever get stuck.  In addition to the usual complement of weapons, armor and shields, you also find plenty of "Skill Stones" that grant abilities for different types of weapons or simply change a character's elemental affinity, making them stronger against certain enemy types and weaker against others.  Skills are generally linked to using certain types of weapons (can't use a sword skill with a spear or a dagger, for example), but there is a surprising variety therein - one sword skills gives all nearby allies an attack boost, another spear skill grants a 7-space linear attack, while a particular dagger skill allows one to steal items from enemies mid-battle.  There are also generic spells that recover HP or equip elemental damage, and can be used with any type of weapon equipped.

All in all, Jeanne D'Arc is well made, quite enjoyable tactical RPG experience.  Maybe not one of the genre's defining classics, but it manages to hold its own on the PSP - a platform that gave it some stiff competition with games like Tactics Ogre, Valkyria Chronicles and Final Fantasy Tactics.  A worthwhile alternative from a company with a lot of passion and talent, particularly as you can get it for dirt cheap nowadays on the PlayStation 4.

 

Developer: Level-5, Japan Studio
Publisher: Sony Computer Entertainment
Released: 2007
Platforms: Playstation Portable, Playstation 4
Recommended Version:  As of July 2024 the game is available on the PlayStation 4/5 as a downloadable title, though it's simply an emulated port of the PSP version (with rewind and savestate functionality added).

Tuesday, September 24, 2024

Bioshock

Bioshock was an easy enough game to make, in large part because most of the people who worked on it had already done so several years before.  All they had to do was copy System Shock 2's script and do a find-replace to change "claustrophobic space station" to "underwater city covered in art deco decor and shiny brass because it looks nice in the Unreal engine" and "hostile aliens" with "goofy muppet-people that bring less than 1/1000th the level of fear".  Then have it appeal to the widest possible audience by releasing it on a popular console and taking out all the character building, tension and strategy by making you an invincible superhero with an unlimited arsenal of superpowers and ridiculously overpowered weaponry.  Top it off with a cherry of pretense by making every plot point and character a straw man of an unpopular ideology like objectivism and some cheap emotional manipulation by having young children be victims of this lame supervillain take on it, and bam, you've got a hit.  Why objectivism in particular? Well, it's not because Bioshock's creators are interested in bettering the world by pushing whatever opposing philosophy they might live by (wouldn't want to say or do anything divisive and lose potential sales, after all), it's just so Ken Levine can sit on his high horse, take shots at an easy target and put his writing and directing credits in huge screaming letters so he'll be lauded as a genius by twelve-year-olds who will put his game's safe, uncontroversial messages on their Facebook banners and completely ignore the lack of any decent gameplay, original ideas or earnest exploration of its concepts so they can pretend to be smart and morally upright too just like their hero.  It must have worked too considering Bioshock's gotten zillions of awards, millions in sales and Ken is still actively canonized by game journalist hacks who just transcribe publisher propaganda and never bother to to any actual research on video games, let alone play them.  It's digital sociopathy - superficially appealing, but with no genuine insight or humanity once you look beyond the faรงade.  Ken's just found the magic words and showy imagery necessary to hit the dopamine button in people's brains and thinks that's enough to build a 12-hour game out of; well, it isn't.  Not unless you get more out of shiny chrome than compelling characters, storytelling or puzzle solving, anyway.

By the way, taking digs at hugely unpopular ideologies like objectivism and libertarianism in your "big important game with a big important message" is like making a story where you denounce Saddam Hussein; doing a thing any decent, remotely rational person would might earn you some easy favor, but it sure as hell ain't profound or praise-worthy.  Then again when Ken decides to aim at a bigger target he somehow does an even worse job, as I'll highlight in my next review...

Developer: Irrational Games
Publisher: 2K Games
Released: 2007
Platforms: XBox 360, PlayStation 3, PC, Mac OS X, iOS

Monday, April 15, 2024

Mass Effect

With Mass Effect, BioWare takes another crack at an original RPG universe with a science fiction inspired epic spanning three games and well over 100 hours of gameplay.  But is there something great to be found in their attempt, or does it just collapse under the weight of its own ambition?

Mass Effect is a game I was pretty unimpressed with even when it was new for a number of reasons.  I loved the Infinity Engine games on PC for their deep, strategic gameplay and storytelling, but like most digital RPGs they were a bit lacking in the, well, roleplaying department.  Whether you played a "good", "evil" or "neutral" character you were still walking through the exact same linear plot, beat for beat. The only difference is you could maybe resolve an encounter a slightly different way for a different reward or do a branching plotline for a short while, but for the most part it was just empty choices leading to the same end state.  Instead, their replayability was derived from trying out a wide variety of different classes and party compositions much more than for their roleplaying potential.  

Mass Effect takes that hook away in favor of homogenized third-person cover-shooting action and gives very little back in exchange.  You get to choose one of three flat, predetermined backgrounds for your character (which just changes a line of dialog here and there and affects precisely nothing else) and as for classes... well, they're all just variations on "guy who shoots stuff and maybe has powers that make him more efficient at shooting stuff". Which makes no tangible difference in how you play anyway since the AI-controlled enemies are dumb as dirt and constantly leave huge portions of their body outside of cover for easy sniping.  There's no ammunition management to speak of, just cooldown between each shot, and virtually every enemy you kill drops more guns with randomized stats, so you'll be drowning in them unless you stop to inventory manage every ten minutes or so.  Also, you're required to carry one weapon of each type at all times even if you have no skill points in using them and even if you're playing a class that can't ever put any skill points into that weapon type, so you'll be pulling out the wrong weapons in the middle of a fight constantly.  I didn't think I'd ever be pining for the lame two-weapon system of modern shooters like Halo, but hey, at least Mass Effect managed to surprise me once.

There are no decent diversions from all the shooting, either - every planet you visit is just another nondescript hallway full of cardboard targets to shoot, and the only 'puzzles' are lame minigames you've seen in dozens of other things.  But don't worry about having to think about these puzzles or spend more than 3 seconds solving them, because you can also just pay some omnigel and completely skip past them.  Vehicle segments exist but are just as boring, having you center every enemy on the screen and pump them full of infinitely-regenerating ammo until they're dead. I also figured out very quickly that quicksaving and reloading will top off your car's shields any time you want, so vehicle trips just serve to fill more runtime and give you free experience points in an exceptionally monotonous way. 

Mass Effect was lauded for its "choice based narrative", even though it's just as shallow and insubstantial as everything else it has on offer.  You periodically choose to be a nice guy ("Paragon!") or a jerkass ("Renegade!"), with more choices opening up later depending on how many such choices you made before; so of course you're locked into picking one or the other exclusively or you miss out on content later.  Like in Baldur's Gate 1 and 2 though, your choices make virtually no difference to how the story plays out - sure things change a little in that some races will be more friendly/hostile to you in future games (in cutscenes, almost never gameplay) and some characters will survive or die, but given how  they're almost all just exposition machines with no real personality to speak of, it's a bit hard to care.  Moreso because ME exhumes any actual worldbuilding in favor of relegating everything to a boring "plot codex" so you can bring the whole game to a dead stop and have paragraph after paragraph of dry Wikipedia text read to you to get caught up.  Having a cinematic presentation with narrated cutscenes or bits of lore to find in-game or doing literally anything more complex than shooting things and picking menu options would alienate the Halo-worshipping Xbox fanbase, you see.  Even the actors seem absolutely bored to be here, reading off line after line of their characters' dry text with all the passion of a text-to-speech program. That's some supremely bad direction and/or actor apathy in play, because there are big names here like Seth Green, Jennifer Hale and Keith David, and I know all of them are capable of turning in a quality performance.

I can't say I blame them for only putting in the bare-minimum effort to get a paycheck, though, because there isn't the faintest hint of originality to be found in ME's story.  It lifts characterizations and plot points wholesale from earlier works like 2001, Star Trek, Star Control, Xenosaga and StarCraft while putting no new twists on any of them, leaving the player with any open-ended questions to consider or even attempting to capture any of the personality and/or humor that made those franchises so memorable.  It's also a pretty weak, thirty-hour-at-most plot at its core, pointlessly stretched out to a "trilogy" by cramming it with tedious filler, which seems to have set a pretty godawful precedent for modern gaming as a whole; thanks a lot for that, guys.  But hey, it has boobs and almost-nudity and really forced romance scenes, so that automatically makes it good, right?  Never mind that when Star Control played on the already-long-dated clichรฉ of the green-skinned space babe in 1990 it was mostly for humor (for crying out loud, they pilot penis-shaped ships called "Penetrators") and Fallout 2 openly mocked cheap, shoehorned sex scenes in video games just like this all the way back in 1998, Mass Effect roars ahead with it in 2007 with no irony whatsoever!

In short, Mass Effect is an overlong and dreadfully boring shooter glued to a boring, badly presented and shamelessly derivative RPG.  Like all lousy fan fiction, it's way too in love with itself over the sheer volume of its content to realize it has no ideas of its own or any idea how to fit it all together into a well-constructed story.  I honestly can't tell you why anyone considers this game a "classic", let alone one of the greatest video games ever made, when its triteness is plain as day to anyone who's remotely savvy about intelligent science fiction or digital roleplaying games.  Saying Mass Effect is great science fiction is like saying Olive Garden is a great Italian restaurant; the only way I can see someone earnestly saying that is if they've simply never experienced anything better.  Just because Game Informer told you it's the absolute pinnacle of its medium and you never need to experience anything made before it doesn't mean it's true; I mean, it's not like they'd say anything to get you into the game store that owns and sells subscriptions to their magazine just for an easy sale, right?  So yeah, just partake of any of the much better, smarter things it's lifting ideas from; or if you really set on playing an actiony space opera video game with a long and convoluted plotline, just play Kingdom Hearts instead.  Yes Kingdom Hearts is also a clichรฉd cheesefest and shamelessly retreads plot points from other things (sometimes word-for-word from the original movies), but at least it knows it has nothing poignant to say and refrains from taking itself so damn seriously.  Plays a lot better than Mass Effect, too.

And please, if you want cheap T&A, just go to Pornhub.  Stop buying crappy games just to see two seconds of booba before the camera cuts...

That's your reward for over 100 hours of repetitive gunfights, plagiarized plot points and trite, boringly-acted dialog. There, I just saved you a whole heap of money and time you can now spend on something decent.

Developer: BioWare
Publisher: Electronic Arts
Released: 2007, 2008, 2012
Platforms: XBox 360, PC, PlayStation 3

P.S.: Kindly spare me the lame talking points about how not liking this series for any reason makes me a 'homophobe' because it features cheap, shoehorned-in gay romance options and how BioWare is so brave for taking a stand tokening on these important social issues and how I'm on the wrong side of history and I have no soul and and bla bla bla. Those are just red herrings dreamed up by EA's PR team so they can score more sales and make negative publicity of their company and games disappear by getting chronically-online Tumblr activists to false-flag unfavorable content and/or harass the families of its creators until they disappear out of fear for their safety.  I'm sure all the evangelical conservative millionaires on EA's board of directors are grateful for your support though, as are the super gross Neocon/MAGA politicians they routinely donate to in order to secure even bigger tax breaks for themselves and pass more laws oppressing people they hate; the very same ones you purportedly care about, in fact.  But hey, if your carefully curated cult of enablers still says you're doing good in the world despite all evidence to the contrary, that's good enough for you, right?  Actually doing anything beyond taking tough on the internet is for suckers; you can go to bed tonight with a dopamine high and a clear conscience because you spent your entire day whipping your personal army into stalking and bullying some random stranger over a review of a video game you have a purely performative attachment to.  And don't even consider using your time or disposable income to contribute to causes that actually help gay and trans people who get abused and abandoned by their parents or unjustly fired from their jobs or beaten to a pulp by bigots and left to suffer for hours by apathetic school and hospital staff, and definitely don't encourage your soldiers to either - those ingrates should be paying YOU for all the hard work you do in their name!

Sunday, December 31, 2023

Shadow Hearts: From the New World

The third (and tragically last) Shadow Hearts game changes up the setting to to a new locale - America - and stars an almost entirely new cast in a story only tangentially connected to the originals.  But does it prove to be a worthy sendoff for a short-lived franchise, or should it just have stayed in the old world?

The third game to bear the Shadow Hearts moniker and the fourth in the series counting Koudelka, though technically it's a spinoff; a Shadow Hearts 3 was planned (which would have been a prequel telling the story of Jinpachiro Hyuga, Yuri's father), though it was unfortunately canceled when Nautilus was dissolved in 2007 by its parent company Aruze.  From the New World debuted in the US the same year, making it something of a eulogy for the series, as well another popular JRPG franchise that unfortunately never got an HD entry.

From the New World bears many gameplay similarities to the second game, with a cast of outlandish characters and accompanying side-quests to power up their unique abilities. Characters can also chain attacks together in battle and form Combos, dealing extra damage the more hits they land in an unbroken chain, and most characters can use a pool of common spells via the use of add-ons - Stellar Charts in this game's case.  Thus, while there is a fair bit of character customization, each character also gets their own unique mechanics and abilities to utilize; again, not dissimilar to Final Fantasy VI.  The series trademark Sanity Points return too; should your sanity drop to 0 or less, that character will go berserk and start attacking allies and enemies at random and will miss out on any experience gained from that fight, unless you restore it before the battle ends.  This can be particularly annoying early on, as many of your characters (even your main one) have very low SP at the start of the game, so you have to be sure to make every turn of theirs count.

But while many of these elements are still recognizable from 2, things do change up a fair bit.  A new mechanic called "Stock" is added, with attacks and taking damage gradually filling a character's bar up to a maximum of two levels.  Once you have at least one level, you can choose to spend one to start a combo chain (with everyone else who joins in having to spend one as well), or use a Double action, effectively getting two moves per turn, though you cannot do the same action more than once per turn.  Spending two Stock bars even allows you to combine both a Double and a Combo in the same turn, so you can chain up to eight actions together and rack up heavy damage.  Thankfully a UI improvement is also introduced - attacks now have lit indicators show the range(s) in which they hit (high, low or mid-range), and if an enemy you're targeting with the currently-selected attack is suboptimal or likely to miss entirely, their name will be highlighted in red, so you can back up and pick a better option without wasting MP.

The Crest Magic system from Shadow Hearts Covenant is also discarded in favor of a new one, utilizing Stellar Charts.  Each character can equip only one at a time, and each comes pre-loaded with a set number of slots and spells.  However, by visiting Bugen the Engraver, one can pay money to customize these slots and add new "Stellars" to them, granting access to new and more powerful spells.  Slots come in three basic types for Offensive, Restorative and Support magic, one of the six elements - fire, water, earth, wind, light and darkness - and four levels of power.  One can also change any elemental slot to a generic colorless slot that accepts any element, though this is much a more expensive option.  One can further add an "Effect Up" augmentation to a given slot to get more mileage out of offensive spells, or decrease MP cost of a spells in that slot by up to 50%, both at further cost.

The jokey tone of Covenant is played up even further here, both in its story scenes and in the characters' respective combat mechanics.  One of your first recruits is "Frank", a self-proclaimed ninja with an unidentifiable accent trained in Brazil who wields all manner of bizarre objects as oversized swords; not dissimilar to Joachim from Covenant picking up random objects to use in battle, always accompanied with dramatic speeches.  The requisite Valentine family member is a self-proclaimed superhero, changing form based on how many Calories she consumes; while in Slim form her physical attributes drop while her magic gets stronger, and in "Curvy" form things go the opposite direction.  Shania has a familiar mechanic in her Sanity-consuming monster morphing, though the designs and animations are more over-the-top than ever and extremely fanservicey; more than a little reminiscent of Bayonetta, though this game predates it by several years.  Johnny wields several gadgets in battle and is something of an amalgam of other characters; a cell-phone to summon help, a camera to snap pictures and analyze enemy stats (which then take the form of trading cards as part of a larger sidequest), and eventually gains some monster morphing abilities of his own.  It's all the weirdness and creativity of the series transplanted to a kitschy and exaggerated 1930s America, and it's pretty glorious to behold if you're into that sort of thing.  It is considerably scaled down from the previous game though - understandable since it's technically a spinoff title, but if you're used to the more leisurely pace of Covenant and the original Shadow Hearts it can be a bit jarring.

Shadow Hearts: From the New World definitely feels like a spinoff game - smaller in scale in almost every respect, and as a result it tries to cram more into that smaller space with mixed results.  Combat is slower and tends to drag after a while, particularly late in the game when virtually every enemy inflicts status effects and chains together long, damaging combos if you aren't scrupulously depleting their Stock every time they build it up.  Sidequests feel more than a bit filler-y (particularly Mao's, which requires an awful lot of tedious item farming) and even with all of that, you'll likely have to come through again in New Game Plus to see everything.  The lackluster villains and lack of character development in comparison to previous games feels like a pretty big omission too.  The end result is an enjoyable game that feels like it needed a bit more time to cook - time they unfortunately didn't have as they were closed down not long after its release.  It's a shame the series ends on such a bittersweet note, though, as I think Nautilus had the stuff to become a big name in the RPG field had they had a chance to prove themselves some more.


Developer: Nautilus
Publisher: Aruze, Xseed Games, Ghostlight
Released: 2005, 2007
Platforms: PlayStation 2
Recommended Version: N/A

Sunday, January 29, 2023

Blue Dragon

One of the earliest seventh-gen Japanese RPGs, Blue Dragon came out for the XBox 360 and was the first game released by Mistwalker, a company founded by Final Fantasy creator Hironobu Sakaguchi.  But does it prove to be another worthy title from a legend of the genre, or does Blue Dragon just drag on?


Squaresoft was on pretty shaky grounds in the early 2000s. Final Fantasy: the Spirits Within and Square Pictures proved to be a financial disaster for the company, and their planned merger with Enix led to a shakeup in management, resulting in several prominent names from the Square camp splitting to form their own studios; Hiroki Kikuta formed Sacnoth and helmed up Koudelka, with the resulting franchise (Shadow Hearts) continuing on without his involvement. Tetsuya Takahashi formed Monolith Soft and began work on Xenosaga (and later Xenoblade under the Nintendo banner), and Hironobu Sakaguchi, Final Fantasy's creator, even left the company himself, going on to form Mistwalker.  All would become pretty well-known franchises in their time, with Square Enix continuing on to create a broad spectrum of games that found a new audience, but alienated a lot of older fans in the process.

Mistwalker's first project was Blue Dragon, which was announced for the XBox 360 - a strange choice to many as the original XBox was very unpopular in Japan.  Still, it seemed like a pretty big deal at the time for JRPG fans, being made by a dream team for the genre - famed artist Akira Toriyama doing the character designs, Final Fantasy's Hironobu Sakaguchi writing and long-time FF composer Nobuo Uematsu doing the soundtrack.  While the XBox 360 still trailed far behind its competitors in Japan, Blue Dragon helped moved a significant number of units for it, aided by a special pack-in bundle including the game; it ultimately sold 200,000 copies there. It was also a modest success in other regions, selling about 300,000 copies each in North America and Europe and getting a fair bit of attention as the platform's first Japanese-style RPG.  It also spawned a short-lived media franchise, with two sequels on the Nintendo DS and anime and manga tie-ins.

In terms of gameplay, Blue Dragon is very much reminiscent of an older Final Fantasy title, with turn-based action, front and back rows for both your enemy and the party (with those in the back being untargetable by short-ranged attacks), a focus on elemental spells and status buffers, and your characters able to change between multiple job classes that grant them new abilities.  There's even a heavy Final Fantasy V element in there, allowing you to mix and match abilities from classes each character has powered up to create powerful hybrids.  So you can, say, power up as a Defender to get an HP Up skill, then switch over to Mage and equip that to give that otherwise squishy class more survivability.  Some skills are also just worth learning regardless of class choice - the Black Mage's MP Regeneration is one, which causes anyone who equips it to regenerate 1 MP every 10 steps or so; it adds up quite quickly in a game without random encounters.  Generalist is also one worth powering up for every character despite its unimpressive stats, as it will unlock slots for special accessories and more skill slots to further expand your repertoire of options in battle.  The game is also quite well paced, with few overly long combat animations, dungeons that don't drag on too long and even some nice touches like warning you about imminent boss fights and having enemies only respawn if you leave the dungeon, cutting down on tedious filler battles.

Blue Dragon's gameplay isn't without a few changeups, though.  There aren't really "weapons" to equip, as each character instead utilizes a Shadow as the source of all of their attacks and spells, and which all manifest as giant monsterish critters slightly reminiscent of the Jojo series (with Shu's being the titular Blue Dragon). Equipping five types of accessories - necklaces, bracelets, rings, earrings and "specials" - serve to upgrade your core stats and grant elemental resistances.  There is a light turn manipulation element in combat too, letting a character delay their turn a bit to deal more punch with their spells (and potentially strike multiple targets rather than just one) by playing a timing-based minigame.  Hitting the highlighted orange "sweet spot" on the meter gives an added benefit, reducing that spell's MP consumption and the time until character's next move, so it's worth doing whenever practical to do so.  One can also multiple encounters back to back for added benefit - by pressing RT on the field, a circle surrounds the character, and you can select any (or all) enemies in that range to fight next.  Tagging multiple parties in this way forces you to endure several battles in a row, but you get semi-random bonuses between rounds (including stat buffs and HP/MP restores) and more XP and SP for winning, so it's worth doing whenever possible.  Some monsters can also infight with one another if you do this, cutting down on the total you need to battle and occasionally giving way to some other unique mechanics - for example, the Ice and Fire Wolf Ghosts in the hospital era will negate each other's elements, turning them into much weaker enemies.  One can also utilize particular field spells to this end, like a barrier that draws enemies to pursue you further so you can chain multiple fights or a barrier that instantly defeats weaker enemies on contact, saving you a bit of time at considerable MP cost.  Also like old-school RPGs, it's to your benefit to click on almost everything - you find items, XP, SP, gold and even stat boosts (instantly applied) in the most bizarre, innocuous places.  Even if you get a "nothing" message from your search the game keeps track of that, letting you trade "nothings" for rare accessories late in the game.  A few minigames also pop up throughout, with achievements tied to getting a perfect score in them, so if you're going for the maximum Gamerscore it's worth saving before the attempt.  (You'll also want to have a guide handy anyway, as there are quite a few missable enemies and items you'll need for full completion).

Blue Dragon's presentation is a bit mixed, however.  While the game has Toriyama's charming character designs and a quite imaginative dark world, and a cinematic presentation with camera cut-ins during battle and in dialog, the visuals are hampered a bit by the overused of distance blur - anything that's not the primary focus of a scene tends to be blurred out, even mid battle, so it's like you're viewing the whole game through the eyes of someone chronically nearsighted.  Characters also don't get much in the way of facial expressions outside of prerendered cutscenes, which is a little disappointing.  The voice acting is decent for the most part, though the dialog can get a bit annoying (though as it's coming from a bunch of dumb kids, it's at least more excusable than in some of the worse Final Fantasy games).  Nobuo Uematsu provides the soundtrack for the game, and it is quite good, lending the game quite a bit of atmosphere and some epic combat tunes.  The boss theme is a bit of a cheeseball legend among RPG players, being a hard rock tune with with some amazingly goofy lyrics by Sakaguchi (seriously) and vocals by Ian Gillan of Deep Purple fame (no, really).  One of the odder elements is an a monotone voice that prompts the player at various times, letting them know they have control of the party again, gained a level, found treasure or had characters rejoin the party, all with short phrases like "Joined", "Playable", "Level", "Treasure" or "Nothing".  You can turn it off, but I found it kind of handy - there are more than a few times in other games when I've sat there waiting for a cutscene to continue only to realize that it had ended and I had control of my party again.

Blue Dragon is what it is - an old school RPG with several names behind classic RPGs behind it.  It didn't make as many waves as its creators clearly hoped it would, but it's a decent, playable title that draws a lot from JRPGs of the '80s and '90s while having some twists of its own, and while ultimately nothing outstanding, it's still one of the better Japanese RPGs of this console generation.  Hell, it looks like a veritable masterpiece compared to dreckwork like Final Fantasy XIII and whatever unplayable garbage Idea Factory was crapping out every six months around this time.  It's also still available for pretty cheap both digitally and physically, so give it a try if you have a system it's playable on.


Developer:
 Mistwalker/Artoon
Publisher: Microsoft Game Studios
Platform: XBox 360 (backwards compatibility on XBox One)
Released: 2007
Recommended Version: N/A

Saturday, April 2, 2022

The Witcher

Based on a series of books I've never read (and after playing the game and interacting with the gross-ass fandom, I can now confidently say I never want to), the Witcher is purportedly an "adult RPG".  Like so many that apply that label to themselves, it mistakes gratuitous gore, T&A and foul language for "adult content" and as a result becomes far more juvenile than E or T-rated games of similar design.  There are too many examples of this to recount in a short review, but the most prominent one is that a major sidequest involves bedding every major female character in the game so you can get nudie pictures of them as trophies in the main menu.  Yep.  It isn't very fun to play either, being a mostly-railroaded experience with endless sessions of boring follow-the-dot quests and mediocre combat that, while ostensibly based around timed button presses and dodges, is rendered trivial by the fact that you can simply mash the left mouse button and win every battle with ease, doing damage with every press while your character's swing animation resets over and over again.  Yeah, somehow nobody caught that in testing.  Witcher also sells itself on having choices that actually matter (and which you don't see the consequences of until several hours after making them to prevent save-scumming), but when my intelligence is being constantly insulted by being served a version of Krondor that's ten times crasser, less than one-eleventh as engaging, plays worse and stars a really lame Gary Stu protagonist, I don't particularly care about what happens in its present, let alone hours later owing to a choice I likely won't even remember making.  Too grim, gory and smutty for kids but too shallow and sophomoric for adults, the Witcher might get a small, fervent following from hormonal middle schoolers who think using the word "fuck" eleven times per sentence makes them sound tough and that buying anything with blood and boobies in it automatically makes them more grown-up and manly than everyone else in the room, but I suspect they'll lose interest immediately once the next grimdark reimagining of a four-color comic book character comes out and they spend months pouring over every inch of it in search of "hidden depth" which coincidentally always aligns with their own naรฏve worldviews.  Or they turn fourteen, whichever comes first.

Developer: CD Projekt Red
Publisher: Atari, CD Projekt
Released: 2007
Platforms: PC, OS X

Legend of Zelda: Phantom Hourglass

Right from the get-go, it seemed like Nintendo was kicking themselves for not including an analog stick on the Nintendo DS; Super Mario 64 DS was the first to suffer for it, and every game since then had to find some weird way to work around it.  Enter Phantom Hourglass, which awkwardly uses the touch screen for virtually everything - moving, attacking, switching items, plotting sailing routes and interacting with almost everything requires you to make gestures on the screen with the stylus.  Other DS features are used too, like using the microphone to stun Pols Voices (a nice callback to the first game) or having to close the screen to transfer a stamp from the top screen to a map on the bottom one.  Some of the puzzles are rather clever too - I always mention one where you stretch a rope between two pegs, then bounce an arrow off it to hit an eye switch behind you that closes when you face it.  They did an admirable job with what they had to work with, but all in all, Phantom Hourglass just ends up being an average, once-and-done game, which is pretty weak by the standards of the Zelda series.  I'd love to see another game set in the Wind Waker universe, but I hope it ends up being on hardware more suited to the task than this one was.

Developer: Nintendo
Publisher: Nintendo
Released: 2007
Platforms: Nintendo DS, Virtual Console (Wii U)

Friday, April 1, 2022

Folklore

Folklore is a game that got some attention, especially for being one of the first RPGs on the Playstation 3 - a platform which was expected to deliver HD takes on several popular PS2 franchises and then... never really did.  Folklore is at least relatively unique in terms of setting and visual design, with a world and creatures largely inspired by Celtic folklore and a visual style and surreal narrative reminiscent of Tim Burton or American McGee's Alice - grotesque, yet charming.  The gameplay is a unique take on monster collecting - you summon "folks" to attack, either by summoning them to perform a move (as Ellen) or performing more direct attacks and combos (as Keats); weakening an enemy Folk enough will allow you to capture its Id and add that folk to your arsenal of possible attacks.  A puzzle element comes into play here, too - capturing some requires you to use folks of certain elements or inflict specific statuses.  Boss battles also play out more like puzzles, using folks in certain sequences to weaken and defeat them - for example, the first boss will suck up folks you summon, so you must summon Bargest to get stuck in its tentacles, then cut him free with Ogma, and then once both are severed, finish the job with Boobrie to attack the flowers on its back.  These are easily the best part of the game; the rest is relatively pedestrian hack-and-slash gameplay, and leveling up your folks becomes a tedious grind before long, requiring you to farm large amounts of randomly-spawning items or defeat assorted folks in large enough numbers.  The game isn't particularly long at only seven chapters, but even at such a short length it feels padded - you have to defeat all seven chapters with both characters, with few differences between them gameplay-wise or even story-wise; both characters experience the same plot from slightly different perspectives.  A pretty pedestrian early PS3 game in most respects and one not too many people bothered remembering once the platform's time in the limelight came to a close, but its trippy atmosphere and a few moments of ingenuity make it at least a bit more memorable than some others in its position (like good ol' Quest 64).


Developer: Game Republic
Publisher: Sony Computer Entertainment
Released: 2007
Platforms: Playstation 3

Tuesday, September 29, 2020

Puzzle Quest: Challenge of the Warlords

Released in 2007 across just about every platform available at the time, Puzzle Quest is a clever hybrid of RPG elements and a match-3 puzzle game set in Steve Fawkner's Warlords universe.  But does this new gameplay turn prove to be a worthwhile endeavor in itself, or does it just become another forgettable casual puzzle game?


Steve Fawkner is a name familiar to long-time PC gamers, having been responsible for the Warlords turn-based strategy series and its real-time spinoff, Warlords Battlecry, both viewed as defining games in the genre.  Puzzle Quest came as a bit of a surprise after nearly two decades of strategy titles, taking the setting and general premise but reworking the core gameplay into a simplistic match-three puzzle game.  A pretty stark contrast, but it did prove to be a very popular and successful title in its own right; spurred by a mention on the popular webcomic Penny Arcade that resulted in a spike in demand for the Nintendo DS release, Infinite eventually was able to hire over 70 employees to port Puzzle Quest to almost every platform of the time.  For better or worse, this has also resulted in the company mostly just producing sequels and spinoff games on the format since.

The core gameplay itself is very simple - you're given a 8x8 grid of various icons, and matching three in a row will give you resources depending on what type of symbol you'd matched.  Red, yellow, blue and green orbs give you mana of that type, which in turn fuels character-specific spells and abilities.  Purple stars give bonus experience points, gold coins earn money, and matching skulls deals damage to the opponent (with black skulls adding bonus damage and destroying any pieces around them when matched).  Matching four or five pieces at once gives a bonus turn in addition to whatever match you made, allowing you to rack up bonuses very quickly if you can keep a chain of them going.  As pieces are removed from the board, more will drop in from the top, which can potentially trigger numerous matches in a row (and, indeed, the game gives a 100 experience "heroic effort" bonus if you make five or more matches from a single move).  The game will also drop in Wildcard pieces randomly and when a player gets a five-in-a-row clear; these can match with any of the four orbs and aid greatly in setting up chains.

As in most RPGs, you're given an opportunity to pick a character class at the start, which will determine what elements they favor, which combat abilities they are able to utilize throughout the game and in turn how you should shape your stat allocations when leveling up.  In most of the 2007 releases, there are four - Druid, Knight, Warrior and Wizard.  The Druid primarily focuses on controlling the field, changing types of gems into others or entangling their opponent and forcing them to skip turns;  Knights focus on dealing damage, transform gems into purple stars and can clear all purple stars from the field, gaining their effects for himself (and potentially setting off chains); Warriors are a high-risk high-reward class, with a number of skills that put skulls on the board and clear entire colors from the board at once, potentially setting up highly damaging combos (though the opponent can take advantage of this as well if they're not careful); and the Wizard is primarily focused on gathering mana and using spells to control the board and hinder their foe. The Xbox-exclusive expansion "Revenge of the Plague Lord" adds four more - Warlock, Ranger, Rogue and Bard - while the 2019 Switch version adds another five for a total of thirteen.; these new classes are the Blood Mage, Elementalist, Monk, Paladin and Priest.

The RPG elements certainly don't end there, though.  The game world is portrayed somewhat like a board game, with various locations and towns connected by paths.  As the story progresses you'll be given a number of quests to complete for bonus experience, allies to recruit, items and mounts to equip, a forge to create your own magical items, and the ability to learn new skills, both from finishing quests and by completing challenges to "capture" certain types of enemies.  After a certain point one can also build a Siege Workshop, which allows the player to capture towns and gain monthly income from them; however, towns can also rebel and free themselves from their control, requiring the player to capture them again.  Captured cities also grant bonuses to your damage output when facing other enemies, so it's well worth doing for that reason as well.  So there is quite a lot to do in the game; a lot more than one would probably guess considering the simple nature of the combat system.

In short, it's easy to dismiss Puzzle Quest as a simple casual game at a glance, mostly because it copies the format of relatively 'casual' games like Bejeweled and Zookeeper for its core mechanic.  Those who sit down and play it, however, will find that it's anything but shallow, having a surprising amount of strategy in building one's character, customizing them, completing the numerous quests throughout and slowly making their way up to becoming a warlord. That in turn leads to conquering cities, forging new equipment and making themselves into the most badass character they can possibly be.  Those looking for a competitive element have it too, as there is an option for two players to pit their characters against one another in combat and see who really does it best.  A game that's easy to pick up and play, but a real challenge to truly master.



Developer: Infinite Interactive, 1st Playable Productions
Publisher: D3 Publisher
Platform: Nintendo DS, PSP, PC, XBox 360, OS X, Playstation 2, Wii, Playstation 3, iOS, Mobile, Switch
Released: 2007, 2008, 2019
Recommended Version:  Almost all of the later versions are an upgrade from the original Nintendo DS release, having substantially improved enemy AI; however, the PSP version was also notably buggy, with companion abilities not working and frequent game crashes. The Switch version (released as "Puzzle Quest: The Legend Returns") is definitely the one to play now, containing the original game, the formerly Xbox-exclusive Plague Lord content, and even plenty of new content of its own.

Tuesday, June 23, 2020

Soul Nomad and the World Eaters

Soul Nomad and the World Eaters is one of many strategy RPG titles produced by Nippon Ichi, and like most games they produce, it prides itself on having a vast amount of content, randomized dungeons and numerous endings to generate replay value.  But does its unique blend of gameplay elements prove to be a benefit or a detriment?


Nippon Ichi is a name well-known to fans of strategy RPGs, primarily for the Disgaea series; while relatively easy games to pick up and play, they are also deceptively deep, allowing for a huge amount of character and party customization and allowing the player to reach truly absurd levels of strength over the course of pursuing postgame content.  Later games in the serious also famously took advantage of this by amping up the power of the game's optional bosses to absurd extremes, giving them tens of millions of hit points, the ability to destroy one's base panel (preventing further units from entering the battle) and making them immune to particular abilities after being hit by it once, among other things.  Basically, they're games accessible for those just looking to experience the story, but have enough content to keep even the most die-hard of min-maxing stat grinders satisfied too.

Soul Nomad is another experimental outing for them, attempting to work in some elements of the Ogre Battle series into the mix.  One prominent example of this is that the player does not control individual units, but rather groups them into "rooms" of up to nine, with each unit automatically performing an ability depending on their position in the front, middle or back rows.  Generally, these are fairly common sense - melee characters do the best from the front rows, being able to take more damage and deal it in turn, while putting them in the middle row will cause them to do a weaker attack, while in the back row they may not even get to take an action at all.  Conversely, ranged units like archers and mages are better suited to being in the middle or back rows, where they can attack without readily putting themselves in danger.  Some units provide other interesting benefits from being in a particular row, though - for example, the Schemestress unit will prevent enemy counterattacks while in the center row, while back-row Bards will buff a random character's attack by 30% for that attack only.  Each group also gets as set of special attacks, referred to as "Tactics", depending upon who leads the squad - these can be used a set number of times per battle (increasing with levels) and often provide temporary buffs to that unit or allies, debuffs to enemy units, or just a single-use powerful attack combo (with animations of Nippon Ichi's trademark over-the-top style).

Because of this setup, combat and party equipment in the game is largely automated, so it's not quite as combo-oriented and satisfying as some of Nippon Ichi's other titles.  Terrain does factor in to battles as well, granting bonus and penalties depending on the terrain a clash takes place on.  Desert tiles, for example, grant a 20% penalty to all stats, while towns and castles will not only boost them, but cause units within them to heal HP every turn.  Basically, it really does feel less like a Nippon Ichi title and more akin to something like Ogre Battle or Advance Wars, which works both for and against it in different ways.

Perhaps as a result of these limitations imposed on individual units and their development, more emphasis is put on building and customizing your various team rooms; available slots and innate bonuses are randomly determined when they are created, and can easily be randomly "rerolled" via the Change command at the player's discretion until they get setups that they like.  As the game progresses, more rooms can be "locked", causing them to remain in place when the Change command is selected.  Rooms may also randomly contain "Bad vibes" - enemies that can be cleared out in battle to earn some extra items or power up your room.  Rooms can also be assigned items in the form of "Decors" that grant various benefits, like debuffing nearby enemies, boosting the squad's stats or giving them a bonus for a few turns, such as unlimited usage of skills.  Most of these aren't too great, particularly in the main campaign, but when one goes diving into random dungeons to upgrade their rooms and power up their units they can prove very useful.

As per usual for Nippon Ichi games, much emphasis is also put on replayability.  The main campaign itself has several opportunities to get a bad ending, though you are at least warned which options will bring you to one via a skull icon on the menu so you don't unintentionally lose your progress.  Numerous endings to the campaign exist, depending both upon the choice of your protagonist's gender and whom they build the closest relationship with over the course of the journey (with dialog choices and team attacks performed with them factoring in).  After finishing the campaign at least once, some interesting new mechanics unlock too - one has the ability to interact with villagers via certain items - beating them up for money, bribing them, or strangest of all, abducting them, which adds them to the party as a playable unit (generally with slightly higher stats than an unnamed generic unit).  Unusually at the time, the game also features an entire alternate campaign that can be experienced after completing the story once, having the player lead most of the campaign's villainous characters instead, which is quite a clever twist.  As per Nippon Ichi standards, the game doesn't skimp on cameos, either.  By completing certain optional events, the player can recruit not just a number of characters who surface in the main storyline, but guests from other games too, including  the long-suffering heroine Asagi (from the cancelled "Makai Wars") and even Lujei from GrimGrimoire.

In short, while it may not be the most highly-regarded Nippon Ichi title, it's certainly an interesting experiment by them, meshing the basic gameplay of games like Ogre Battle together with their usual brand of highly-randomized, stat-crunching design with plenty of secrets, alternate endings and intricacies to discover.  Even if that's not really your thing, though, the story and presentation is a definite highlight, foregoing the more light-hearted, cartoony feel of the Disgaea series for something significantly darker and more twisted in tone.  It wasn't one I was keen on revisiting much, but I certainly don't regret experiencing what Nippon Ichi's writers could do when they were trying for a bleaker tone and a heavier atmosphere than their usual norms.  Give it a try for that, at least, then come back for more if you enjoy the gameplay and want to hone your ragtag band into the deadliest army in the universe through weeks of random dungeon diving.


Developer: Nippon Ichi
Publisher: Nippon Ichi, NIS America, Koei
Platform: Playstation 2, Switch, PC
Released: 2007, 2021
Recommended Version: The later ports just seem to be straight, no-frills ports of the PS2 game.  Still, they look a bit nicer owing to running at a higher resolution.

Thursday, November 22, 2018

The World Ends With You

Jupiter and Square Enix unite to make a unique RPG that pushes the Nintendo DS to the limits of its potential.  But does this outing prove to be a success, or is this one experiment that never should have been conducted?


While Square Enix needs no introduction to any serious RPG fan (for better or worse), Jupiter is a name that isn't nearly as well-known.  Beginning operations in 1992, they've primarily created games for handheld platforms, and even then mostly puzzle games; their best-known ones are probably the Picross series and a few assorted spinoffs of Pokemon, including Pokemon Pinball and the Pokemon Mini series.  However, they did also co-develop Kingdom Hearts: Chain of Memories on the Game Boy Advance, and that game's relative success led Square Enix to try out a new game with them on the Nintendo DS.

That game was The World Ends With You, an RPG that goes out of its way to both defy convention at every turn and take full advantage of the capabilities of the Nintendo DS.  This is evident right out of the gate, as the game utilizes a bright, colorful 2D style reminiscent of graffiti and pop art in general.  The soundtrack follows suit, with a wide variety of genres and artists spanning rock, hip-hop and electronic music and giving the game a very modern feel.  Both are evident in every element of the game's aesthetic design, from its brightly-colored half-graffiti enemies to the weapons and attacks the player wields to its stylized environments, and lends much to the overall surreal atmosphere.

In similar fashion, the core gameplay defies a lot of familiar RPG tropes.  "Random encounters" are virtually nonexistent, with the player able to enter a "scan" mode and engage enemies on their own terms whenever they wish.  Additionally, once a certain point in the story is reached, the player can engage up to four groups of enemies back-to-back if they wish, earning substantial experience and item drop multipliers if they do; the downside, of course, is that one's health bar is not refilled between battles, so it's an all-or-nothing risk.  Difficulty is freely adjustable, with each different difficulty providing a new set of rewards from battle, and even the player's current level is too - reducing it will cause you to enter battles with less HP, but a higher chance for random drops from enemies to occur.  Again, a clever way to balance risk-versus-reward gameplay; you can't take nearly as many hits if you drop 20+ levels before entering, but you do have much better odds to get a particular item drop from an enemy if you do.

Shops fall under this rule too.  At first they will have only a basic inventory to offer, and many of the effetcts of items they sell will be obfuscated.  However, as the player purchases items from various shopkeepers, they will earn their trust and, through that, unlock new items for purchase and cause them to reveal effects of various weapon and armor; generally the ones they sell, but also on occasion ones players may have purchased elsewhere.

Food items also do not work as they tend to in most RPGs, as the player's health is automatically restored to full after any combat.  Instead, they offer two benefits - they grant an immediate "sync boost" (more on that in a bit), and once the item is fully consumed by fighting random battles, they often grant a permanent statistic boost to the character who consumed it.  However, the player can't abuse this too much, as they are only afforded a small total of 24 "bytes"; each food item a character consumes takes a certain number of these, and they can only be replenished by waiting 24 hours in real time (tracked by the Nintendo DS' internal clock).  Another nice benefit tied to the clock is that, if the game is left unplayed for up to seven days, each of the player's equipped pins will get an experience bonus, allowing them to gain at least some benefit from not playing the game constantly.  That said, the amount awarded does sharply fall off after the first two days, so there's not much benefit to leaving the game unplayed for longer than that.

Combat in the game strives to take advantage of the Nintendo DS's capabilities too, and does so surprisingly well.  In combat, each character appears on one of the game's two screens, with an avatar of each enemy on the field appearing on both as well.  The player controls both characters at once, with one being manipulated by either the D-pad or the four face buttons.  Neku, the game's protagonist, always appears on the bottom screen and is controlled via the touch interface, moving by dragging the stylus across the screen (larger distances for a quick dodge that makes him momentarily invulnerable).  Neku also has no inherent attacking ability, but over the course of the game the player earns, unlocks and buys numerous "pins" that grant him more actions during battle.  Each of these are performed by doing various gestures on the touch screen - dragging empty space to create flames, tapping to fire bullets, "scratching" to generate an earthquake effect that stuns enemies, and so forth.  While some are relatively tricky to use, the sheer volume of them lends quite a lot of variety to the game, and there is fun in seeing them all.  Moreso when one considers that many pins will "evolve" after reaching maximum level through repeated use, powering up and potentially earning new abilities in the process.

Further elements of this system unlock as the game proceeds, too.  The game encourages the player to split their attention between both screens in a number of ways; not the least of which being that both players share a health bar, so damage from enemies on one screen affects both characters.  But beyond that, mastery of this setup becomes an essential part of the game's strategy.  One clever way this occurs is through the "light puck" system - when a character successfully completes a combo, they'll get a damage bonus and pass the puck to the other character, who in turn can get a bonus of their own by completing a combo in quick succession and pass the puck back to the other character.  This allows for substantial damage bonuses over time, and becomes essential once powerful enemies called "Taboo Noise" begin showing up; they take minimal damage from the character that doesn't have the light puck.  Furthermore, each time the puck is passed, the players' Sync Rate will increase, and once it hits 100% (or a multiple thereof), the player is able to unleash a powerful super move that hits all enemies on the screen for massive damage.  Taking a page from Final Fantasy, these are each governed by minigames - either matching card symbols or picking cards in sequential order to rack up a damage multiplier and boost the drop rate for any enemies killed in the attack.  Once one's skill at the game reaches a point, they can release these moves numerous times in a single battle, quickly clearing chain encounters and showing quite a bit of visual flair, which is exceptionally satisfying.

Another unique element of TWEWY is that it's the only RPG I know of where fashion trends actively factor into the game's strategy.  Every item of clothing in the game, as well as most pins, are part of a particular fashion brand, and their effectiveness fluctuates depending upon the area the player is currently in; those that are currently in vogue get a significant bonus in that area (100%, 50% or 20% depending on their rank), while those that are out of fashion get a 50% penalty.  However, the player can influence these trends as well - if they wear items of a particular brand into battles and win them, they will influence the area's trends and can eventually make them more popular.  An interesting idea, if somewhat underutilized, as said trends usually only affect a particular screen or two; as you're generally constantly on the move, it only really becomes a substantial element during grinding sessions and clearing the occasional story mission.  Still, having a particular pin/fashion type trending before a tough fight can turn the tide of a fight, so it's good to know about.

All of this may sound a bit overwhelming, and at first, it is.  But the game does a relatively good job of easing you into the mechanics, introducing new concepts gradually and giving you essentially unlimited time to practice battles on your own terms to let you grow comfortable with things before moving on.  And as mentioned, the game's difficulty is freely adjustable, so if you're having particular difficulty with a boss, you can always raise your level back up or adjust the difficulty to win out and move on with the story.  That, plus a captivating story, fun characters and just the sheer, energetic nature of the game and its mechanics, make it an extremely addictive title that pushes you to keep going and see all it has to offer.  I honestly consider it one of the most unique and interesting games of both companies involved, and I'm a little shocked it didn't get more attention than it did during its initial release.  Well worth a look for anyone who thinks JRPGs have grown stale and are looking for something completely fresh and new.

(Screenshots taken from the Nintendo Switch version of the game)

Developer: Jupiter, Square Enix, h.a.n.d. (Mobile/Switch ports)
Publisher: Square Enix
Platform: Nintendo DS, iOS, Android, Nintendo Switch
Released: 2007, 2012, 2014, 2018
Recommended Version: The Nintendo DS version offers the most "pure" experience, with the game clearly having been built around a two-screen setup and all of that system's unique features.  Subsequent versions had their gameplay reworked to utilize a single screen, with the secondary character essentially serving as an attack pin and combos being much easier to pull off (with Neku and his partner simply having to alternate attacks on a single enemy).  Still, both provide a lot of depth, content and challenge despite some significant changes, so if you don't have a DS available or you just don't want to switch attention between two screens, any of the later ports will serve just fine.  The Switch version does contain some exclusive content, though, so that may be the one I ultimately recommend among the retooled TWEWY ports (though I would recommend you play it in portable mode; using the joycons for combat was absolute hell on my wrists after a while).

Monday, July 30, 2018

Rogue Galaxy

Level-5's last prominent release on the Playstation 2, Rogue Galaxy strays away from the fantasy setting of Dark Cloud 2 in favor of a science fantasy adventure with action combat.  But does this changeup result in a fun game, or is Rogue Galaxy's new direction a non-starter?


After the Dark Cloud games became hits on the Playstation 2, as did followup franchises like Professor Layton on the Nintendo DS platforms, people have long clamored about a Dark Cloud 3, piling on rumors to that effect for many years since.  Level-5 has yet to deliver on that, but what arguably came the closest for a long time was their last Playstation 2 release, Rogue Galaxy.

Rogue Galaxy's action on the whole feels similar to Dark Cloud 2's, allowing the player to attack, throw objects to stun enemies, and wield two weapons at once - generally a longer-ranged but weaker one and a slower melee weapon, though this varies a bit from character to character.  One new addition here, though, that each character gets a variety of spells to cast via a menu, running off the typical MP bar and ranging from weapon buffers to full-screen attacks that damage all enemies onscreen (though curiously there are no healing spells - you're still reliant on items for that).  Another odd change is that the player can only attack with a given character so many times in a row before they deplete a "stamina gauge", at which point they must either wait a short while or go on the defensive and block an enemy attack to restore it to full and continue fighting.

These in turn are governed by a Revelation Flow chart unique to each character.  Somewhat similar to the License Board system from Final Fantasy XII, the player progresses linearly from one "slot" on the board to the next, though they don't simply spend generic points to unlock new abilities; instead, various items found throughout the game, whether purchased or dropped from enemies, are used to fill in slots on the board and unlock new abilities.  While this does often work to prevent the player from getting overpowered skills early, it also has the unfortunate effect of stunting their growth at times, leaving their only recourse to deal with a difficult encounter to level up or just spam items.  The attempts at limiting power also aren't the best implemented; on both playthroughs I seemingly got Jasper's mid-tier fullscreen attack earlier than was intended, and its power was such that it could sweep all enemies out of the encounter in one hit, making the midpoint of the game a breeze.

Combat on the whole is also hampered by three other factors.  First is the fact that the game still uses random encounters; more than a bit outdated by 2007, and it gets to be annoying very quickly, particularly when fights seem to pop up every other step and the requisite encounter-limiting items last for barely a  minute before you're forced to use another one.  Rogue Galaxy, like the Dark Cloud games before it, still features no proper armor system (other than "costumes" that grant a miniscule resistance to one element), and unlike that game, there are no items that bolster a character's defense value or maximum HP.  This means that from the start of the game until the end, it only takes two or three good hits to take out your character, and in large-scale fights with many enemies, you can easily be seeing the game over screen before you realize it.  Not aiding this is the lackluster party AI, which, as in many games of this type, tends to get hung up on "gimmick" enemies that must be hit in the head or from behind, or simply flies out of their range for much of the fight.  To the developers' credit, though, they do at least bar them from spending MP and using items excessively, always prompting the player to confirm these actions by pressing one of the shoulder buttons instead, which helps to conserve resources in many situations.

Rogue Galaxy, like most Level-5 games, certainly is not lacking for content, either.  There are numerous hidden items to be found in every area of the game, and fully exploring the map of a given planet will place all chests on the map as icons, allowing the player to easily backtrack and pick up any they missed.  There are countless sidequests to undertake as well, mostly in the form of bounty hunts against powerful foes that only spawn in particular areas, with the player's ranking tracked via an in-game scoreboard and new rewards being unlocked every ten ranks they rise.  A Pokemon-esque monster raising minigame is present as well, allowing the player to capture bugs and pit them against opponents in an arena for bonus prizes, though I didn't bother much with this in either of my visits with the game.

Two different crafting systems are present as well, with one taking the form of "Toady", allowing the player to combine sufficiently leveled-up weapons together into a new ones with higher stats and abilities, which in turn can be leveled up again and combined into more powerful ones, slightly reminiscent of Dark Cloud's weapon crafting system.  The other, somewhat reminiscent of the Georama element, has the player building specific factory setups to craft new items out of blueprints and base components (generally found items and particular maxed-out weapon types), which is necessary to obtain many of the best weapons in the game.  However, I used this very little in both of my playthroughs, as many of the best weapons don't become available until the postgame anyway, at which point your only real remaining goal is to max out the in-game achievement tracker and possibly complete a bonus postgame dungeon in the form of a ghost ship full of difficult enemies.

That stuff's all well and good, but Rogue Galaxy, for me at least, hit the point of diminishing returns well before I was done with the main plot, leaving me little incentive to explore the side content to its fullest.  This isn't aided by a rather weak storyline and a cast that proves generic at every turn, having virtually nothing in the way of chemistry with one another and only the barest minimum of backstory (which all seem to fall into typical cliches at every turn).  When a game comes out over a decade after the SNES era had by and large ended, yet still features lackluster character writing on the same level as many games of that era, it doesn't really speak well of the writing staff behind the game, particularly when numerous other RPGs on the platform featured incredible character development and storytelling on par with a good film series or anime (Xenosaga, Final Fantasy XII, the Persona games) or at the very least, a solid sense of humor to fill in the gaps (Shadow Hearts).  It says a lot when I learned through the in-game skills menu that Jaster and Kisala were meant to be the love interests of the game, as they have literally zero scenes or lines of dialog to that effect at any point during the adventure.

In short, Rogue Galaxy, while a game not hurting for things to do, is severely hampered by its developers' intent on doing things in their own "unique" way, leaving it lacking several key elements of the genre and its overall design.  Similarly, the player is left with little in the way of variety or ways to grow their characters and little motivating factor to do so owing to its weak writing.  Its frantic combat is fun for a while in spite of its shortcomings, but it's not terribly long before it just becomes a chore to play.


Developer: Level-5
Publisher: Sony Computer Entertainment
Platform: Playstation 2, Playstation 4
Released: 2007, 2015
Recommended version: The Playstation 4 version is a direct port of the Playstation 2 game.

Thursday, April 5, 2018

Etrian Odyssey

A relatively slow-starting franchise for Atlus, Etrian Odyssey was built as an old-school dungeon crawling experience that recalls the experience of numerous 80's franchises to a T.  But does a game like this still hold any appeal today, or does it attempt to resurrect a type of game that should have remained in the past?


While most JRPGs can trace their roots back to a common source - Wizardry, Ultima, the Bard's Tale, and other early RPG franchises released on various computer platforms in the 1980s - few of them still bear much resemblance to that format of gameplay at all.  Most are no longer viewed from a first person-perspective, battles tend to be smaller in scope (with no more than five or so enemies in any encounter, whereas Wizardry-likes could easily put the player against a dozen or more) and overall being more of a story-driven, cinematic experience than one centered on exploration, finding loot and powering up characters.  These elements still exist, of course, but they generally take a backseat to the storytelling aspect.

Etrian Odyssey, on the other hand, is an unashamed callback to the early days of role-playing games.  There is little in the way of characterization and only a threadbare plot throughout, characters are all generated by the player and must conform to a handful of archetypal classes - Landsknecht (Fighter), Alchemist (Mage), Medic (Cleric), etc. - and animation in the game is relatively minimal, with virtually every character, enemy and foe alike represented by a single static sprite.  While there is some customization afforded to the player in the skills they can pick for a particular class (such as specializing in a particular type of weapon or spell element), this is very much a game built on the standards of 1980s gaming.  Some other, less-savory elements creep in as well, like rather slow character movement and somewhat lengthy combat animations that cannot be skipped, which get just a touch annoying when you end up seeing them thousands of times over the course of the game.

Also similar to games like Wizardry, nearly all of the game's action takes place within a single, sprawling dungeon comprising 30 floors - 25 for the main game, and an extra five containing a postgame boss that requires a very heavily-trained party.  Throughout each floor, the player encounters not only progressively stronger enemies, but a variety of subquests, traps, hidden passages and bosses - both in the form of minibosses named "FOEs" that patrol the map (and generally are so strong that they must be avoided at first), and designated floor bosses that will bar their progress until they power up enough to defeat them.  The game's overall design is also heavily based on classic norms - one can only save in towns or at very specific points at the beginning of each five-floor segment of the dungeon, which means that you tend to do an awful lot of backtracking as your resources run thin, and may end up redoing large segments of the dungeon from scratch if you get caught by an FOE.  Much emphasis is also put on the grinding element - not just in terms of levels, but by collecting loot from enemies to sell at a shop in order to earn money and unlock new equipment, which in turn gives your party better odds to reach even further into the dungeon.

One clever touch is that the game includes a minimap, but unlike most games of this type, it is not filled in automatically - instead, the player must draw it in themselves on the DS's bottom screen, using the stylus to fill in walls, mark traps and chests, and indicate enemy locations and patrol routes.  Indeed, even the game's first quest requires the player to create a mostly-complete map of the dungeon's first floor before they are allowed to proceed deeper in, getting them used to this mechanic.  A clever throwback to the early days of CRPGs, where the similar-looking dungeons and lack of integrated mapping features meant that players would often draw out their own maps on graph paper.

This is not to say that the game is completely stuck in the past, as some more modern elements creep in.  One prominent addition is that player can retire existing characters in order to create new ones, with some residual stats and levels carrying over from the old character and allowing the new character to reach new heights of power that their old ones simply could not, somewhat similar to the Reincarnation mechanic in the Disgaea games.  If a particular skill loadout proves too detrimental, the player also has the option of allowing a character to "rest" in order to reset their skills.  This comes at a price, however - the character loses five experience levels each time they do this, and considering how long those take to build up in this game, there is a strong incentive to get the loadout right the first time through.  The game's score is also provided by perennial favorite Yuzo Koshiro, and as per his standards, it is quite excellent throughout.

In the end, Etrian Odyssey accomplishes what it sets out to do, creating an old-school dungeon crawler experience reminiscent of games like Wizardry, Might and Magic and Bard's Tale in almost every respect.  Fans of that genre - and all of the frustrating elements that come with them - will probably have some fun with Etrian Odyssey, but those more used to a smoother gameplay experience less centered on grinding and trial-and-error may want to give it a pass.  Or go for one of the later entries or remakes in the series instead, which feature a much more streamlined and smooth experience overall.

 


Developer: Atlus, Lancarse
Publisher: Atlus
Platform: Nintendo DS
Released: 2007, 2023
Recommended version: The original version is available on Nintendo DS, as well as getting an HD port on Steam in 2023 alongside 2 and 3; oddly it's cheaper to buy them as a bundle (for $80) than to buy them all separately for $40 each on Steam.  The first and second games were also remade on the Nintendo 3DS as "Etrian Odyseey Untold", featuring alternate story modes with predefined characters, 3D models and several other quality of life improvements.