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Showing posts with label 2016. Show all posts
Showing posts with label 2016. Show all posts

Friday, November 15, 2024

Baldur's Gate: Siege of Dragonspear

A bit of an oddity for sure, Siege of Dragonspear is an interquel/expansion to Baldur's Gate Enhanced Edition, released nearly two decades after the original game was on PC and sixteen years after the story was concluded in Throne of Bhaal.  Serving to bridge the gap between the first and second games, it has the protagonist come under attack by a group of assassins under the command of a crusading warrior known as the Shining Lady who threatens the stability of the Sword Coast.  Imoen is unavailable for much of the game for plot reasons (first poisoned, then in an apprenticeship to explain her new status as a mage in 2), but much of the main cast from the first game returns, as do several new characters exclusive to this expansion.  The progression is very linear - you just hop from one area to the next in each chapter, a small contingent of Flaming Fist soldiers accompanying you, selling you items and storing your equipment, and while there are a few optional missions to undertake, the main story definitely takes precedent.  The story itself is serviceable, if not particularly memorable, but the dialog seems to be trying way too hard to be clever/funny and as a result becomes more annoying than anything.   The voice acting is decent for the most part, with many of the original cast returning (including the late David Warner as "the Hooded Man", whose scenes are easily the highlight of the whole package).  Encounters also strike a middle ground, mostly consisting of stronger variants of enemies from 1 with a few from 2 mixed in and it raises the experience cap to 500,000 - just enough to let you gain an extra level or two without completely disrupting the second game's balance, so it feels like a proper interquel in that regard.  All in all, an inoffensive but ultimately inconsequential addon.

Developer: Beamdog
Publisher: Beamdog, Skybound Games
Released: 2016
Platforms: PC, OS X, Linux, iOS, Android, Switch, PlayStation 4, XBox One

Wednesday, December 7, 2022

RWBY: Grimm Eclipse

The first game based on the web series RWBY, which billed itself as an action game inspired by the likes of Devil May Cry, Kingdom Hearts and Mystic Heroes (one of many offshoots of the Warriors franchise).  It's a relatively straightforward action hack-and-slash experience, pitting you against waves of Grimm as you travel about the landscape completing various objectives (usually in the form of defending an objective or defeating waves of enemies).  Your health operates somewhat like the Halo games, with an Aura meter that regenerates over time and a health bar beneath that which gets depleted once your Aura is emptied.  Defeating foes earns experience points and levels, which can be spent to upgrade one's basic attacks, special moves or core stats, and the game supports co-op between up to four players.  Later DLC adds in a Horde Mode (wherein players try to hold out as long as possible against hordes of Grimm, purchasing defensive emplacements with money earned by defeating them) as well as all four members of Team JNPR as quite powerful bonus characters to play as.  A decent little beat-em-up style action game, though if you're not a fan of RWBY it's one you can safely pass on.


Developer: Jordan Scott, Rooster Teeth Games, Aspyr Media
Publisher: Rooster Teeth
Platform: Playstation 4, XBox One, PC, Mac OS, Switch (Definitive Edition with all DLC included)
Released: 2016, 2017, 2021

Monday, December 5, 2022

Odin Sphere: Leifthrasir

Vanillaware's first real breakout game in the west, Odin Sphere was an odd fusion of genres, combining elements of RPGs, scrolling beat-em-ups and parallel-plot storytelling under one banner.  Its 2016 remake retains the company's gorgeous hand-drawn artwork while polishing up its gameplay, but does it prove a worthy upgrade to adopters of the original, or is this the archetypal bad remake?

Vanillaware is a pretty well-known company these days, having made hit games like Dragon's Crown, Muramasa: The Demon Blade and, most recently, the visual novel/real time strategy hybrid 13 Sentinels: Aegis Rim.  They weren't always a popular name, though; in fact, their first game to be released in the west (GrimGrimoire) was a pretty big disappointment in terms of sales.  Odin Sphere was their second to be released and fared considerably better despite its relatively late release on the Playstation 2.  It sold well enough to become their first international hit, though criticism was directed at performance issues and some awkwardly-implemented mechanics, as well as the overall stiff combat.  Years later they had planned to do a remaster, but owing to strong sales of Dragon's Crown and availability of development resources, sprung for a full remake instead.

The result is a visually impressive one, for sure.  George Kamitani's artwork (mostly built from the original assets) is incredible to behold in HD, highlighting his exaggerated style and beautiful character designs in fine fashion.  The often-laggy framerate of the original version is upgraded to a smooth 60 FPS, and the addition of additional combat moves (including a launcher, a diving attack and a much-needed defensive dodge) make battles much more fun this time around.  Other mechanics have been overhauled too - Phozons released from defeated enemies are automatically absorbed by the player (instead of having to do so manually).  The inventory system was also overhauled, as were the alchemy  and cooking systems.

At its core, the gameplay is much the same as the original version - a side-scrolling beat-em-up style of game with some RPG elements mixed in.  Winning battles earns you items and money, as well as character points Phozons.  Phozons and character points can be used to upgrade your abilities, but the former also tie into the game's primary experience gaining mechanic.  Rather than simply earning points for defeating enemies, the brunt of your experience is gained by eating things - you can plant seeds, feed them some phozons to get them to grow, and eat the resulting fruit, or visit restaurants (or butcher animals) to get meat; both options will give you experience, as well as boost your maximum health.  Potions can also be brewed using combinations of mandragoras in bottles, as well as given more powerful effects by adding more ingredients to them (usually more fruits or mandragoras).  These serve not only to heal you and recover from status effects, but as powerful, one-use magical attacks that may also get you past some obstacles; for example, extinguishing flames in your path.

The game's presentation is a clever one as well.  The game opens with a young girl in her attic, reading books she finds that tell each of the playable characters' stories.  One can also interact with Socrates the cat to view previously-seen cutscenes.  Throughout each character's story one will also find a number of notes and scrolls to fill in story beats which, in Leifthrasir, are presented as actual books, handwritten notes and scrolls in a virtual library that you can peruse; a lot more visually interesting and cleverly-presented than the unbearably dry Plot Codices of so many modern games.

Odin Sphere: Leifthrasir proves to be a very worthwhile remake, retaining everything that made the original a hit while adding a very welcome degree of polish to just about every facet of its gameplay.  It's a gorgeous game visually, with some imaginative worlds and character designs and some gorgeous animation, and it's got quite good orchestral music and voice acting to compliment its mood.  Extra scenes and stages were added from the original version as well, so in short, Leifthrasir is bigger, better and prettier than the original in every way that matters.  A gorgeous fantasy action-RPG experience with rather monotonous combat and, considering its style, a rather punishing length.  Still, as a fan of Vanillaware and their amazing art, it's worth a play on the merits of its incredible presentation.

 

Developer: Vanillaware
Publisher: NIS America
Platform: Playstation 3, Playstation 4, Playstation Vita
Released: 2016
Recommended Version: I have only played the Playstation 4 version, but I have heard it's the best of the bunch, with a consistent 60 FPS 1080p presentation.

Wednesday, November 2, 2022

XCOM 2

After a very successful but somewhat divisive remake of the original X-COM, the stage was set for a sequel.  But does Firaxis's XCOM 2 help the franchise step out of the shadow of the original game's legacy, or does it simply provide a by-the-book entry for the franchise


X-COM: UFO Defense is a game that remains highly regarded among fans of classic PC games even today, and for good reason - it was a brilliant blend of tactical combat, business management and even had a touch of RPG style character building, requiring you to train up your army gradually and improve their skills through combat (and hope they didn't get taken out by a fatal reaction shot or an exploding gas station).  It had a number of sequels and spinoffs in the following years of varying quality, but none ever quite matched up to the first.  In the early 2010's, a reboot was announced; however, it quickly drew heavy criticism from fans, seemingly discarding the deep strategic element of the series in favor of a generic first person shooter experience.  The developers did take this criticism in stride, though, reworking the gameplay considerably to make it a squad-based tactical shooter (somewhat akin to Mass Effect in gameplay), and retitling it to "The Bureau: XCOM Declassified" to cement it as a spinoff rather than a proper entry, though it still only got middling reviews and sales were lackluster.  Alongside it came something more in line with fan expectations - a turn-based tactical combat experience that put focus on training your squad, managing their finances and developing new equipment to even up the odds in battle.  It was well-received and commercially successful, though it still felt a bit simplified and didn't break much new ground for the franchise in terms of storytelling or mechanics.

XCOM 2 was released four years later, serving as a direct sequel to the reboot.  Rather than attempting to copy Terror from the Deep or Apocalypse's scenario, though, it took a considerably darker turn.  The game is set on a future Earth where XCOM lost the war early on and the aliens (now under the collective name "ADVENT") have become a part of everyday life, using their technology and control of the media to keep the populace under control and blissfully unaware of their genocidal acts.  XCOM now exists as a rogue faction centered out of a single carrier ship called the "Avenger", waging a desperate guerilla war against the aliens and trying to prevent their mysterious "Avatar Project" from coming to fruition; this effectively serves as a time limit hanging over the game, as if the project does reach completion it's an immediate game over.  Taking some undercover actions and completing certain types of missions can set back the project's progress, but not stop it entirely, so that becomes another strategic element you must factor into your choices.

As in Enemy Unknown, your generic soldiers start off as a plain "Rookie" class, but after gaining experience will be randomly promoted to one of four prefab classes.  Grenadier is similar to the first game's Heavy class, able to equip heavy armor and carrying a minigun-style cannon (capable of shredding enemy armor) and a grenade launcher.  Rangers function similarly to the first game's Assault class, specializing in close-quarters combat with rifles, shotguns and even melee weapons.  Sharpshooters function similarly to the Sniper class, taking long-ranged shots that consume an entire turn or, in a pinch, relying on close-quarters combat with a pistol. Specialists serve as a support class, using a flying drone called a "Gremlin" to aid allies, hack enemy electronics and even stun enemies with electrical shocks.  A fifth option exists as well once a Psi Lab is built - the Psi Operative, who unlocks powerful skills that aid allies and hinder enemies, though they only improve by training in the Psi Lab, not through battle.  The expansions add a few more you can recruit through special missions - cybernetic soldiers called SPARKs, the stealth-utilizing Reapers, the psionic melee-fighting Templars, and Skirmishers - renegade ADVENT soldiers who ally with the resistance.  Naturally all of said classes have a variety of customization options - gear, abilities, skins and overall stats - so you still have plenty of leeway to customize your team as you see fit even if there's only a handful of overarching classes to choose from.  (And of course, those playing the PC version have plenty of mods to introduce more classes if they wish.)

Gameplay remains largely similar to the XCOM norm - battling enemies, researching their tech to enhance your own loadouts, scavenging for resources, and of course dealing with the odd special mission to either deal a heavy blow to ADVENT's schemes, gain new allies in the resistance, earn much-needed resources, or just fend off a direct attack on the Avenger.  Fitting for the dark setting, characters who suffer serious harm in battle can also gain debilitating "negative traits" - being fearful of a certain enemy type, compulsively reloading their gun if it's not at full, panicking when on fire, and so forth.  These can be cured in the infirmary, though it puts the soldier out of commission for several days to overcome their fear.  Another changeup comes with the War of the Chosen DLC which adds three powerful bosses called "the Chosen" who can randomly intrude on any mission you undertake.  They are persistent and very dangerous, but you will eventually be able to uncover a way to defeat them permanently through a special mission - this not only prevents them from bothering you in future missions, but will give you access to their (very powerful ) weapons for your own use.

The game does add a few new mechanics to the core combat experience as well.  One that comes in fairly quickly is Armor, which reduces all damage taken on both you and enemies; however, some weapons (gatling guns and explosives in particular) will damage it, lowering the threshold, and a handful of abilities can even bypass it entirely, so it's not something you can rely too heavily on.  Stealth is another prominent one - you begin most missions undercover and can move freely, though if you're seen by an enemy or launch an attack, the enemies will begin to come after you in earnest; this gives you an attack to secure advantageous position before going loud.  Reapers work slightly differently here, in that their attacks only have a chance to reveal their position - they can potentially stay hidden and pick off a few foes before the jig is up (though the chance of staying hidden gets substantially lower each time).  Thus, stealth is engineered to be a strategic element that will be quite useful, but it's not a total balance-killer as in some games.

In my view, XCOM 2 is a masterpiece.  Enemy Unknown was a worthy remake, but it felt a bit overshadowed by the 1994 classic in terms of overall depth, variety and scope.  XCOM 2, however, really allows  the reboot series to stand its own, paying homage to everything that made the series a hit while also feeling very fresh.  It plays well to the original's strengths while also working in Firaxis's talents for keeping you on your toes with a variety of randomized events, inventive mechanics and a constant air of uncertainty, ensuring that every decision you're presented with is one you have to weigh the risks of carefully.  A fantastic tactical experience that any fan of the genre should play.


Developer: Firaxis Games
Publisher: 2K Games
Platform: PC, OS X, Linux, Playstation 4, XBox One, Switch, iOS, Android
Released: 2016, 2020, 2021
Recommended Version: The PC version is a personal favorite, as it allows for modding that introduces anything you could want - more classes, more enemy types, more equipment, a much longer campaign if that's your thing, and all sorts of voice packs and even guest characters, both serious and silly.  A personal favorite being one that adds a mission to recruit none other than Duke Nukem - rather appropriate considering the theme of both his native game and this one.  (I've also added 2B from NieR, Max Payne and even Bob Ross to my squad with other available mods.)

Saturday, April 2, 2022

Vestaria Saga I: War of the Scions

Shouzou Kaga, understandably frustrated with Nintendo bringing legal action against him for creating a title nearly identical to the franchise he forged (Fire Emblem), took a ten-year hiatus before he dared to develop and release another game.  Vestaria Saga was another attempt to recapture his former glory, seeing a release as a free game in Japan (though the English version would carry a price tag of $20, allegedly to pay down the cost of development on the localization).  As you'd expect, Vestaria Saga very much resembles an older Fire Emblem game - visiting houses to get clues, money and items, fighting enemies, using the familiar Weapon Triangle and terrain bonuses to gain advantages in fights, limited-use weapons, and of course characters being able to permanently die in battle.  Being built in a retail game creation engine (SRPG Studio) does have some disadvantages, though - while the art is of good quality, it also looks distinctly stock, strongly resembling other prefab assets like RPG Maker's.  It's also irritatingly locked into a single tiny 4:3 resolution that cannot be changed, making it rather hard to play on a 4K monitor, and while XInput controllers are supported, it irritatingly does not recognize the D-pad on them without external tools like XInputPlus.  Fans of old-school Fire Emblem or Tear Ring will probably enjoy seeing Kaga back in the saddle again, but those attuned to the style of newer FE games will probably be better off going for one of those instead.  Or Dark Deity.

Developer: Vestaria Project
Publisher: DANGEN Entertainment, Gamera Game
Released: 2016
Platforms: PC

Shantae: Half-Genie Hero

The fourth Shantae game and yet another step forward for the series, with some amazingly gorgeous animation throughout; easily some of the best animated visuals I've ever seen, in fact.  It even has a pretty fantastic theme song called "Dance Through the Danger" with vocals by Shantae's voice actress (the always awesome Cristina "Vee" Valenzuela).  However, it also made the controversial decision to rework the gameplay, going from a largely open metroidvania style of exploration to a more stage-based layout, requiring you to revisit some areas later with new powerups to collect everything (not unlike the Mega Man X games).  It also made the controversial addition of adding DLC missions, adding more content (including the ability to play as Sky, Bolo, Rottytops and even Risky Boots for the first time in the series) and costumes for Shantae herself to change up the gameplay.  It's all quite good quality, though paying $7-8 a pop for it atop a $30 game makes it seem a bit pricey compared to most.  (One also has the option to buy one of the later "Ultimate Edition" releases, which include all of the DLC).

Developer: WayForward
Publisher: WayForward, Xseed Games, Pqube Games, Oizumi Amuzio
Released: 2016
Platforms: PC, Playstation 4, Playstation Vita, Wii U, Xbox One, Switch, Stadia, Playstation 5

Tuesday, August 10, 2021

Stardew Valley

A well-known indie success story born of dissatisfaction with the Harvest Moon franchise, Stardew Valley is a title that has sold over ten million copies across the many platforms it's appeared on.  But does it truly live up to its promises and deliver a sublime indie experience, or was this house just built on hype?


Harvest Moon was a fairly late release for the SNES platform, but it became a cult classic for its relatively novel take on role-playing games - relatively little violence, no experience points or dungeons, just your character managing a farm and building up relationships with townsfolk, which can eventually culminate in marriage if you so wish.  It found an audience and over the years had a number of sequels and spinoffs, becoming Natsume's flagship franchise.  However, later entries began to suffer from stagnation, which ultimately led Robert Barone to develop a game that would come together in the way he'd long wanted it to.

That game ended up being Stardew Valley, which made no secret of its inspirations and quickly appealed to fans who likewise felt that Harvest Moon had fallen on hard times.  Sure enough, you begin the game as a wage-slave who grows sick of his thankless job, move to the tiny hamlet Pelican Town, and are given the task of fixing up your uncle's run-down farm and making a living there.  You start with only some tools and a handful of cash, and will probably be spending your first few days clearing enough rocks, grass and trees to even grow some crops, but it slowly snowballs from there.  Clearing more space, planting more crops, upgrading your tools, and adding more on to your house, including the a barn to animals and eventually a greenhouse to grow crops in any season (even winter).

Stardew goes above and beyond its inspiration, though, by also working in some elements of other popular "town sim" games.  One prominent influence is Animal Crossing, letting you build relationships with all of the various townspeople you encounter (either by doing tasks for them or giving gifts), donate items to the local museum (earning prizes as you do),  as well as purchasing or building furniture for your house.  There are quite a few seasonal events too, with a bit of an unfolding storyline and some minigames to earn unique prizes from - something Animal Crossing heavily focuses on with its holiday events.

There is a touch of traditional RPG in Stardew Valley as well.  This is most prevalent in the game's procedurally generated mine, which serves as your primary source for metal and gems (the latter of which make great townspeople gifts), but is also rife with monsters, necessitating you get some weapons, protective gear and some healing items to get far.  Your character's skills are upgraded through use, which in turn grant bonuses and new crafting abilities.  Farming, raised by harvesting crops, will grant new crafting recipes and better prices on crops or animal products, for example, whereas leveling up combat will boost your maximum HP and the damage you deal with weapons.

The game has continued to get updates since its release, all adding new content free of charge.  Not just bug fixes, either, but major content updates, adding things like new areas to build your farm (forest, hilltop, islands and even a beach become available as choices), more NPCs, new items, subplots and sidequests, and even online co-op so you can play with up to three friends.  So even for those who adopted the game after its original launch in 2016, there has been plenty to keep them coming back.

Stardew Valley is a beloved indie title, and it's easy to see why even if you're not a big fan of its inspirations.  It combines everything great about Harvest Moon with a touch of Minecraft and Animal Crossing.  That broad appeal helped make it into one of the most beloved indie games of its time, earned over ten million copies sold and even a board game adaptation.  It's even gotten praise from Harvest Moon's creator, which says quite a lot in itself.  So, if you want a break from a hundred-hour cheevo grind and just want to soak in some wholesome farm life, Stardew Valley is one you'll want to try.


Developer: ConcernedApe
Publisher: ConcernedApe, Chucklefish
Platform: PC, macOS, linux, Playstation 4, Xbox One, Switch, Vita, iOS, Android
Released: 2016-2019
Recommended version: All versions have stayed relatively consistent through numerous updates, though the PC version supports modding, so if that's your sort of thing, you may want to check it out.

Wednesday, May 8, 2019

World of Final Fantasy

Released to celebrate the Final Fantasy franchise's 30th anniversary, World of Final Fantasy is one one part fantasy RPG, one part Pokemon-style monster trainer game.  But does it provide enough content and depth to stand tall in the worlds of two RPG giants, or does it simply tip over and crash?


It seems that sooner or later every long-running series gets a celebratory fan service game, and Final Fantasy is certainly no different in that regard; in fact, it's had several.  But while some are mediocre (Final Fantasy IV: The After Years) and others are downright disgraceful (All The Bravest), World of Final Fantasy sets out to do something unique.

The game still does utilize quite a few of the familiar Final Fantasy elements - right from the get-go, you'll be seeing numerous familiar monsters, moogles, chocobos and quite  a few music cues, settings and characters from earlier Final Fantasies.  At its core, though, the story is a unique one, starring two new protagonists (a brother and sister named Lann and Reynn) and following an original story as they traverse the world of Grymoire.  It is built on a familiar archetype, though - Many of the inhabitants of this world are chibi-styled "Lillikins", while the antagonists are primarily more humanoid characters called "Jiants" who conquer the land via their ability to control Mirages (monsters), and seemingly only the protagonists have the power to stand against them.

This leads into the first major gameplay change; namely that it's a Pokemon-styled monster collection and training game.  Monsters encountered in battle can be captured and added to the player's party via a mechanic called 'Imprisming' when they are reduced to a vulnerable state.  Unlike Pokemon, however, this isn't simply limited to weakening them through battle and hoping the dice land in your favor; instead, each type of monster you encounter has differing ways in which they can be made vulnerable to an Imprism.  Often this means using a particular attack or element type on them, but it can also have slightly more obscure conditions, such as having them be the last hostile monster standing, reflecting their magic spells, using mutiple attack types, or even healing them first.  The Libra spell, which identifies monster stats, weaknesses and Imprison conditions, remains a very valuable asset throughout the game.

The game's interface is somewhat simplified too.  By default, combat utilizes a more efficient command menu with four shortcut commands mappable to each monster, and the player can quickly select from individual shortcut menus via the D-pad (though if this menu isn't to your liking, the traditional-styled menu can also be made the default in the game's options).  Combat itself retains the franchise's familiar Active Time Battle system too, so those used to the 90's-era Final Fantasy games will feel right at home.

Mirages' ability pools are similar to the skill trees seen in Kingdom Hearts 3D, with monsters gaining AP as their levels increase,which they can then spend to unlock nodes on their respective grids in order to boost stats, gain new abilities or evolve to stronger forms.  The two protagonists, on the other hand, have something slightly more akin to Final Fantasy VII's Materia system; they have no abilities of their own, but can equip "Mirajewels" that grant them spells and abilities, with more slots being unlocked as their levels increase and certain tasks are completed.

Some creative new mechanics quickly show themselves too, though.  The most prominent of these is Stacking; basically, you stack up to three of your characters atop one another, which effectively combines their stats and move pools into a single, stronger whole. Though you get fewer turns doing this, a stack is much more resilient and versatile than its component characters, making this an invaluable strategy for surviving tough battles.  However, if a stack takes too many hits in a battle, they can be tipped over, forcibly separating the stack into its component characters until the player recombines them or wins the battle.  Enemies are also frequently found in stacks and get similar bonuses when they do so, which adds another layer of strategy to things.  It is a frequent problem, though, that huge groups of smaller enemies will almost always topple your towers after only a turn or two of combat due to getting so many more turns in than you, which often gets you into a drawn-out and frustrating loop of getting knocked over and dizzied, then trying to rebuild your towers and clear them out before they peck you to death.

The gameplay itself is primarily aimed at a younger audience, and as a result features relatively simple dungeon designs and puzzles.  That said, there are still numerous optional quests with items to find, shortcuts to discover and plot threads with classic Final Fantasy characters to experience to keep things engaging for more experienced players.  Many NPCs have the usual assortment of fetch and monster-hunt quests, while some monsters have abilities that can uncover hidden items or pathways -having a Mirage with the Wander ability in the party in certain environments can allow them to uncover secret items that otherwise would not be accessible, while having one with Flight allows the party to move over small gaps they otherwise couldn't, for example.  Most dungeons also contain at least one special switch, which can open new paths if certain conditions are met.  Most often, this entails building stacks with certain requirements, such as having a Weight of at least 8 and statistics (such as elemental resistances) above a certain value.  These are rarely required to progress, but often lead to secret areas with useful items, so it is worth collecting monsters to see what each one contains.

Befitting the colorful storybook style of the visuals and the more accessible gameplay, World of Final Fantasy's tone aims to be lighthearted and fun above all else.  To that end, the protagonists' interactions are often silly, with Lann coming off as generally moronic and Reynn as the long-suffering 'straight man' of the pair.  Dialog with other characters is equally silly, with countless references and puns and a self-aware tone that even breaks the fourth wall at times.  It can get to be a bit much over long play sessions, but I found most of the humor to work surprisingly well, especially as the voiceover in the game perfectly captures the timing of jokes and is well-acted enough not to get grating.  The localization and voice over teams really did an outstanding job here, and it's more than a bit ironic that a spinoff game built for a younger crowd does a much better job with these elements than most of the main-line Final Fantasy games.

World of Final Fantasy is an homage game at its core, but does much to set itself apart from others in that category.  Its Pokemon-styled collection-oriented gameplay gives it a lot of content, the writers do a very respectable job in creating a humorous tone, and the story, while simple at its core, provides enough fan service and twists to keep both long-time series fans and more casual RPG players invested.  So whether you're a series veteran or a relative newcomer, World of Final Fantasy is one that should keep you hooked for a while.


Developer: TOSE, Square Enix Business Division 3
Publisher: Square Enix
Platform: Playstation 4, Playstation Vita, PC, Switch, XBox One
Released: 2016, 2017, 2018
Recommended version: All versions of the game seem to be pretty much identical, but I would recommend getting one of the updated "Maxima" versions if possible; these add many new features and gameplay tweaks over the base versions, as well as numerous new cameos and quests to experience.  This is available as a DLC upgrade for the PC and PS4 versions, but comes as a free inclusion on the XBox One and Switch versions of the game.

Tuesday, September 18, 2018

Dragon Quest Builders

The Dragon Quest franchise, having branched out into MMORPGs, action games, monster breeders and roguelikes, decides to try its hands at another spinoff into the realm of open-world sandbox builder games like Minecraft.  But does Dragon Quest Builders prove to be a competent take on sandbox gameplay, or is this just another iteration of an oft-copied format you can safely skip?


As with any successful and long-running franchise, Dragon Quest has had its share of spinoffs.  From monster breeder games attempting to cash in on Pokemon (Monsters) to action games (Rocket Slime) to rougelikes to even a few games in Koei's Warriors franchise, the series has quite a bit to offer both RPG fans and those used to a more action-oriented style of gameplay.  Naturally, with as huge a hit as Minecraft was (second-best selling game of all time as of this writing), Square Enix saw an opportunity to capitalize on that market as well.

That train of thought brought us Dragon Quest Builders; a game with a plot loosely based on the original Dragon Quest's storyline, though continuing from that game's "bad" ending where the hero joins the villain and the world is plunged into a new age of darkness.  A new hero arises in the form of "the Builder", who has the power to create all manner of useful amenities to ensure survival for the few remaining humans in the world, doing so across five scenarios.

To that end, one must find the site of former towns and rebuild them to attract residents, utilizing materials and crafting benches to build rooms, furnishings and equipment for both themselves and new arrivals.  As a town's level increases (by creating rooms and furnishings), more villagers will come, and with them more opportunities for quests arrive, which in turn unlock new upgrades and furnishings.  Basically, you start with a humble town of little more than a few mud huts and slowly build your way up to a Dragon Quest styled city, earning upgrades the whole way.  These not only come in the form of more crafting recipes for your town, but for your equipment as well - finding ore will let you build stronger swords, armor and shields, defeating monsters earns you new food recipies (necessary to survive, but some also grant temporary stat boosts) while completing quests and felling strong monsters will earn you Life Seeds to boost your maximum health, allowing you to survive longer trips into the wilds.

Of course, being set in a hostile world, one's towns aren't always safe havens.  The game operates on a day-night cycle where monsters becoming more violent at night. with ghosts in particular proving constant pests as they can easily hop over and teleport inside your walls to harass your residents.  As your cities grow, your towns will also periodically come under attack by enemy raiding parties, who can potentially damage your structures and injure your townspeople if left unchecked.  Thus, uprgrading one's city to make it more resistant to monster attacks - generally by replacing earthen walls with stone or steel and setting up monster-deterring traps - quickly becomes an essential step to avoiding a lot of tedious rebuilding after each monster raid.  Upgrading one's equipment to keep pace with progressively stronger enemies, both in town defense missions and to allow further exploration, becomes a major part of the game's overall strategy.

The game is not quite as open-ended as most sandbox games of this type, however.  The player is generally restricted to a relatively small area for a good portion of the running time, with new areas generally being unlocked as they hit certain quest milestones.  These generally come after town defense missions, where the leader of a raiding party will drop a portal item that, when placed in one's town borders, will grant them access to a new island with stronger enemies and materials not present on the starting one.  This means that the game has a generally linear and set progression despite ostensibly being a "sandbox" game, which may upset people used to games like Minecraft and Terraria that are almost entirely open-ended.  However, once the first scenario is completed, a an open-ended sandbox mode is unlocked, allowing players to more fully embrace the creative element of the game with no story-based restrictions.

RPG fans may also be somewhat disappointed that little is carried over between the game's scenarios.  Other than a few crafting recipes, one is essentially forced to start from scratch each time they begin a new arc of the story, with all of their equipment, gained stats and progress reset to bare minimum between scenarios.  Indeed, if not for the fact that a continuous story runs between them, it'd be easy to mistake the game for containing five unrelated mini-games with a similar theme.  Still, the game does attempt to give each scenario some longevity beyond simply completing it.  Each of the five scenarios comes with a list of challenges to complete, such as completing the entire thing in under 20 days or defeating powerful optional enemies around the play area, which adds a bit of replayability for challenge-minded gamers.

For what it sets out to do, Dragon Quest Builders proves to be a success, providing some of the sandbox gameplay of Minecraft whilst mixing in the aesthetics of Dragon Quest and a bit of a town-building element reminiscent of games like Actraiser and Dark Cloud.  While I wouldn't consider it a complete success - not being as deep or memorable as the games it tries to emulate - it nevertheless proves to be a surprisingly entertaining game, both for those of a more casual gaming mindset and die-hard gamers looking for challenges to complete and trophies to unlock.  So if you're looking for a more relaxed RPG experience with a charming atmosphere and quite a few callbacks to classic Dragon Quest, I'd say Builders is worth a look.


Developer: Square Enix
Publisher: Square Enix
Platform: Playstation 3, Playstation 4, Playstation Vita, Switch
Released: 2016, 2018
Recommended Version: All versions of the game are very similar, though the Switch port (the latest to be released) adds in some exclusive content in the form of the Great Sabercub, a rideable monster that can fight enemies and cause them to drop "pixels", which can be used to craft tiles in the visual style of the original Dragon Quest.

Sunday, June 11, 2017

Final Fantasy XV

Final Fantasy XV spent a decade in development, backed by numerous delays and worries that it would be a mess like the XIII trilogy before it.  But did Square Enix take pains to make it worth the wait, or is this just another blemish on the franchise's name?


Final Fantasy has undergone a lot of changes over the years, changing from a relatively "stable" Square franchise into something much more experimental.  While the core elements of the franchise and its lore remain relatively constant, the storytelling style, gameplay and overall design have varied wildly with each entry, with some being relatively well-received while others garnered a much more mixed response.

Final Fantasy XV (formerly known as Final Fantasy Versus XIII before undergoing extensive rewrites and alterations) is no different in that regard, taking the gameplay for the franchise in an entirely new direction.  One much more reminiscent of western RPGs like Elder Scrolls and Fallout with its largely open-ended exploration, as well as a plethora of sidequests to complete (mostly consisting of fetch quests and monster hunts).  To this end, it also incorporates some more mundane, non combat-focused skills for your playable characters - fishing, photography, survival and cooking skills are worked in, with each granting the player various benefits as they level up throughout the adventure.  Raising Survival, for example, allows restorative items to be found after battle, and raising Cooking unlocks new recipes that grant the player temporary statistic boosts.  While nowhere near as in-depth as in games like Fallout or Skyrim, it is a nice nod to those genres, and nicely complements the experience by letting the player power up by doing something other than fighting for a change.

Another indicator of this is the game's experience system.  While the player still gains points for taking part in combat with mundane enemies, it's a relatively minimal part of their overall gains.  Far more benefit is gained from successfully completing quests - delivering items, defeating a boss character or bounty mark, collecting one of the thirteen Royal Arms, and taking part in minigames like chocobo races give the player much more to do - and much more sense of accomplishment - than simply monotonous grinding.  The game subtly encourages the player to take the occasional break with the aforementioned cooking system, as well as the fact that experience is not granted on the fly - one must rest at a hotel or camping spot for their experience points to tally up and their characters to gain levels.

Of course, no western-styled game is complete without some type of crafting system or another, and in Final Fantasy XV's case, this is done with its spell system.  Throughout the game world, there are several points where the player may draw one of three types of magic (fire, ice and lightning) from magical stones and stockpile it.  Gathered magic may then be used to craft spells that are stored in "magic flasks"; these are set at a flat three charges apiece, though using more magic points in one gives them more punch.  But where things get interesting is in the Catalyst system - the player can combine almost any consumable item in with the spell to get a variety of new effects, from granting bonus experience points to restoring HP on the caster to getting multiple castings of a spell with each charge.  An overall interesting idea, though I found it to be a bit too much work for relatively little payoff and mostly just stuck to using weapons throughout the game.  That said, it does also lend itself to some highly abusable possibilities, like gaining over two million experience from a single battle when used properly, so die-hard Final Fantasy fans used to finding clever loopholes in the games' mechanics can certainly have some fun here.

Combat is greatly changed up from the series norm; rather than being in its familiar "active time" style, Final Fantasy XV takes place almost entirely in real-time, with the player taking command of Noctis and his three allies all being computer controlled for the most part (the lone exception being when the player commands them to use a skill or item).  Instead of giving the player a huge plethora of skills, items and spells to choose from, things this time are a bit more limited - the player instead has four equipment slots to work with, which can be used to wield various types of weapons and spells.  Rather than having to manually select commands, battles are largely governed by two buttons - a dedicated "defense" button that automatically causes the player to dodge most attacks when held down, and a button that causes the player to continually attack their targeted foe.  Therefore combat in the game does not come down to simply spamming your best attacks as in most Final Fantasy games, but rather having an eye for watching your enemies and having a sense of timing for when to play defensively and when to attack - not always the easiest thing when you're being swarmed by a group of a dozen or more enemies.  It works well enough for what it is, but I would prefer a bit more active control over my character than something which ultimately provides minimal gameplay in favor of a cinematic experience, particularly when your character seems to like doing slower attack animations against an opponent that cannot easily be stunned or comboed, resulting in them frequently getting a hit in and then being knocked down themselves before they can dodge or parry.

Fortunately, the game does give you some ways to deal with larger groups and tougher foes.  You'll frequently get warned throughout fights that enemies are about to go for a big attack with a prompt to "Parry" by pressing the defense button.  Doing that successfully causes the action to pause for a moment and gives the player a chance to instantly counterattack by pressing the attack button, which will temporarily put the attacking enemy off guard and do quite a bit of damage to them.  The player can "warp" to another target with the Triangle button or teleport to a Warp Point by holding it down, allowing them to break way from the action for a short time and rapidly recover their HP and MP.  The aforementioned ally attacks will temporarily grant your main character invincibility while their animation plays out, as well as allowing the player to deal extra damage with a followup attack triggered by a timed button press.  As the story progresses, Noctis also gains access to a "limit break" of sorts in the Armiger Arsenal, which allows him to summon all of the Royal Arms he's collected at the same time and fly around the field unleashing a relentless barrage of attacks on nearby enemies while mostly safe from harm himself.  It generally doesn't deal enough damage to completely turn a fight around, but it can at least grant the player a bit of breathing room and get them out of a bad spot when timed well.  Finally, the game may at times allow you to call in a Summon during the longer encounters by holding down one of the shoulder buttons, which deals heavy damage to all the enemies on the field; though generally not enough to take out tougher foes or bosses, it can easily turn the tide against mundane enemies.  However, the fact that the prompts seem to occur randomly (and have a lengthy cooldown period) prevents the player from relying on them too heavily.

On the writing side of things, Final Fantasy XV succeeds in ways most of its predecessors couldn't even dream of approaching.  The camaraderie between the characters is very strong, with frequent scenes of banter throughout that highlight their friendship and dedication to one another, even complete with some good-natured jabbing and jokes.  This even persists throughout the game's many dungeons, quests and combat scenarios, though you'll be hearing a lot of the same exchanges throughout the game as you explore.  Even the villains are surprisingly interesting, with some clever banter of their own and some interesting and complex motivations for each of them.  The game's writing shows a considerable amount of restraint; while the heroes and villains alike aren't afraid to crack jokes, they never let it interfere with the gravity of the situation or make them impossible to take seriously as characters; all of the humor is perfectly balanced out with the drama of the storyline.  In terms of setting and keeping a tone, this is easily the best the franchise has ever done.

Final Fantasy XV's production values are a cut above the franchise in many respects.  The game's setpieces and locations look amazing, seamlessly blending fantastic and realistic elements together into one cohesive whole without over-reliance on glitzy spell effects and reflective textures.  The characters are equally well-animated and modeled, with details like lingering flames and ice on enemies after being hit with spells adding a surprisingly realistic touch. The voice acting is excellent; as mentioned, the characters come off as extremely natural here, with no over-embellished dialog or excessive hamminess in anyone's delivery to take the player out of the moment.   This may just be Square's most impressive release to date on a production level, and that is saying quite a lot given the effort they've put into their visuals over the years.

On the storytelling side of things, however, is where Final Fantasy XV starts to show some fault.  While the game feels very fluid and well-integrated with its open world elements for the first half of the story, things start to go downhill in the latter half.  The game takes on an extremely linear style that simply whisks the player from one location to the next to complete a given objective and move on; there's almost no room to explore the environment or interact with NPCs in any of these locations, which has the unpleasant effect of making it feel like a much different (and considerably worse) game.  At one point it even abruptly changes up the gameplay style entirely to something more akin to a stealth/survival horror title, having the player slip into cracks or duck into empty rooms to avoid detection by enemies, collecting keys and even having to solve a switch-flipping puzzle to proceed.  This whole segment feels overly long, more than a little tacked on and has no real sense of tension or fear due to your character's constant flippant remarks throughout, so I was just left wondering why they included it at all.

The overall narrative of the game feels incomplete; characters constantly drop terminology and lore tidbits throughout with little context, which often left me wondering what they were talking about.  I later found out that this was because of the game being pushed as more of a multimedia project, with major elements of the universe's story being filled in via an anime series and a feature film.  This is fine if you're into the game and want to learn more about its world, but those who just picked up the title out of the blue (like myself) can easily find themselves a bit lost.  Regardless, I much prefer that to the Mass Effect approach of simply having all of the backstory filled in via a dry Plot Codex; it's ultimately more costly to the customer to get the full experience, but at least there's a legitimate feeling of effort to the entire experience.  FFXV's narrative is also well-crafted enough that while I felt left in the dark in some respects, I never felt like any of the events depicted were illogical or out of place.

On the technical front, Final Fantasy XV has a few bugs, which is to be expected with the expansive and free-roaming nature of the game.  On a few occasions I had my allies get hung up on scenery, go transparent or get stuck in a strange AI loop with Ignis simply standing in one spot and letting me repeatedly attack him during a training exercise.  The controls overall feel somewhat sluggish (with more than a few instances of me getting a prompt to press "X" to pick up an item and my character choosing to jump instead) and the game did soft-lock on me at one point after resting.  Thankfully these occurrences were rare and didn't dampen the overall experience, and the autosave feature and ability to create manual saves at almost any time ensures that any losses in progress are kept to a minimum.  The game operates very smoothly, with almost no visible load times, texture loading, severe framerate drops or other issues while exploring.  Load times when fast-traveling or changing locations during a story scene can be a bit long, however.

In the end, Final Fantasy XV, as its tagline suggests, is a game that both long-time fans and newcomers can enjoy.  While the gameplay is a much different turn for the series, it's well-handled enough that the game ends up being a very enjoyable, if unconventional, Final Fantasy experience.  Long-time RPG gamers will also have a lot to enjoy, with lots of little nods to older Square games (including King's Knight of all things) and even references to other RPGs like Earthbound (which, as a huge Earthbound fan, I certainly got a kick out of).  Its heartfelt storytelling, compelling characters and enjoyable, if simplistic, gameplay make for an overall entertaining experience, though I can't say I had any real desire to complete all of the quests it had to offer.  With the exception of the Royal Pack, which adds back in many omitted story elements and extends the ending, its DLC is also of dubious value, mostly consisting of short (1-2 hour) campaigns centered on the various secondary characters in the story.  Still, while Final Fantasy XV may be a long way from perfect, it's the most enjoyable thing to bear the name in a very long time.


Developer: Square Enix
Publisher: Square Enix
Platform: Playstation 4, Xbox One, PC
Released: 2016
Recommended version: I have only played the PS4 version, but from all that I've seen and heard both versions are very similar, with some slightly different visual bugs on each.  The PC release also supports player modding.  I would also recommend getting the Royal Edition if possible, as it adds in a significant amount of content to the game that was omitted from the original release, as well as bundling all of the DLC missions released to that point (notably, the PC version has this installed by default).

Wednesday, May 10, 2017

Persona 5

Persona 5 had a tough act to follow after two major hits in Personas 3 and 4, and the long wait for it certainly got fans' hopes up.  But does it rekindle the series' flames of ingenuity, or has the magic just been lost after nine years?


The Persona series has a complex history, beginning in the Playstation era as an off-shoot of the Shin Megami Tensei series that saw a low-key North American release in the console's early days.  It later got a Japanese-exclusive sequel in Persona 2: Innocent Sin, which itself got a sequel in Eternal Punishment (which saw a US release right away while its prequel had to wait nearly a decade for one, leaving many North American players confused by its storyline).  But the series truly made a splash with Persona 3, a late-era Playstation 2 game that separated itself from its predecessors storyline-wise and completely changed up the format, combining elements of school sims and dungeon crawlers together in a rather clever way - the more the player would advance their relationship with in-game characters, the more powerful they would become for the dungeon-crawling aspect of the game.

Persona 4 continued that idea, polishing up the gameplay while putting much more emphasis on the characters, giving each of them an individual story arc admist the ovearching plot of a murder mystery and exploring a strange alternate world.  The player was no longer the only beneficiary of advancing once's social connections - the playable characters along the way would also gain new benefits, such as follow-up attacks, the ability to survive a single fatal hit or, at maximum level, their Personas would transform into a new form, gaining more power and usually losing their elemental weaknesses.  A logical step up from 3 in most respects, but a welcome one.

Persona 5 once again continues in Persona 3's vein, largely retaining its style of gameplay while attempting to reintroduce some elements of earlier games in the franchise.  Nuclear and Mind spell elements make a return here, as do characters having a secondary gun weapon that can attack multiple enemies in a round.  Perhaps most surprising, though, is the fact that it restores some traditional Shin Megami Tensei elements to the mix - demons are no longer simply acquired via cards or fusions, but also via the series' traditional negotiation system - one must bargain with demons by choosing the right options during dialog, and occasionally gift them items or money to convince them to join the player's ranks.

A few new ideas have also crept their way into Persona 5's design.  Being a game themed around thievery and heists, the primary dungeons in the game now take the form of "castles", with the player encouraged to utilize stealth to evade traps, find hidden passages, solve puzzles and hide around corners to ambush enemies.  Each time they are sighted, an alert level will rise for the dungeon, making enemies more on-guard and aggressive.  Routes through them are also considerably more convoluted, generally requiring the player to snake their way through vents, atop walls and ledges and through mazes of laser traps, though this is largely visual pizazz as you're still following a mostly linear path from start to finish.  One also cannot return to a given castle once it is completed, though there is a randomly-generated dungeon called "Mementos" that grants opportunity for the player to level up, gain new items and complete sidequests between the main quests.  That all sounds interesting, but the gameplay as a whole is hampered by the fact that Persona 5 has the Ocarina of Time problem - the game explains out every single puzzle and gameplay mechanic in great detail, to the point where they feel like they're often included to simply waste time and prolong the experience with empty busywork rather than provide any kind of legitimate, satisfying problem-solving on the player's part.

At first glance, Persona 5 also appears to take a much darker turn with its storytelling.  The main character is depicted as a delinquent on probation for a vague past incident, and his first encounters with nearly everyone are markedly unpleasant, with them dismissing him as a criminal and seemingly ready to have him locked up at the first excuse they get.  The game even opens in medias res with a scene depicting him being captured by the police, aggressively beaten and then grilled by a prosecutor about vague past actions (which gets called back to many times throughout the experience), hinting at some skeletons in his past that justify the general attitude toward him, or possibly events that have yet to be portrayed in the game's narrative.  The villains take a much more sinister twist as well, with themes like sexual abuse, exploitation and, most shockingly, attempted suicide quickly creeping into the story.  The only break from this, at least at first, seems to come in the form of the other world the protagonists stumble into, which gives them an escape from their bleak reality into one where they have strange powers and use them in pursuit of revenge against their real-life enemies.  This had the potential to set the protagonists up as power-high vigilantes, striking out against those they perceived to have wronged them, eventually crossing a line and becoming perceived as a threat to society as a whole (hence the framing device with the prosecutor character) - effectively, they could be antiheroes or even outright villains, which would have been a pretty clever twist on the format Persona 3 and 4 established.

However, the writers seems to have quickly gotten cold feet and immediately reversed course; not long after the first chapter's conclusion, they largely backpedal on the idea and draw a much clearer line, with the protagonists becoming the 'lovable misfits' (despite never doing anything lovable), the hero's "dark secret" being that he was slammed with bogus charges for crossing the wrong guy, and every last villain is now a shallow, cartoonish straw man with no redeeming qualities whatsoever; just something to be taken out for easy clout and brownie points like any random goblin or an orc or other generic throwaway RPG jobber.  The main characters' big crusade is painted as a purely noble cause, and the game never even thinks to show there might be any any negative consequences for their acts whatsoever - none of the cardboard cutouts they target have family members or dependents or important positions in society or friends who might suffer from said person presumably going to off themselves right after the heroes are done with them; it's just treated as another total victory for the so-cool, so-righteous Phantom Thieves, now cheer and worship them accordingly.  There's never even a thought spared for how revenge and vigilante 'justice' are hollow pursuits that do more harm than good and just perpetuate a cycle of escalating violence, or how the amateur mental health therapy you perform (on a future ally, no less) might be doing more harm than good, or that there's any degrees of severity between criminals and crimes (they literally have the gall to assert that cheating in a video game, rape, fraud and thrill-killing all deserve the very same punishment) or how thought-policing an entire populace into your own personal moral standards is Orwellian-level bullying; nope, the people doing this shit in Persona 5 are infallible saints who are 100% correct and justified and anyone who says they aren't is just another irredeemable straw man to be destroyed at a later date. Basically, you're supposed to get invested in the juvenile power fantasy and root for a gang of self-interested sociopaths just because the people they target are all portrayed as one-dimensional scum with no humanity whatsoever, and that's just hacky writing - if it didn't work for a legendary character like Hannibal Lecter, why would it work for these boring schmucks?  Hell they even have the gall to have another group of villains be vigilantes following in the Phantom Thieves' footsteps, just with the added touch of thrill-killing people they don't like, and the game of course denounces their actions but not those of the protagonists; because you can drum up hate, bully people into self-harm, run a personal cult of brainwashing and amateur mental healing, equate social currency with righteousness and inspire the impressionable into becoming the worst kind of violent criminals, but never personally crossing the line technically means you've got clean hands and a clear conscience, right?  I'm sure ol' Chuck Manson would be proud at that line of reasoning.

I'm not saying there's anything inherently wrong with antiheroes; hell there's some really great ones.  Max Payne, Jin Sakai, Cloud Strife, Lelouche Lamperouge and Guts (just to name a few off the top of my head) are all complex characters with relatable motives and often do morally dubious things in pursuit of their goals.  Hell, even Tony Montana had his nobler traits; one of them even famously leads to his downfall.  But for an antihero to work, they have to be interesting and you have to be able to at least empathize with them on some level.  Persona 5 doesn't give me any reason to care about its protagonists - they're almost entirely deficient of the charm and strong personalities present in Persona 3 and 4's cast, instead just neatly fitting into broad-brushed character archetypes - the pretentious artist, the athletic character, the quirky and introverted computer whiz, the shallow fashionista, and so on, milking their one trait each to the point of inanity and having zero depth beyond it.  They're never given any opportunity to become anything bigger than a hollow archetype, which in large part comes down to the game's general premise - by immediately labeling the main characters as misfits, they closed off any opportunity they had to interact with other, more "normal" characters within the game's world on any interesting level.  However, that could have easily lent itself to some interesting drama by exposing the player to the difficulties the characters would have balancing their mundane daily lives with their nightlife as masked marauders.  Key words here being "could have", because there is virtually nothing along those lines in the game aside from barely being acknowledged in a throwaway joke or two.  In fact, the social links mostly just read like a shitty Tumblr comment section, with characters heaping on enablement and cheering on their 'friends' weird, isolating and self-destructive behavior, so they never grow or change at all in some attempt to hold on to their 'popularity'.  It's a very sad, stark contrast to Persona 4's brilliant character building and especially to its villains, who are a perfect showcase of what happens when you give immoral misfits a measure of power and set them loose to terrorize an unsuspecting populace; yet Persona 5 isn't smart enough to see the irony.  Morgana is perhaps the worst element of this whole experience, though, quickly going from "mildly charming" to "making the player want to strangle him every time he opens his mouth" as he offers insipid commentary for every single action you take throughout the game and constantly stops you from pursuing social links and minigames in favor of... passing time to the next day and doing nothing.  Boy, what an efficient and not-at-all frustrating way to blaze through large swaths of limited game time AND bar you from enjoying its most interesting elements!   Or at least, they were in the previous games; there's nothing likable or even relatable about any of these shallow, self-centered schmucks.

With all that said, it really is a shame that all the high-quality art design in the game goes to waste on such a godawful concept.  Persona 5 sports very impressive production values, with much flair and polish even in its mundane elements - the game's menus sport bright, vivid colors, flashy fonts and chaotic art design, character portraits and cut-ins during dialog are all animated, and finishing battles with an all-out attack results in a eye-catching pinup shot with a visual style heavily reminiscent of a Gainax anime.  The narrative is also punctuated with fully-3D cutscenes for key moments, and nearly every story-relevant scene is fully voiced by big-name actors. Battles themselves immerse themselves in the game's high production values as well - every demon the player encounters has their own complement of voiced lines and full combat animations, and winning fights results in a stylish animation of the protagonists gathering and running/driving off to their next goal.  One can easily tell that this was the Atlus art team's most ambitious project to date, and the sheer amount of effort present shows off how Japanese RPGs can truly stand out and be distinct in the HD era.  However, it can become distracting at times, particularly when a character is trying to navigate around a town or dungeon and are constantly beset by NPC word bubbles in a half-dozen fonts covering the screen, or all-too-often repeated bits of inane dialog and ham-fisted exposition from the main cast during the dungeons and combat.

Of course, the soundtrack is another of Persona 5's major highlights.  Series veteran Shoji Meguro returns once more to give the game a distinct and non-traditional soundtrack, this time incorporating elements of acid jazz and hard rock with some surprisingly spot-on English pronunciation in their lyrics despite being performed by Japanese singers.  These lend to the overall off-beat atmosphere; I just wish the suave soundtrack hyping up the protagonists as romanticized outlaws wasn't wasted on such an unlikable lot...

Overall, Persona 5 can best be described as a step forward for the series in some respects and a huge step back in other, much more important ones.  While it makes a strong first impression with its heavily-stylized presentation and darker bent, the fact that they seemed to be afraid to commit to a darker turn for the Persona series and quickly turned it into a trite good-versus-evil (or rather, evil-versus-cartoonish-evil) story hangs a cloud of disappointment over the rest of the game.  This only gets further compounded by the fact that its writing quality has taken several steps backward from earlier titles, its premise is derivative (just a hack spin on Psychonauts with none of the clever humor or empathy) and its overall design and themes feel generally "kiddified" and dumbed-down to reach a wider audience, especially thematically.  There's nothing wrong with revisiting a format that works, but without building on what came before, pushing new boundaries or having a single likable person to cheer for, the franchise quickly stagnates, becoming boring and unspeakably depressing once you realize that the more impressionable people who play it will soon adopt a creed of "everyone you don't like for any reason is PURE EVIL" as and we'll have a whole new generation of violent incel stalkers and Kiwi Farms culture crusaders on our hands, meting out some disgusting form of authoritarian 'justice' to anyone they find who doesn't meet their impossible standards of goodness and morality.  Persona's 5 feels like the first step down a very sick, sad and evil road, and I'm sad to say that, judging from the general quality trend of most Atlus IPs since the Sega buyout, I doubt it'll be the last.


It's not the worst game of all time; it just feels that way when you're playing it.  Or thinking about it.  Or hearing some lameshit Tumblr parasite talk about how they're a good, morally upstanding hero because they 'pwned' some imaginary straw man character in a shitty video game, then threaten to 'phantom thief' you too when you refuse to enable their delusions...

Developer: Atlus
Publisher: Atlus
Platform: Playstation 3, Playstation 4
Released: 2017
Recommended version: Both versions are largely identical, though the Playstation 4 version runs in a higher resolution and framerate compared to the Playstation 3 (1080p60 vs 720p30) and the Playstation 3 has substantially longer load times.  Both also have slightly different (cosmetic) DLC available for download.

Thursday, September 8, 2016

Tokyo Mirage Sessions #FE

A crossover game between Shin Megami Tensei and Fire Emblem is an idea that has potential on paper (even if I'm not personally a Fire Emblem fan), but does Tokyo Mirage Sessions realize it well, or is this just another uninspired licensed cash-in?

 

When promotional trailers for the game were first released, I saw a comment along the lines of "[Tokyo Mirage Sessions] may be the first crossover game that contains elements of neither franchise".  That's not an inapt description, either; the game's storyline is centered in Japan, following the exploits of a group of teenagers working for the Fortuna Talent Agency, who find themselves in conflict with evil beings known as "Mirages".  They subsist by extracting an energy called "Performa" from people, making them lose their passion and creativity, and battle them with the aid of friendly Mirages (loosely modeled after Fire Emblem characters).  So while its storyline and overall gameplay resembles that of the Persona games, it ultimately bears little resemblance to either Shin Megami Tensei proper or Fire Emblem; there is little opportunity to customize characters, no breakable weapons and no iconic demon designs to be found.  It ultimately feels like the game was an unrelated project that had elements of two fan-favorite franchises thrown in at the last minute as a ploy to boost sales.

Also as in Persona, the game is largely narrative-driven, though with the occasional break to venture through a dungeon, fight enemies and level up your characters.  Combat is turn-based and, per Shin Megami Tensei tradition, heavily driven by exploiting elemental weaknesses.  But rather than giving the player extra turns as in Nocturne or Persona 3/4, hitting an enemy's weak point allows other characters on their team to follow up with "Sessions", throwing an attack of their own at the targeted enemy immediately after it lands.  So for example, Itsuki can throw a Zio attack, which Touma can follow up with a fire attack, which Tsubasa can follow up with a lance attack.  The longer a particular session goes, the more damage you rack up (provided an attack in the chain doesn't get blocked or reflected, of course) and the more rewards you get; doing longer sessions allows you to attain items for character upgrades or just earn extra cash.  Further upgrades throughout the game also allow characters not in the active party to join in sessions, and occasionally allows characters to perform a stronger "Improv Attack" in place of a generic attack for extra effect.  This system works in the game's favor at first by providing a lot of visual flair and some visceral thrill as you demolish your enemies one-by-one, but it doesn't take long before you realize that it also radically unbalances the game; each battle basically just comes down to whichever side manages to land a Session combo first, with just one generally being enough to devastate any target on the board whether friend or foe.  This tends to make healing items all but useless as the game quickly devolves into a war between two sides dishing out one-turn kills to each other.  The unskippable attack animations also get tiresome after a while, especially when you have 5-6 characters chaining attacks together every five seconds or so, and the very lengthy load times between each fight (a common problem for Wii U games) ultimately make combat something for the player to dread rather than anticipate.

Further compounding the game's tenuous ties to Fire Emblem are the occasional enemy type targeted attacks, such as ones that do extra damage to flying enemies or mounted (horse-riding) enemies.  However all of the ones I encountered in the time I played were classified as "weak" attacks, and I continued to gain these well past the point when my low-tier elemental spells were being upgraded to mid-tier ones.  Furthermore, they didn't seem to sync up well with any of my characters' Session skills, making them seem more like a token inclusion than a well-planned element of the game's strategy.

One of Tokyo Mirage Sessions' most grievous flaws is that the game largely lacks a smooth flow; in theory, the experience consists of each chapter opening with a story scene, then having the player enter a dungeon and fight their way through to a boss at the end.  That's all well and good, but it's drawn out to a staggering degree by a constant need to exit the dungeon, return to the Bloom Palace and use items collected from enemies to unlock new skills and weapons.  Simply pressing on ahead isn't an option either, as weapons are also the key to unlocking new spells and attacks, and by skipping out on those, you're simply making life harder for yourself later - you gain new skills by using spells in battle with a weapon equipped, and if you're not fighting enemies close to your current level of strength, you get virtually no experience for the effort (or just get curbstomped by their Sessions).  That, paired with an arbitrary mechanic in the form of characters' "Performance Levels" that exists alongside their experience meter, causes new sidequests (and thereby new skills for that character) to unlock as you play through the normal course of the game.  Both of these things ensure that the player never gets to stay in one mindset for very long; as soon as you feel up for some dungeoning, you'll get maybe a dozen battles in before you max out one of your weapons, then have to retreat back to the palace to unlock and equip a new one so you don't waste points.  Then you get a few more battles in and another characters' weapon gets maxed, or they gain a Performance Level and have a new sidequest for you to complete, and so on.  Atlus attempted to offset this with downloadable content that adds new dungeons which grant large amounts of experience or rare items in order to cut down on the constant back-and-forth, but honestly, making it paid DLC just feels like a very lazy way to fix fundamentally flawed game design and make a few bucks doing it; certainly not anything I'm going to throw my money at!

In addition to the character-based sidequests, random citizens around the city also have "Requests" that generally require the player to enter a previous dungeon in search of specific enemies to kill or placed items to find.  However, these generally prove to just be a waste of time; as enemies never cease to chase you down and attack even when vastly outleveled by your party, you end up having to sit through dozens more tedious battles that give paltry amounts of experience, and when you do actually find the items/slay the enemies and return to the quest giver, the reward is generally a low-tier item you've likely found or bought at least a dozen of by that point.  Doing just a few of these gave me flashbacks to Fallout 4's boring radiant quests, and trust me, that is no good thing!

On the plus side, Tokyo Mirage Sessions definitely gets points for its presentation.  The game features colorful environments full of neon lighting, detailed character costumes, fluidly-animated and expressive character models (Tsubasa having some quite hilarious facial animations in particular) and even has some surprisingly good lip syncing, which fits in perfectly with its pervading theme of stage performances.  The dungeon designs are equally creative, showing the flair and excess of stage life while also providing for some clever layouts that allow for multiple pathways, enemy traps and even the occasional timed objective, which is a step up from Persona's mundane, randomly-generated corridors.

This emphasis on flair also leads into another major disadvantage for the game, however.  For a game themed around music and stage performances, the soundtrack is largely low-key and forgettable, which saps a lot of the energy that should accompany the combat and dungeons.  The lack of an English voice track is also disappointing, making it difficult for non-Japanese speakers to get invested in the on-screen performances when they constantly have to look away from the gorgeous animations to read the subtitles for the songs.  Once again, Atlus tried to hand-wave away this flaw by saying that adding an English voice track would subtract from the deeply Japanese themes of the game, but I call bullshit on that; having English performers certainly didn't hamper my experience with any of the numerous Shin Megami Tensei games set in and around Japan, so why did they cop out here?  It's just one of many things about Atlus' recent excursions which makes me worry that the company is slowly going the way of Square Enix or From Software by churning out quick and dirty cash-in games, excusing legitimate criticism of their shortcomings as "artistic choice" and relying on the particularly unpleasant apologists in their fan base to bully their critics into silence...

At the end of the day, Tokyo Mirage Sessions is neither a terrible game nor an outstanding one; it's certainly playable in spite of its problems, and it provides a passable, if not especially inspired, stopgap while we wait for the long-postponed Persona 5.  But it's not a standout example of a Shin Megami Tensei title and barely incorporates any elements of the franchise it's allegedly crossing over with, so its appeal to both camps is rather limited.  It's definitely one of the Wii U's better RPGs (and many gaming sites are quick to refer to it as such), but that's some desperate praise indeed for a subpar console with a generally lackluster library.


Platform: Wii U, Switch
Developer: Atlus
Publisher: Nintendo
Released: 2016, 2020
Recommended Version: The Switch version is definitely the one to play now, as it features much quicker load times than the underpowered Wii U platform, offers the option to speed up Session animations (a very big plus) and includes some extra (mostly cosmetic) content, as well as including all of the DLC from the Wii U version for free.