Remember how, last year, I was unable to finish last year’s Holiday Card due to illness? After some treatment this year, I feel a bit better (though not completely well), and I picked up work on said Card again in the fall. This time around, I was able to complete my work. So, without further ado, this year’s (and technically last year’s) Holiday Card is General Princess!
For this third Holiday Card, I was inspired by something that feminist media critic Anita Sarkeesian said in an interview: that she’d like to see a game where a captive princess rescues herself for a change. I’m paraphrasing here, as I can no longer find the exact quote, though I believe it was in the New York Times. Anyway, I somehow went from that to coming up with a plot where a princess keeps herself from being captured in the first place. The tower defense genre seemed like a natural fit for such a story, and so I began work last fall.
This time around, I used GameMaker:Studio, which I had picked up cheaply in a Humble Bundle. Coming from RPG Maker and Ren’py, it’s an intimidating program, but fortunately, there’s a wealth of information out there about its ins and outs, in the forms of ebook tutorials, the official forums, blog posts, and a Reddit page, amongst others. Other tools I used included the usual Sketchbook Pro, GarageBand, and Pixelmator, as well as Corel Painter and Audacity. In addition, Freesound, which I found via Sortingh.at, was helpful when it came to sound effects I couldn’t make myself.
General Princess can be found in the Projects section, as well as via the all-new Brainscraps itch.io page. And yes, my previous two Holiday Cards can now be found on itch.io as well.
As usual, please enjoy this latest jaunt into silliness, and Happy Holidays!
As usual, it’s been too long since my last post. Since then, I saw the rest of Nier‘s endings, rewatched the Utena movie, finished that Pile o’ Tezuka as well as three manga series that I’d been reading for awhile (My Love Story!!, Master Keaton, and Otherworld Barbara), and went on my first trip to Hawaii, among other things.
I’ve also been getting back into playing short games on the weekends. This time around, in addition to indies, I played a couple of promotional tie-in games, one of which was excellent for what basically amounted to an ad. Let’s get to discussing them all, shall we?
Digging and Derring-Do: Shovel Knight (2014, Yacht Club Games, Windows)
A disclaimer before I begin: the version of the game I have is Shovel Knight: Treasure Trove, though this review is only for the main campaign. The other campaigns originally began life as free updates before the overall name change, but they’ve been put on the backburner for now.
Anyway, on with the review. When I first tried out Shovel Knight at PAX Prime one year, I was impressed by how much closer it hewed to the aesthetic of 8-bit games than other indie titles inspired by that era; the color palette and the insistence on showing single screens one at a time were its most memorable touches. After playing through the main campaign, it’s clear to me now that it’s not quite a true 8-bit throwback—I doubt it could run on a Nintendo Entertainment System without some further modifications—but it still plays as solidly as I remembered from that short session.
Some apparent inspirations for this platformer include Mega Man, Super Mario Bros. 3, and Capcom’s DuckTales, but Shovel Knight has a bit of its own flavor as well. Though it’s not an easy game, it’s also not as difficult as any of those classics (especially the Capcom ones), and manages to be fair in its toughness. There are new abilities to collect throughout the game, though as best as I could tell, none are required to get through the main story. Speaking of which, one thing I really like is that it’s possible to go back to previous levels to grind for additional money to purchase those abilities and other upgrades. Jake Kaufman and Manami Matsumae’s soundtrack is delightful and catchy, but the story less so, consisting of a cloying plot involving an imprisoned knight (female, of course), whom the title character sets off to rescue.
The DS dungeon crawler Shin Megami Tensei: Strange Journey is one of the better MegaTen spinoffs out there, and as it happens, a 3DS rerelease has recently come out in Japan. To promote this new version, Atlus published Synchronicity Prologue, a free metroidvania for Windows PCs set in Strange Journey‘s universe starring series mascot Jack Frost (luckily for us English-speakers, a fan translation patch for the dialogue soon followed). For a piece of promotional material, this game wound up being very, very good.
Like Strange Journey, Synchronicity Prologue takes place in Antarctica and deals with an anomaly there. As Jack Frost, the player teams up with Jack O’Lantern (aka Pyro Jack) to track down an antagonistic Black Frost. There’s a handful of familiar demons and callbacks to Strange Journey, and the story is fairly basic though a little confusing at times. The areas are huge and sprawling, filled with the usual metroidvania-style barriers to encourage later backtracking to get at various hidden upgrades, and the boss battles each have their own unique flavor. If you’re a fellow MegaTen fan, especially one who’s played Strange Journey, you’ll get a kick out of Synchronicity Prologue. However, be sure to download it soon; it’s only available until December 24th.
Hyrule Graphics: My Nintendo Picross: The Legend of Zelda: Twilight Princess (2016, Jupiter, 3DS)
This is the other promotional game I played recently, though this time, it wasn’t exactly free. It cost me 1000 Platinum Points over at My Nintendo. As a Picross fan, it naturally caught my attention, so I saved those points and picked it up.
For those of you unfamiliar with Picross, it’s an excellent puzzle game series by Jupiter and Nintendo where you use number hints to fill in squares on a grid to create a picture. It has a bit of a learning curve, but each game in the series tends to come with a good tutorial and starts players off slowly with small puzzles before ramping up to the larger, more complex ones. This particular Picross release is themed around Twilight Princess, so the puzzles’ images include tools, characters, and locales from said game. It’s a relatively short entry at forty-five puzzles, but for a piece of promo material, it’s a got pretty decent amount of content.
I normally love the games in this series, and this one is very good as well, though I do have two gripes. First off, the tutorial is mandatory; you can’t even see the main puzzle menus until it’s completed. Secondly, the Mega Picross puzzles are the same images from the regular Picross mode, just presented in a different order and with more complex rules. While I’d normally be fine with this, these modes are presented in such a way as to suggest that they’re two completely separate sets of puzzles. With these issues taken into accunt, this is merely an okay Picross release.
Spelunking… for America: Shadow Complex Remastered (2015, ChAIR Entertainment, Windows)
And here’s our second metroidvania for this installment. I haven’t looked up how this version is “remastered”, but at any rate, it’s a multi-platform rerelease of the 2009 Xbox Live Arcade hit Shadow Complex, which I remember being sort of a big deal back then. It combines the 3D sci-fi/military aesthetic of your average big-budget Western title with a genre that doesn’t normally see games in this style. Once again, the story is simple, but is somewhat amusing in its extremes: a guy goes exploring a cave with a girl he just met and reluctantly gets caught up in trying to stop a conspiracy to take over the United States. In the meantime, he comes across various weapons, special equipment, and upgrades to help him explore a gigantic underground base.
One of the abilities he gets, a dashing move which enables him to crash through certain objects, is rather tricky to use, and largely because of that, I ended up passing on a handful of upgrades because I wasn’t really sure how to get to them with said move. However, the others are fairly straightforward, and include things like double-jumping and infinite underwater breathing. There’s also the matter of the map, which could use a little bit more information in regards to marking inaccessible areas for later backtracking; many areas get noted, but not all of them. The final battle is gimmicky and too easy on Normal difficulty, but otherwise, the combat is fairly satisfying. Despite these problems, this is a reasonably polished, though imperfect, action-adventure game.
Nuts for Nuts: Super Little Acorns 3D Turbo (2013, Team Pesky, 3DS)
Finally, here’s something else I picked up as a My Nintendo reward. As of this writing, it is still available for the low, low price of 60 Gold Points (and unlike the Zelda Picross game, it can also be found on the eShop). I had never heard of the game before Nintendo started this promotion, but it sounded like the sort of thing I would like, so I decided to go for it.
The basic plot is that a papa squirrel sets out to get back the acorns that were stolen from his family’s stash. He does this by collecting all the acorns strewn across seasonally-themed levels before the timer runs out, avoiding obstacles like bats, bugs, and water. He starts off with a basic run and jump, and later gains a rope to swing from specially designated points; there are also timed power-ups, for higher jumps and other effects, in various levels. Each season wraps up with a level where baby squirrels have to be collected in addition to acorns, and every one of the game’s three “years” has a boss battle at the end, which is actually more of a boss race. Additional goals are included in every level for completionists, and there are unlockable costume options and achievements as well.
Though it reminds me of games like Toki Tori, it is less puzzle-oriented, with the main problem in each level being how to find the fastest, most efficient route. It should also be noted that the platforming physics run on the slidier side, with the rope-swinging in particular taking an extra bit of getting used to. Aesthetically, it recalls a second-tier mobile game from the Angry Birds school of visual design. Not a bad little game, but not noteworthy, either.
I’ve been reading Osamu Tezuka manga the past few days; namely, a couple of the titles published by Digital Manga Publishing via one of their ever-present Kickstarters. Under the Air was the first; a seinen short story collection, it’s one of the better Tezuka books I’ve read in awhile. After finishing that, I started Melody of Iron, another anthology, but with a long title story (100+ pages) and few others, instead of many short tales. Though nowhere near the level that Vertical lavished on their Tezuka volumes, the localization and printing quality of these books is pretty good for DMP. However, after three backed Kickstarters, I may be done with buying new series from this company.
For several years now, DMP has had a reputation for turning to crowdfunding whenever it wants to print—or reprint—just about anything. Not only has this been the case for niche titles, which is understandable, but also reprints of their biggest hits. One prime example is the BL drama Finder, which is so popular that new volumes wouldoftenhit the New York Times’ manga bestseller lists back when they had them. Perhaps this overreliance on crowdfunding was a reason why Finder‘s Japanese publisher terminated its contract with DMP. Many of their readers haven’t been too happy with them either; their books tend to get delayed and often have unreasonably low print runs, and their lack of communication on classic manga Kickstarters leaves much to be desired (on the other hand, a BL Kickstarter of theirs that I backed—mainly for reprint add-ons—had timely updates and great communication overall, though I don’t know how they’ve been since). On top of all that, they have practically no distribution—it’s hard to get many of their books even through a manga specialist like Right Stuf—and it seems like a fair number of their former employees didn’t like the place, either. Although a handful of Tezuka fans have damn near succumbed to Stockholm syndrome when it comes to DMP, I sort of hope that Tezuka Productions’ deal with them is the next one to be terminated.
Anyway, back to the manga itself: as is customary for most all Tezuka printed in English these days, there is a disclaimer at the start of these anthologies that basically says that the depictions of various races in these works are products of their time, and that they should be seen as such. I would suggest to Tezuka Productions that they start mandating this sort of thing for gender depictions as well. Tezuka’s depictions of women are interesting at best but are more often problematic; Princess Knight and Message to Adolf have been some of the worst offenders for me, personally. The women in Melody of Iron (so far) and Under the Air are a bit more standard for Tezuka: not much more than love interests, wives, and/or relatives.
On a whole other end of the gender depiction spectrum, there’s the 1997 shoujo TV anime Revolutionary Girl Utena. This series, about a girl who was inspired to become a prince when she was younger, and the duels she finds herself embroiled in to win the hand of the “Rose Bride”, borrows heavily from both the magical girl genre and “girl prince” stories like The Rose of Versailles and the aforementioned Princess Knight to create something new. I talked bitprophet into watching the first dozen or so episodes with me—the Student Council Arc—and fortunately, he was intrigued enough that we ended up going through the whole show. This was my second full viewing of the series, so I was mostly interested in catching little details I had missed the first time around. Turns out that there were many: Anthy’s smiles, the consistent theme of animals in the humorous “Nanami episodes”, various spoken lines, even more props and objects. It remains a dense, character-driven series that requires a patient soul to fully deconstruct. This is a series where even its greatest weakness—its relentless reliance on reused animation, and indeed, entire scenes—ends up working in its favor. It’s glamorous while adhering to a certain routine, a routine which could be subverted at any moment. It’s the high drama and messiness of adolescence whirling around its simultaneously bland and eccentric title character in a series of duels accented by a primitive CG castle and hard rock choral music with strange lyrics. There’s nothing else quite like it, and I’m glad I watched it again. As for the other versions of the Utena story, a rewatch of the movie is being planned, and I’d already reread both manga series earlier in the year, thanks in part to a gorgeous new box set.
And now, games! After beating Persona 5, I tried Wolfenstein: The New Order, but sadly found that it is not to my tastes, being a methodical shooter more in the vein of Call of Duty than the classic high-octane Wolfie I had been accustomed to. However, I found myself absorbed into Puzzle Quest, enchanted by Theatrhythm Final Fantasy: Curtain Call, and mildly amused by Mountain. I also played a pair of mediocre sequels in the forms of Elebits: The Adventures of Kai and Zero and Tales of Symphonia: Dawn of the New World, the latter of which was not nearly as bad as I’d been led to believe. There were also a few short Steam games—Quest of Dungeons and the two LostWinds adventures—which were okay. Then, there is the beautiful mess of Nier.
Nier is about a doting dad and his sickly daughter living in the far future of what is heavily implied to be our own world. It also stars a cynical magic talking book, a foul-mouthed huntress wearing the most ridiculous outfit in video games this side of Star Ocean: Integrity and Faithlessness, and a sweet and dangerous boy. It’s considered to be one of the best works to come out of the late cavia inc., a studio that was generally known for average-to-bad games with crazy plots. All the best parts of Nier involve spoilers (or, at the very least, things worth discovering for yourself), and I’ve only played the first ending so far, so I’ll just say that cavia doesn’t disappoint and I’m sure there’s a lot more to come. In addition to its entertaining storytelling, Nier has a striking visual aesthetic that strongly recalls ICO and other Fumito Ueda games, a soundtrack that absolutely deserves its stellar reputation, and some excellent voice acting. However, it also has some janky animations, alternately fun and annoying combat, meh sidequests, forgettable farming, and bad fishing. It is not a great game, but at the same time, it is. Nier is a weird, wonderful exemplar of gaming’s B-tier and I’m looking forward to getting the rest of the endings, even the one which erases your save and prevents you from playing it again (well, at least with that one account…).
Aside from Nier, I’m currently playing NotGTAV, a crudely-drawn, humorous, and extremely British variant of Snake. I’m also playing my first Nintendo Switch game, Mario Kart 8 Deluxe. One of my greatest regrets in not ever getting a WiiU was missing out on Mario Kart 8, so I was delighted when this Switch port, which includes all the DLC, was first announced. It’s a damn good Mario Kart game, with an unbeatable spread of both new and old levels, including a great Bowser’s Castle, a pair of killer F-Zero-themed courses, and personal favorites such as Music Park and Grumble Volcano. My only real complaint so far is that the new Rainbow Road is somewhat underwhelming. It’s also still a little weird to see non-Mario-themed elements, like the characters Link and Isabelle (and those F-Zero tracks), in a Mario Kart. Otherwise, the little tweaks they’ve made are mostly great, and I’m having a good time. I’ve recently started the 150cc Grand Prix, after clearing 50 and 100cc, and will devote my attention to those courses whenever I’m not diving further into the craziness of Nier.
There were two unusual things I noticed about Persona 5 during the first hour or so of playing.
The first was that it started a little ways into the future, with a botched heist at a casino. The protagonist, who the player names when the police force him to sign a confession, is told that he was ratted out by one of his teammates and is later interrogated by a hard-nosed prosecutor while under the influence of a truth serum. It is this conversation which becomes the game proper, starting in early April of “20XX”. While betrayal isn’t unheard of in this series, it was a little jarring to be told straight off that one of my future party members isn’t to be trusted, and it led me to spending a bit of time winnowing down my personal list of suspects. Certain other aspects of the story proved to be predictable as well, though for different reasons; it wasn’t until some time after the tale caught up with “the present” of the interrogation that the game’s biggest surprises came to light.
The second was the Velvet Room, the metaphysical place “between dream and reality” where series protagonists craft new Personas from old ones. In Persona 3, the Velvet Room was a spacious, elegant elevator, constantly climbing upward. In Persona 4, it was the back seat of a stretch limousine, which drove forward on an etherial road. On the other hand, Persona 5‘s Velvet Room is static, a circular prison occupied by overseer Igor and this installment’s blue-clad attendants, the twin wardens Justine and Caroline. Igor doubled-down on the metaphysical metaphors by noting the protagonist’s mental imprisonment, and implying that he could be freed through “rehabilitation”. I found this situation—the Velvet Room’s traditional motion replaced by stasis—to be unusual at first, but it ended up feeling appropriate.
This rehab takes the form of fighting Shadows—manifestations of human personality and cognition—in a parallel world. This time around, it is called the Metaverse, which is filled with “Palaces” and is accessible to a chosen few via a mysterious smartphone app. Most of the Palaces are ruled over by a Shadow whose real-world counterpart has desires distorted enough to negatively affect the people around them, often in abusive ways. The protagonist and his fellow Phantom Thieves change not just their outfits while in the Metaverse (a nice touch that, for one, avoids the awkwardness of characters wearing winter school uniforms during summer vacation while exploring dungeons, as in the previous two games). They also change things for the better by stealing special Treasures—symbolic items representing hearts—from these Palaces, which collapse as a result and permanently alter their owners’ perceptions in the real world.
There’s much more to the rules and such governing the Metaverse, but those are the basics. The plot is dense, especially early on when the protagonist and schoolmate Ryuji meet Morgana, an amnesiac who is nevertheless intimately familiar with the Metaverse, for the first time. Morgana is this installment’s requisite Pinocchio figure; like Aigis and Teddie before him, he has a somewhat mysterious past and a deep-seated yearning for humanity. However, even though he’s a fun and interesting character, he is also the most unlikeable of the three. Perhaps because he takes the form of a cat, Morgana is a conceited, and sometimes childish, jerk at times.
The rest of the Phantom Thieves crew is made up of a bunch of outcasts, which includes the protagonist. All formerly conformist misfits who don’t quite fit in because of who they are, and victims of selfish, powerful adults, the Phantom Thieves earn their Personas by embracing rebellion, which fit this theme through their appearances as inspired by fictional outlaws (Arsene [based on Arsene Lupin], Zorro) and larger-than-life historical figures (Captain Kidd, Johanna [based on Pope Joan]). The implementation of this theme, as well as the inconsistent seven deadly sins one which is prevalent throughout the game, is kind of goofy, but I mostly got used to it. Like its predecessor, Persona 5 has a lot to say about the role of the media in society and how the seemingly innocuous, everyday views of the general public can further shape which direction it takes. However, it is a much darker tale, with highly-motivated villains and several instances of Very Bad Things, some potentially triggering, happening to the main cast and/or their associates. There’s also the usual range of MegaTen demons for the protagonist, who bears the “wild card”, to collect and use. This time around, Shin Megami Tensei’s oft-dreaded demon conversation system is how one obtains new Personas. I had mixed feelings about this design choice going in, but certain abilities that can be obtained throughout the game ended up making this process a bit less painful than it has generally been in the past.
Speaking of those abilities, I got them and others by nurturing relationships with Confidants, Persona 5‘s version of Social Links. Each Confidant has a distinct set of abilities that can be obtained, along with the usual Persona Fusion stat bonuses and unlocks, depending on who they are. For example, spending time with a politician named Yoshida leads to special conversational abilities which make negotiating with Shadows easier and/or more profitable. Even some social stats, like Kindness and Proficiency, can be improved through certain interactions, which is a welcome addition. There’s a more unusual and diverse range of Confidants in this installment, including shopkeepers and even residents of the Velvet Room. However, there is also a certain Confidant whose story can’t be advanced until after a certain point in the main tale—and the game doesn’t warn you about this. Aside from this problematic design flaw, plus a certain basic sameness between many Confidants that becomes apparent as the game wears on, the overall relationship system is as polished as it has ever been in a Persona game.
The other core component of Persona 5 is, of course, the dungeon-crawling and Shadow-battling. The Palaces where the Phantom Thieves do their work are wonderfully designed—easily amongst the best levels Atlus has ever made, in any of their RPGs. While there are some repetitive elements—particularly in the randomly-generated “Palace of the Public” Mementos—there are also many unique spaces, both large and small, and a wide range of thematic differences between each dungeon. The battling is the same reliable system from Persona 4, complete with All-Out Attacks, but there are a few new tweaks, among my favorites being Bless and Curse spells that don’t instantly kill and are almost always guaranteed to work. Different this time around is an overwhelming number of types of items, particularly for healing HP, and many of which will go unused.
That leads me to the main menu, which any player will undoubtedly spend a lot of time in. Like much of the rest of the game’s trimmings, the menus are in stark black, white, and red, with manga-esque character art and typography inspired by cut-and-paste ransom notes. They are gorgeous to look at, with slick little animations between the main menu and its subsections, and neatly organized, too. There’s also a separate (and just as stylized) menu for text messages, which the protagonist receives on an daily basis and are helpful for both plot-related reasons and for keeping up with Confidants; a robust fast-travel system; and the ability to save just about anywhere while out and about in everyday life.
As for the previously-mentioned amount of items, a large part of that is thanks to a crafting system to make tools such as lockpicks, as well as another one to duplicate cards which can be used to teach skills to Personas. There’s also treasure items which can be sold for cash, key items such as Palace maps, books, gifts, and as mentioned before, a lot of HP healers. Many of the HP, SP, and status effect curatives can be bought at a variety of shops, including a supermarket, a pharmacy, a discount store, a convenience store, a train station kiosk, and several vending machines, and some are only available for a limited time.
If this sounds overwhelming, it is (and you will want to ignore the vast majority of those items), but it is also reflective of its setting: Tokyo, including the real-life districts of Aoyama-Ichome, Shibuya, and many others which become available later on. Persona 5 is overwhelming in both its shopping choices and activities for beefing up social stats, but this is because Tokyo is overwhelming. Notably, some of the shops present in the game are parodies of real-life chains such as Don Quijote, 7-Eleven, and Tsutaya, while the odd bits of actual product placement by the likes of HMV and Calbee blend into the setting fairly well. In these aspects, Persona 5 has captured the consumerist chaos of the Tokyo metro area perfectly, and feels even truer to life than it would have otherwise.
All this is presented with crisp and colorful graphics which straddle the lines between painterly, typical of a modern-day “anime” game, and the MegaTen series’ traditional flat style. As mentioned before, the dungeons have been handled with care, and the same is true of the named characters, Shadows, and Personas. Some character models, like the sparkly and snowy Jack Frost, even have an extra bit of textural oomph to them. Design-wise it’s excellent, with the notable exception of Ann; given that her story arc focused on sexual harassment, and her dislike of being put into perverse situations in general, her skin-tight and boob-windowed Phantom Thief outfit is in questionable taste. A few scenes appeared to push my PS3 to its limit, which resulted in some audio hiccups. While I’m on that topic, the voice acting was average—not amazing, but generally not bad, either. This is especially true of the handful of traditionally animated cutscenes, where the dub cast clearly tries to match lip flaps as closely as possible. As for the localized script, it has a handful of corny and awkwardly-written moments, but is otherwise very good.
Finally, I must mention the wonderful, wonderful music. Fellow fans of composer Shoji Meguro will recognize his signature style all over the soundtrack, especially his love of electric organ and sometimes distracting English-language vocals. However, the soundtrack is particularly lovely in that it captures some of the essence of Shibuya-kei, the diverse musical movement which originated in the real-life version of one of Persona 5‘s most important locations. I already own the soundtrack and it’s currently living with my other game music, but perhaps I should place it next to my Pizzicato 5 and Fantastic Plastic Machine albums instead.
The long wait for this game’s release has been worth it. Despite its flaws—including others I’ve not mentioned here, such as Atlus’ continued use of gross gay stereotypes; more to do with less time, thanks to frequent story events; and a certain rushed-feeling story arc and new character introduction—Persona 5 makes for an outstanding addition to any JRPG fan’s library. It has a darker story than its predecessors, a fascinating and well-realized cast of characters, and the most stylish visual and aural trappings you’ll see and hear in any game this year. If you somehow haven’t played this yet, it is not to be missed.
Special Stage: Back in May, Anime News Network posted an interesting feature article titled “The Real Japan Behind Persona 5” which discusses the likely inspirations behind certain story events. Note that it contains spoilers for the whole game, and especially the first and fifth major story arcs.
Persona 5 has been great so far. The music and user interfaces are cool in a way that’s rare for other games. It also plays well, despite the inclusion of a Demon Negotiation system, aka the MegaTen series’ most tedious idea. As for the story, it has the expected combo of strong characterization and shock value, this time around with themes of obedience versus defiance. I’m currently more than thirty-six hours in, but given how much time I spent with the previous two games, there’s still a lot more to come.
Aside from that, I finally beat Pokemon Sun, though this victory was bittersweet. My team wasn’t quite in the shape I wanted it to be—my Decidueye and Solgaleo were a few levels above the others—but, not wanting to throw a match during my first attempt at the endgame battles, I continued on and became the Champion.
Though Pokemon Sun was great for the most part, there were a few lackluster elements. The story, themed around local traditions and wildlife conservation, started off slowly and with several dialogue-heavy cutscenes. However, by the time things picked up, this tale had become one of the best in the entire series. On a related note, Sun certainly has one of the better casts of characters in the world of Pokemon, with the goofy and energetic Professor Kukui and Team Skull’s underdog leader Guzma being two highlights. However, the most important cast member is Lillie, a somewhat timid girl who is neither a fellow Trainer nor someone particularly interested in Pokemon research, like most of the companions in the previous games. She journeys with a Pokemon called Cosmog, nicknamed “Nebby”, in the hopes of getting it home, and their journey frequently crosses paths with yours. By the time the story reaches its crescendo, however, both Lillie and Cosmog have taken on much larger roles; Pokemon Sun ends up being just as much about them as it is about the player.
Much else about the game is praise-worthy. The Hawaii-inspired Alola region is a nice change-of-pace after the staid Kalos from the previous gen, and the hip-hop misfits of Team Skull eventually became my favorite antagonistic group in the series. On the gameplay side, many of the traditional Pokemon trappings got an overhaul in Sun and Moon, and I feel that at least two of them could be worth holding on to for future installments. The first are the move-enhancing Z-Crystals, which replace the Badges won at certain points in the games, though certain types can also be obtained through other means. The second is the Ride Pokemon system, which replaces HMs, those moves that can be used out and about in the world to get to new areas. The Z-Crystals feel less like mere markers and more like useful prizes than the Badges ever did; plus it’s fun to see the Ride Pokemon in action, and freeing not to have to rely so much on specific Pokemon types to use HM moves.
As I implied before, Pokemon Sun isn’t perfect. Certain story-required battles are too repetitive, most of the Island Challenges are shorter and lack the puzzle-oriented fun of the old-style Gyms, and the endgame is bare-bones, even though this can be excused by certain quirks of the storytelling. It’s also a technically-demanding game, with some of the more intense moments slowing things down on my “old” 3DS XL. Still, I found it to be better than Pokemon X in a handful of ways, and maybe even one of the best games in the main series.
Besides Pokemon Sun, I beat a handful of other games since the beginning of March. The first of these was “Episode P4” in the Story mode of Persona 4 Arena Ultimax, which I soon followed up with “Episode P3”. These two stories conclude the tale from the first Persona 4 Arena, but are a bit more underwhelming as well. Aside from the weird addition of Rise, the new playable characters featured in this mode are all fine, but both stories are hampered not only by sub-par plotting, but also a tough-for-toughness’-sake (but thankfully skippable) final battle. Sadly, this is the sort of direct sequel that might be better served by seeking out a Let’s Play.
Next was Far Cry 3: Blood Dragon, the one game I claimed for free during Ubisoft’s 30th Anniversary celebration. I play open-world games very rarely and had no experience in the Far Cry series before, but found this to be all right. Taking over bases and hunting down collectibles feels a bit like busywork, the world lacks distinctive landmarks, and the graphics are a bit too dark in their most aesthetically-pleasing form. However, the missions are generally fun and story is funny and inspired—it’s an ’80s homage done right, capturing the feel of the era while only rarely breaking out specific pop-culture references. As a standalone bit of fluff, it got the job done. I’m glad I played it, though I’m also fine with taking another long break from open-world games after this.
My third game beaten in March was Quantum Conundrum, a first-person environmental puzzler and one of the hardest such games I’ve ever played. Many of the puzzles, which involve moving between two or more dimensions to alter attributes like mass or gravity, feature some strict time constraints, involve several steps one right after the other, leave the player subject to the whims of the game’s physics engine, and/or are difficult, if not impossible, to solve on the first try. Despite the game’s polish in other areas, the puzzles aren’t as well crafted as in Creative Director Kim Swift’s most famous previous work, Portal. I really wish I could’ve liked this one more. After beating the main game and the dastardly DLC “The Desmond Debacle”, I managed to get a third of the way done with the even tougher second DLC, “IKE-aramba!”, before setting it down in favor of something else.
That something else ended up being Imperium Romanum: Gold Edition, another freebie from a publisher celebrating an anniversary. This one came courtesy of Kalypso, who sent codes out to their mailing list subscribers when they turned ten years old last summer. Our gift was a Roman-themed city builder by Haemimont Games, who later went on to make the modern Tropico titles. Imperium Romanum is a bit more dated than those, with somewhat clunky interfaces and just a smidge too little information about my settlements and their people. On top of that, some of the campaign scenarios were rather difficult, especially when fighting barbarians or other Romans(!) was involved. It’s not a bad city builder by any means, but there are several better ones out there.
And that’s it! I will probably start something new to break up things with Persona 5, though I’m not sure what yet. I’m a little behind on my Mario RPGs, but I’m also starting to get a match-three itch, so the next game could be either Mario & Luigi: Dream Team or Puzzle & Dragons Z. At any rate, I have to whittle down the JRPGs in my backlog.
We got back from a long, relaxing weekend jaunt yesterday, and although I didn’t touch any games other than a few Picross 3D Round 2 puzzles (which I really shouldn’t have done; I was dead tired), my husband did get back into The Legend of Zelda: Skyward Sword, including a frustrating boss battle near the end of the evening’s session.
He has a love-hate relationship with the main Zelda series, much as I do with the main Mario one. It wasn’t all that long ago that I gave up on Super Mario Galaxy 2 (and, by extension, my husband as well, since he was in the “co-star” role), thanks to a badly-implemented 3D camera and a “helper” feature that felt more like cheating or the game taking pity on me than anything else. Perhaps more crucially, Galaxy 2 started feeling more like an obligation than something fun. Experiences like that are why I largely stick to the kart racers and RPGs when it comes to anything involving Mario. As for Zelda, well, it may be a long time before Breath of the Wild or any other new-to-us 3D entry in that series comes into this household. I will likely continue on with the rare 2D Zelda, but certain archaic quirks of the 3D ones continues to baffle both my husband as a player and myself as a spectator. The lag we’ve probably suffered with and the frequently convoluted and/or uncomfortable controls have also not helped these Wii games’ cases.
Anyway, on to this post’s mini-reviews. I recently played through three short indie PC games, none of which is quite like the other. The first is a pop-culture-laden pixel-art RPG, the second is a 3D moe action-platformer, and the third is an arty 2D puzzle-platformer.
Reference Materials: Knights of Pen and Paper +1 Edition (2013, Behold Studios)
This is one of a few games I received last year by trading Steam keys, and was not one that I’d ever had on any wishlist. Still, after looking up some info, Knights of Pen and Paper +1 Edition sounded interesting enough, so I completed the trade and added it to my library. In the end, it proved itself to be not a bad little game at all.
The premise is fairly simple: a pen and paper role-playing game is played out amidst the fantasy backdrops described by the dungeon master, complete with JRPG-style turn-based battling. Like far too many indie games with pixel graphics, there’s a ton of pop-culture references, but they’re easier to tolerate given that the story begins with a group of regular people in the “real” world. On top of that, while several references range from predictable (Doctor Who‘s Tardis) to insufferable (Monty Python and the Holy Grail‘s Knights of Ni), some are unexpected and even enjoyable; for example, though I disliked Chrono Cross, I appreciated KoPP‘s take on one of its most annoying elements.
The story itself is your standard JRPG fare with an appropriate twist or two, though told with a sometimes clunky English localization (Behold Studios is based in Brazil). The game also doesn’t explain some of its mechanics very well, if at all. On the plus side, the battle system is solid, with some nice variety between classes, and the difficulty curve is decent, though I did find myself having to grind a bit in one of the earlier sections. Aside from the inspired setting, it’s not a particularly remarkable game, but it is fun.
Speedy Angel: Angel Express (2008, EasyGameStation [via English ver., 2016])
Speaking of clunky localizations, Angel Express, also known as Tokkyu Tenshi, suffers a bit in its own way. During cutscenes with the player-named protagonist and her spirit partner El, there are often lines which seem like they should be said by the other character. This makes for some very odd dialogue at times, though most of the cutscenes are incidental and the core story is simple enough to follow. It’s worth noting that Angel Express is the first English-translated game by Japanese doujinsoft circle EasyGameStation not to have been localized by Carpe Fulgur, and, unfortunately, publisher Rockin’ Android just doesn’t do as good of a job.
As for the game itself, Angel Express is a platformer with a racing theme attached: individual stages are obstacle courses which are run through thrice at a time, and usually with a time limit attached or other characters to out-score. In addition to the repetition of the stages themselves, to reach the end of the story means going through most of them multiple times—and happening upon certain cutscenes multiple times as well. The stages are generally well designed and fun to play, so I didn’t mind too much, but it was still somewhat disappointing that there wasn’t more variety. Oh, and Angel Express is extremely difficult on “Normal”, so much so that I couldn’t beat the second part of the first stage on that setting. I ended up restarting and playing through the whole rest of the game on Easy, which is no slouch either.
There are a few additional features and modes, including a level designer, time trials, and multiplayer, though I didn’t touch any of that. I did check out “Totten News”, an in-game newsletter for delivery girls that includes gameplay tips as well as fictional features one might find in a real-life periodical, like recipes and horoscopes. Unfortunately, the last issue of Totten News suffers from a bug which makes it unreadable, so I’ll likely never find out how its serialized story, about two sisters in an alternate world, ends.
A Tale of Two Kitties: I and Me (2016, Wish Fang)
Incidentally, the last game in this Braincrumbs installment was also apparently made by a non-native English speaker, but has the best localization of the three, though one or two sections of text don’t linger on the screen long enough to read at a normal pace. The story being told here, though, is not as cheery as the previous two games’ are.
In I and Me, the player controls two identical black cats simultaneously, guiding them past hazards and lining them up perfectly so that they fit into a pair of picture frames somewhere else on the screen. It’s a lot like Toki Tori and similar character-based puzzle games, though controlling two characters like this requires a whole other set of skills, mainly a keen spatial awareness. It’s a challenging game, but fair, and the dozens of stages are cleverly designed.
As for the game’s tone, which I hinted at before, it is perhaps best described as melancholy. The story, such as it is, explores what it’s like to have “another self” in relation to being alone; the graphics make heavy use of black; and the music, much of it in the form of classical arrangements, complement the other moody elements very well. A handful of I and Me‘s Steam reviews describe it as “relaxing”, but it rarely fits that definition. Instead, it requires a bit of tolerance for a less colorful setting, as well as a certain degree of patience given the difficulty of a fair number of its puzzles.
Speaking of which, by the time I had gotten through about ninety percent of the levels, I and Me had finally gotten so hard that I skipped one of them. The next level happened to contain the credits. I still wonder if that specific level was the credits all along, or if some other sort of design was at work.
Some quick site business: It took a year, but I finally got rid of the “comments” links that were at the bottoms of posts on the main page.