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.
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.
I beat Frog Fractions 2 this afternoon (or is that Frog Fractions 3?), a game that’s much longer, more incoherent, and harder than its predecessor. It’s also the first game I’ve Kickstarted which has since come out, which is funny since it’s the only one whose release was obfuscated on purpose, rather than openly falling into some form of Development Hell. There is one part I must spoil, since it involves hardware: at some point, there’s a section which, out of the blue, requires a microphone or similar audio input. However, this section is optional, but the game doesn’t tell you that it is. I don’t use a microphone when PC gaming, and anyway, my offbeat setup makes hooking one up uniquely frustrating. Also, there were no alternative control schemes offered within the game for this part. To me, this particular section wasn’t very well thought out, but Frog Fractions 2 is, in many ways, not a friendly or approachable game. Though it is never unfair (aside from the microphone thing), it does demand a decent amount of imagination and cleverness from its players.
Finding it within Glittermitten Grove is easy enough—I just used the same basic approach as one does with Frog Fractions—but once I got there, what confronted me was a place which got more and more difficult to deal with the further I dove in. Without giving away too much, Frog Fractions 2 is full of funny and weird moments, but in other aspects, it’s a different beast.
On another end of the humor spectrum, I went through all three of the playable Phoenix Wright Ace Attorney: Spirit of Justice DLC episodes. The first, a full-length case titled “Turnabout Time Traveler”, was not nearly as good as its equivalent from the previous game. Instead of an orca at a musically-inclined aquarium, the client is a bride who claims to have relived her wedding reception thanks to a time machine. Oh, and of course, there’s been a murder, and she’s the main suspect. A few of the arguments made in court are sloppy and poorly worded in a way that typically happens in the worst Ace Attorney cases. On the other hand, a major highlight of this episode is the return of Larry Butz, a regular from the first Ace Attorney trilogy who has a tendency for getting into trouble. Phoenix, Maya, and Edgeworth are all present as well; just add Gumshoe and this would’ve been a full-on nostalgic reunion. However, perhaps it is for the best that Gummy didn’t appear, as I would’ve preferred a better case to accompany all the fanservice.
The other two DLCs, brief alternate universe stories called “Phoenix Wright: Asinine Attorney” and “Apollo Justice: Asinine Attorney”, are much fluffier trifles. Phoenix’s tale centers around Pearl and her visit to Kuhra’in, and on the flip-side, Apollo’s features that kingdom’s Princess Rayfa visiting the United States. They are both very short and lighthearted, with Apollo’s episode being both slightly longer and generally better. Both also come with pixel-art 3DS themes, adding some more value to what would otherwise be a pair of overpriced tales.
Before playing through all of that, however, I beat a couple of much longer games. First was Picross 3D Round 2, which is sort of misleading since, after the credits rolled, many more new puzzles unlocked. Round 2 is just as good as the original Picross 3D, which is to say that it’s one of the best picture puzzle video games one could ask for. The puzzles are plentiful and brilliantly conceived, and although there’s an additional level of complexity now, with specially shaped pieces, the game does a great job of easing you into things, as expected from this series.
The other game was Dragon Quest Heroes: The World Tree’s Woe and the Blight Below, a crossover between Dragon Quest, a JRPG series with a solid reputation, and Dynasty Warriors, which is looked upon… a bit less fondly. Although the basic flavor of the latter is definitely present—in the forms of simple combat controls and massive swarms of enemies—this is also very much a Dragon Quest game in terms of aesthetics, polish, and, on the more negative side, some old-school JRPG menu clunkiness. Still, it was great fun carving through dozens of slimes and the like alongside Alena, Yangus, and other beloved characters from mainline Dragon Quest games, and it’s not like I mind a bit of mostly simple hacky-slashy fun every now and again.
I also replayed the first Frog Fractions (it’s always a good time on Bug Mars) and continued on with Pokemon Sun, which, if anything, recalls the tedium of Pokemon Platinum. However, I hope that unlike with Platinum, I don’t end up taking nine months to beat it. Right now, I would guess that if I’m not at the halfway mark, then I’m very close to it. Also, this isn’t exactly a video game, but a few days ago, I dug out my old Tamagochi and started messing around with it, an experience I may or may not write more about later. The most amazing thing about it so far is that the batteries, which I believe are the original ones from the late 1990s, still work.
As for what I’ll start next, I’m really not sure right now. With Persona 5‘s release date coming up, I’ve been eyeing the two Persona spinoffs I have left in my backlog, Persona 4 Arena Ultimax and Persona Q: Shadow of the Labyrinth. There’s also my dwindling pile of Xbox 360 games, Tales of Vesperia arguably being the longest amongst them. However, for the time being, I might be best off plugging away at Pokemon Sun, since I’ve been neglecting it lately. We’ll see how it goes.
As far as beating games goes, this has been shaping up to be a somewhat productive summer. I’ve beaten seven games and two DLCs/expansions since my previous post, including a few titles I obtained during Steam’s annual Summer Sale. Right now, my biggest pickup from that sale, the much-lauded 2016 version of Doom, is sitting on one of my hard drives, having been freshly downloaded from Steam’s servers this past Tuesday.
Doom 2016 is one of my very rare triple-A indulgences, and a graphical beast; even on the lowest settings, the demo looked fantastic. There’s tons of options to tweak, as one would expect of a game from a storied PC developer like id Software, and I’m looking forward to seeing how the game itself will run on my (admittedly) offbeat PC gaming hardware of choice, a 2013 Mac Pro running Boot Camp. My little taste of it back in June was quite delicious, with a red-drenched palette and hints of the sort of over-the-top badassery one expects from the Doom franchise.
Before I could start Doom 2016, and after beating Doom II back in early May, I finished my tour of the older id-crafted parts of the franchise with Doom 3 and its companion pieces, “Resurrection of Evil” and the BFG Edition-exclusive “Lost Mission”. Doom 3 did well when it came to the look and feel of the weapons and enemies, but atmospherically, it was, for the most part, not Doom. The story took itself a bit more seriously than it had in Doom and Doom II—even the difficulty setting names were straight-laced—and on top of that, the shadowy environments and heavy emphasis on sound effects lent the game more of a horror feel, rather than the goofy action movie style I was used to (given this situation, the famed flashlight controversy is especially interesting). It was sort of like a scarier, less puzzley, and less wry Half-Life set in the Doomiverse. That’s not to say there weren’t any funny or adrenaline-pumping moments—there most certainly were—but Doom 3 stands out a little as an odd duck. It was a fun game, though, especially the last third or so, which includes the requisite trip to Hell. The two bonus campaigns retread some familiar ground, story-wise, but are also fairly decent, especially “Resurrection of Evil”; “Lost Mission” felt a little slapdash in comparison.
Before I wrapped up Doom 3, I defeated the final boss in a very different sort of game: The Guided Fate Paradox, a roguelike developed by Nippon Ichi for the PS3. It was a shrewd choice to be Nippon Ichi’s 20th anniversary title, not just because of its genre, but also its setting: Celestia, the angelic counterpart to the Netherworld where so many of the company’s games take place. In this particular entry in Nippon Ichi’s multidimensional canon, the player character is Renya, a high school student who wins the title of “God” in a shopping arcade lottery. Despite the wacky setup, much of the rest of the story, in which Renya fulfills prayers and wishes hand-picked by his team of angels, is played fairly straight, with very few forays into outright comedy. Some potential is there—an innuendous angel, a chuunibyou angel, a mission that involves helping zombies—but it never gets as comedic as many of the studio’s other works.
As for the story that is there, it’s a heaping pile of jargon-laden anime bullshit with a few entertaining bits here and there. Much of the game’s plot seems to exist solely to justify the mechanics of fighting, picking up items, leveling up, dying, and then doing most all of it over again from scratch. Other such games are happy enough hand-waving away the peculiarities of the roguelike format when it comes to storytelling, but The Guided Fate Paradox isn’t. In a way, I’m glad they took this approach, since it fits very well with Nippon Ichi’s house style, but there were times when it all felt a touch too complicated or serious for them. Despite all that, the dungeon crawling parts were mostly outstanding, with some neat chapter-specific gimmicks, snappy movement and attack speeds, loads of customization options (including some basic stats which can be improved permanently), and, save for a grindy endgame, a fair difficulty curve. If you like this sort of game at least as much as I do and can stomach or ignore the less-than-great story bits, The Guided Fate Paradox is worth a try.
Other than that, I beat Pokemon Blue Version, ending my journeys through both Kanto and Pokemon’s origins. I also played Evoland II, which is both bigger and not as good in certain ways as its predecessor: though the plotting is amazingly thorough and most of the gameplay bits are solid, there’s too many superfluous references to other games and too much rambling dialogue (see this post I made in CAG’s current RPG Thread for more detailed impressions). As for some more of those aforementioned Summer Sale games, Witch and Hero was a nice and chaotic little J-indie nugget, Bejeweled 3 was (and continues to be) so very good, and DLC Quest was pleasantly goofy, if a little ugly to look at, and didn’t wear out its welcome.
As for stuff I’m still playing, besides trying to get the last two (very tough) achievements in Bejeweled 3, there’s Project CARS, Fantasy Life, and Pokemon GO. As I only typically buy one sim racer per generation, the PC version of Project CARS had a lot riding on it, but I’m enjoying its career mode thus far. It’s quite deep, but also very approachable thanks to its bevy of difficulty modifiers, which is great for filthy casual racing fans like myself. Fantasy Life is much like most any other game wholly conceived and developed by Level-5: beautiful, dense with variety, and with a story and world that’s pleasantly vanilla. Sometimes this latter point works against them, as it did for me with Professor Layton and the Curious Village, but the results here are a bit more mixed; I’m not quite sure what to make of it yet. Lastly, there’s Pokemon GO. As Pokemon games go, it’s one of the shallowest ever made, but the real world trappings are a neat novelty, and, at the very least, it’s getting me out and walking a bit more.
Soon, Doom 2016 will join that list. I’ve already been to Hell and back again with Doomguy a handful of times this year, but I’d be lying if I said that I wasn’t looking forward to one more trip.
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March has been a mixed bag of a month. Between Daylight Savings, the fluctuating weather, and other circumstances, I wasn’t sleeping well for awhile, but now I’ve more or less adjusted. My comics backlog has grown bigger thanks to a big shipment of manga from Right Stuf, a couple of used bookstore pickups, and the arrival of a certain long-awaited graphic novel. I’ve also started trying out some new recipes for a change.
As for gaming, that’s been going more or less okay since my last post here, and the games themselves have been about as much of a mixed bag. I beat Disgaea 3; the ending was all right, though since learning that the sidequests are as grindy as expected, I officially put it down not long after. Before that, I went back to and finally beat Legend of Dungeon, using a class I hadn’t given a second thought to before; it’s still not at version 1.0 yet, but I’m just glad to be done with a second roguelike/like this year. Speaking of which, I took up Spelunky again and made quite a bit of progress, though it will be a long time until I actually beat it.
In addition to continuing on with Bravely Default and picking up Dance Dance Revolution SuperNOVA 2 again, that about wraps it up for February. Moving on to March, the first game I beat this month was the hot new release Firewatch. It is a beautiful and (mostly) well-crafted game, though a little bit of a victim of its own hype. The story is not mind-blowing but still decent; the save system leaves much to be desired; and the characters, music, and so forth were well done; but the real star in this game is the environment. Firewatch is set on a small parcel of US National Park land, and each little area within is distinctive in many ways. Aside from the climbing rocks (which are especially gamelike in a certain part), the wilderness here feels like a real place, and is easily the best thing about Firewatch.
This was not, however, the first game I started in March. That honor goes to Pokemon Blue Version, which, along with Red and Yellow, came out on the 3DS Virtual Console on the date of the series’ 20th birthday. Pokemon’s first generation is the only one I hadn’t played in some form, and, given how pricey original cartridges of that gen and its remakes can be, was one I hadn’t planned on ever playing until the Virtual Console announcement was made. I’m currently up to three gym badges and am not far from getting the fourth. It’s been interesting to see the roots of the series: the Pokemon, items, gyms, HMs, and all the other little things one becomes accustomed to seeing in the games. Some of the things that were different were just as surprising; for instance, most of the Pokemon don’t have listed genders, nor is the indicator for whether or not you’ve already caught a certain type present. The player character’s rival is also far more obnoxious than they would be in later series entries, and there is also a greater emphasis on filling up the Pokedex. In general, it’s all still both fun and tedious in its telltale ways; twenty years on, the core of what makes Pokemon Pokemon hasn’t changed much.
Next up would be the third RPG I’m currently playing: Diablo III, via the Ultimate Evil Edition on 360. After trying out a handful of different classes, bitprophet and I settled on a wizard and a monk (respectively) and started our adventure to investigate a fallen star and the prophecy it portends. It’s the loot-heavy, lore-heavy action RPG that you’d expect, and it’s looking to be quite long, as well.
Needing a break from RPGs for a little while, I recently started delving into some shorter games in other genres. First up was Hatsune Miku: Project DIVA F. This was my first time playing a Hatsune Miku Project game that’s specifically in the DIVA series, and, sadly, it was not as much fun as Project mirai DX. The difficulty is brutal, the small button icons can frequently get lost in the music video chaos on-screen, and there’s a handful of aesthetic issues that prevent me from enjoying it as much. Chief among these is the tracklist, which is on the weaker side overall, and weighs heavily on more offbeat songs toward the end. A lesser quibble I have is that the “modules” specific to each song are locked from the outset, which means Miku and company perform in their default outfits whenever a track is played for the first time. This is okay for many tracks, but does not work as well with others, especially the elaborate period piece “Senbonzakura”. After unlocking all the songs on Easy, I was ready to set Project DIVA F aside and move on to something else.
The next day, I started Kero Blaster, which is by Cave Story‘s Studio Pixel. It’s much more linear, for better or for worse, than Cave Story, and also more lighthearted, but maintains that same feel otherwise. The characters are all down to earth, moving and shooting are handled well (there’s even a bubble-based weapon that’s actually useful), and the levels are sufficiently challenging. I highly recommend it to anyone who likes old school-style “run and gun” side-scrolling games, and to fellow Cave Story fans especially. There are also two (very charming) free games, titled Pink Hour and Pink Heaven, that serve as demos of sorts for Kero Blaster, though you could also play them afterward, as I did.
Finally, there’s the two classic titles I started yesterday: Professor Layton and the Curious Village and the HD version of NiGHTS into Dreams… The former is my first Layton game, and might also be my last; it’s decent for what it is—a collection of brainteasers in a story wrapper seemingly inspired by European comics—but I’m not exactly hooked. I’m only about a couple of hours in, so maybe I’ll change my mind later on, but I kind of doubt it. Meanwhile, NiGHTS, which I ended up beating earlier today, is a slick-for-its-time 3D action experiment. Its so different from any other game that’s been made, I’m not sure if it has aged poorly or well. The camera’s a little iffy (though not as bad as in certain later Sonic Team games), the story’s more convoluted and strange than average, the routes through the levels can be tricky to navigate, and the game as a whole is short, but it’s got a certain flair which makes it impossible to dislike. Even more appealing is an unlockable bonus in the form of Christmas NiGHTS, one of the most famous and unique game demos ever made. This demo takes one of the first stages of NiGHTS and dresses it up with a Christmas theme, complete with a separate story to go along with it. Unfortunately, unlike the main game, the original Saturn version of Christmas NiGHTS is not included as a playable option.
That’s about all I’ve been up to lately, gaming-wise. With Kero Blaster and its spinoffs, I decided that it might be a good idea to dedicate my weekends to an indie/doujin game (or two) of a reasonable length, which would help me churn through more of my backlog, at the very least. At the moment, I’m considering my options for this coming weekend, and there are a lot of them. I should also get back to the RPGs in between those indies and sessions with Professor Layton. One of my major backlog goals for this year is to put a dent in the number of RPGs I have sitting around unplayed, but I was not expecting Bravely to be this long. Perhaps I’ll have it beaten by next month. Either way, I have no idea which RPG I would want to play next.
Bravely Default, which I finally, finally started playing about a week ago, has struck me so far as being a very different sort of JRPG, but also, more obviously, very familiar. The online/StreetPass features of this 3DS exclusive reminds me quite a bit of the Pokemon series, but also of Square Enix’s earlier The World Ends with You. The latter, which is one of my favorite JRPGs of all time, has a pin-based battle system, and some of the rarer pins could only be obtained by using certain online features of the DS. As this sort of thing is not up my alley (you could say I’m a purist when it comes to single-player games), I pretty much ignored Mingle Mode and managed just fine without it. Bravely‘s online features, on the other hand, get shoved in your face pretty frequently, at least early on, mixed in as they are with the rest of the tutorials. One of the biggest online components is a town-rebuilding minigame, progress in which is marked in real time—reminiscent of certain mobile phone sims—and dependent on how many other players you have registered within the game. Also prominent is the ability to summon special attacks from another player during any battle. Anyway, all this online stuff is both understandable, given the times, and, thankfully, largely ignorable, at least so far. I’m getting by just fine on my one default worker working on the town minigame while I plug away at the rest.
This “rest” is where the familiarity comes in. The story takes place in a world where nature’s balance is maintained by four elemental crystals, which are now in trouble. If that by itself doesn’t scream Final Fantasy, there’s also the job system with its familiar classes, the items like Eye Drops and Phoenix Downs, the Akihiko Yoshida character designs, and the rousing score. There is enough different that it is not a complete clone of that older series, such as the hand-drawn look of the towns and the modest tone of the storytelling. This is particularly true when it comes to the game’s battle system, which, Final Fantasy V-style jobs aside, resembles those found in Dragon Quest and MegaTen titles more than FF’s. Its resemblance to non-FF series, though, is perhaps no less important. Bravely Default is a polished, modern take on what is essentially video game comfort food; while it’s different enough to be novel, it’s also familiar enough to be unintimidating. Despite a couple of overlong boss battles so far, I’m looking forward to seeing where this particular journey to save the crystals takes me.
For a long time, one reliable source of video game comfort food for me was the Kirby series. However, when I first started Kirby Mass Attack on the DS more than three years ago, something about the flavor of it didn’t do much for me. I reasoned that this was because I had started it not long after beating Kirby Squeak Squad, and needed a break from the series in general for awhile. After picking up Mass Attack again sometime during my recent playthrough of Soul Hackers, it became clear that it was not me, it was the game. I really wanted to like it more than I did, and although the premise with the multiple Kirbies is interesting by itself, Mass Attack falls short. I’m not really sure why this is; the levels are fairly well-designed, as are the aesthetic elements and the minigames. Maybe it’s because there isn’t as much variety in the strategic elements as in a typical Kirby platformer. Enemies can’t be chomped and then shot out, or digested, their abilities absorbed. The mini Kirbies simply multiply in number, beat on enemies, push or pull things, and do a few other actions, depending on the environment. There’s also mostly dull quicktime events and one particular annoyance that reared its head late in the game, where you’re told that backtracking for certain missed collectables would be necessary to progress; this collectable would be the type of item that’d be purely optional in just about any other Kirby. Anyway, this game was all right, and certainly has its high notes, but in general, it didn’t click with me in the same way that previous Kirbies had. I still love Kirby as a character, but maybe not so much the games anymore, and I feel like another long break is in order.
Speaking of gaming tastes changing, roguelikes is one genre which I will have to become much pickier about in the future. I started two of them, the action roguelike Legend of Dungeon and the more traditional Sword of the Stars: The Pit, back in 2014, played them on and off throughout 2015, and started 2016 with neither of them beaten. They are both more difficult than, say, Dungeons of Dredmor, especially The Pit—while I had made incremental progress in Legend of Dungeon (for various reasons), I had no such luck with the other game.
Anyway, as it happened, I had a couple of days where I’d barely gotten any sleep the night before, and was thus not in the mood to play anything too story-heavy (or do much of anything productive). One day, I spent much of my time messing around with Tropico 5 in sandbox mode, but later, I found myself trying The Pit again, for the first time in months. It was still very hard, and almost unfair; like clockwork, difficult enemies would be crammed into the first room on the next floor while my available weapon choices were still piss-poor. By this time, I had 75 hours logged on the game, and had not made it anywhere past twenty floors (out of thirty) on Normal. I started contemplating trying the game on Easy and started poking around a few places, mostly the reviews and forums on Steam, to see what others thought about The Pit‘s difficulty, especially in comparison to other roguelikes. I was relieved to find that I was not alone in thinking the game too hard, and, later on, fired up a new Engineer playthrough on Easy. I ended up beating the game on this first run, which was spread out over a few sessions within two days. It soon went in the “Beaten” folder in my Steam library, and I moved on to other things, like wrapping up Kirby Mass Attack.
One game which I recently played was quite different from anything else I’d encountered before: the FMV narrative puzzle of Her Story. Its interface comes in the form of a Windows 95-era desktop computer (complete with CRT reflections, if one so desires), which contains, as its main program, a searchable database of brief video clips, all of which are pieces from a series of interrogations of a woman whose husband has been murdered. The main interactions take the form of typing in search terms, watching up to the first five clips that pop up in the results, and tagging and/or saving clips for future reference. Around the time that you, as the protagonist searching through this ancient database, feel compelled to search for a certain term, you begin to suspect that all is not what it seems. The story that follows is strange and engrossing, and, although I have the basic idea down of what happened to the victim, there’s still a few unanswered questions by the end. Aside from a certain (seemingly intentional but kind of cheesy and understandably never pointed out) alternate approach to going through the clips, I really loved this one. The pacing of both the clips themselves and the discoverability of various chunks of the story is so good that I wonder how it was pulled off.
In summary, this is where I’m at by the end of January, with six titles beaten and Bravely Default and Neko Atsume as the only games I’m currently playing. As usual, I’m already wondering about what I’m going to pick up next; a Nippon Ichi strategy RPG (speaking of comfort food…) seems very likely, but I’m not entirely sure about anything else just yet. Hopefully, I can keep up with these progress reports, and maybe write up a few reviews this year as well. Until next time, then…
Some quick site business: Comments are now disabled for all posts from now on. I very rarely got comments here anyway, and most of those that did pop up in the past were either spam, too dumb and/or trivial to approve, or had an uneasily ego-stroking quality about them. For those who left the few decent comments I got, thanks, and see you on Twitter.
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