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Tag: action/adv.

Let’s Play! And After That, Let’s Really Play!

RKasa
February 15, 2012
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Xenogears is one of those games that I had long been curious about, but didn’t want to play, both because and in spite of its reputation. I didn’t like Xenosaga Episode I: Der Wille zur Macht, mainly due to its sedate dungeons and overlong, poorly-paced cutscenes, and didn’t relish the thought of slogging through its predecessor. However, at the same time I wanted to know why Xenogears has commanded such attention. Therefore, when a new Let’s Play of the game by The Dark Id appeared at the Let’s Play Archive, I dove right in.

"All shall be mocked accordingly..."

It turns out that I had made the right decision. Seemingly every new dungeon, rare as they are, is described as the worst in the game; the story has some interesting ideas but is needlessly complicated, poorly plotted (a good example: that old JRPG trope, the battle tournament, is used as a major plot device twice), and did far more telling that showing; and from the looks of it, the staff had just about run out of money when it came time to work on Disk 2. The Dark Id’s humorous asides, especially the ones involving sandwiches and/or Citan Uzuki’s dickery, plus his astoundingly thorough analysis of the game’s quirks, made all this the more digestible; I’m sure I would’ve experienced Chrono Cross levels of rage if I had played this myself.

This Xenogears Let’s Play is easily the longest one I’ve ever read, and took me some time to get through. Not long after wrapping it up, I decided to play a new game. I’d already finished with Rune Factory: Tides of Destiny and given up on the original Tropico after finding it a bit too difficult, and not the fun kind of difficult, either. Also, I wasn’t in the mood to pick up Sonic Colors or Pokemon White again. There was that damned-cute-moogle-fest Final Fantasy: Crystal Chronicles, which I was (and still am) playing co-op, but I needed a new single-player game. So, the new game I played? Bayonetta.

For the next three days, I found myself immersed in the closest thing to a masterpiece I have played in the action game genre. Bayonetta is marvelous, with slickness, humor, and outrageousness in abundance. The title character is a strong, sexy, and ridiculous gunslinger and a great follow-up to a certain other beautiful mixed-race hero from an earlier game by the same director. Speaking of which, there are several homages in Bayonetta—some more subtle than others—to director Hideki Kamiya’s previous works, to certain classic Sega franchises, and to games that have nothing to do with either. My favorites of these made me absolutely giddy as this already awesome game got even better. In general, there is so much love put into Bayonetta—love of the heroine, her world, the action, and of video games themselves. I don’t know if I’ll ever experience another game like this again.

The next game I played only took me two days to get through, but has a much longer title: Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness, Episode One. This was one of several games I picked up during this past December’s Steam Holiday Sale, and more or less on a whim at that. The game itself plays a bit like a weirdly balanced JRPG with notes of graphical text adventure and that unmistakeable Penny Arcade feel. It was all right, and I’m looking forward to playing Episode Two sometime soon, in part because one of my favorite PA characters, Charles, makes an appearance.

After Rain-Slick Precipice, Episode One, I decided to delve back into the world of Caribbean island management—but via Tropico 4 this time. The campaign this time around is a long one at twenty missions, but once I got to a certain point, the previous starting islands began to make repeat appearances. This was a little disappointing, as were the moments when the sound would stop during a cutscene, or the one time during the final mission where the game crashed, or the few other tiny annoyances presented themselves, but I was still engrossed for a good two weeks. In many little ways, it’s much improved from Tropico 3, and I ended up spending more time playing it than I do with a lot of JRPGs. I wrapped up the campaign this afternoon, so now I’m going to step back from it for awhile and catch up on just about everything I’d been neglecting in the meantime, such as, well, this blog…

The Annual Backlog Update of Doom

RKasa
January 11, 2012
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It’s a new year, which means the annual status report on my backlog. I would’ve had this up sooner was I not waiting on Shin Megami Tensei: Strange Journey to arrive from Play-Asia. This was one of seven(!) console and handheld games I ordered for myself shortly before the New Year. Then there’s Sonic Chronicles, purchased at Best Buy after Christmas, plus a not insignificant number of computer games purchased during Steam’s amazing Holiday Sale. All this plus my preexisting Pile of Shame adds up to a mountain of games to pick and choose from in 2012.

What have I gotten myself into? DX

My DS backlog has become particularly large with fourteen entries, at least half of which are RPGs. The Xbox 360 and PC piles have grown some as well, as has the Wii one, which was nonexistent this time last year. The GameCube stack is unchanged, and the PS2 one has shrunken, but only slightly. All in all, the number of console and handheld games this year comes to thirty-five; add in PC/Mac, and it’s closer to fifty, which is more than double the tally from last year.

This growth, particularly on the DS side, was largely fueled by my wanting to pick up certain out-of-print games before they became impossible to find. There’s also the matter of my not being able to beat many games last year, thanks to certain real-life factors. Therefore, my goal this year is to beat at least twenty-five games, which would be a marked improvement from last year’s seventeen.

Here are my must-play games for 2012, in no particular order:

  • Shin Megami Tensei: Persona 3 FES – Now that Rogue Galaxy has been beaten (and thoroughly enjoyed), Persona 3 is the candidate best-suited to fill its shoes as the Game I’ve Had in My Backlog Since Forever That I Really Should Play.
  • Half-Life – As was the case with Halo, I feel that I ought to play this FPS.
  • Bayonetta
  • Tales of the Abyss – I think I’m about due for another fun Tales experience.
  • Last Window: The Secret of Cape West – Yet not before replaying Hotel Dusk.
  • Soul Nomad and the World Eaters
  • Dragon Quest VI: Realms of Revelation
  • Professor Layton and the Curious Village
  • The Legendary Starfy
  • Suikoden V

Going by previous backlog posts, I’ll probably end up playing somewhere between a third and half of this list, and one or two games will make repeat appearances on next year’s. We’ll see how it goes.

Games will be Games

RKasa
November 19, 2011
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I know it’s been a long time since I last posted here, and I’m afraid I don’t have any truly valid excuses for that other than general procrastination (though the issues I’ve been having with WordPress lately are annoying). However, there has been a lot of gaming going on in our household, as usual. I will write about some of the games I’ve been playing later, but for today, here’s a couple that my husband beat over the last couple of months.

First up was Batman: Arkham Asylum, specifically the “Game of the Year” edition for Xbox 360. Having been a PC gamer for several years, the mere existence of a console GOTY edition once struck me as a bit odd, but it’s also a sign of the times. After all, console games have steadily become PC games this generation, with bugs, the requisite patches for those bugs, and expansion packs, now termed “downloadable content”.

Arkham Asylum itself, however, is a console game through and through. Genre-wise, it’s a brawler set in a somewhat open-world environment, complete with combo moves and collectables. It stars everyone’s favorite DC Comics hero, the Goddamn Batman, in a game world that is as dark, gritty, and poker-faced as he is. This world is the microcosmic Arkham Asylum, which is located on an island this time around, and is grimy and run-down, almost in that Weird NJ abandoned mental hospital sort of way. The fist-fodder consists of a handful of standard enemies with a few weapon variations thrown in, plus the odd grotesque supervillain. The plot is comic book/video game boilerplate, and there are several references to the larger Bat-canon littered throughout, including a database of series villains that (although being wildly inaccurate in regards to Harley Quinn’s first appearance) makes for interesting reading.

Video games!

Gaminess runs as rampant as the inmates. One of the first things one notices about the game is the odd placement of Batman when the player is controlling him; instead of being centered on-screen, our hero is off to the left when walking around, an arrangement that my husband found took some getting used to. Clearly, the goal in this bit of design is to give the player a clear field of vision without resorting to a first-person perspective. It’s not what I’d call immersion-breaking, but it does call attention to itself. Then there’s the gadgets, which are optimized for extreme gaminess. One favorite was the Cryptographic Sequencer, a hacking tool that uses two dials (or analog sticks, if you prefer) to short-circuit electronic locks.

Perhaps the most interesting thing about Arkham Asylum is how violent it is—despite Batman being a character who avoids guns and killings out of principle, and despite this being a T-rated game. When Batman punches or kicks a villain, the hit is hard and brutal, emphasized by the animation and sound effects. This is a Batman for the New 52 era, even before that reboot existed; a Batman as concerned with grittiness and realness as your average gangsta rapper. In a way, this subtle pandering to the demographic that this game is going for (while still maintaining a T-rating), is yet another sign of gaminess, and not a particularly encouraging one at that.

More video games!

Assassin’s Creed II‘s Ezio Auditore di Firenze is a more suave, stylish, and handsome hero than the Dark Knight, and we welcomed him back into our lives with the next game on my husband’s agenda, Assassin’s Creed: Brotherhood. Compared to its predecessor, it was largely more of the same, albeit in a (mostly) new place, the city of Rome. The story picks up right from the ending of AC2‘s, continuing on with a new main goal, more assassin missions, an altered approach to management simulation, a smattering of interesting new features, and yet another crazy ending.

The entire Assassin’s Creed series is gamey by design. You are playing Desmond who is “playing” his ancestors through abstracted means: the Animus device and its software. When Batman picks up an audio tape that just happens to be shining, there’s no excuse for that shine other than the game’s developers wanted to call attention to it. When Ezio spots a collectible Borgia flag marked by a certain white glow, that artifacting is intended to be a feature (or side-effect?) of the Animus. The same goes for the game’s menu, health meter, “Truth” puzzles, and just about everything else. Even the part of the menu that details historical facts is said to have been written by someone in the real world; in the Ezio arc, it’s the snarky Brit Shaun.

True gaminess outside of the veneer provided by the Animus is smartly rare. When Desmond steps out of the device, there’s no health meter or map, and the menu is irrelevant. One unintentionally hilarious bit of gaminess manages to sneak through, however: Desmond wears a sling-style backpack, which he keeps on when sitting in the clinical, ergonomic Animus.

That said, the meta-narrative involving Desmond presents an interesting problem for future installments in the Assassin’s Creed series. Many have speculated that Desmond himself will be playable for the majority—if not all—of a future title. Yet, how would this be pulled off while providing the player with the information they need (via the HUD and menu system) while explaining these tools existence in the real-life world? There have been hints throughout all of the games about the changes in Desmond’s perception, but tacking on a HUD to his real-life adventures would be a bit too much.

Gamers still don’t know if a Desmond-centric Assassin’s Creed is in the works. Series developer/publisher Ubisoft seems to want to milk the series for all its worth, and after the recently-released Revelations, said to be the last game to star Ezio, they could very well dip back into history with something set during the American Revolution, or the Victorian Era, or World War II. The possibilities really add up with a series like this, and it could be a long time before Desmond sees the last of that ol’ Animus.

The Legendary Zelda

RKasa
September 10, 2011
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Until recently, I had never played a Legend of Zelda game before. This is true. I had gone throughout my entire life never having rescued Zelda, the Triforce, and/or Hyrule from the clutches of evil. With the exception of Twilight Princess, which I had watched my husband play through much of, my familiarity with the Zelda franchise had been mainly limited to everything outside of the games, including the infamous cartoon show, some of the comics, and the characters’ cameos in the likes of the Smash Bros. series.

This changed for good when, after PAX, I got the urge to play The Legend of Zelda, and play it seriously. As I implied in an earlier post, the Omegathon bears much of the blame for this decision. In the end, though, I’m glad I made it.

The Legend of Zelda came out in the US in the mid-to-late 80s, when the Nintendo hype machine was starting to build the company up to incredible heights. Zelda and its shiny golden cartridge helped usher in a new franchise, one which is widely loved and stands apart from so many other games. Often I’ve wondered what the deal is with this series. Why is it so special? The answer is undoubtedly different for each person, but after playing through the original game, I have a new appreciation for Zelda in general.

The game opens with a simple title screen, which is followed by a brief bit of text which establishes the plot. The Triforce of Power has been stolen by Ganon, and Princess Zelda broke the Triforce of Wisdom into eight parts before being taken away herself. It is therefore up to Link, the hero, to find the scattered pieces of this latter Triforce and rescue the princess. What follows next is a list of all the items which can be found in the game, along with a note to refer to the manual for more info. Seeing as how I was playing this game via The Legend of Zelda: Collector’s Edition for the GameCube, there wasn’t much information in the manual for this one game, and little about the items in particular. Still, I managed to figure out most of these details on my own.

My somewhat rudimentary but very useful overworld map.

Upon starting the game, I found myself in the middle of a path surrounded by green cliffs. A cave was in one of them. Walking eastward, I happened upon a forest full of monsters. At that moment, I realized I have nothing to defend myself with. I went back to the starting area and entered the cave. An old man was there with a sword; he said, “It’s dangerous to go alone! Take this.” And thus, my adventure began in earnest.

The game’s world is surprisingly big, but only little chunks of it are seen at any given time. There is a map at the top of the screen along with other crucial information, such as my health meter and the number of bombs I have on me, but it is Atari 2600 levels of crude. After wandering around and getting lost several times during initial play sessions, I decided to dig out some graph paper and draw my own map. This helped matters immensely. I must also note that the individual dungeons have in-game maps as well, but these are generally smaller in scope and much easier to read, and thus I didn’t feel the need to map these areas myself until I was past the halfway mark.

Another aspect of the overworld that I noticed early on is its openness. For instance, it is entirely possible to walk into the “Level-5” dungeon when you’re at a “Level-1” state. There are a lot more caves besides that first one, with more people to talk to (and/or get items from); also, the enemies get progressively harder the further out one explores. I can imagine being ten years old again, playing this for the first time and being genuinely impressed by this overworld. Hell, I found myself impressed by it here in 2011.

The wide variety of items available is also impressive. Aside from expected fare like health regenerators (hearts, potions) and currency (rupees, or “rubies” in the NES manual), there are secondary weapons such as the boomerang, which comes back to you on every toss—even if you move somewhere else in the meantime. However, it took me awhile to figure out how to actually use it (hadn’t yet downloaded the original manual at that point), and even afterward, it was pretty much useless until I got the upgrade. One item, the red candle, seemed not to work as described; same goes for the meat, until I found that it serves a very specific purpose.

My note-heavy late-game dungeon maps.

Certain items are needed in order to get further in the game, and become harder and harder to find as one goes along. One of the most devilish tricks the game pulls is the location of the Red Ring, which is the best armor available. On that note, there are (comparatively speaking) tons of secrets hidden throughout the game, especially in the overworld, in that old-school, tough-as-nails 8-bit-era way. There are hints about new items and areas scattered here and there, but a couple of them are awfully vague. Here then is the purest evidence that this is a video game from an era when such things were expensive, and (in this country, at least) were usually bestowed upon children as birthday and/or holiday presents, and thus had to last them for months on end. These days, such deeply buried secrets—especially those that are needed in order to progress—have rightly fallen out of favor amongst both developers and players, but there is, admittedly, an odd sort of satisfaction when randomly discovering something you had no idea was there. Still, that did not at all outweigh the mild frustration I felt over being unable to progress (or get a specific item) at certain points.

The game’s graphics are clear and simple throughout, with a limited palette that gets the job done. The animation is what one would expect from an NES game of this vintage, as are the sound effects. The Collector’s Edition does a good job of displaying everything in HD, though screens heavy with enemies are accompanied by an annoying slowdown. As for the music, it is repetitive. There are only about five or six pieces throughout the entire game, and two of them are heard constantly (on the overworld and in the eight Triforce piece dungeons), but are thankfully catchy. It’s little wonder then that these two pieces have since gone on to become much loved classics of game music.

All told, The Legend of Zelda has stood the test of time much better than other 8-bit games, and despite its more antiquated aspects, is quite playable today. It is a very important title in the history of video games, but it took my actually playing it to realize the weight of this importance. Its genre is hard to pin down—though I think it bears the greatest resemblance to a Metroidvania—but its influence is pervasive in many games that have followed since, clones or not. For instance, with only the first Zelda taken into account, a modern game series that strikes me as being very similar to it without being an outright clone is Grand Theft Auto. The GTA series’ open worlds, loose mission structures, hidden goodies, and so on are extremely reminiscent of its fantasy-based predecessor. I’m sure if I give it more thought, I can find touches of Zelda in countless other games, whether obvious or not.

My total experience as a gamer has been enriched by playing this one title—incredible it must have been then, and still fun today—and as such, I must recommend it to anyone wanting (or needing) a deeper sense of video games’ rich history. Finally, if you do play it, the excellent walkthrough at Zelda Dungeon is a great resource, should you feel the need for one at any point. After all, it can be dangerous to go alone.

Brainscraps Mailbag: So far, I’ve heard from one of the cosplayers featured in PAX Pix 2011, Part Four; a “cosplay credits” section has been added to the end of that entry (and its crosspostings). Anyway, here’s the email from Peter Jung:

Hi, I saw that you did a piece on the cosplay of PAX with a picture of me (as Community Outreach Gordon) on the front. Just wanted to say thanks, that totally made my day. I’m thinking next year I should start putting my email on the brochures, as they were a way bigger hit than I thought they’d be. Or just make a real HEV suit already. Anyway, glad you enjoyed it, I do it for the fans. And to say in a non-aggressive way to Valve, people still want a half life game.
Thank you,
-P.

Thanks for your email, Peter! And once again, if your cosplay is featured in that post, please let me know and I will be happy to credit you.

Devil May Sigh

RKasa
October 7, 2010
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My lazy ass has taken up fanart again, hardcore. I haven’t drawn much in awhile, and needed to get back into it, so I dove into some pieces that I’d left hanging months ago. The three that I’m currently working on are coming along well, so far, and I hope that I can shake off the last remnants of rust from my skills by the end of the month. What are they? Well, all I’ll say at the moment is that they involve Final Fantasy VII (of course) and two games I beat this year.

Having an account (and running a decently-sized group) at deviantART, I see a lot of others’ fanart on a regular basis. However, my favorite bit of recent fanart I saw on a forum; it’s the one to your right, which, via the “Reaction Guys” meme, is an accurate description of what many Devil May Cry fans felt when the Ninja Theory-developed reboot DmC was unveiled at the Tokyo Game Show last month. To whoever drew this very true reaction, I salute you.

Yeah, I don’t like Dante’s new look either. I’m also a bit wary about Ninja Theory taking the helm of this game, which will be the latest in a series which is traditionally action-packed, combo-heavy, and charmingly cheesy. From what I’ve heard about Heavenly Sword, it wasn’t all that, and early impressions of Enslaved have me suspecting that although DmC might have the Hollywood associations that Ninja Theory likes to include in their games, it probably won’t have the Devil May Cry series’ tricky controller gymnastics. So far, the funniest, weirdest, and scariest thing about DmC is how much the “new” Dante resembles the lead developer. Egad.

While DmC makes me sad, the blog Opposable Thumbs makes me happy. It’s one of a very few number of sites sites I’ve added to my daily games-related internet reading this year. I haven’t liked everything I’ve read there so far, but in general, it’s quality. Some recent pieces I would like to recommend are their history of the Civilization series, the much-discussed article on elaborate press goodies, the review of text adventure documentary Get Lamp, and, my favorite of these, a hands-on look at the latest Cabela’s hunting game.

To round things out, here’s some other recent articles, blog posts, etc. that I’ve found interesting. First off, it seems that Stephen Totilo and N’Gai Croal were at it again, asking developers to play their game “Canon Fodder”, the aim of which is to list the ten greatest games of all time. You might recall that I attended the first season panel at PAX East. It seems that PAX Prime 2010’s Season Two brought a lot of its own drama, especially since that stubborn Ocarina of Time was completely removed from the list. Good stuff, and I’m looking forward to Season Three come PAX East 2011 (hopefully). And speaking of PAX East 2011, registration is now open! Unfortunately, the hotel info isn’t up yet, but you can bet we’re booking as soon as it is.

Ian Bogost’s article Persuasive Games: Free Speech is Not a Marketing Plan looks at the recent controversy surrounding the Taliban’s role in the upcoming Medal of Honor game and laments on how easy it was for EA to deal with it. The most relevant bits were quoted in this GameLife post, if you just want a summary. On a lighter, and totally unrelated, note, Gabe’s promo art for Comic Jumper (second post down) is a hilarious—and well drawn!—homage to the horrible but distinctive comic book work of Rob Liefeld.

Finally, some JRPG-related stuff. RPGamer posted a “retroview” of Final Fantasy VII that is honest and fair, though I don’t agree with the reviewer’s take on the field navigation. Meanwhile, Andriasang has posted some interesting and wonderful pics from Japan, namely a comparison between old-style Disgaea sprites and the new Disgaea 4 ones, and a drop-dead-adorable plush of Final Fantasy XIV moogle Kuplu Kopo.

I’m probably never going to play FFXIV, but I must have that moogle.