For those who might’ve missed it, P.S. Triple Classic wrapped up a little over a week ago, with a fanart farewell post. You can now read the entire official English-language run of P.S. Triple online, along with commentary and some articles related to this comic. I’m still considering my options for the abandonware iOS apps, but I will try and make them available somehow, probably in the near future.
As for what else has been going on, I’ve been hard at work on the next 10th anniversary project, which will hopefully launch soon. I’ve also been playing a bunch of games, so let’s dive into those.
Another year has ended, and with it, another pile of games beaten. My Backloggery breakdown for the previous year once again wound up in the negative, but what else is new? I can’t speak for whether this has been a great year for gaming, as the vast majority of what I played were pre-2018 releases, though I did enjoy myself.
If you’ve read one of my past year in review posts, you know the drill: every game here is one that I’ve beaten or completed in 2018, regardless of release date. This time, in addition to my top ten and five honorable mentions, I’d like to give special shoutouts to two games.
Ever since PAX West, I’ve kept myself busy with everything ranging from personal projects to, of course, video games. I started off September by reaching both endings of Alphadia Genesis, a mediocre indie JRPG, and completing the *Mute route of Hate Plus, the sometimes frustrating sequel to the excellent Analogue: A Hate Story. Instead of going on at length about them here, please refer to my reviews of Alphadia Genesis and Hate Plus on Steam for additional thoughts.
A game which I ultimately chose not to write a Steam review for, because my feelings on it are that mixed, is the action platformer Apotheon. One of the top tags on its Steam store page is “Metroidvania”, which is a wildly inaccurate descriptor. As you all probably know, the defining feature of Metroidvanias is areas that can’t be accessed without the right tools, which must be obtained in a certain order. Apotheon does have skills to collect, but most are enhancements at best, and the only real obstacle blocking off areas is the plot. In other words, this game is more Shovel Knight than Axiom Verge.
If you’re a regular reader, then you may recall that I absolutely loved the original NieR. Despite its many problems, most of which were gameplay-related, there was so much care put into the aesthetic sides of things that I came away with a new favorite. Its sequel, NieR:Automata, ably answers the question: what if the gameplay was just as good as the story, world, characters, and music?
As NieR maker cavia is long gone, development duties for Automata were handled by Platinum Games, the beloved studio known for its slick action titles. Some key talent from the ol’ NieR staff were involved as well, most notably director Yoko Taro and composer Keiichi Okabe. This turned out to be a fruitful collaboration, resulting in one of the finest JRPGs released in some time.
I didn’t play it on a console, however, but on a computer. As such, the first thing I did after installing Automata was patch it with FAR. This mod, which is short for “Fix Automata Resolution”, offers a number of graphical tweaks that publisher Square Enix couldn’t be bothered with, and I highly recommend it to anyone who chooses to play the PC version.
Anyway, on with the review. Upon starting the game, the very first sequence is a top-down shmup. Although there were a small number of similar sections in the first NieR, there are a lot more of them in Automata, largely thanks to flight units controlled by our android protagonists. From there, we move on foot to a string of fights mixed in with some light platforming. A crazy battle against a massive boss ensues, and then the game starts proper.
The aforementioned androids are 2B and 9S, models made for fighting and intelligence gathering respectively, who work for an organization called YoRHa. It is 11,945 AD—some 8,500 years after the events of the first game, and nearly 7,000 years after aliens invaded the Earth with robotic “machine lifeforms” serving as their soldiers, sparking the first of over a dozen wars. Operating out of a space station called the Bunker, YoRHa sends its androids to the surface to do battle with the machines on behalf of the remnants of humanity, who reside on the Moon. I wish I could talk more about the story—which is grim yet fantastic—in this review, but, even with a spoiler warning given ahead of time, such discussion would make this post at least twice as long.
The aloof and logic-minded 2B is our primary playable character. Along with two melee weapons she can have equipped at a time, she comes with a small hovering robot, Pod 042, who provides ranged and special attacks. Her AI-controlled sidekick, 9S, is less cold, but quite a bit prejudiced when it comes to machines. Guided by Operator 6O, who provides support and instructions from the Bunker, 2B, 9S, and their Pods spend their time exploring the desolate, ruined world; taking on sidequests; and fighting the machines, who have started to evolve in unusual ways.
Both the flight unit and on-foot combat is smooth and satisfying. 2B can execute a slick dodge that recalls the one in Bayonetta, and the addition of regular ranged attacks thanks to the Pods adds a bit more variety than the first NieR had. 2B can be customized with upgradable chips that enhance offense, defense, speed, and other stats, or even grant convenient little abilities, such as being able to pick up items automatically. Special moves for the Pods can be swapped in and out as well.
Outside of battle, there’s sidequests and fishing, both of which are much improved from NieR‘s iterations, though the latter is a bit more pointless this time. The sidequests have generally better rewards, often including hard-to-find crafting materials, and are not as headache-inducing as certain NieR quests I could name. These quests also frequently serve as mini-stories which help to flesh out the world, and range in tone from funny and uplifting to melancholy and depressing. Meanwhile, the fishing is Animal Crossing-style, using simple button presses to toss out your lure (or Pod, in this case), then reel it in when there’s a bite.
The overall story is as nihilistic as the previous NieR‘s, but thanks in large part to dozens of documents which can be found, it’s also easier to understand without having to run to an external resource. These documents are scattered all over the world, and most of them start to become available after the first ending is reached. On a related note, one thing I liked was that the weapon stories (a tradition in the Drakengard/NieR series) are in-game this time, rather than in a Japanese-only artbook, as was the case with NieR. These stories unlock piece by piece as a weapon is upgraded, and are often dark tales about a previous owner. Some of these tales even tie into the plots of the previous games, which is a welcome touch.
Speaking of which, there are a handful of other callbacks that crop up throughout Automata, including at least one that can be rather shocking to NieR players upon encountering it. A major difference between the two’s stories, however, is in how multiple endings are handled. Unlike in NieR, Automata‘s first major ending leaves out the biggest revelations; for those, one has to complete the next two loops. At first, I wasn’t sure if I liked this new arrangement, but it worked quite well in the end, with far less repetition in subsequent story loops than NieR had. There are even some new and newly fleshed-out gameplay mechanics after Ending A is reached—such as the return of NieR‘s visual novel segments—as well as some cheeky playing around with certain video game standards. Another change is in the number of endings: not only are there five related to the core plot, instead of four, but also twenty-one gag endings which trigger under certain conditions.
Visually, Automata is another step up from the striking but often muddy NieR. The character designs retain some ridiculousness—especially the fetishistic YoRHa androids—but are also just as memorable. In particular, the machine lifeforms strike a very effective balance between cute and menacing, with their beady eyes and mostly expressionless faces. The various areas, which include a ruined city, vast desert, and forest with gigantic trees, are likewise effective, though sometimes a little frustrating to get around; for example, though it seems like some of the empty buildings can be entered in certain spots, invisible walls block the way half the time.
Finally, there’s the music, which is once again one of the best game soundtracks of all time. Okabe is one of those rare video game composers who really knows how to take advantage of that most versatile of instruments: the human voice. The compositions themselves don’t slouch either, as is demonstrated by certain remixes which crop up starting from a specific point in the story.
I’m gladder than ever that I played NieR, as it gave me a good excuse to play NieR:Automata, a fantastic game in its own right. Most of the janky charm of the original is gone (most; as noted, there’s still an annoyance or two), but in the end, it’s for the better, and the story being told is as strange and complex as ever. If you’re sick of the same old thing in JRPGs, NieR:Automata is definitely worth playing.
Despite a nasty cold early in the month, January was fairly productive, gaming-wise. I started and beat seven games, both short and long, and started an eighth. That unfinished game is Etrian Odyssey V, the latest in Atlus’ cartographical dungeon-crawling series, which I had put off starting for a few months in order to focus on Holiday Card work. As of this writing, I’m close to the end of the first Stratum, and the difficulty is starting to feel more punishing. This is not to say that EOV is easier than past entries; I think I just had a good handle on what to expect from this series when I first stepped into this latest Yggdrasil Labyrinth.
One thing I’m really enjoying about EOV (besides the food-gathering and cooking, fantastic features which help cut down on trips back to town) is its back-to-basics approach. The previous two games in the main series introduced overworlds to explore between Strata, and in EOIV‘s case, I suspect that it was one reason why I was ultimately so bored with that game. EOV does away with such areas. Here, you’re in the labyrinth from the get-go, just like in the very first two games. While it’s a little odd to see this regression, it’s also quite refreshing. Hopefully, the game will continue to hold my attention as I ascend to new heights.
The first game I beat way at the beginning of January also involved dungeons. Fidel Dungeon Rescue, which is about a very good dog who sets out to save his kidnapped master, has its feet in both the turn-based dungeon crawler and environmental puzzler realms. Each room is a puzzle that can be solved in more ways that one, but the most optimal solutions have the greatest rewards, the best being the XP which helps Fidel level up, increasing his overall health. The game’s most prominent feature—and, at times, greatest obstacle—is the title character’s leash. Fidel’s leash drags behind him, leaving a trail of places you’ve been before, and can be quickly retracted to rewind time and try out a different set of steps. However, the catch is that no square can be touched more than once, which can lead to the leash feeling like a barrier if its placement gets in your way. It’s a simple but well-implemented system that, along with the generous time constraints and dungeon layouts, lends the game its challenge. Fidel took me a fair number of attempts to get through, and once I did, whole new sets of challenges appeared. I completed two of these before moving on.
Around the same time I started Fidel, I took up another, though very different, puzzle game: Alphabear: Hardcover Edition. This version is a “pay once” PC port of the mobile title Alphabear. To play, one has to arrange randomly-generated letter tiles into words, which are then assigned points based on each letter’s countdown timer as well as other factors, like which bears you equipped before starting that stage. Creating words eliminates the tiles used, which causes the bears around them to grow, leading to more points. Score enough points to gain new bears, level up existing ones, and/or unlock the next stage. The entire scoring system is… rather complicated.
Despite its cute, whimsical aesthetic and inventive gameplay, Alphabear‘s challenges can spike in difficulty without warning, and some are just about impossible if you don’t have the right rare bears in your arsenal. This was my situation with Chapter 4-2, so I went back to some older stages to level up the bears I had; I also unlocked at least one new one. After I got through that stage, which took quite a long time, there were one or two other tough spots, but none nearly as bad. The difficulty balance and/or the rare/legendary bear drop rates clearly need some refinement, but apparently, the game’s progression was tweaked today, so perhaps this complaint is moot now. It’s also free to play this weekend on Steam, so you might want to give it a go.
Anyway, because of those headaches, Alphabear was actually the third game I beat this year, since 4-2 led me to setting it down for awhile. The second was Danmaku Unlimited 2, which is another mobile port, as it turns out. If the title didn’t already give it away, this game is a vertically-oriented bullet hell shooter. Thankfully, the difficulty balance is perfect. As a casual shmup fan, I liked it so much that I reviewed it on Steam. It’s a lot of fun and very well made; there’s not much else I could’ve asked for.
A few days before starting Danmaku Unlimited 2, I picked up my 3DS and, with some reservations, started Kirby Triple Deluxe, which would later become my fourth game beaten in 2018. I say “with some reservations” since I didn’t like the last Kirby I played and was sure that I had become burnt out on the series. Roughly two years later, I was relieved to discover that Kirby, especially the standard Kirby formula of enemy-chomping and ability-obtaining that returns in Triple Deluxe, is still something I can enjoy. In addition to being a straight-up solid Kirby game, this entry also features some nice callbacks to previous titles in the series. The endgame is also surprisingly lengthy and tough. Like with Danmaku Unlimited 2, there isn’t much else to say about Kirby Triple Deluxe except that it’s very, very good if you’re into this sort of thing.
Another platformer was next up: Thomas Was Alone, which I received in a CAG Steam key trade. It’s a straightforward, puzzley game where rectangles and squares of varying abilities have to be delivered to specific points, much like Fidel, I and Me, and many other games. Controlling these objects is a little fussy, but the puzzles are generally well designed, albeit varying wildly in difficulty at times. What’s different this time around is the narration. Each of the quadrilaterals is given a name, personality, and motivation, making what would otherwise be a well-designed but bog-standard game into one bristling with life. Some are full of themselves, some start out with a bit less confidence than they find later on, and some, like Thomas, are mainly just happy to have companions. This is one of those Indie Games That Everyone’s Played that I ignored for a long time, and it seems that that was a mistake. Fortunately, it’s now a mistake that’s been rectified.
Finally, in wrapping up the month, I began my delve into Tale of Tales’ oeuvre via a Steam bundle I picked up during the last Summer Sale. Using the studio’s MobyGames page as a guideline for the release order, I started off with the oldest title in the collection. This was The Graveyard, an extremely short interactive black comedy. At least, that was how I read it, given what happens after the player guides the one controllable character, an old woman, to sit on a bench. To spoil what happens next: a jaunty song about death plays and then, at some random point, the old woman dies. The player can get up from the bench and leave the graveyard before the latter happens, but both of the times I tried to wait to do so after the song ended, she died.
After that, I moved on to The Path. Inspired by the fairy tale “Little Red Riding Hood”, The Path has the player controlling one of six red-themed sisters, all with different ages and personalites, on a walk to their grandmother’s house. Stay on the path, and the game will decide you are a complete failure, and you’ll have to start over again. Leaving the path—and in doing so getting lost and discovering new things, including the Wolf—is how to succeed at the game. Each girl can go on their journey in any order you wish, and they each have a different, horrible experience at Grandmother’s House after encountering their own personal Wolves. It’s an ambitious art game thick with metaphor, but is clearly ahead of its time in how it incorporates gaming conventions. Rather than ignoring things like scores and stats, which a modern game of this sort might do, The Path includes them, and even relies on them to a certain extent. I’m not sure that this was an entirely appropriate choice except as a pisstake at more mainstream games’ expense. Other than that, I found The Path to be an interesting experience.
And that’s it for January! Next up, besides more Etrian Odyssey V, are the rest of that Tale of Tales bundle and who knows what else. I’ve started February in a healthier spot than I did January—both literally and figuratively—but I also need to whittle down the number of JRPGs in my backlog. Right now, I have no idea if February will end with as many games beaten. As usual, we shall see.
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 account, 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.
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