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.
We had skipped PAX West (formerly PAX Prime) last year, and missed it terribly, so deciding how to spend our 2018 Labor Day weekend was a no-brainer. As usual, the whole process of obtaining the tickets was a white-knuckle affair—most especially and unexpectedly a few days before the show, when one of our PAX friends’ passes got lost in the mail. Fortunately, he was able to get things sorted out, and after a week of preparations on our end (including taking care of our own little emergency involving a pet sitting cancellation), we all met up in Seattle. This even included one of our group who had decided to skip PAX, but wanted to be in town nonetheless. PAX was here!
The following four days were packed with panels, games, and some delicious food, including some from longtime favorites Juicy Cafe and MOD Pizza. Downtown Seattle’s Rock Bottom Grill, our regular post-show spot, had since closed, but the Gordon Biersch in a nearby mall was a decent substitute; it was also the location of the first post-PAX Cheap Ass Gamer meetup that I organized seven years ago.
So, I’m playing a Nippon Ichi strategy RPG again, albeit for the first time in years. The last time was back in 2012, when I played through Soul Nomad, which was very different from their previous releases, though still enjoyable. This time around, it’s something a bit more “traditional”: Disgaea 3: Absence of Justice, a PS3 game in which the Netherworld consists of a gigantic school, the Evil Academy. The main character, Mao, is a top honor student—as in, he never goes to class and typically spends his days lazing about—who aspires to defeat his father, the Overlord. Mao and the other members of the cast have the usual eccentricities, and overall, the tone tries its best to channel the smile-inducing spirit of its most successful predecessor, Disgaea: Hour of Darkness. So far, I feel it’s falling somewhat short. I like some of the characters, particularly the waylaid hero Almaz, but Mao is only a few steps short of being annoying; also, the story, while not bad, isn’t particularly remarkable, and relies a touch too heavily on fourth-wall breaking for some of its humor.
Normally, knowing how I review games with prominent stories and characters, this might pose a problem. For me, a poorly-plotted story can discolor what is otherwise a wonderful experience, and appealing characters are typically equally important in such games. This is a Nippon Ichi SRPG, however, so what will ultimately make or break the game is its gameplay: the turn-based, grid-based, multiple-character-managing battles executed in a style that this studio is famous for. Usually, they get this right, though there have been some missteps as well. Phantom Brave, which features one of the best stories amongst all of Nippon Ichi’s games, had a terrible system which ditched the space-by-space grid-based movement and attacks for a more freeform style, but that was hard to use effectively (nevertheless, I liked the rest of the game so much that I want to give it a second chance sometime, and, seeing as how I don’t own the original PS2 version anymore, picked up the Wii port awhile ago). Makai Kingdom, which, on the other hand, had a story and cast which I hated, had a more refined version of Phantom Brave‘s system, but it was only barely less fiddly. It’s worth noting that Nippon Ichi has gone back to, and stuck with, grids ever since. Besides grids, Disgaea 3 has the other trappings typically expected given its lineage, including a special field-based battle gimmick (in Disgaea games, this means the color-coded Geo panels and symbols/blocks), lots of character types to choose from, tons of equipment and other useful items, and a ridiculously high level limit of 9999.
These systems are deep, and potentially overwhelming. The in-game information is presented very clearly within well-organized menus, with the most important bits made suitably prominent, and even so, it can be a lot to take in at once. It’s no surprise that Disgaea games are, usually derisively, compared to spreadsheets (and also that some players make spreadsheets to get the most out of a playthrough), but this is only part of the journey. Micromanagement leads to some pretty fun rewards in battle: giant explosions and magical effects from special attacks, useful bonuses that rack up depending on how many chained and combo attacks are pulled off, and the numbers that appear whenever most any action that doesn’t involve movement between panels is executed. Seeing these numbers climb higher, particularly after a carefully arranged Geo panel and block sequence is set into motion, is a major part of where the fun lies. Disgaea 3 and its ilk are not so much about spreadsheets and the statistics they contain, but making satisfyingly big numbers out of them. It is strangely capitalistic in this way, although more overt signs of capitalism—stores and the like—are presented in typical fashion otherwise.
It is the sort of game which I have been away from for far too long, but also, like so many other information-rich types, one which I should only indulge in occasionally, lest I start regularly seeing numbers in my sleep. Aside from the expected refinements made to the base formula (for better or worse), it’s the same sort of cozy, crazy Nippon Ichi SRPG I’ve always preferred. I’m only just starting the fourth chapter now, which means I should be about a quarter of the way through, by Disgaea standards, so there’s still a lot of room for the story to improve. I hope it does, but I wouldn’t begrudge the story too much if it never rises above its current mediocrity. Just keep the controls straightforward, the information tidy, and the effects and numbers captivatingly bombastic, and I’ll keep on happily playing until the credits roll.
Sony’s PlayStation 2 is one of my favorite dedicated gaming platforms of all time. There’s a wealth of amazing games for that system, including ICO, Kingdom Hearts, Disgaea: Hour of Darkness, Katamari Damacy, and several others which I am glad to have experienced. Over the years, I’ve gone through two consoles. My first, a “Phat” bundled with Gran Turismo 3: A-Spec, developed disk read issues; instead of attempting a repair, I sold it on eBay. The second, a Slim, eventually saw problems with the disk drive’s hinged lid, which I fixed by setting a hardcover copy of The Simarillion on top of it whenever I wanted to play a game. Oh, and the controller’s left analog stick sometimes becomes stuck in a certain direction, but not enough so that it’s unusable. Plus the switch from a old-style TV to an HDTV some years ago introduced noticeable lag into a handful of games, but that’s not the PS2’s fault. We have a third PS2, our second Slim, brand-new and packed away in storage, just in case we should need it.
However, the first Slim might be joining its sibling soon, as I recently beat the last PS2 game I had planned to play. This game, appropriately enough, was also one of the last major North American releases for the PS2: Sakura Wars: So Long, My Love.
So Long, My Love is the fifth main entry in Sega and Red Entertainment’s Sakura Wars franchise, and the only one ever to have been officially localized in English, albeit by NIS America (however, a fair number of the anime spinoffs have seen release here since the late 90s). Why this series has stayed in Japan for so long is not a surprise once one starts up the game, as it has a very heavy visual novel/dating sim component. When this game was released in the US in 2010, English-localized dating sims were extremely niche, and typically the province of adult PC game publishers. Though the situation has improved since then, they still occupy a small and specialized corner of the overall Western game market.
The battle system is simple, yet enjoyable.
The other 20-30% of the game is, of all things, a strategy RPG, and not a bad one, either. Not including the endgame, battles take place roughly twice per chapter, typically with one being ground-based, and the other focused on aerial combat. The battle system plays like a simpler version of the one in Valkyria Chronicles, which is not a surprise considering that many Sakura Wars staffers went on to work on the later series. Nearly all actions, including moving, healing, defending, joint attacks, and special moves, cost a set amount of action points (and sometimes SP as well), and the lack of a grid means that units can move freely around the maps. There is a bit more to it, but in general, if you enjoyed the gameplay in Valkyria Chronicles, there’s much to like in So Long, My Love‘s battle system.
To get to those battles, however, requires going through lots and lots of text. The main story takes place in an alternate-universe version of the 1920s, where steam engines have become so advanced that they’re used to power airships and mobile suits. The player character is Shinjiro Taiga, a fresh-faced young officer who is shipped from Japan to the US to join the New York Combat Revue, a troupe of Broadway performers who moonlight as peace-keeping pilots of mechs called STARs. This wacky intersection of professions is justified in that not only does the Revue have to keep the peace, they are also charged with spreading happiness throughout the city with their performances, in order to ward off negative energy.
Bizarro New York has a “Bay-area” instead of a “Financial District”.
Despite the thought put into the Combat Revue’s role and other such plot concepts, the world-building is by far the weakest part of the game. Forget about the sometimes odd musicals the Revue puts on; more importantly, the New York City represented here is not so much the real thing as a dreamlike idea, and contains a number of inaccuracies. A library building that resembles the main branch in Midtown is in the Village. Wall Street is north of Chinatown. Fifth Avenue is on West 59th Street, and so on. There’s also the lack of steampunky elements—besides the NY Combat Revue’s equipment and facilities, there’s not much other fancy gear save for a few pipe-heavy cars and the occasional public fixture—and the odd anachronism such as the graffiti in Harlem. The most jarring flaws of all surface late in the game: it’s December, and the city’s bushes and trees are mostly still leafy and green. You wouldn’t know it was a Northeastern winter at all if it weren’t for some mentions of Christmas and the light snowfall that occurs during one battle.
The sharply-dressed Sagiitta and Subaru.
The characters have quite a bit more thought put into them. Besides Shinjiro, there are five other STAR pilots who are already a part of or later join the team. Main girl Gemini is a cheery Texan with big dreams who shares an apartment with her horse Larry. Sagiitta is a proud and intelligent lawyer (yes, she actively maintains a third profession) and, surprisingly, one of the best African-American characters in all of video games. Fellow Japanese expat Subaru is an aloof genius type who is identified as female, but whose actual gender is a mystery. Energetic little Rikaritta (aka Rika) is a performer and bounty hunter who loves to eat. Finally, there’s the girl whose ending I went for: Diana, a kind and sickly young woman who studies medicine and loves birds and nature. Rounding out the cast are the non-performing staff of the Revue, plus a handful of lesser characters, including a boutique owner, a jazz musician, a grocer, and a couple of mobsters. Most of these characters are well fleshed-out, with the STAR pilots/girlfriend candidates getting the bulk of the development. Each of these girls has a distinct story arc, with some of them better written than others, and developing close relationships with them affects your party’s strength in battle. The romance that results is chaste to the point of being practically platonic—a good thing when you consider that the youngest of the bunch, Rika, is only eleven years old. In general, although the basic story is fairly simple and rarely original, the highly likable characters and their tales nicely make up for it.
Get these moves right for a happy Rika.
Unlike with other visual novels, the choices you are given while interacting with these characters are usually timed, and some tasks, such as an early one where you help Gemini clean the Littlelip Theater, involve successfully pulling off series of analog stick movements. When you’re free to move around, you can explore the city both to further the main story and get to know various characters better, and also play around with a combination radio/camera called the Cameratron, which seems to be mainly there for an ongoing picture-taking sidequest. There’s also a log feature, standard in many VNs, which is useful for going back and checking bits of previously read text, as well as a quick save option for non-battle sections. Still images of the heroines can be collected, though there is no standard CG gallery, unfortunately. Overall, the visual novel end of So Long, My Love is solid where it counts most, though there’s a bit too much of it compared to the battles.
The script itself is a little repetitive at times, but generally all right, and the localization is servicable. Aside from some poorly-drawn fingers, the character art is pleasant to look at. I’ve already complained about how New York City is represented, but as far as basic quality goes, the background art is average, as is the sometimes-earwormy music. Cutscenes are lovely cel-animated affairs that are sometimes decently blended in with the gameplay sections. The voice acting—a fair amount of the game is voiced—is, however, not as good as the rest. What made me buy the PS2 version of this game in the first place was Gemini’s cringe-inducing English voice in this trailer. The PS2 version comes with both Japanese and English VO options, as opposed to just the latter for the Wii, but in the end, it might not have made that big of a difference. Even with my limited knowledge of the language, I could tell that the Japanese voices were frequently light on charm (with the exceptions of a few characters, mainly Ratchet) and heavy on melodrama. Also, given the US-based setting, there’s a not insignificant amount of Engrish sprinkled throughout. Finally, the oddest thing about the game’s audio is that Shinjiro is not voiced at all outside of the rare animated cutscene.
Sakura Wars: So Long, My Love is quirky as hell, much more so than the last such game I wrote about. It also might be a fitting swan song for the PS2, home to so many unique, colorful games for all types of audiences. So Long, My Love is an odd intersection of high profile and low budget, the traditional and the innovative, East and West. It’s unlike anything that had been localized before and is most definitely not for everyone, but the fact that it was released here at all is one of those things that was great about the PS2 era. Thanks for all the good times, PS2, and I hope to visit your games again in the future.
Just got back from Portland yesterday. It was an exhausting trip, filled with plenty of walking and foodie’s food. I had wanted to write this post either right before or during the trip, but a lack of sleep got in the way. However, I managed to catch up, somewhat, last night, so here I am.
To start off with, at the beginning of this month, I beat Shin Megami Tensei: Devil Summoner 2: Raidou Kuzunoha vs. King Abbadon, an action RPG which has one of the longest titles of any game I’ve ever played. In terms of both gameplay and plot, it was better than the first Raidou game, which I beat earlier in the year. New features—such as the ability to summon two demons at once; better accessibility to the Gouma-den, where new demons can be fused; and a negotiation system which, despite its usual tediousness, is the best I’ve seen in all of MegaTen—were quite welcome, though some repetitive elements stood out as the game’s greatest flaws. By that, I don’t mean the reuse of much of the previous game’s assets, which I didn’t mind at all. Rather, what bothered me was the overdone recapping, and even more, the obviousness with how the story’s branches were handled. Every so often, roughly once a chapter, a character would ask a rhetorical, philosophical question that basically asked Raidou to choose between revolution and the status quo. The answers to these ham-fisted questions don’t matter until the very end of the game, and even then, there is one final barrage of inquiries right before the branching path is settled upon. Despite these nitpicks, Raidou 2 was a decent game, though hardly the best MegaTen I’ve played.
A few days afterward, I finally finished reading a manga series which I had first sampled over fifteen years ago: Barefoot Gen. My first experience with Gen came with a copy of Volume 2, picked up cheaply at a certain bookstore in Philadelphia. Some years later, I picked up a used copy of Volume 3, but I didn’t buy any more of the series until last year, when I picked up the first and fourth volumes. Around then was when I learned that my older volumes were heavily abridged, and that the current edition, published by Last Gasp, is complete and uncut. Therefore, I repurchased volumes 2 and 3, and, later on, the last six books as well.
A semi-autobiographical tale inspired by mangaka Keiji Nakazawa’s childhood, Barefoot Gen tells the story of Gen Nakaoka, an elementary school-aged boy who survives the atomic bombing of his hometown, Hiroshima. By the end of the first volume, the bomb has dropped, and the story truly begins. Subsequent volumes find Gen making new friends, being discriminated against, and raging at not just the Americans who dropped the bomb and occupied Japan, but the Japanese Emperor and politicians who were so eager to wage war in the first place. It is, as noted in the always excellent ANN column House of 1000 Manga (spoilers in link), an angry manga, and sometimes, especially toward the end, Gen’s anger gets to be a little too much. The last few volumes are rather tedious at times, even as it explores the Japanese side of things during the Korean War; as a sign of the plot wearing thin, the final tragedy that befalls Gen and his group is one which, startlingly, doesn’t have much of a direct tie to the atomic bomb. Gen is also a violent manga; atomic bomb aside, it hews to the shonen manga tropes of its time, with lots of hitting and fighting, often between adults and children. Despite its pacifist message, seeing Gen so eager to physically fight people who dismiss his anti-war views is more than a bit disarming. Also, without giving anything away, in one of the later volumes Gen does something in the name of his personal philosophy that is so lacking of empathy and maturity it’s astounding. It’s an important manga, probably the best I’ve ever read about Japan during that era, but it’s also rather dated, and at least one of the included forewards was undesirably diversionary from the manga’s basic premise. It might’ve helped if the manga was broken up into chapters, as they were originally serialized, but instead, the manga flows together as one long story, broken up only by its separation into ten books. I recommend the first few volumes, but if you don’t want to stick with it after that, I really couldn’t blame you.
After Gen was wrapped up, and between new volumes of Nisekoi (aka the harem manga for people who normally dislike harem manga) and the always charming and hunger-inducing What Did You Eat Yesterday?, more games were played! I started, and am still playing, a Japanese copy of Picross DS, which I picked up on the cheap during Play-Asia’s annual Spring Sale. There’s nothing much to say about it besides that yeah, it’s Picross, though the zoomed-in 15×15 puzzles took me a little getting used to, not to mention the menus in a language that I can’t understand very much of. Right now, I’m currently stuck on a couple of flower-themed puzzles in Normal mode, though I’m sure I’ll push through them soon enough.
I also cranked through a few short games on Steam. First up was Escape Goat, a room-based puzzle game a la Adventures of Lolo and Toki Tori. It’s a solid entry in this genre, structured to encourage experimentation, and with precise controls and well-designed, if sometimes frustrating, puzzles. If you like this sort of game, as I do, you’ll like Escape Goat—enough said.
Second was Octodad: Dadliest Catch, whose controls were the opposite: intentionally difficult to master. This game, about an octopus trying to live as a normal suburban father in a nuclear family, revels in the ridiculous. Everyday tasks, such as mowing the lawn or picking out the perfect apple at the supermarket, are much harder when your arms and legs are tentacles and you want to blend in with actual humans. The story takes some interesting turns, and although I felt somewhat partially robbed of my final victory due to where a certain object landed, I found Octodad to be a neat little game overall. The pair of included bonus episodes were worth playing through as well.
The third short game I played through before leaving for Portland was the shortest and least interactive of the bunch: a wordless visual novel called A Bird Story. Produced by the developer of To the Moon, this is a similarly sentimental journey. In it, a young boy, who goes through the motions at school and is interested in flight, rescues a bird. It’s kind of cloying at times, and because of that, whether or not you’d like this would depend on your natural tolerance for such things. Thankfully, the length is just right, and most everything about it is simple and straightforward.
Now that I’m back, and catching up on my sleep, I think I’ll continue going through some other short games in my backlog, which I may or may not write about here. I also picked up Legend of Dungeon again recently, which has improved since the last time I played it, thanks to some patches. It’s now not as unfair as before, though it still lacks some of the refinement and balance of better roguelikes. Goat Simulator is also in my “Now Playing” list, though I’m not sure when I’ll go back to it.
I also may start the last unplayed PS2 game I have left in my backlog (if you don’t count Valkyrie Profile 2: Silmeria, which I’ve put up for sale): Sakura Wars: So Long My Love. I may start that this week, depending on how I feel; we’ll see. At any rate, it’ll definitely get played sometime soon.
It’s always frustrating to see a game get so much right, only to fall flat on its face in a few significant ways, but such was my experience with Valkyria Chronicles. This game had been on my radar for a long time, and I picked it up a few months after its arrival on Steam. In most ways, it lived up to the hype, and I greatly enjoyed it, but its flaws are difficult to ignore.
I’ll start with the good stuff since, like I said, this game does do a lot of things right. This is a strategy RPG unlike most others, one which ditches the isometric gridded maps for full 3D environments as in other modern console JRPGs. The gameplay is a mix of the real-time (shifting lines of sight and enemy fire while a unit moves) and the turn-based (everything else), with variables ranging from weapon capabilities to characters’ personalities affecting every action in the field. Keeping things simple, the character classes are limited to five (six if you include tanks), with the strengths and weaknesses of each clearly defined.
The most welcome aspect of the battle system is the way experience is handled. One of the issues I almost always run up against in SRPGs is leveling up individual units; in these sorts of games, only those who deal the killing blows to enemies gain experience points. Valkyria Chronicles solves this problem by not doling out EXP until the end of a battle, after which it goes into a wallet of sorts that can be spent on leveling up entire classes and/or learning new orders, special buffs which can be used on one or more units during a fight. On the downside however, at least for me, the amounts of both EXP and money received at the end of battle are partially determined by a rigid grading system, where higher grades are given the faster a map is cleared, similar to modern Sonic games. Despite this, I found that the shared experience pool, along with the equipment upgrade system and party management options, nicely streamlines the most fiddly bits of a customization-heavy genre.
The maps themselves are diverse in size, layout, terrain, and so on, and although the missions tend to rely too much on “occupy the enemy’s main base” as a goal, there is enough variation amongst the rest that this doesn’t become too dull. There is a learning curve for many of the missions, particularly if you’re like me and don’t want to lose any units (permadeath being very much A Thing for non-officer Valkyria Chronicles militiapeople), but the game is generally not very difficult.
Aesthetically, there’s as much pleasure here as within the gameplay. The cel-shaded graphics have a earthy and sketchy watercolor look about them, and, despite the occasional bit of outlandishness in the character design, everything is animated with subtlety and grace. Fan favorite game composer Hitoshi Sakimoto is responsible for the soundtrack, which is slightly gentler and happier than some of his most famous SRPG works. Excellent voice acting and sound effects complete the package. All of this is presented within a nearly flawless PC port; I did encounter one very bad clipping error, along with one or two much less severe issues, but the vast majority of the game ran smoothly.
Tying all this together is a user interface that is, for the most part, a dream to work with. The main menu takes the form of a book, with story events and battles broken up into individual sections within their respective chapters. Every cutscene not tied to a battle can be replayed at the player’s leisure after they’re first viewed, making catching up on the story between play sessions a refreshingly trivial affair. Outside of the story, customization and other features are largely handled through a “Headquarters” tab, and similar appendices are available for optional skirmish battles, glossaries, and so on. Just about the only thing I don’t like about the main menu is that there’s no “Load” option; to jump to a different save file, one has to quit back to the opening screen and do it through there.
In battle, the UI is just as handy, if not moreso. Things like number of remaining action points, unit locations, and so on are clearly marked, and although there are no takebacks after a unit has been chosen in the field, saving and loading files can be done at any time between actions.
However, despite all the polish that has gone into how the game plays, the story has a handful of issues. Blending the real-life inspiration of World War II with touches of JRPG-style fantasy, Valkyria Chronicles is set in the Europan country of Gallia, a neutral party caught between the western Federation and eastern Empire. The story, presented in the form of a book titled “On the Gallian Front”, revolves around Militia Lieutenant Welkin Gunther and his comrades in Squad 7. Naturally, Welkin just happens to be the son of a famous war hero, and has come to Gallia’s capital from a small town with two young women in tow: reserved younger sister Isara and energetic baker’s apprentice Alicia.
If this one-guy-two-girls setup is reminiscent of Skies of Arcadia, that’s probably not an accident, as Valkyria Chronicles shares some key staff members, and even contains a few nice homages to the older RPG. However, the comparisons don’t stop there, as several of Arcadia‘s most conspicuous plot elements make themselves incredibly clear early on. Because Arcadia was lighter in tone and, to a certain extent, unabashedly cartoony—with brightly-colored graphics, a setting that could only exist in fantasy, and themes of adventure and discovery—it could largely get away with its by-the-numbers story. On the other hand, the more grounded Valkyria, with its more modest plot centered around a small country doing its best to defend itself, doesn’t have that luxury. As a result, and despite some surprises and high points, Valkyria‘s story is more obviously predictable than even your average JRPG (particularly if you pay attention to certain details in the opening movie) and its few missteps stand out all the more.
The primary example I can give of the latter involves a major spoiler, so I won’t describe it in great detail, but I do want to discuss it, so I’ll try my best not to give too much away. It starts with a well-executed story sequence, and quite moving as well, so much so that it was the third instance of a game making me cry. However, even while this event was playing out, one character’s reaction to it confused me. More worryingly, when a certain aspect of this event is repeated later on, it felt like a cheapening of what had come before; on top of that, there was a ton of foreshadowing leading up to Event #2, so it’s not like that storytelling mechanic was all on the shoulders of Event #1. To the writers’ credit, Event #1 did have lasting relevance right on through to the end of the game, so it wasn’t a superfluous scene. However, the execution of both events was… poorly considered. This was, I might add, the point where I started to grow somewhat tired of the game.
The characters, like the story, don’t shy away from cliches, and despite most of them being pleasant, or, at the very least, interesting to watch, there’s only as much depth added to them as needed for the plot. This is especially true of the non-story-required militia members, each one of whom can be neatly filed away according to archetype. Fortunately, there are a wide variety of recruits to choose from when forming your squad, and it’s easy enough to ignore the most annoying-seeming characters in favor of those who are more appealing. On a positive note, it’s hard to ignore the fact that these grunts are a step up from the bland, personality-lacking units of the SRPGs of the past.
Choosing your squad, however, is not an option in the “Enter the Edy Detachment!” DLC, where you are stuck with six specific militia members, including and led by the shrill Edy, in a brief side-story where they get separated from the rest of Squad 7. This mission is unusually difficult if you don’t learn how to second-guess the AI, and doesn’t really add anything to the main story. Much better is the Selvaria-focused “Behind Her Blue Flame”, which shows a somewhat different side of this enemy general and includes some nice little tie-ins to the main game.
There are two other DLCs, an unlockable “Expert Mode” for the main game’s optional battles and a set of Edy Detachment-themed skirmishes, but I didn’t touch either of them. All four come with the Steam release, no extra purchases necessary, which is a nice bonus. Even without these essentially-free DLCs, Valkyria Chronicles‘ PC port is solid package that’s worth picking up, but if you’re a newcomer, be warned that the story is neither as good nor as innovative as the rest of the game.