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Author: RKasa

Dungeon Hero C

Yesterday I beat Final Fantasy Fables: Chocobo’s Dungeon, despite being tired and feeling generally sluggish. Managed to get through the last wing of the dungeon and the final stage all right, partially because I had finished a particularly tough optional dungeon and gotten a really sweet reward from it that served me well for the endgame. There is a decent amount of postgame content, but some of it requires a ton of grinding (and therefore, way, way more dungeon crawling) and even though I enjoyed the game a great deal, I need a break from it for awhile.

Yeah, Chocobo’s Dungeon is very good indeed. Though I’ve played dungeon crawlers before (most notably the excellent Dark Cloud 2), I’d never touched an actual roguelike/mystery dungeon game before this one. Although Chocobo’s Dungeon eases some of the pain of dying in ways which are more forgiving than your average “true” roguelike—dying in a dungeon still means you’re stripped of your loose items and cash, but here, you at least get to hold onto your equipped gear and accumulated experience—it is still not without challenge, and has given me a taste for the genre. In this sense, much like how the Mario RPGs lend a lighthearted, but not stupidly easy, approach to traditional JRPGs, Chocobo’s Dungeon seems to do the same for roguelikes.

One of the game's titular dungeons.
One of the game's titular dungeons.

The story is one which I covered somewhat in my previous post, but I’ll rehash it here again, while giving some additional details. Chocobo is the partner of Cid, a treasure hunter. While after a treasure called Timeless Power, they get whisked away to the realm of Memoria, and the town of Lostime, where the Bell of Oblivion regularly makes the townsfolk forget the past with each ring. Not long after Cid and Chocobo’s arrival, an egg drops down from the sky, and a green-haired baby hatches from it. Strange events follow, and Chocobo gains the ability to enter randomly-generated “mysterious dungeons” generated from the Lostime inhabitants’ memories. Some dungeons are required to progress through the story, but many more are optional, have strict rulesets, and forbid the use of outside items, even equipped ones. These “special rule” dungeons are often insanely tough and always require careful planning, but the rewards gained are typically very useful and range from the opening of new type of stores to the acquisition of new jobs. More about the latter as we go on…

Navigating and fighting in these dungeons is a breezily-paced, yet entirely turn-based, affair; every move forward on the map, every use of an item, every attack—all of it takes up turns. As such, moves have to be planned carefully if one doesn’t want to be creamed by the monsters who inhabit these dungeons. In addition, there are both harmful and beneficial traps and treasures scattered throughout the floors, many of which are hidden or unidentifiable without using certain moves or items. Being randomly-generated, the dungeons largely consist of simple tilesets, but at the same time, this being a spinoff of the Final Fantasy franchise, they’re made to look as detailed and appealing as possible.

Wrapped up in all this is a new take on the Job System, the classic Final Fantasy trope that has appeared in many of the series’ games. For those not familiar with jobs, they are essentially entire ability sets, separated out according to the job title; thus, you have black mages which specialize in harmful magic, and knights which can pull off various physical attack moves. Chocobo’s Dungeon doesn’t have the wealth of jobs that are in, say, Final Fantasy Tactics, but there are still a good variety of them, and they are all different enough from each other to recommend certain ones for certain dungeons.

Who is that masked moogle?
Who is that masked moogle?

So, the dungeon crawling and battle system is meaty and addictive. How about the rest? Getting around in the world is fairly easy overall, though the entire game is plagued by those much-loathed loading screens. There’s a decent crafting system to improve upon weapons bought and/or found in dungeons, as well as fishing and gardening sidequests which don’t have to be messed around with much and have some good payoffs. Overall, the graphics are all right, with some particularly nice aesthetic touches lent to the monsters, which are mostly unique takes on classic Final Fantasy baddies such as Bombs, Lamias, and Tonberries. Animation, particularly in cutscenes, is passable; oddly enough, the mouth positions in particular seem to be part of the overall movement cycles, and I highly doubt matching lip movements was a concern, even in Japanese. For most of the game, I used the Classic Controller; the quick item menu option in the dungeons would only work half the time, if that, but otherwise the controls were all right. However, for the minigames in the Mog House, the Wii Remote was required. I didn’t play these much, and the best one was Pop-Up Duel, which looks to have been directly ported from the earlier DS title Final Fantasy Fables: Chocobo Tales, where it wasn’t so much a diversion than a big part of the overall game. Speaking of Chocobo Tales, the script in Chocobo’s Dungeon is much better than the former game’s, with none of the forced humor, and a greater focus on drama. Finally, the soundtrack is nothing short of wonderful, consisting largely of inoffensive arrange tracks of classic Final Fantasy tunes, ranging from the familiar (the classic “Prelude”) to the unexpected (FFXI’s “Tarutaru Male”, among others).

In general, Final Fantasy Fables: Chocobo’s Dungeon is a solid second-tier Final Fantasy spinoff, and a game well worth checking out for RPG-starved Wii owners, and those wanting a good dungeon crawler in particular.

Chocobo Comparisons, Part One: Facing Worlds

First off, apologies for not posting in awhile. I had some computer problems to deal with, mixed in with some real-life stuff along the way. On top of that, I’ve also been enraptured by two excellent RPGs.

Serph, the hero of Digital Devil Saga
Serph, the hero of Digital Devil Saga

Right now, it seems like I’m nearing the end of Shin Megami Tensei: Digital Devil Saga, and I know that’s the case with Final Fantasy Fables: Chocobo’s Dungeon (aka Chocobo’s Mysterious Dungeon: The Labyrinth of Lost Time). I started the former first, taking an initial dip into the one franchise which occupies my backlog more than any other, then the second afterwards, wanting something more lighthearted in tone to balance against the darker game. However, although they are certainly very different games in atmosphere—not to mention style, as Digital Devil Saga is your standard turn-based affair and Chocobo’s Dungeon is a roguelike—I eventually noticed that these two have far more in common than meets the eye in terms of story.

Digital Devil Saga centers around Serph and the group of fighters he leads, the Embryon. They live in the desolate Junkyard where tribes fight one another for the right to go to Nirvana; all this is overseen by the Karma Temple, which is headquartered in a tall, towering structure at the center of the environs. Serph’s world begins to change when a mysterious girl with strange powers emerges from a cocoon-like thing in the middle of a battlefield. He and the rest of the Junkyard’s inhabitants gain the ability to transform into the beastlike Atma, and little by little they start to see their world in a different light.

Chocobo’s Dungeon centers around a chocobo named, er, Chocobo and the group of friends he makes. He finds himself in the idyllic town of Lostime where residents live happily without memories; all this is overlooked by the Bell of Oblivion, which resides in a tall tower in the center of town. Lostime begins to change when a mysterious boy with strange powers emerges from a speckled egg which comes out of the sky. Chocobo gains the ability to enter Mysterious Dungeons enabled by lost memories, and later, change into Job forms. Little by little, the townsfolk start to see their world in a different light.

Chocobo, the hero of Chocobo's Dungeon
Chocobo, the hero of Chocobo's Dungeon

It’s important to note here one very crucial distinction between Serph and Chocobo: while Serph begins the game as a part of the Embryon and the world at large, Chocobo is a complete outsider, having been magically whisked away to Lostime during a treasure hunt in a desert. There’s also the matter of complexity, as Digital Devil Saga’s story is a bit more sophisticated and unpredictable than that of Chocobo’s Dungeon. Indeed, the foreshadowing in Chocobo’s Dungeon is fairly easy to interpret for this JRPG vet; I suppose that its overall light RPG trappings have much to do with it, despite the hardcore nature of the gameplay (more on that in a later post). As for Digital Devil Saga, I haven’t been able to figure out what exactly is going on, and am as curious to know more as the characters themselves.

Still, I could’ve never anticipated that these two would be this similar as far as their basic plots go. Much has been said of JRPG plots and how cliched they can get after awhile, but there generally tends to be a significant amount of variation between them (for some reason, this seems to be most true of strategy RPGs, but I digress). In the case of Digital Devil Saga and Chocobo’s Dungeon, the similarities don’t bother me in the least, as the actual meat of the games are vastly different, and that’s what I play RPGs for in the first place. I hope to have Chocobo’s Dungeon beaten this weekend, but will probably continue to play the game afterwards, depending on whatever post-ending content there is. Likewise, I’m going to try to wrap up Digital Devil Saga sometime next week. Needless to say, it’ll be interesting to see if the plot similarities continue on through these games’ endings.

Chocobo source art from Neoseeker (neoseeker.com).

The Final Fantasy VIII OST Appreciation Society

My friends, we are gathered here today to pay tribute to one of the most underrated soundtracks in a video game series famous for its music. While Nobuo Uematsu’s Final Fantasy soundtracks are a gateway drug for many a budding game music fan, lost in the shuffle somewhere between “One Winged Angel” and the opera sequence from FFVI is one of the composer’s most consistent, accessible scores. I speak to you of the one, the only, Final Fantasy VIII Original Soundtrack.

Almost as sexy as his soundtrack.
Almost as sexy as his soundtrack.

Final Fantasy VIII is one of the black sheep of the main FF series, as it contains many significant and drastic alterations to the traditional formula. Sure, many of the familiar Final Fantasy tropes are there, but the act of drawing spells from enemies, coupled with the Junction system, earning gil via a salary, upgrading weapons, and other quirks—not the least of which is a sometimes nonsensical and bewildering story of romantic dreams and time compression—didn’t earn it many fans. I myself disliked it a good deal until I played it a second time, in it strictly for the gameplay and armed with a greater awareness of Junction’s nuances. During that second go-round, not only did I have more fun, but I also noticed that the music was pretty damned awesome just about all the time.

Which brings me to today’s meeting. Final Fantasy VIII’s OST is one that, for me and likewise many of you, marks the pinnacle of Nobuo’s work on the series. FFIX, though enjoyable, was largely homage, like the game itself, and Uematsu-san hasn’t composed a full Final Fantasy score since then. The sheer depth of variety on the four-disk soundtrack is astounding, and remarkably, it’s all held together quite well by variations on a few key themes, notably the epic “Liberi Fatali”, the lovely “Eyes on Me”, and the melodic “Fragments of Memory” and “Ami”. The battle themes are wonderful, with Nobuo’s signature touches all over them blended with the types of sounds that one would be hard-pressed to find in any other FF game—the techno-informed “The Man With the Machine Gun” is a fine example of this, as is “Force Your Way”, which features a driving electric organ-led intro.

Outside of the incredible battle themes, there are many other things to enjoy about FFVIII’s music. Take “Roses and Wine”, a soft, dreamy piece with the type of repetitive melody that Nobuo does so well. Or how about “The Spy”, which wouldn’t sound out of place in FFVII… save for the 70’s-style funk coursing throughout. There’s also “Slide Show Part 2”, a better and more polished take on ragtime than FFVI’s “Spinach Rag”, and the snare drum-heavy “SeeD” and “Overture”, which serve FFVIII’s military academy settings very well.

Of course, I’m sure you’ll all agree that any discussion about FFVIII’s music is incomplete without talk of “Eyes on Me”, the award-winning song famously performed by Chinese superstar Faye Wong. While the likes of “Aria di Mezzo Caraterre” and the severely overperformed “One Winged Angel” may be more favored in the eyes of certain fans, “Eyes on Me” reigns over them in my opinion. Not only can I never get sick of it, but it is also remarkably easy (and fun) to sing along to. I’ve heard that this song, unlike the rest of the OST, isn’t available on iTunes, which is why the Society recommends purchase of an authentic hard disk copy from your favorite Japanese import shop.

While we’re at it, I hope everyone in the Society has by now heard Fithos Lusec Wecos Vinosec, simply one of the finest game music arrange albums available? Many of the best FFVIII tracks are performed by an orchestra on this album, lending an even greater aural depth to what were already amazing pieces (however, as with the OST, “Eyes on Me” is noticeably absent in this album’s iTunes iteration). And let’s not forget what Nobuo’s rock band, the Black Mages, have done with FFVIII’s battle themes. Their versions of “Force Your Way”, “The Man With the Machine Gun”, “The Extreme”, and especially “Maybe I’m a Lion” come highly recommended.

Okay, so I’m a little biased; “Maybe I’m a Lion” is one of my personal faves.

Game Progress: Challenges, Chivalry, and Cannibalism

I beat Pokemon Ruby last night, after some dinnertime frustration forced me to abandon a Startopia session. I hadn’t intended to beat it, but that’s how things ended up. Pokemon Ruby has one of the toughest endgames I had ever encountered, and I’d lost track of how many times I’d attempted it, only to fail. With my trainer battle options dwindling, I used up some good-looking TMs (items that teach Pokemon specific moves), stocked up on healables, and took another crack at the challenge. Failure again. I dove back in, more mindful of certain elemental factors, and got further than I had ever been before, and I went even further than that. Thanks to some fantastic and hard-working pokemon (pictured at right with my trainer), I ended the game as the Best Trainer in Hoenn, and I watched, satisfied, as the credits rolled. My total time was 98:57, putting Pokemon Ruby in that tiny club of RPGs that I’ve spent over ninety hours on, sharing space with Dragon Quest VIII, Final Fantasy Tactics Advance, and Disgaea, aka the only RPG I’ve ever cracked the 100-hour mark on.

Pokemon Ruby isn’t the only game I’ve beaten recently. This past Saturday, I wrapped up Samurai Legend Musashi, sending the titular hero on his final quest for the Mystics. The last dungeon was long, and although there were enough checkpoints so as to ensure as little frustration as possible, the only savepoint in the entire game is in Musashi’s living quarters, and this was a no-going-back type of mission. Anyway, after one botched, and prematurely aborted, attempt, I managed to get through it with plenty of healing items left over. A certain final boss scene notwithstanding, there wasn’t much to the ending. Actually, it’s probably the shortest, most succinct RPG ending I’ve ever seen. All in all, despite some minor fiddly imperfections, I liked this game. Sure, it was short and there wasn’t much to the story, and the battle system lacked the depth of that of, say, Kingdom Hearts, but it was decent enough. I understand that there’s some Brave Fencer Musashi fans who didn’t really like this sequel, but I never played that game, so I’ve no immediate frame of reference to draw from.

After Musashi, I took a break for a little while before starting up Shin Megami Tensei: Digital Devil Saga on Tuesday. It’s one of several Megaten games in my already JRPG-bloated backlog, and was the one namatamiku recommended I start first. I’m not more than two hours into it, and am already seeing where the series gets its reputation. Set in a post-apocalyptic world more than a little reminiscent of Battle Angel Alita and heavy on Hindu iconography, it centers on a group of fighters who discover a Mysterious Girl™ and also gain the power to turn into freaky-looking, people-eating demons. As one can imagine, it’s pretty grim. So far, the battle system is very traditional, but not in an engaging way; it certainly has none of the rousing music and little of the visual panache of Pokemon Ruby, and it’s not Dragon Quest or Skies of Arcadia, either (to name a couple). It could ultimately be the lack of difficulty (the game’s been easy so far), but in general battles feel like they’re missing a little extra something. Unrelated, but I found it odd that the characters start battle in their demon form; one would think they would begin as humans and turn into demons. Either way, the human forms are pretty useless, so there’s no point in changing them back once a fight’s underway.

With the grim, disturbing nature of DDS, I thought about starting another game to counterbalance it, and will probably most likely do so now that Ruby has been beaten. I tried to start Breath of Fire: Dragon Quarter that same afternoon, but whether due to my exhaustion or something about the game itself, I wasn’t feeling it and turned it off. Before that, I briefly considered Etrian Odyssey, as this would give me both a simpler and a more difficult game; however, I’d rather save it for the next time I’m on a trip. As of now, I’m leaning toward Final Fantasy Fables: Chocobo’s Dungeon. It’s supposed to have some depth and challenge to it, and besides, those cute yellow birds make everything better.

Source sprites from The Shyguy Kingdom (tsgk.captainn.net).

Greater Objectivity in Certain Reviewing-Related Matters

For the past week, I’ve mainly been playing Samurai Legend Musashi, a PS2 action RPG from a few years back. Overall, it’s fairly average, but despite the simple battle system and other, smaller issues, it’s a fun game and I’m enjoying it.

Not too short, not too long, but just right.
Not too short, not too long, but just right.

This might sound odd, but one of the things which attracted me to the game in the first place was its length. In reviews, I’d read that it was fairly short for an RPG, and indeed, I’m getting near the end now and am somewhere around the fifteen-hour mark. Your modern JRPG (turn-based, action, or strategy) clocks in at an average of fifty hours if one includes any required grinding and a sidequest or two; going for full completion typically takes much longer, and often requires going past the hundred-hour mark. That Musashi offers a complete action RPG experience in a length that was adequate in the 16-bit era is certainly not a negative, especially for a genre fan like me who only has so much time to devote to gaming.

I don’t think Samurai Legend Musashi’s length should’ve been a negative factor in reviews (which it certainly was in some of them) unless the story felt rushed or inadequately told. On the contrary, the story in Musashi is simple and fits the overall length very well, and though I’ve yet to beat the game, I haven’t seen anything that would indicate a less-than-satisfactory ending. And that brings me to today’s topic: some things I would like to see listed separately in reviews that shouldn’t be considered as a positive or negative within the review itself unless there’s a very good reason.

First off, average game length. If a game leaves one wanting more, I can understand that. However, lambasting (or praising) a game simply because it’s a certain length is pretty silly. This is especially true of modern RPG reviews, where the general consensus seems to be, “the longer, the better.” I understand there’s a cost/value consideration, especially when it comes to pricey but short actioners a la God of War, but this is one area where I feel that it’s best for the readers to decide for themselves, as not everyone has the same amount of leisure time to devote to games. The only site I visit on a regular basis which tends to list length separately is RPGamer; I’d love to know of others.

Speaking of RPGamer, they do the same with difficulty. Not all gamers sport the same level of skill, and thus, as with game length, one size does not fit all. Slamming a game because it’s “too easy” doesn’t do it or its potential audience much favors. Again, there are exceptions, the biggest one being the accounting of difficulty/learning curves, which is something I always want to know about when reading reviews. Otherwise, readers should be told up front, without further judgement, how easy or hard a reviewer found a game to be.

The last major one is the manufacturer’s suggested retail price—in American dollars, euros, yen, Microsoft points, whatever. Now more than ever, games vary wildly in price, from free browser-based titles to pricey special edition versions of big-budget console releases. As previously implied, pricing can be tied in with average length, as there’s a “cost per hour” metric which some gamers like to account for, but only some of them. Listing the price up front, but not commenting on it unless there’s a damn good reason, is something I’d like to see in a lot more reviews.

There are some other separate factors that may also be considered. One of these is genre, another is potentially objectionable material (something which the parent-oriented sites, as well as mainstream sources like the New York Times, tend to cover). In general, though, these three represent what I feel are the most important variables that separate gamers: how much time they would like to spend on a single game, how much (or little) of a challenge they prefer, and how much money they are willing to drop.

Ancient Mana Fortress Vanished

I beat Secret of Mana last night after a long, protracted round of final battles—my second attempt at them, actually. The whole endgame, very much including the boss before the final ones, was riddled with bugs that would make text boxes render incorrectly and, most annoyingly of all, the Mana Sword to randomly disappear from the main character’s hands during a certain battle. These sequences alone made it the buggiest Super Nintendo game I have ever played, and one of the buggiest games I’ve played and beaten, period.

Bugs aside, Secret of Mana is full of quirks—some charming, others annoying. One of the first things I noticed, after watching the simple yet lovely opening and starting a new game, was the animation. The main hero walks with an exaggerated bounce that even carries over to his hair, and the shopkeeper in the first town—like many that I would see later on—danced in a spastic rhythm. These wouldn’t be the last odd animations I would see, as the walk cycles for the playable girl and sprite characters were even more silly than the hero’s. However, the battle animations, as well as those for the monsters, are very straightforward, and later on, the dragon Flammie would fly and undulate in mid-air with an almost hypnotic fluidity.

I eventually got used to the heroes’ bouncy, flailing gaits, but one thing I was unable to really get the hang of up until the very end was the menu system. Pressing Y on a SNES (or Wii Classic) controller brings up the “ring commands”, a set of menus. The sprite and girl use four ring menus (items, magic, mana weapons, and everything else), while the hero uses everything save for magic; each menu can be searched through by pressing up or down on the directional pad, with left and right reserved for going through the menus themselves. Oh, and each character has their own individual set of commands; those for characters not directly controlled by a player are accessed via the X button. I understand why it was set up this way—Secret of Mana can be played cooperatively with one or two others—but I was never able to navigate through menus with the efficiency and ease that I have been with other action RPGs.

Battle has its own quirks as well. All enemies are visible and encounterable directly on the field, which I liked, and in general battle plays out like a more action-driven version of Chrono Trigger, but with individual power attacks subbing for combo moves. Although the sword is clearly intended to be the hero’s weapon, I had the whip equipped on him for a good portion of the game as it was excellent for ranged attacks and easier to hit flying enemies with. There’s also areas of certain dungeons that require either a sword, axe, or whip to be equipped in order to progress, and the latter weapon was the one that had to be employed the most frequently when it came to such situations. As I was playing alone, I had to constantly manage the computer-controlled characters both through the Action Grid and on the field, often backtracking when I would press forward only to find that at least one of them was stuck on a narrow ledge or some similar piece of scenery.

The game’s story, lovingly told with the help of distinctive graphics and a soundtrack to match, takes place in a world where the life force “Mana” is weakening. Many years ago, there was an advanced civilization which consumed a great deal of Mana. They reached their peak with the Mana Fortress, which was stopped by an ancient hero in order to restore nature’s balance. Now, an empire seeks to revive the ancient fortress while a boy in the village of Potos happens to come across the legendary Mana Sword, and thus the tale begins. Along with the plot itself, it’s got many other JRPG tropes, all served in an unusually compact package. There are Mana Seeds to seek out, Mana Weapons to level up, and elemental magics to gather. There’s also the odd plot hole or two, and several scenes that could have benefitted from more fleshing out. The dialogue could’ve also been better; apparently, the localization was a rush job by fan-favorite translator Ted Woolsey.

All in all, it’s an interesting, if average, action RPG with a smattering of unique ideas, some of which stick better than others. One recommendation I must make for anyone who is planning to download Secret of Mana via Virtual Console (which is how I got it), especially if one has never played it before, is to get the original manual via replacementdocs. Healing and support items like the barrel are not explained in game, nor are they in the VC download’s own documentation, but they are in this manual, which features tons of information in general. I only wish that I’d thought to seek out a printed world map as well. The overworld and mapping features within Secret of Mana are extravagant considering the game’s age, but flawed, a description which nicely sums up the game itself.