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Tag: jrpg – action

Yep, It’s a Tales Game

RKasa
September 25, 2009
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Tales of Symphonia wasn’t entirely my thing: the story’s inspirations were obvious and it got convoluted at times, the cel-shaded graphics were okay but blurry (at least on the Wii, which is how I played it), and the combat was usually button-mashy. However, I liked the characters and general aesthetic, and somehow, it got its hooks into me. Thusly, when I fleshed out my PS2 RPG collection last year, I ended up adding Tales of Legendia and Tales of the Abyss to it (the 360’s Tales of Vesperia joined my backlog this year).

I’ve heard Abyss is better than Legendia, but wanted to play the older game first, since I found the premise more intriguing: a young man and his sister find themselves shipwrecked on a massive ancient ship called the Legacy. Aboard this vessel are dangers awaiting the sister, and the man sets out to save her. At first glance, and despite the presence of the clichéd large relic from an ancient civilization, it seems a novel enough premise, and the story does carry out in a unique way, especially in regards to how a certain story event and its aftermath is paced. Also, Legendia, like Symphonia, bluntly tackles the issue of race in how (and why) the game’s factions are divided as they are. The entire story takes place aboard the Legacy—making it a nice change of pace from the many, many JRPGs that require entire worlds to be traversed—and the cast of characters is charming, though a touch clichéd and/or weird at times. This is all presented in a colorful, softly-rendered world populated by chibi characters, who are occasionally shown in still, non-chibi 2D anime versions for cutscenes. As with Symphonia, the voice acting is of a decent quality (and there’s a lot of repetition when it comes to the battle audio), the music is nothing overly special but all right just the same, and the FMVs are lush anime affairs courtesy of famed studio Production I.G.

"HOO, HAH, EAT THIS!"
"HOO, HAH, EAT THIS!"

As for exploration and combat… well, it’s what I expect from a Tales game, though a step back from Symphonia. The dungeons are fairly linear, with what few branching paths there are largely reserved for items, including special items blocked off by large blobular zones that often contain more powerful monsters than the usual random encounters. Battle is still button mashy, with assignable special attacks and your supporting party members on autopilot, for the most part. AI party members’ attacks can be turned on and off at the player’s leisure, and whole tactical strategies can be applied as well. However, aside from certain boss fights, the battles are quite easy, and certain special enhancements and attacks, such as the feature that lets the player combine a character’s individual moves into one uber-move, can be outright ignored.

The meat of Tales of Legendia is fairly short: I beat it today with a completion time in the range of 33 hours. However, a lengthy postgame mode, called the Character Quests, is available once the main storyline has been beaten. I’ve barely started it, and in fact am debating whether or not I want to continue with it as Legendia’s combat’s a bit bland, but there’s still things I don’t know about many of the characters—and I’d like to know. Such is the hold that the characters in this game seem to have on me.

Special Stage: In addition to game impressions and such from this year’s Tokyo Game Show, Game|Life’s Chris Kohler has been writing an awful lot about Japanese curry lately. I’m not all that big on curry, but I do love me some katsu, and as such, these posts have me craving chicken katsu or chicken katsudon. Every. Single. Time.

I haven’t even dipped into the TGS episodes of Listen UP yet, but given the “curry bets” of previous shows, all of which were to be settled around this time, I don’t think my cravings will end anytime soon…

(ETA, 9/26: Craving fulfilled thanks to some oyakodon from a favorite restaurant; save for the mushrooms and pickled radish, neither of which I’m a fan of [thankfully the latter was all in one small section of the bowl’s edge, getting its vinegar all over some neighboring carrot sticks], it was essentially the same as the chicken katsudon I’m used to from another place, and tasty. I have some leftovers to eat for lunch today, too!)

Greater Objectivity in Certain Reviewing-Related Matters

RKasa
June 13, 2009
2 Comments

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

RKasa
June 6, 2009
3 Comments

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.