Tuesday, July 18, 2017

Breath of Fire 1's Party Members' Battle Functionality

Time for another rant that even I admit doesn’t matter in the slightest. That's, what 3 in the last month? Or 336 in the last 11 years, depending on your perspective? But what the hell, I have thoughts and the screen has space for text. Let’s do this.



You know what’s weird? Breath of Fire 1’s cast.

Well, okay, I mean, obviously it’s weird. It’s made up of a human dragon, a winged princess who falls through time and gets amnesia (hurr hurr spoilurz for the 20+ year old game), a fox ranger, a fish man who can become a super fish, a big ox man, a naga sorceress who voluntarily spends 99% of her existence in a coma, and a tiny mole man. I think the last job the lead artist held before being hired by Capcom might’ve been an art booth at a furry convention.

So, yeah, obviously Breath of Fire 1’s cast is weird. I mean, sort of. Weird from most people’s perspectives. From the perspective of a guy who’s played over 300 titles of the gaming genre with the highest saturation of Weird Characters per capita, though...well, this motley assemblage of Deviantart refugees is just my Monday morning.

What does make them odd for even me, though, is how most of these characters function in combat. To whit: they actually just don’t. Half of the party members of Breath of Fire 1 actually don’t really serve a purpose in combat.

Here’s what I mean. On the 1 hand, you have Ryu, Nina, and Bleu (or Deis; personally I liked the original translation name better). Ryu is combat-relevant, because his special ability in combat is to turn into a big honkin’ dragon and tear enemies’ shit up. Nina is combat-relevant for the game’s entirety, because she has a whole gaggle of healing and status effect spells that she keeps learning throughout the game’s course. And Bleu/Deis is combat-relevant, because she learns combat spells over the game’s course that put the hurt on enemies nearly as much as Ryu’s dragon forms.

But then you have the other half of the cast, and they’re...well, they’re really only good for attacking. Like, okay, Bo, the Ranger Rick wannabe? He seems pretty good when you get him early in the game, because he comes with a set of offensive spells, and a Cure spell. Handy! Except that, much like the Genie from Defenders of Oasis,* Bo never learns any spells beyond this initial set. For context, that’d be like a character never learning anything beyond Fire 1, Ice 1, Bolt 1, and Cure 1 in a Final Fantasy game. They’d be handy for a short amount of time, but it wouldn’t take long before they fell to the wayside, and that’s what happens with Bo as a spellcaster. Hell, it’s been a while since I played, but I seem to remember that even before the plot arc involving Bo’s hometown is finished with, his spells are starting to lag a bit. Pretty soon, Bo’s only real utility in combat is basic attacking. Which he’s good at, mind you, his physical attack stats are high. But that’s not serving a combat role that any other character couldn’t.

Similar deal with Gobi. Gobi has some attack spells that are actually pretty useful, and he learns a few more as he progresses in levels. But the problem is, they all only work underwater! I mean, okay, yes, makes a certain amount of sense, him being a fish man, but...well, there’s a decent-sized part of the plot which takes place on the ocean floor, so he gets a good amount of time in which he’s useful in combat, but once you’re done with that part of the game, you’re, well, done. From then on--and this is the substantial majority of the game--you’re encountering enemies on land only, and as such, Gobi’s only combat utility is to poke things with his trident. Like Bo, he’s only there to hit the Attack button, or maybe use an item now and then.

And it just gets worse with Mogu. Mogu’s a little mole man, and the game didn’t even try to pretend that he can do anything special in combat, like it did with Bo and Gobi. Mogu’s 1 and only ability outside of regular attacks is that he can use Dig, and dig a hole out of combat. So, basically, he can guarantee that your party can run away from battles. Uh...great. Yeah, Mogu’s 1 defining trait as a party member is to do what most games accomplish with an equippable accessory. It makes even less sense when you consider that Mogu is the final party member to join you! The guy joins, what, halfway through the game? 60% of the way through? Being able to guarantee an escape from combat is an ability for early in the game, when you’re still getting the hang of the game’s balance and battle system, and when you have fewer resources and options to draw on to survive random encounters! Unless a game has outright flaws in its balance, by the time you’re halfway done with a game, you should be pretty well past the point of needing guaranteed escape abilities! So once again, you have a character who, if he’s in the active combat party, really is just there to do basic attacks and nothing else.

And lastly, there’s Ox. Ox sort of has a use in that just being a big lug who absorbs damage and hits stuff is meant to be his thing. The tank of the team, as it were. Unfortunately, BoF1 was made back in the days where you couldn’t really do much of anything to direct your enemies to attack a specific character, so the utility of a tank character isn’t really all that impressive--having him there won’t cause the less durable characters to be hit any less. Also, he does have a couple of very useful healing spells, but he has so little MP that he can cast them like twice before he’s out of juice. So in the end, Ox seems at first like he’s sort of properly designed for a role as a basic attacker and damage sponge, but the game itself isn’t advanced enough that he’s actually substantially more than Bo, Gobi, and Mogu.

So yeah, that’s 4 members out of 8 who, in combat, don’t really have any specific role in their party. They exist solely to hit the Attack button, and nothing else. It’s very weird, honestly. Usually when you have a party whose members can be swapped out during battle and allows you to reconfigure its makeup as you like, there’s, I dunno, some difference between what they can do. In Final Fantasy 10, for example, every character has a clearly defined and unique skillset and function, at least until you’re, like, at post-endgame level of Sphere Grid unlocking. Even in Final Fantasy 6, some characters do maintain useful individual skills through to the end of the game, even if most of them let their skills fall to the side in favor of everyone getting Ultima.

And yeah, there certainly are plenty of characters in RPGs who also intentionally exist solely to use basic attacks. Aguro in Lufia 1, for example, does literally nothing but attack and use items for the entirety of the game. But this isn’t just a single boring party member in a game which doesn’t offer the player a choice in which characters to use (and frankly, Lufia 1’s not usually a good game to model yourself after in any regard, anyhow). This is half the cast who don’t have a reason to be in the active party except to fill in when Nina, Ryu, and/or Bleu get knocked out.

Also, I should just mention for the record, I’m just criticizing the cast on their value in terms of gameplay mechanics (which, if you know me, is just a minor nitpick which in no way actually affects my opinion of them or the game itself). As characters, they all have adequate reason to be on the journey, several do fulfill decent plot and interpersonal roles, and all of them do have their gameplay purpose outside of battle (Gobi is useful for traveling under the ocean without running into enemies, Mogu can dig through certain spots to find treasures and pathways, etc). Basically, what I’m saying is that this is JUST an inconsequential nitpick of an odd design decision that occurred to me.

So, it’s weird. But is it a flaw? Well...I’m not actually sure it is. See, if you’ve been doing the math, you’ll realize I’ve spoken of 8 characters, yet have only described 7. There’s 1 other member of the party named Karn. Karn’s a thief, and at first seems to be the very least combat-relevant of all of them. Even Mogu has his stupid escape ability, but Karn learns not a single spell or ability on his own! But, Karn CAN learn 4 abilities from some NPCs hidden throughout the game. Each of these abilities power Karn up (and give him some out-of-combat abilities, too), making him incredibly powerful. Sure, he’s still just a physical attacker, but with one of these abilities activated, these regular physical attacks of his are the equal of Bleu’s spells and Ryu’s dragon form!

What does this have to do with Bo, Gobi, Ox, and Mogu, you wonder? Well, Karn’s abilities are all fusion spells. Essentially, each of his 4 abilities fuses him with a combination of Bo, Gobi, and/or Ox, making them unavailable to the party, but using their stats to enhance Karn as he shapeshifts into various hybrids of fox, fish, and ox people.** Karn’s final and most powerful fusion, Puka, is a fusion of himself, Bo, Gobi, and Ox all at the same time, which effectively removes those 3 from the party, and makes Karn absurdly powerful.

Mogu is still useless.

So, you see, it’s kind of hard to say whether Bo, Ox, and Gobi’s lack of combat relevance is really a flaw, so to speak. After all, if they were actually viable combatants, it would be a tough decision, whether to risk losing their versatility in exchange for empowering Karn. But since they’re all basically just Attack machines by the time Karn can start playing with fusion, there’s no conflict--fuse the spindly little pickpocket up, and fill that fourth spot in the party with someone who can actually break some skulls! Maybe it was planned that way, or maybe Capcom just wanted to cover its own ass after it realized that half of its cast was never going to see active duty past a certain point, but in the end, it does work toward a functional purpose for 4 of the 5 otherwise useless characters (counting Karn, since he’s pointless on his own).

Still a weird way to set up your party’s combat dynamic, though.








* Somewhere, a hipster just got a boner and doesn’t know why. That’s how obscure the reference I just made is.


** Is it really any wonder why there are so many furries online these days? My generation and the generation after me were fucking bombarded with anthropomorphic animals from all media angles. You don’t put this pantsless wonder in the instruction manual for your game and then expect a kid to grow up with no interest in catgirls.

Oh, and while I’m at it, thanks a fucking lot for Bleu, Capcom. I really needed to be a lifelong snake woman enthusiast.

Saturday, July 8, 2017

General RPG Lists: Greatest Examples of Battle Systems

Kudos to Ecclesiastes for letting me shoot some ideas at him while I was writing this rant. You’re a proper righteous chap, good sir.



If you’ve been reading this blog for a while, then you’ve probably come to know 2 things about me. The first is that despite RPGs being my preferred gaming genre, I find the actual process of playing them invariably tedious, and see the large majority of battles in RPGs as being meaningless filler that distracts and distances the audience from the only reason to play the games at all: the story. You know that when I judge the worth of an RPG, combat is a complete non-factor, as it should be for a genre whose gameplay mechanics are so repetitive, and frequently can’t be distinguished from the process of ordering breakfast from a Denny’s menu.

But the other thing you know about me is that I like the sound of my own voice (such as it is in text form) enough that I have no problem whatsoever chattering on about things that don’t matter in the slightest. And so here we are.

Battle systems! They may not matter a lick to me, but even so, I can tell when they work and when they don’t. And even if it doesn’t make a difference to whether or not a piece of interactive art should be experienced, a programming team’s good work on making a battle system whose repetitive mediocrity is as low as possible deserves some credit. So today, I’ll be looking at the very broadly defined types of RPG combat I know of, and judging which RPGs are the very best examples of these different battle systems.

Enjoy! Or don’t. I make the same amount of $0 either way.



Turn Based
The most traditional, iconic battle system of the RPG genre, utilized in countless titles going as far back as the original Final Fantasy, Dragon Quest, and even Phantasy Star titles, and still going strong today in major series like Shin Megami Tensei, Pokemon, and Indie RPGs like Shadows of Adam, released just this year.

It’s also the reason I find RPGs so fucking boring to play. This is a battle system built on the same premise as navigating through the Windows operating system. How the hell this genre managed to take off with this as its starting point, I’ll sure never know.

Winner: The Shin Megami Tensei Series
Although not every SMT game employs traditional turn-based combat (SMT Devil Summoner Raidou Kuzunoha, for example, is an Action RPG), the majority do, and, quite frankly, this series has got a simple-to-understand take on Turn Based gameplay that manages to allow for complexity and strategy without abandoning even the slightest functionality. With most RPGs, the constant addition of nuances and complexities to battle systems is a detriment, cluttering an already annoying play experience with superfluous crap that feels more like an attempt to stand out than an attempt to build something actually enjoyable to play. The press turn nuance of SMT games, which encourages you to understand enemy weaknesses by rewarding you with more attacks per turn when you exploit them and punishing you with fewer when you fail to account for enemy defenses, makes even regular battles more interesting as you play a game of balances against your opponents, seeking to maximize your turns and minimize the turns they get. In addition, beyond the press turn function, SMT games are generally made with enough care that their difficulty curve keeps you on your toes for the majority of the game, and strategy beyond manipulation of press turns is a must. To say nothing of the effort that Atlus puts into the weaknesses of its bestiary! Yes, the Shin Megami Tensei series is the best possible example of Turn Based battle systems: a straightforward, functional, intuitive system that naturally allows for complexity and strategy rather than trying to artificially inject it as a gimmick. Kudos to Atlus on this one.


Active Time Battle
It wasn’t long into Turn Based battles’ run that some bright young man or woman realized that they weren’t actually fun. In a (futile) attempt to remedy this, the ATB system evolved from traditional Turn Based games, offering ever so slightly closer an experience to actually playing a game, and not just cruising through someone’s My Documents folder. With ATB, there is no overarching turn in combat--rather, each combatant receives their turn individually, determined by how their Speed stat (or its equivalent) matches up against that of everyone else in battle. This was Squaresoft’s bread and butter during its iconic years of the SNES and first Playstation, and it, like its Turn Based predecessor, is still going strong today, particularly with Indie RPGs like the recent Cosmic Star Heroine.

Still boring as hell, though.

Winner: The Grandia Series
In a manner not entirely unlike Shin Megami Tensei, Grandia makes the most of the ATB system by implementing mechanics that encourage “juggling” your enemies as much as they do actually harming them. With Grandia, your attacks and your exploitation of weaknesses don’t just do damage to your foes, they also halt them for a moment, delaying their turns from arriving, or even stun them, outright stopping and setting back your foes’ approaching turn. Your foes can, of course, do the same to you, and so the game adds an element of strategic budgeting of your attacks to its battles that keeps you engaged. It’s a good idea that’s executed well enough that I actually, incredibly enough, found myself enjoying most of the battles in Grandia 1 and 2. And sure, there are plenty of other ATB RPGs that make some use of juggling enemy turns, to varying degrees of success...but it’s rarely so well and essentially incorporated as Grandia’s system, and certainly it’s never been as satisfying to hear see and hear you soundly smash your foes down the turn order as it was with Grandia.


First Person Slasher/Shooter
You know, we tend to think of FPS/RPG hybrids as being a newer concept, introduced by games like Fallout 3, the Elder Scrolls, and Mass Effect, but actually...this has been around in RPGs for ages, when you think about it. What else would you call all those old first person dungeon-crawling PC games from back in the day? You know, the ones that Orcs + Elves mimics? This is actually an old and storied type of RPG, which has simply gotten a facelift in the last decade.

And thank goodness for that. If Orcs + Elves is anything to go on (I don’t pretend to have played the old school hack and slash titles), FPS systems used to be boring as hell. Heck, they still can be; the Elder Scrolls titles do absolutely nothing for me. But Mass Effect and Fallout are actually legitimately fun to play, so the system has evolved in a very positive direction.

Winner: Fallout 3, 4, and New Vegas
It’s hard to believe that the engine the recent Fallout games use was developed for Elder Scrolls, and not the opposite way around. The system that just never feels quite right, a little inescapably clunky, for the series it was created for, by contrast fits Fallout like a glove. But it goes beyond just providing a good First Person Shooter experience--otherwise, Mass Effect would be here. No, what really makes the Fallout series shine is the way they incorporated the turn-based battle system of the original Fallout 1 and 2, with its great feature of targeting specific places on enemies’ bodies to cause various effects. With its VATS system, the Fallout series has become the absolute perfect blend of RPG and shooter, seamlessly letting you go back and forth between relying on your stats to turn the tide and dominate difficult battles with selective Turn Based pauses, and relying on your own capabilities in real time for the rest. Beyond Undertale’s incorporation of Bullet Hell into its menu-dependent Turn Based system, I can’t think of another RPG that even comes close to Fallout in blending substantially different combat types into a single, efficient entity


Action
Eventually, someone somewhere figured out that there really wasn’t any law in place that said RPGs had to be patience-testing slog-fests of selecting the same commands from a DOS simulation about a thousand times per playthrough--it was, in fact, legally possible to incorporate stat-based gameplay and still have characters do things. From this groundbreaking concept that video games could actually involve movement came Action RPGs, RPGs whose battle systems allow for free and generally continuous movement. Menus may and usually are still involved, but pressing a direction button does more than just move a cursor.

This is the only RPG battle system that I find to be consistently fun. Well...mostly consistent. Lagoon still managed to be ass.

Winner: Kingdom Hearts 2
Honestly, there’s a lot of competition here. Kingdom Hearts 2 is competent, functional, and fun, incorporating stats into its free-moving gameplay well, involving menus in a simple and effective capacity while leaving the meat of combat to remain the player’s actual movement and attacks...it’s solid stuff. But a lot of other RPGs can say the same, to the same degree of competence...hell, a few of them, like, say, SMT Devil Summoner Raidou Kuzunoha 2, do it slightly better. But KH2 has 1 important feature that pushes it into the top spot for me: its triangle button actions. I covered this a while back, but a quick refresher: You don’t just have the option to fight enemies normally in KH2--with each foe, you have an opportunity in combat to react to their movements and pull off a special attack or defense that’s singular to that enemy. For normal foes, this can be as simple as a quick dash behind them, which isn’t that interesting...but when you take advantage of triangle reactions against bosses, the results are frequently exceptionally cool and fun to watch, bringing the battle to a whole different realm. Who can forget how awesome it was to have Sora ride the Heartless chandelier thing in the Beast’s castle, smashing it against the columns of the ballroom? To make him leap atop Cerberus’s heads, grab the Keyblade, and dive-bomb them? To watch Sora run up the walls of the Master Control Program’s chambers, and use the height to hurl himself straight at the giant Sark? Every boss can be unique for what strategy must be employed to beat them, but Kingdom Hearts 2 takes it a step forward, and makes the choreography of its epic battles just as singular, lending a sense that this really is a special battle of its own. Very enjoyable.

Of course, this isn’t the only RPG out there to do something like this, I should note. Recent Legend of Zelda games, for example, also have many reaction commands. Nonetheless, KH2 stands apart for how thoroughly it incorporated them, and the fun and epic nature of them is still unmatched, to me.

Action battle systems are generally fun, but even they get repetitive when you go through an RPGs’ typical hundreds of battles doing the same thing each time, even for most bosses. Kingdom Hearts 2 goes out of its way to make its epic battles a part of its cinematic experience, and that pushes it to the top.



Tactical
The Fire Emblem series, Nippon Ichi’s canon, most Shining Force titles, Live A Live, the early Fallouts, the recent Shadowruns...you know the drill with Tactics battle systems. They’re sitting around, waiting for your turn, much like Turn Based and ATB, but your turn also involves moving where you are on a battlefield, and your placement affects what you can do and who you can attack. From ancient titles like Crystal Warriors and Fire Emblem 1, right on up to this year’s Torment: Tides of Numenera, Tactical RPGs have been around for ages, and they’re going nowhere anytime soon.

They range in terms of how boring they are. Some are very boring. Others engage one’s mind enough that they’re kind of less boring...until you realize that each battle takes like 20+ minutes to get through. I’m not really a fan, but I guess that they’re better than the standard battle systems of RPGs.

I originally thought I’d separate Tactical RPGs into 2 types: Turn Based, and ATB, in the sense that some RPGs (like Vandal Hearts 1 + 2, Bahamut Lagoon, and the Fire Emblems) strictly follow an order of everyone on 1 side getting to move and act, then everyone on the other side getting to move and act, back and forth like a regular Turn Based system, while other RPGs (like SMT Devil Survivor 1 + 2, Hoshigami Remix, and Project X Zone 1 + 2) are more like an ATB system, in which turn order is about individual units and their stats and actions. But honestly? I kind of feel like the differentiation doesn’t matter all that much...whereas it’s a huge thing on its own, Turn Based vs. ATB in terms of Tactical RPGs comes off as more just one of many potential features and approaches to how it works, a part instead of the focal point. The focus with Tactical systems is on the strategies of troop placement and all the details that go along with it, so I don’t see the point of splitting this category up.

Winner: Final Fantasy Tactics
As if there were ever any doubt. It takes a little while to get the hang of, but the method of Final Fantasy Tactics’s gameplay is sensible and engrossing, with a staggering level of complexity built into it. There are dozens of different ways to use dozens of different units in dozens of different scenarios of terrain, formation, stats, angles of fire, turn order, and various other interacting details. If most other Tactical RPGs are checkers, this is chess, the ultimate cumulation of tactical aspects that the genre aspires to.

The only flaw, really, is that the level of possibility and detail in the battle system is so nuanced and expansive that the developers didn’t really seem to even know what to do with it, as there are few battles that really strive to explain to you or push you to try various facets of the system’s possibilities--like they developed a supercomputer and then had no idea what to do with it beyond using it as a calculator. Still, there’s enough opportunity and different scenarios to sink your strategic teeth into this insanely detailed battle system to appreciate it.


Automated
I don’t know what else to call this style of battle system. Maybe there’s a term for it, and if so, let me know. This is that weird thing where it’s not so much characters following your direct commands, so much as it is you setting the pace for them and directing them from afar. Hard to explain...like, Final Fantasy 12, or Dragon Age 1, where it’s less you directly controlling your characters’ actions than it is pointing and clicking to set their target, and they follow a set action automatically. Setting up the gambits of FF12, auto-attacking in Xenoblade Chronicles 1 when you’re near an enemy, ramming into foes in Eternal Senia and the Fairune series, that sort of thing.

To me, this battle system has the capacity to be the most boring of all of them--and it lives up to that potential more often than not. It works out okay enough when it’s the ram-into-stuff variety, I guess, like the Witch + Hero series and Eternal Senia, but in the more common MMORPG styles of this battle system, things can get really asinine. The only thing I can imagine that’s more mind-numbing than repetitive Turn Based combat is spending 20 - 40 minutes messing around with combat command orders and priorities, and then for the rest of the game just watching every battle happen on its own, with you occasionally directing someone to use a potion. Set up your little automated combat strategies well enough in some of these systems, and you can just sit back and read a book while the game plays itself without you and Jontron freaks out. This is the only battle system so ass backwards, it’s guaranteed that the better you are at it, the less you’ll actually play. You can play some of these RPGs in the background while you’re doing something else.

...

...Someone did remember to tell the Final Fantasy 12 development team that video games are generally regarded as an INTERACTIVE medium, right? A memo clarifying what products SquareEnix made did circulate around the office at some point between 2001 and 2006? Then again, maybe the FF12 team designed the game the way they did as an apologetic mercy to the player. Maybe they fully realized that their game was a self-important coma-inducing wad of garbage, and in a last-ditch effort to mitigate the damage, Final Fantasy 12’s developers designed its battle system to be so excessively automated that you could actually play a different, better game while playing theirs.

Winner: Defender’s Quest 1
Okay, so, this is kinda cheating, because Defender’s Quest isn’t so much an Automated RPG as it is a Tower Defense RPG, and Tower Defense games just naturally have units which are automated. Look, I don’t know what to tell you. The best that Automated battle systems ever seem to produce are either things like Xenoblade Chronicles 1, which is functional and fine but also would have clearly worked better as an Action RPG, which isn’t something I’m gonna congratulate, or things like the Eternal Senia/Fairune/Witch + Hero thing, where you just spend the game ‘attacking’ enemies by body slamming them and hoping they die first. That works just fine, but can I really glorify something that careless and basic with a winning spot?

Anyway, cheating or not, DQ1 is an Automated RPG, and it works damn well, incorporating the RPG concepts of leveling up and stat/ability-building into the naturally addictive (if perhaps kind of stupid) Tower Defense genre’s gameplay smoothly and effectively. There’s not a lot to say about it, really. Just imagine a Tower Defense game that is an RPG, imagine that it’s done exactly as well as you’d think it should be, and you’ve got Defender’s Quest 1. I can’t for the life of me figure out why we haven’t seen more games try merging these genres since DQ1 came out, because it’s strong proof that they have a natural chemistry.



And...that’s it for now. I can’t think of any other really major RPG battle system types that aren’t just somewhat varied versions of the above, although if you can, you’re welcome to share your thoughts with me. Barring that, though, this is the end of the rant, and I have no closing thoughts to share, so have this awkward paragraph, instead! Thanks for reading.

Wednesday, June 28, 2017

Tales of Legendia's Shirley's Free Pass

You know, when you think about it, Tales of Legendia’s second half really, really glossed the hell over Shirley’s actions. I mean, this cutesy flower-crown-making dame was going to straight up murder every human being in the fucking world because the guy she liked didn’t like her back!

I love Tales of Legendia, honest to Palutena I do, but when I look back on this game critically, it is frankly astounding that no one, during the second half of the game, seems to take any issue whatsoever with the fact that Shirley was moments away from drowning the entire human goddamn species because her feelings weren’t reciprocated! I think there’s, what, a moment during the second half in which the party makes a lighthearted joke about it? Ha ha, yeah, good natured ribbing, nice one guys, ha ha, you made her blush, ha ha, she was going to murder you all over a teenage crush.

And hey, look, I’ll be fair about this. I know that the catalyst for Shirley’s deciding to go forward with Maurits’s plan* to annihilate the human species is, ostensibly, the death of Shirley’s friend Fenimore. It’s quite a tragic scene, and I myself was moved by her loss, even if she was often kind of a jerk. And I also acknowledge that the influence of the raging water god thing** that Shirley was connected to probably had something to do with the matter. It’s not JUST the fact that Senel rejected Shirley’s advances that galvanize her to go forward with Maurits’s scheme.

Nonetheless, even if there are mitigating factors, I feel that we can only logically conclude that the only truly important part in Shirley’s decision to drown the human race is her desired romance with Senel. Her guiding philosophy as the Merines is that humans and Ferines can’t live together peacefully; they’re too different and historically humans have treated her people the way white people historically have treated Native Americans. It’s an idea that’s catalyzed by Fenimore’s death, but maintained by Senel’s rejection, as evidenced by the fact that the moment Senel says, “Uh, you don't need to kill us, Shirley...because...I love you. Oh, yeah, baby! I feel like doing stuff for you, and stuff,” Shirley calls off Armageddon in favor of smooch time.***

And yet, despite the fact that Shirley’s way of dealing with rejection from her personality-lacking protector is less “write bad poetry in my room” and more “untold millions of innocents must die for no reason”, no one, particularly not her new boytoy Senel (who has, in the proud tradition of Legend of Dragoon’s Dart and Final Fantasy 8’s Squall, spontaneously flipped his brain switch to love her for no particularly credible reason), calls her out after the fact on this incredibly petty rationale.

And it IS petty. So very, very petty, and selfish, not to mention illogical and stupid. Because, you see, it’s not just that Shirley’s mind could be changed by seeing love between a human and a Ferines. She, specifically, has to be the one to benefit and get a beau out of it. How do we know that she’s holding millions of lives ransom for a boyfriend, and it’s not just a philosophical matter of not believing that peace can occur between the 2 species without there being proof that they can love one another? How do we know it’s purely selfishly subjective, and not general and objective? Because Shirley already knows that humans and Ferines can love each other. She was there to witness it! Before Senel settles for this whiny silver medal, he was in love with Shirley’s sister, Stella! In fact, we see far more convincing evidence of Senel’s devotion and affection for Stella in this game, even though it’s all in her absence and after her passing, than we do of his eventual feelings for Shirley!

Oh, and by the way, real fucking considerate on Shirley’s part to get so upset over Senel’s rejection of her confession when he just lost Stella, what, a week ago? A day? Stella’s loss is still fresh and painful when Shirley makes her bid for the guy’s heart. Dyntos forbid the guy take a fucking moment to mourn the loss of the love of his life before doing a forward half somersault dive into your panties, you insensitive cow!****

And that’s not all. Senel may not immediately return Shirley’s affections, but he has been there as her steadfast friend her whole life, and throughout the entirety of the game’s first half, he is throwing himself into dozens of life-threatening situations and running himself fucking ragged trying to take care of and guard her! Say what you will of Senel’s otherwise lacking character depth, but the guy is a loyal, unrelenting protector and friend to Shirley. Forget romantic love, his mere friendship with Shirley is MORE than enough evidence for any objective observer that humanity and magical water plot people can coexist with deep, meaningful bonds!

If Shirley wanted any real evidence that humans and Ferines can come to live in harmony, she has only to look at the entirety of her fucking life for it. The love she witnessed all her life between her sister and Senel, and the intense devotion Senel has to her as a friend and would-have-been brother-in-law, should be far more than enough to convince her not to go through with Maurits’s genocide plans. But that’s only IF she were not just being a selfish, spoiled little twat about the whole affair, using the philosophy of Maurits as an excuse to lash out over a failed teen crush. Yes, the decision to extinguish an entire species of people comes down not to her people’s history, not to the death of Fenimore, not to a philosophical policy of “get them before they get us,” but rather the fact that her fragile feelings are fucking hurt and she’s got the opportunity to throw the biggest tantrum in history over it.

What a petty, stupid, selfish, and just outright horrible person Shirley is. At least when it comes to Fenimore and Maurits and the rest of the Ferines, their hatred for humans and harmful wishes are based on actual tragedy and atrocity witnessed by, and even inflicted onto, them. Genocide isn’t the answer, of course, but at least their lives have born witness to tragedies that you could understand leading to that kind of decision. Fenimore’s death catalyst aside, Shirley won’t snap out of her self-indulgently gloomy murder haze solely because she got friendzoned. Yeah, well, Shirley, you know what? The question of whether you can live in peace together with someone else should NOT have to depend on whether they’re willing to stick a dick in you!

I really like Tales of Legendia. Of the 5 Tales of games I’ve played, it’s my favorite, for its great cast and the terrific sense of family and home it creates among them. But the game’s not flawless, even in the areas in which it truly shines, and nothing proves that better than how quickly and inexplicably the entire cast is willing to completely forgive and forget about the fact that Shirley is a terrible person.

















* Speaking of inexplicable free passes, how about that Maurits? He’s the guy who orchestrates the whole human extinction plan to start with, and unlike Shirley, there was no stage of the plan in which he wasn’t fully aware of what he was doing. And yet during the game’s second half, he’s still alive and well, and even being allowed to continue leading the Ferines village! Look, I know that vengeance is bad and many times harsh punishments don’t really solve anything, but maybe his intention to slaughter millions of people deserves at least a slap on the wrist, huh? Could we perhaps not let this guy keep a leadership role, at least? If Hitler had lived to see the end of World War II, we probably wouldn’t have reinstated him as leader of Germany, don’t you think?


** Not a euphemism for her period, I swear.


*** If anyone can actually find a link to a video of when Futurama’s Bender says this (the episode called Love and Rocket), I’d be grateful. It just isn’t as funny in text form.


**** I realize that Shirley’s also broken up about Stella’s loss, too, and I sympathize and allow her that, but that doesn’t really relate to this situation, so neither does my sympathy. Also, it doesn’t really fit in anywhere else in the rant, but I want to note--Stella’s death is not an adequate factor for Shirley wanting to drown humanity, the way Fenimore’s death is (in theory, at least). Stella may die because of human vice, but her last acts are to protect Shirley and (more importantly) Senel from harm. If anything, Stella’s death is a positive example of the love of a few outweighing the hate of many, and thus should be another reason for Shirley not to go forward with the genocide thing.

Sunday, June 18, 2017

Whisper of a Rose's Hellena's Nonexistent Fire Magic

Okay, I said I was done ragging on Whisper of a Rose, but this issue only came to mind after I was done with the other rant, so...yeah. 1 more rant on this Indie RPG, and then I’m finished. Really.

...Well, until I remember something else that bugs me, anyway.

Something which occasionally occurs during story cutscenes in RPGs is that magic-using characters will use a spell from their repertoire to accomplish something or other. Most often, this comes in the form of the healers in the party trying to repair someone who just got thoroughly wrecked, actively showing their healing spells outside of combat, but it can apply to plenty of other scenarios. In Final Fantasy 4, for example, there’s a moment in which a bunch of ice is blocking the heroes’ path, and they need Rydia to get over her fear of fire so as to use fire magic to melt the ice. Rydia, of course, steps up and delivers, as she always does, and we see her use fire magic outside of battle, and find that it’s been added to her list of battle spells.

RPGs tend to be, I’ve found, surprisingly careful about this sort of thing, too. Many times, I’ve been slightly annoyed because a party member will use an attack spell in a cutscene that’s actually not nearly the best option available to them (like, say, using Fire 1 to attack an enemy outside of actual combat even though the character has access to Fire 2). This is done, of course, to make sure that other players who may not have advanced their characters’ abilities as far as I have at that point will not be seeing the party member using spells that he/she hasn’t actually unlocked yet. It’s a careful detail for the sake of accuracy, you see. Heck, Lufia 2 has several moments in its storytelling in which Selan or another spellcaster uses their magic for a purpose outside of the battle system, and the game is so meticulous about being accurate with this, that Selan in fact has in her magic list a spell called Light, which has no actual function in the game whatsoever, save for a moment at the game’s end in which she uses it to light the dark fortress of the Sinistrals. And I think that’s only there because it was shown to have happened during the beginning sequence of the first Lufia title, so to maintain accuracy, they added this otherwise unused spell to Selan’s repertoire, specifically so her ability to light up the room (in the literal sense, though I daresay Selan does it figuratively, too) is accurate. Now that’s attention to detail!

I suspect that it is because RPGs tend to be extra careful to be accurate with their use of out-of-battle spell-casting that it seems so careless and strange when a case like Hellena in Whisper of a Rose comes along.

So, in Whisper of a Rose, the first companion that protagonist Melrose meets is Hellena, the perpetually and maybe a little unrealistically cheerful and friendly witch whose control over the elements makes her your primary spellcaster for the game. There are several moments in the game in which Hellena’s powers manifest during story scenes outside of battle, such as early in the game, when she accidentally uses a lightning bolt to try to keep Mel from walking away from her, or very late in the game, when she casts a fire spell on piles of wood during a sidequest to find a pile that doesn’t burn. In fact, those 2 abilities are the ones which Hellena frequently exhibits outside of battle, the ability to throw lightning around and the ability to control fire. She has more spells, of course, but you don’t really ever see the storytelling emphasize her control over wind, hail, rain, and plant life, just the lightning and fire thing.

And that would be just fine if Hellena actually had access to a fire spell. But she actually doesn’t.

I’ve looked everywhere on her skill tree, and even checked the walkthrough for Whisper of a Rose to see what her Rose Point super-skills are, and...nope. There is not a single fire spell in the entire tree. There’s a lightning spell, so that one checks out, but no fire spell. And yes, the lightning spell is actually of the fire element in terms of which kind of damage it does, but you can’t really count it as the same fire spells that Hellena uses during cutscenes, because, well, she also clearly has separate lightning spells that she also uses in cutscenes, too, as I said.

I know this is a nitpicky detail, but how do you, as a developer, manage to overlook the fact that the mage that you show using fire magic at multiple places in the story does not, in fact, have a fire spell? I mean, the very first time you encounter Hellena in the game, she burns down an inn! Fire is not only an ability that she makes use of frequently during the story’s course, it is also the first, character-defining thing about her that we see! That bit of hotel arson is related to Hellena’s occasional inability to control her powers, which is a plot point later on regarding her wicked witch wannabe mother. It’s at the root of a scene having strongly to do with a major story detail about Hellena! How did you just FORGET that she can’t use the fire magic she uses in this and multiple other scenes, Roseportal Games? Come on!

Is it a big deal? Nah. Is it a unique problem? Well, I guess not technically (the Mass Effect series’s cutscenes are known for ignoring the various abilities and weapon preferences of Shepard in favor of generic weapons so as to keep things easier for themselves), although it certainly is unusual. But it’s details like this that can be telling of larger problems with a game, and that’s the case here, I think, because this carelessness with following up on Hellena’s details to make sure they supported the ideas that Rosepetal Games had for her is similar to the major problems what Whisper of a Rose has with not taking the time and making the effort to support, explore, and follow through on its ideas.

Thursday, June 8, 2017

Shin Megami Tensei 4-2's Downloadable Content

I was not terribly impressed with the downloadable content for the original Shin Megami Tensei 4, if you remember. There wasn’t enough substance to them, they were overpriced, and the only 1 that was notable was also an example of how DLC is used for dishonest business practices. But hey, Shin Megami Tensei 4: Apocalypse, known on this blog as SMT4-2, is generally a better RPG than its predecessor, so maybe it’ll have a better bunch of add-ons, too! Let’s find out.

As always, this only rates DLC that could conceivably be worth paying for--in other words, add-ons with some form of story content. It’s your business if you want to delete your money for the sake of pointless cosmetic changes and experience/money/jewel/whatever grinding, but I’m not going to rate it myself.



Fall of Tokyo Promo Video: Does this count? Eh, I think it counts. Basically, this is a free DLC which just gives you the option to watch the original anime promotional video for the game back when it was announced as an upcoming title. It seems like it must have been made before the plot was really hammered down for the project, because it shows a vastly different scenario for how Nanashi gains his smartphone and makes a contract with Dagda. Really, after the initial part of the video that shows the creation of the Firmament over Tokyo, nothing about this has anything to do with the game’s events.

Still, it’s cool to watch and totally free, so I don’t really have any complaints on this.


The Inverted Pyramid: Not a good start to the paid DLCs. Much like the DLC packages for SMT4-1, this is just a brief bit of narration, a couple of battles, and then you unlock a demon (Cleopatra) for fusion purposes. $2 might not be much money, but you’re still being overcharged for a DLC that takes, what, 20 minutes to get through? Tops?

It’s also not much to speak of in terms of the actual story. It’s just a tiny little side venture in which you investigate some missing girls, 1 of which happens to be Asahi, and find that a bunch of demons from Egyptian mythology have been trying to resurrect Cleopatra, because...well, just because, really. You fight them, you fight a 90% complete Cleopatra, you save Asahi while being given the option to say that her nose is super sexy, the end. Boring and totally superfluous. I’ll grant you that Cleopatra is actually a pretty useful minion, but unless you’ve been aching for the last 50 hours of gameplay to tell Asahi how much she appeals to your nasal fetish, I say skip this one.


Lore 1, 2, + 3: No point in separating these. These 3 DLCs simply each put a new entry into the game’s codex to read, regarding parallel universes, the concept of Observation, and a chronology of the game’s historical background. It’s useful background lore for reference, not exactly giving new information, but helpfully solidifying your knowledge of the concepts and events the game builds itself on. All 3 entries are free, and benefit the player’s understanding of the game’s story, so this set gets a thumbs-up from me.


A Trip to Hawaii: And I thought the Cleopatra DLC was poor. You meet up with a demon named Mephisto, he lets you go on a pretend beach trip with your party members, he tries to take your soul, you fight him, and once he’s defeated, you can fuse him for your own uses. At least with Cleopatra, that was an actual side adventure, small and useless though it was. This is just totally worthless.

Oh, and Japan? It seems like maybe you haven’t noticed, but the internet? It exists. I know you really want to capitalize off your horny customer base with a little bathing suit fanservice, but if I want to get my rocks off to SMT4-2’s party members, or the royals of Fire Emblem 14, or any other fictional character ever conceived, it is a single image search away. And they won’t be obscured by bathing suits, they won’t take as long to download, and they won’t cost me $2.50. Hell, said pics were created and freely available before the damn game released.


Explosive Epidemic in Mikado: This one’s a bit better, I suppose. This is a side story for the game path where you decide to be a hypocritical giant douchebag and side with Dagda, in which Nanashi goes to Mikado and kills everyone there, partially because they’re turning into demons and partially because in this route Nanashi’s just the kind of fucktard who likes genocide. You go through Mikado, fighting various residents and finding out what’s going on as you do so, until you reach Hugo and get the rest of the story as to where this epidemic came from. As a side story, it’s okay, I guess, and it at least ties a little into the plot of the game (well, 1 route of the game), unlike Cleopatra and Mephisto’s nonsense. At the same time, though, not a lot comes of this, from a story perspective, and it’s a pretty forgettable sequence of events. Not as big a waste of time and money as the previous 2 paid DLC packages, but still not worth the $2.


Messiahs in the Diamond Realm: This one’s actually kind of neat...while still not being very good. In this DLC, you’re called away to a realm between realities by Stephen, for the purpose of helping the main characters of each previous numbered Shin Megami Tensei become ready to fulfill their roles as Messiah to each of their respective realities. Whereas A Trip to Hawaii was stupid, mindless fanservice that mildly insults the player, this is the good kind of fanservice, much like Mass Effect 3’s Citadel DLC: a pandering to fans not by trying to take advantage of their base instincts, but rather by working with their love for the series and their longtime devotion to your products. It’s fun to see Nanashi help, interact with, and fight alongside the protagonists of SMT 1, 2, and 3 (and 4-1, I guess, but since that naturally happens in SMT4-2 anyway, it’s less of a big deal). It also plays to nostalgia by making the dungeon you’re going through very reminiscent of the old school first-person dungeons of SMT1 and 2, complete with the original music for them. Neat! And the DLC finishes with a very challenging boss battle against an enemy that will be kind of exciting for long-time SMT fans.

Beyond nostalgia, though...well, it’s not really all that interesting. I mean, it’s not bad, or anything, but there’s just not much that happens here. It’s fun, but not particularly meaningful, to meet up with the Demifiend, Flynn, Aleph, and Kazuya, and the battle at the end just seems to be there for the hell of it, rather than any real reason. I dunno. It’s like...I want to like this, because who doesn’t like a good hero team-up, but at the same time, objectively, and even a little subjectively, I really have to admit it’s no more meaningful and entertaining than the other paid DLCs in this game. It at least gives you a little more content than the previous packages have, but it also costs the most of all of them, so in the end...sorry to say, but I find Messiahs in the Diamond Realm about as lacking as the rest of this game’s paid DLCs.



Bah. What a disappointment. SMT4-2’s Downloadable Content is barely any better than its predecessor’s. The only DLC here that has a straightforward, untainted positive effect on the game that isn’t overpriced is the 3-part Lore update. I’m finding that JRPGs’ add-ons have an even lower success rate with me than the ones made on this side of the ocean.

Sunday, May 28, 2017

The Pokemon Series's Pokemon Breeding

Many thanks to Ecclesiastes for letting me bounce ideas about this rant off him. Also to my sister, who, as she always does, generously donated a willing ear and more time than it was worth to listen to and give feedback on this. Both of you rock.



Y’know, Pokemon breeding is seriously fucked up.

Yes, this is another rant about one of those things that the Pokemon series kinda just glosses over, but is actually pretty disturbing. I know, I know, not exactly original...how in the world do we all enjoy and accept as harmless child’s play this bizarre world of enslaved sentients, culturally encouraged dogfighting, dangerously unsupervised preteens, lethally dangerous government buildings, out of control forced domestication of wild animals, and so on? Still, as with the dangerous nature of many Gyms, this is a subject I haven’t seen critiqued often, so, here I am to do my thing. There is no easier target for logic and ethics nitpicking than Pokemon, and I’ll be damned if I’m above beating a dead Ponyta.

You like that? Ah? Pokemon joke? I’m hilarious.

Anyway. Pokemon breeding! The Pokemon games don’t usually go into much detail on the whole Pokemon breeding scene, from what I see and can recall. It’s more directly a part of the Pokemon world that the anime depicts.* In the games, the whole process is kinda just passed off as some miraculous happening, explained in a very carefully vague way. Or at least, it is in Generation 7, and I admit that I just don’t remember how it was explained prior to that...look, gimme a break, I never used the Daycare centers and even I can’t be expected to remember the wording of every RPG tutorial I’ve ever seen. I think I’m safe in assuming that the earlier games didn’t go out on a limb and supplement their audience’s sex ed classes, though.**

Nonetheless, no matter how quietly overlooked it might be, Pokemon breeding is indeed a thing in the games’ world, as evidenced by the fact that there is an entire trainer type called, clearly enough, Pokemon Breeders. And I gotta say, the concept is pretty messed up. The whole idea of animal breeding can be kinda squicky, of course, and I think there are certain aspects of its practice in the real world that just about anyone would admit are questionable. Nonetheless, even if we take a stance in which we’re A-OK with animal breeding in terms of real life, Pokemon breeding is a whole different matter.

See, here’s the thing: when you’re breeding animals, you’re making mating decisions for creatures that generally lack self-aware determination. With most animals, mating decisions are as much made through instinct as anything else they do...it’s highly arguable how much “choice” they have in any aspect of their lives, with or without human intervention. Granted, this is still grounds for philosophical argument of ethics (on a personal level, I don’t like this practice), but the important thing is, you’re not taking a choice away from a being that can really contemplate the concept of choice enough to appreciate it anyway. But with Pokemon breeding, you’re forcing sapient creatures of human or near-human intelligence to mate according to someone else’s will, not theirs!

This isn’t deciding which chickens mate with which chickens to get the best eggs and temperament. This isn’t setting up a blind date for your stupid dog. This is forcing 2 independent, free-willed self-aware entities to reproduce according to the arbitrary whims of a third party, disregarding any and all feelings the actual participants might have on the matter! I’m no legal expert, but I do believe that’s called rape in some circles. Also eugenics, which is its own bag of unpleasantness. But more importantly, the whole robbing free-thinking self-aware individuals of their right to choose reproductive partners thing.

Oh, and yes, Pokemon (a lot of them, at least) are sentient, sapient beings. According to my ever faithful reader, friend, and sounding board Ecclesiastes, Generation 6 tried to backtrack on this issue, and make the line between human intelligence and emotion, and Pokemon intelligence and emotion, a more solid one. Figures it’d be the 1 game generation I’d skip. Nonetheless, even with my ignorance of the game’s events, I call bullshit on that. The Pokedex and general series lore disproves any notion of Pokemon all being intellectually and emotionally inferior to humans, and said dex and lore do this all over the place. Off the top of my head:


-Cubone wears the skull of its deceased mother, showing that it possess both the concept of sentimentalism for objects associated with those it cares about, and understanding of symbolism and how it relates to loss.
-Mimikyu recognizes love and accolades given to Pikachu, and feels jealousy (which is itself a complicated emotion indicative of intelligence). Its attempt to resolve this situation is to craft a costume based on Pikachu. This isn’t unconscious mimicry born from natural selection, this is a conscious decision to visually imitate Pikachu, and obviously the process of creating a costume to wear requires human-level preparation and know-how.
-Absol’s attempts to warn human civilizations of impending dangerous weather requires forethought, empathy beyond biological imperative, and selflessness to a humanlike degree. Absol has to be intelligent enough to recognize human civilization, identify that humans cannot follow weather indicators as well as it can, and devise a plan to warn them. It also must be emotionally complex enough to recognize the potential plights of nearby humans, care about them, want to help them, and choose to devote its time and energy to doing so with absolutely no possible personal gain.
-Primarina, during her (mine was female so deal with it) personal Z-move, stands and takes a bow after her operatic performance. That’s a display of personal pride in what she has done, and pride is, I’m pretty sure, an emotion only confirmed in human-level intelligence. Additionally, it shows a recognition of subtle social gestures and how they are correctly employed, and an understanding of how such gestures add flourish to a performance. This is no trained trick, done with the potential for reward treats in mind; the only motivation she can have in this bow is to acknowledge her accomplishment and performance, and share her satisfaction in it with others. In this 1 tiny motion, Primarina confirms an intelligence that understands cultural gestures, self-aware personal pride, and art.
-Uh, yeah, Rotom does, y’know, talk. And have a clear personality. Like, throughout the entirety of Pokemon: Generation 7. From the moment it possesses your Pokedex, Rotom does more than observe and recite basic Pokemon facts--it also reacts to, comments on, and poses questions about Moon and Lillie’s adventure together. Or Sun and Lillie’s adventure, whichever you went with.


And I want to emphasize again, this is off the top of my head. If I were to categorically go through Pokedex entries and rack my memory for all the details it can provide of the 5 generations I’m familiar with, I’m pretty sure there’d be a substantially longer list of Pokemon who flat-out, hands-down, beyond-question prove that Pokemon are capable of being self-aware, intelligent creatures mentally at humanity’s level (or even higher), and frequently are. But as I am not patently insane and thus have no interest in looking over...what is it now, over 800? Over 800 Pokemon’s worth of codex entries, those 5 examples will have to suffice.

Which brings us back to my point: Pokemon breeding is forcing 2 entities who, in at least some cases, are thinking, feeling, self-aware beings to reproduce together, regardless of what reproductive partner they might have otherwise chosen. And that is pretty messed up, and not okay. It’s either rape, or something really, really close.

Is this the most morally questionable part of the Pokemon world, when analyzed? Probably not; I mean, as deplorable as the idea of disregarding someone’s feelings and desires and assigning them some eugenics pet project mate to propagate with is, this is also the world which endorses pitting intelligent, self-aware individuals against each other in deadly, painful combat to satisfy the whims and vanity of their owners. That trumps even master-race-aiming rape, at least in my opinion. Still, when you think about it, the concept of Pokemon breeding is yet another extremely unsettling aspect of this cheerful children’s series that we perpetually give a free pass to.










* Sort of. The anime, if I recall correctly (be kind if you need to inform me that I’m wrong on this; I haven’t watched Pokemon since the Orange Island arc was the new big thing), depicts the breeding process more as a vague mixture of food preparation, grooming, relaxation methods, and massage (which makes the Pokemon Refresh thing in recent games even more questionable than it already is, I suppose). As far as it shows, you’d never guess that actual sex and reproduction was a part of the process at all.

Then again, are we even sure sex IS a part of Pokemon reproduction? I mean, you can still breed genderless Pokemon in the games using a Ditto as 1 of the parents (which is in itself all kinds of weird), right? So how much does gender actually matter to these things, in terms of creating new ones? And...

...Actually, you know what? I just realized what I’m trying to analyze here, and how deep I’m going with it. And I’m gonna just cut myself off right there. Not worth the cringy shudders I’m gonna eventually give myself if I keep on.


** Although given how inadequate and often negatively exclusive sexual education often is in the USA--and that’s when a school system even bothers to teach it at all--maybe it wouldn’t have been a bad thing if Pokemon games actually had gone into detail about it.

Thursday, May 18, 2017

General RPGs' AMVs 14

Yup, another one of these things. I know, I know, no one but me likes them. Well, the people who made these videos put real time and effort into their work, and someone ought to appreciate that, so you'll just have to abide until next rant for something more substantial.


FALLOUT

Fallout 3, 4, and New Vegas: Electric, by Lacryna: https://www.youtube.com/watch?v=7gxludF5r98
The music used is Electric Worry, by Clutch. It’s not an amazing AMV, but it’s punchy and fun to watch, a good example of a song that captures an aspect of a game that’s been used appropriately. The action and attitude of the Fallout series works well with the music, and that’s all there is to it--it’s good.


FINAL FANTASY

Final Fantasy 7: Tales of Fantasy VII, by ZackFairZakkusuFea: https://www.youtube.com/watch?v=ZUZcmV6S8_U
The music used is Karma, by BUMP OF CHICKEN, which is the opening song for Tales of the Abyss. I’m not sure if this really counts as an AMV so much as it does a fan animation, but it’s cool, so I’m sharing it anyway. This is basically a near identical recreation of the opening anime video to Tales of the Abyss, except using characters, concepts, and plot elements from Final Fantasy 7, instead. It’s all hand-drawn art that looks great, and it’s really cool how close it is to the source video (you can find it here if you want to compare: https://www.youtube.com/watch?v=0yzTJYM4p-s). Very fun, well-made piece of fan work, this.

Final Fantasy 10: The Sound of Silence, by DiDiChii: https://www.youtube.com/watch?v=4G3UaX_Dz1k
The music used is a cover of The Sound of Silence, by Simon and Garfunkel. The cover itself is done by Disturbed. The nature of Final Fantasy 10’s story lends itself well to a quiet, slow, and powerful song such as The Sound of Silence, and this AMV does well to capitalize on that, emphasizing the more somber, quiet, and so often tragic moments and characters of the game. The video raises its visuals’ intensity as the song does, but, like the song, never loses its poignancy. Powerful stuff.


FIRE EMBLEM

Fire Emblem 14: Demons, by WolfBeil: https://www.youtube.com/watch?v=aVpB75D1d1A
The music used is Demons, by Imagine Dragons. There’s not much to say about this, besides that it is a simple, well-done AMV which matches the game’s scenes up very appropriately to the lyrics of the song. Very nice job here.

Fire Emblem 14: Who Am I Living For?, by Ravioli Rose: https://www.youtube.com/watch?v=6r8w5avmie0
The music used is Who Am I Living For?, by...Katy Perry? Wait, that can’t be right. When did Katy Perry start making music that didn’t suck? Why wasn’t I informed that the end times had begun?

This is...well, it’s just an excellent AMV. Seriously, top-notch. It was really hard for me to choose the FF10 Sound of Silence AMV above as today's best video over this one. The song’s lyrics and ideas match to Fire Emblem 14 perfectly, allowing this video to tell the story of Corrin’s dilemma of her/his warring families and emphasize how much she/he loves them, to the echoing question of “Who am I living for?” The tone of the song ends up working surprisingly well with the visuals of FE14, too, which I would not have expected...yet the style that FE14 has of often (more often than you’d probably notice, in fact) switching between real time and slow motion makes it mesh very well with the slow throb of the song’s tempo. Really, it’s almost like Katy Perry wrote this song with FE14 in mind, it matches so well, or at least, it seems to after watching this quality AMV. This is a skillfully executed AMV that doesn’t settle for simply being a good tribute to the game, as most AMVs do, but rather uses its song to help tell a portion of the game’s story. Really great stuff!


KINGDOM HEARTS

Kingdom Hearts 2 + 365/2 Days: My Name, by La Habana Inc.: https://www.youtube.com/watch?v=1rciYhPBHdE
The music used is My Name, by Shinedown. This AMV explores Roxas through the song, and it works darned well, the lyrics coordinating with his character as naturally as the footage is matched to the melody and changes. The simple effects used here and there are effective and never distracting, and ultimately, everything lines up to create a really good character-dedicated music video.

Kingdom Hearts Series: Call to Arms, by NekoKitkat25hug: https://www.youtube.com/watch?v=xsH9aI5Lixo
The music used is Vox Populi, by 30 Seconds to Mars. Fucking 30 Seconds to Mars again? At least it’s not This is War this time. This is a straightforward, well-made AMV that enjoyably recalls the KH series to us in a fun way. The pace of the song is matched well with the cinematography, and I like the overall package of this. I think it probably will mean a little more to me once I finally get around to playing that KH Birth by Sleep game, but even without knowing all the over complicated drama of Aqua and her friends, I still find this a solid AMV.

Kingdom Hearts Series: Maps, by Alexxis5954: https://www.youtube.com/watch?v=dQ3EsTZCP_o
The music used is Maps, by Maroon 5. Can’t say I think much of the song, but the AMV that’s been made out of is pretty darned good. There’s not a lot that really jumps out at me about it to speak of here, it just works well. The lyrics are pretty good at telling a story of Sora and Kairi seeking each other, and the video is well coordinated with both the song’s lyrics and its overall tune and changes. This is just your textbook case of a good, well-made AMV.

Monday, May 8, 2017

Moon Hunters

Well, you know how I like to roll...when I encounter a decent Indie RPG, I try to share its existence with you folks, because games made by non-AAA developers tend not to get great marketing (with a few notable exceptions, like Undertale), and that’s just not right, given that they are often quite good.

Moon Hunters is such an RPG. A Kickstarter game which I’m pleased to say I helped to back, Moon Hunters is perhaps the only Roguelike game I have ever played that appeals to me. The Roguelike subgenre of RPGs is 1 which I have barely explored at all, because, quite frankly, it’s just not a setup that encourages the only thing that makes playing an RPG a worthwhile experience, the writing. Randomized dungeon-crawling is usually the beginning and end of a development team’s focus with Roguelikes, and that is, for me, about the most boredom I can have without having Ricky Gervais present in the room.

Hell, even when a developer has good intentions with a Roguelike, you’re still not likely to get much out of it...I was promised a story and cast of significance with Dragon Fin Soup, but I’ll be damned if anything of the sort materialized in the first 10 hours of the game, and at that point, even I gave up on it. And I played Lunar: Dragon Song from beginning to end, for heaven’s sake!

But anyway, enough about a game I wish I hadn’t helped fund; let's get back to talking about a game that I’m glad I did. Moon Hunters manages, for the first time I’ve personally seen, to make a plot and cast work with the Roguelike formula, by taking it in a completely different direction than the linear storytelling style that we expect from most RPGs, and even in a different direction from the more free-form storytelling style that you’ll see occasionally in games like Baroque and the original 2 Fallout titles. And it does so in an ingenious way.

See, with a game that focuses on randomized dungeons, a game’s story usually has to either find an excuse for it, or just kind of stay outside of it, only existing outside and in set areas of the randomized dungeon. Like, in the Izuna games, the fun, quirky plots happen in the scenes outside the actual dungeon gameplay, and on specific, set floors of the dungeon (the boss floors, basically). For the most part as you play, though, you’re just going silently through the random dungeon floors to get to the next plot point, rather than having that plot be present with you, as it would be in, say, a regular RPG, which can have set points in any given dungeon where conversations and story events happen.

What Moon Hunters does, though, is to make its randomization the key, focal theme of its story. You see, Moon Hunters is a game with a motif of tribal lore, with the idea that the game you’re playing is someone telling a legend about an event in the past that shaped the world--you’re basically playing out a Native American myth. The setting and theme of Native American tribal lore is by itself a draw for me (as I’ve mentioned before, it’s a cultural backdrop I want to see more often implemented in RPGs), because it’s engaging and fascinating stuff, but beyond that, it works absolutely perfectly with a primarily randomized game, because every time you replay the game and it’s a little or a lot different, the plot explanation is that the same legend is being related by another teller, who is simply telling it and interpreting it differently than the last storyteller did. So rather than having to work around the core gameplay element of a Roguelike, this story style incorporates that as a key detail--the key detail, in fact (more on that in a moment).

Additionally, the randomized dungeon-crawling is broken up frequently by randomized story events. For every dangerous area you explore, you’ll encounter enemies and traps and whatnot, sure, but you’ll also encounter various characters and events in there, as well, that typically take the form of small vignettes that provide brief but interesting side plots to your journey. So, again, the randomization element is woven into the storytelling element, as you meet people and creatures that expand the lore of the world you’re traveling through. In these ways, Moon Hunters doesn’t just escape the difficulties that its game type presents to a plot and characters, it uses those difficulties, empowers them, makes them into strengths.

And let me just say, those randomized dungeon events that are like small vignettes? They really help to sell the theme of tribal legends. They often feel like authentic myths you might read in an anthology or something, side stories to your character’s heroic journey like the way various small stories from, say, ancient Greece tend to use or mention heroes (for example, Theseus, he’s in a ton of Greek myths in one way or another) and villains in several different, unconnected stories. I really liked one, for example, which has you find an accomplished singer from a nearby village practicing his craft at a lake, when out of the lake emerges a prince from a kingdom under the lake’s waters. The prince has fallen in love with the singer for his beautiful voice, and the singer asks you whether he should accept the prince’s proposal and leave the surface world to sing as king of the underwater lands. It totally feels like the kind of scenario you’d get from an old fairy tale, and it has basically nothing to do with anything else on your quest--it’s just its own, complete little myth that happened to involve the hero of this story for a moment. That’s what I mean--these momentary little side ventures feel like bits and pieces of other legends connecting with this larger one for a moment, much as a legend of ancient Greece might involve Odysseus during his journey home from the Trojan War, but not be a focal point of the actual Odyssey.

Actually, the game sells its tribal legend schtick in all regards, not just the randomized storytelling. The village settings cover a wide and interesting range of tribal styles, the consistent characters connect to the setting and style of tribal storytelling, the narration has a very old-myth-sounding style, and the way it speaks of your character after the game is finished is very legend-like, too. The involvement of celestial bodies, both in the form of the warring sun god and moon goddess and of the heroes’ and their exploits being immortalized as constellations, likewise sells the setting and theme.

And speaking of the moon goddess, let’s get back to that theme of storytelling interpretations. I absolutely love how much of a quiet, yet huge thing the idea of fluid, changing interpretations and storytelling is to Moon Hunters. It really portrays an interesting and very infrequently examined concept of oral tradition--the variation between tellers and the changes that occur to a story over time and distance--in a realistic and engaging manner. In fact, the game makes it the hinging point in its plot, not just through the randomization of playthroughs, but through the focal entity of the game, the goddess of the moon. Each of the game’s tribes worship the moon as a different entity...1 sees her as a maternal goddess, another as the arbiter of death, still another as an embodiment of nature and the wild, and so on. She has as many interpretations as the compass has directions, and yet they are all her, for her true self is only defined by the people who worship her--if you play right, and arrive at a point near the game’s end in which she speaks to you, you see that her ‘true’ self has no face, no identity save as a being of wisdom and love, the only traits which all interpretations of her share. It’s very cool, the way the game quietly speaks to its audience about the nature and value of variation in the telling of myths, while almost never going so far as to outright tell you its message. And even in the rare instance when the game is fairly direct (the postgame, final battle for the right to interpret and tell in new ways), it still seems no less artistic and skillfully understated.

And by the way, I don’t want to leave you with the impression that this plot and storytelling method is all about style and theme, with no substance. Though the telling of this game is understated and its protagonist silent, there is a story to Moon Hunters, and that story has some strong moments to it. I absolutely love the small but weighted speech that the moon goddess gives to you at the end of the game, assuming you’re getting the ‘real’ ending. I mean, don’t go in expecting an ever-present, solid plot like you would from a Final Fantasy or Tales of game, but don’t misunderstand my enthusiasm for the themes and mythological element of this game to mean that it doesn’t have a real story, per say.

Other, minor good points to Moon Hunters: first of all, you know I don’t care a lick for visuals, but it must be said, this game looks terrific and perfectly represents its setting with a graphical style that...hmmm, it’s hard to explain. It looks very indie, that’s for sure, which makes sense, but beyond that, it kind of looks like what a video game might have if the graphical limitations of old PC games back in the early 90s had never been surpassed over time, but rather, refined. The music, while rarely something that makes you just sit back and pause at how good it is, is nonetheless excellent at what it’s made for, which is selling the mood and atmosphere of the game. The gameplay controls well enough; nothing notably great or poor about it, really. And hey, I’d like to say that I give a huge thumbs-up to the artist(s) for Moon Hunters, because the people of the Moon Hunters world look like, well, people. You may recall (but probably don’t, given that no one read this blog back then) that 1 of my earliest rants was my appreciation for the fact that Vandal Hearts 1 had characters who weren’t all a bunch of perfect anime caricatures, but rather employed a cast who overall looked much more realistic, less cleaned up and pretty. Looking back on that rant and that game’s cast, I can see that I was giving it more credit than it might have deserved; the characters of VH1 are only somewhat less beautified than a typical game cast, certainly not to the extent I credited it. With Moon Hunters, however, the villagers you encounter simply look like a collection of human beings as you might actually see as you stroll through a village, and I really like, and even applaud, that. Helps make it feel all the more real.

Now, Moon Hunters isn’t perfect, of course. There is the fact that, well, from start to finish, the game is like, I dunno, 2 hours long? At most? It will seem, at first, not to be worth your time. When I first started playing it, I was deeply disappointed that such a tiny RPG had come about from the funding of we backers. But, the thing is, this is not, first of all, a long story to be told. Moon Hunters takes exactly as much time as it needs to tell its story, and extending the game to be longer would mostly just be padding it out unnecessarily, I think. Secondly, and much more importantly, you are supposed to play it many times. Chrono Trigger tempts you with its many endings to play through it at least once more, but Moon Hunters requires it. There are multiple endings, but more than that, you will never be able to feel and embrace the concept of varied tellings if you do not play this game more than once, and it’s not possible to see all, or even most, of this game’s story content in a single playthrough. To see each village, a good amount of the randomized side story content, each of the endings, and the possible consequences of your choices, and overall reach a point where you can feel like you’ve experienced Moon Hunters in full, you will need to play it at least a good 5 or 6 times, I’d say, which stretches your time with the game out to a good 10 or more hours, and that is a better deal for your money.* In the end, the brevity of Moon Hunters is not because it’s poorly designed, it’s because it’s designed well in a way that you’re not expecting.

Anyway, I reckon that’s enough, and then some. If you’re in the mood for a very different RPG, a short and quiet tale that gets you caught up in ideas and a setting you rarely get to enjoy in the genre, something contemplative and calm and engulfing like the full moon in the dark sky...give Moon Hunters a try. Once your mind becomes comfortable in the game’s mindset, it’s a very enjoyable experience. You can find it on Good Old Games, Steam, or Humble Bundle. I recommend it, especially if you’re curious to see how a Roguelike can use its writing limitations to its advantage to become something really interesting and special.













* You might also be a moron like me, and play the game from start to finish like 12 times without getting the true ending because it just somehow never dawns on your tiny brain that the first area of each game is telling you exactly what direction to go in.

Here’s a hint for anyone as thick as myself: the goddess is the compass.

Friday, April 28, 2017

Final Fantasy Tactics's Plot's Shift in Focus

Short rant today! I mean, sort of. Short for me, at least.



I do love Final Fantasy Tactics. 1 of the greatest Final Fantasy titles, hell, 1 of the greatest RPGs, period, ever made, Final Fantasy Tactics is intelligent, thoughtful, dire, critical, and inventive, telling an engrossing tale of 1 man’s forgotten heroism in the brutal and unflinchingly amoral land of Ivalice, which mimics in most significant ways Europe of the medieval ages. It’s a great tale of class warfare, the way that grief and anger can both corrupt a man and make him greater at the same time, questions of whether means can justify ends, love and loyalty between family both biological and adopted, the tragedy that war visits upon the innocent, the monstrosity of those who crave power and the havoc they wreak in their power games...all kinds of engaging, powerful stuff.

Oh, yeah, and also there’s some stuff in there about saving the world from hell demons who possess people using magical stones based on the same stuff as your horoscope.

Yeah, see, about halfway through Final Fantasy Tactics, the plot’s focus shifts from the war of succession in Ivalice and the protagonist’s place in it, to an invasion by that world’s Anti-Christ who it turns out was secretly also that world’s Christ figure. The transition isn’t immediate or anything; the Zodiac Stones only gradually start to take over the plot, and the political struggles remain at least in the background of the game for a while, but...it’s still kind of weird, when I really look at it. FFT is well-written enough that the 2 different plot focuses aren’t unrelated, of course, the church’s power is a player in the political story and some of the political story’s figures become key players in the Zodiac Stones plot, but...it wouldn’t be hard to completely separate Final Fantasy Tactics: the war-of-power-hungry-nobles story, and Final Fantasy Tactics: the save-the-world-from-demons story. They seem, in fact, artificially tied together, like 2 different stories that were carefully, but not naturally, welded into 1.

And the thing is, well, I think it’s to the game’s detriment. That’s not to say that Final Fantasy Tactics isn’t a terrific RPG; it definitely is. That’s not to say, even, that the story of saving the world from the threat of demons secretly tied to a false church that FFT presents isn’t good. It is quite a decent adventure, executed in a competent way. There’s nothing wrong with it. It’s just...well, the first major story of the game, of warring nobles and class warfare, the questions of honor and where the line lies between good and evil when you’re sinning for the sake of peace, and the juxtaposition between protagonist Ramza and the man he considers a brother as one struggles to do lasting good without compromising his principles, and the other becomes a hero king by sacrificing his better nature...that all amounts to a way better, much more compelling plot to focus on.

I mean, think about it. What are the moments that really stick with you from FFT, the parts of it that make it so memorable and speak to you? For me, there are many. The betrayal of Algus and death of Teta, of course. The spite and unrelenting resentment of Miluda, and what we see Wiegraf is reduced to afterward. Ramza managing to stop a major battle and save countless lives by flooding the battlefield. Ovelia speaking to Agrias of her doubts and concerns. Wiegraf agreeing to give his soul to Lucavi for the power to accomplish his goals. The quick, bloody, vicious betrayals of those who conspire to seize power. The complicated character of Algus, the ambition of Delita which you can’t truly say for sure is right or wrong, the plight of the commoners represented by Wiegraf and Miluda, the devotion of Agrias, the determination and despair of Ovelia, the difficulty that Ramza has in reconciling himself to his role and the man he wants to be and his conflict with Delita, as well as with his brothers, the clashing ideologies of Ramza and Gafgarion that cement who Ramza truly is. The ending scene where Ovelia betrays and kills Delita for what he’s done, and he in turn kills her, and thinks of Ramza, the man who wouldn’t do evil for the sake of good, and wonders whether things turned out better for him.

See, the thing is, of all those really memorable, powerful scenes and characters and ideas I just mentioned that really stay in my mind, only 1 involved the Zodiac Stones, and part of that was just that it was the first time we’d watched a soul corrupted by the Stones, and another part was simply what it meant for Wiegraf as a character. Nearly everything about Final Fantasy Tactics that makes the game so great is, to me at least, the overarching story of succession and class struggle, and the personal story of morality between Ramza and Delita, which feeds primarily back into the political plot. So I feel that by gradually turning its focus away from that story, and onto a tale of saving the world from magical evil stones and resurrected demons and whatnot, we kind of missed out. Final Fantasy Tactics is a terrific RPG, but so much of what makes it excellent is found in its first plot focus, not its second.

I just wonder what might have been if the game had stayed the course until the end, whether we might have gotten an even better product had the story stayed grounded in political struggles and questions of the morality of actions and intent. The Zodiac Stones story that eventually overtook the game’s focus is fine, as I said, and they fit well with the setting of Ivalice given the whole corrupt medieval church thing, but...without that, would we have had yet more really powerful moments of emotion and social examination, and raw twists and turns in the plot? Would some of the content of the game’s expansive codex, so in-depth that it feels like a third of the story’s content is locked away in its menus, have been seen in action rather than just read about?

Great though it is, I cannot help but wonder if Final Fantasy Tactics had more to offer, had it not switched its focus. I suppose we’ll just never know.

Tuesday, April 18, 2017

Guest Rant: In Defense of Young RPG Protagonists

It's that time again: time for me to rest on my sorry ass as though complaining about RPGs was something hard to do, and allow 1 of my readers to treat you all to a different perspective. And our guest ranter today is, once more, the esteemed and helpful Humza! Thanks yet again, buddy!

Disclaimer: As ever, I don't own Humza's words, and they don't necessarily reflect my own opinions and observations. Although I can say that his thoughts below are quite logical and compelling, and if I don't entirely agree with all of them, I do agree with most of what Humza says, and have adjusted my perceptions accordingly. He's a pretty convincing bloke.



In Defense of Young RPG Protagonists

Humza
March 22, 2017



It's a common complaint that lots of RPGs (especially Japanese ones) have protagonists that are too young to go on a journey to save the world. Most of the complaints seem to come from people that don't like JRPGs in the first place and someone like that probably wouldn't read this, but maybe it'll interest some of the readers here anyway.

The complaints seem to be centered around it being unrealistic for a group of teenagers to go on their quest* and that it would make more sense to replace the cast with a group of adults. Let's get the more boring defenses of them out of the way first...

Marketing

This is probably the most common reason provided for why JRPGs commonly use young protagonists, since the main demographic of video games in Japan (and this genre in particular) are teenagers, and the players would presumably be able to relate more to the characters if both share similar ages and go through similar situations. For example, many teenagers gradually start to acquire more responsibilities (even if those responsibilities often revolve around spending more time studying and doing simple errands for parents) and young protagonists in RPGs usually have few responsibilities before their adventure. The type of responsibility differs (saving the world is a much more impactful burden in comparison), but a parallel could be drawn where the errands feel like a similarly huge burden in the players' minds, if some eisegesis is used (although I don't agree with that).

Easier to develop characters

It shouldn't be too hard to see how character development is easier to write for a younger character. In most cases, but not all, younger people are more easily swayed in their ideas and beliefs than older people. It's not profound or thought-provoking, but this quote by Miyamoto illustrates an example of that. Since older characters are more rigid, more drastic situations are needed for them to develop. This could lead to characters that finish their development earlier, as with Yuri from Tales of Vesperia, who (I'm told) becomes static around halfway into the game. It is possible to develop older protagonists well, like Stocke from Radiant Historia, but the main reason to choose an older character is used by writers seems to be (considering it's a commonality between older protagonists) so that they are more experienced in their field (both of the aforementioned characters being knights in renowned organisations), and using drastic situations to show that the character needs to progress could conflict** with the appearance of them being experienced, so it's harder to write. Stocke from Radiant Historia is portrayed that way (perhaps intentionally) when he falls to an enemy that doesn't have a huge significance to the plot.

More importantly, it's common (at least, from my experience and what I've heard from others, which is admittedly limited anecdotal evidence) for people to more actively develop their identity starting from that point, which weighs more heavily on the scale of character development than the amount of experience that characters have.

Fewer conflicts between gameplay and story

This kind of ties into the previous point about older characters normally being more experienced, but an experienced character has less reason to change and improve if they are capable of tackling the problem without a strong need for change. The traditional RPG leveling system is suited to characters progressively improving (there's probably a correlation that can be drawn between physical strength and the mental state of a character since both usually develop in RPGs) over the course of a game and this ties to characters getting more experienced (it's called EXP for a reason, so this is probably obvious...), which is hard to do with an older, more experienced character. For example, Shepard from Mass Effect is around 30 years old and one of the strongest characters in the setting, but it's easier than it should be for him to get killed by a low-level grunt during gameplay. (This isn't a knock against Mass Effect since the gameplay probably benefited from having the mission-based experience system it did and the problem isn't too noticeable, but you need to go through more mental gymnastics to make logical sense out of it).

Historical precedence

I don't think any human being or group could be attributed as having saved the world, but there is some (rare) historical precedence of young people having accomplishing great things. The most common example would probably be Jeanne d'Arc, who helped the French army in a war with the English at 18 years old, which is almost comparable to the protagonists of the first two Suikodens, since they also lead armies to victory against another country. Alexander the Great has a somewhat similar story where he started engaging in (small) warfare at 17. Those RPG protagonists are still far-fetched compared to this, but they don't seem quite as unlikely considering what young leaders have done in the past. The setting in some of those RPGs is also technologically closer to the places the aforementioned leaders came from than it is to the 21st century, so the concept of adolescence may not be a limiting factor that exists in those worlds. (It's possible the concept might limit what adolescents are likely to accomplish since most young leaders I found were before the Industrial Revolution, but that might be offset by the increased life expectancy giving people more time to do great things).

I'd be interested in any comments on this since it strays from things I've usually written in the past, and I probably overlooked or got something wrong. Thanks for reading!






*It seems arbitrary to draw the line for realism at young people helping the world become a better place, and not at more unlikely things in RPGs, like magic existing.


**Most people seem to improve aspects of themselves when it becomes a necessity since the reason behind improving is much more compelling in that case.

Saturday, April 8, 2017

AeternoBlade's Freyja's Power

AeternoBlade is a rather obscure action RPG with a decent, creative plot involving a heaping load of time travel, a fairly well-executed theme of the terrible and corrupting nature of wrath and vengeance, and a serviceable cast of characters It has an imaginative gameplay system that generally works, functional graphics, and a middling soundtrack. And it has one of the most powerful RPG protagonists of all time.

There really aren’t many other RPG characters I can think of whom Freyja would not be able to defeat, save ones like, say, Goku (Dragon Ball Z has had RPGs made about it, remember), who are just outright invulnerable to conventional attacks made with a sword. But as long as a foe can, conceivably, be defeated by being stabbed and slashed with a sword, even if it’s a case where it would take hundreds of sword strokes to do it...Freyja would invariably come out of a battle between them as the victor. Hell, even in the case of a character like Goku, where she literally can’t harm him, a fight between them would probably end in Freyja’s retreat more than an outright loss.

What makes Freyja insanely unstoppable is her sword, the Aeterno Blade,* and the way it does this is twofold. First of all, it...well, it basically lets her be Tracer from Overwatch, if you increased Tracer’s temporal powers several times over. The Aeterno Blade allows Freyja to perform a small little time-space dash forward, which basically blinks her out of time for a moment, allowing her to evade enemy attacks by invincibly passing through them in time. She can’t do this in rapid succession, but the recharge time on this is still short, like half a second, so Freyja’s ability to dodge her foes’ attacks and close a distance gap (which is kinda necessary for a sword-user) is quite effective.

More importantly from the Tracer-esque half of the Aeterno Blade’s repertoire is the ability it grants Freyja to rewind her own actions (while remaining fully conscious of their consequences), and in the process heal herself from any damage she took during that time, should she be mortally wounded. So, essentially, if an enemy manages to strike a fatal blow against Freyja, she can rewind her own timeline by half a minute or so, and bring herself back to before that fatal moment in as good condition as she was, with the knowledge of what’s going to happen and, presumably, how to avoid it. And Freyja can activate this rewind ability pretty much at the brink of, or even beyond, death. After all, any time she dies in the game, you have a few seconds as she lies there to begin rewinding her back to life. So yeah. Freyja has the ability to rewind time from even beyond the grip of death to bring herself back to life, with preternatural insight on what not to do in her immediate future.

So, already we’re talking about an individual who is extremely difficult to defeat, because if you’re fighting Freya and she’s using the powers I’ve mentioned, she’s blinking through most of your attacks and keeps seeming to know exactly how to counter the finishing strikes you might have landed on her, knowing they’re coming practically before even you do. And it’s worth noting that even beyond the powers that the Aeterno Blade confers to Freyja, she’s no slouch at combat. She has an impressive, physics-defying repertoire of sword skills, can use magic to call down meteors on her foes (which is pretty much always a high-level attack spell, regardless of which RPG you go by), and can do that double-jump thing that’s so popular in action RPGs. Already we’re talking about a pretty damned dangerous combatant...and I haven’t even gone into the details of the other half of the Aeterno Blade’s time control that Freyja possesses.

The other side of Freyja’s temporal abilities is extrapersonal time reversal. See...in most cases, a character who can stop or incredibly slow time is almost unbeatable, such as Sailor Moon: Another Story’s Sailor Pluto, or The Flash when he’s really not kidding around. When Feena stops time in battle for a few rounds during Grandia 1, it gives her a chance to fully heal the party up, and do some damage to her enemy, all without needing fear a single attack to her person. Likewise, Sailor Pluto breaks Sailor Moon: Another Story, able to freeze time for her enemy for 3 rounds, allowing the Senshi to heal themselves and launch attacks, and then just as time for the enemy restarts, she can freeze them again. This extraordinarily broken gameplay mechanic even works on the final boss!

Very impressive stuff, to be sure. But Freyja makes even that level of power look like a joke. She can, at will, make the entirety of time and space rewind itself for several seconds (at full power, it’s roughly a full minute), starting and stopping everything around her as she pleases. She herself, however, is an outside entity to this rewinding, and can act as she wishes...which means that during this period of time marching backward, she can deal damage to an enemy, damage that will (for some reason) remain with said enemy even as it reverses back before she stabbed it. You could attack her, and before you even connected, she’d reverse you back to when you first started that attack, and stab you in the heart as she was doing it, so from your perspective, the first lurching step you take at her is suddenly, inexplicably your last as a gaping hole appears in your chest. From the viewpoint of her enemies, she can and is everywhere but where their attack is about to land, as 1 fatal slash after another instantaneously appear on them. She could spend half a minute dodging blows from you, suddenly reverse time, and deliver a fatal strike as you go back through your every action, and bam! From the perspective of the rest of the universe, you somehow got sliced in half a few seconds before you even had seen that she was there.

Also worth noting in regards to this ability is that there is an accessory that Freyja can equip to the blade that causes her to regenerate her health while she’s rewinding the world around her, so she can be constantly healing even as she’s making you do an impression of a moon-walking pincushion. There is no time during which she’s using her powers in which she can’t also be regenerating herself back to peak condition. Y’know. Just for a little extra overpowered zest.

Seriously, aside from an enemy that she just outright cannot damage with a sword or meteors, there is no individual I can think of originating from RPGs that Freyja would not be able to defeat, and even the ones she couldn’t actually harm, she could still escape from and/or stalemate. It’s too bad that AeternoBlade is so obscure, because it’s created one of the most powerful fictional characters ever to exist, and it seems kind of like it did so without even trying.

And that’s all I have to say today. Tune in next time for a rant wherein I’m not gushing about how super cool and strong some character is like I’m goddamn five years old! At least, maybe.











* Why the hell did they make it a single word for the title of the game, but put a space between “Aeterno” and “Blade” in the actual name of the weapon? I swear, sometimes I think that Japan is purposefully making titular nomenclature as confusing as they can.