Last year I decided to commit to playing as much of Final Fantasy as I could. It’s been a very fun journey so far but I thought it would be useful to look back at Dragon Quest, a game Final Fantasy owes a lot to. Final Fantasy wouldn’t exist without this game (though Japanese RPGs might still exist since efforts like The Black Onyx, Dragon Slayer and Hydlide predate it).
I was surprised to find that the original Dragon Quest is a fairly relaxing game. That’s partly true with some of the other games in the series I have played, but those other ones also had tense moments. Fighting Psaro the Manslayer in Dragon Quest IV was not calming in any sense. If you want something to wind down with at the end of the day, the first Dragon Quest works well.
The simplicity of the game allows for that. While it is about saving the world from some evil wizard, there’s never any tension. Because it’s a turn-based RPG the pace of the game is extremely player-dictated. While there’s artifacts to be found and a princess to be saved, there’s no pressing need to do all of that immediately. Dragon Quest’s world is a place without difficulty and deadlines.
As this game was made for older hardware, there was a need to condense the experience in a way that was easy for the system to display but still understandable for a player. This is why battles play out simply with a picture of the enemy, some stats numbers on the left and a menu at the bottom. The removal of all of this context means I can’t help but not think of it as a tense battle, but instead a contest to see who can get a number down faster. A contest heavily weighted in my favour, and increasingly so as the main character’s level goes up. Losing isn’t much of a setback either. It reduces the in-game money earned to half, but that can easily be regained.
Many older RPGs are similar, Phantasy Star is one example. But Dragon Quest is a little different. It centres on one specific location: a castle. It’s where the game begins. It’s the home of the main character. It’s where you go to save the game. It’s where you go when you lose a battle. It’s where the game ends.
Having a specific home that needs to be returned to combined with the game’s simplicity makes it play like a game a child would think up. I don’t mean that in any pejorative sense. If anything I couldn’t help but feel a little nostalgic. I suppose this may be one of the reasons that Dragon Quest has lasting appeal.
It’s less like a hero embarking on a dangerous adventure and more like a child going out to play. The hero can only venture out so far, but as he grows he can go a little further. If the hero gets defeated in battle, the king tells him off like a concerned parent. When it’s time to finish playing, the hero must go home.
If you do decide to give Dragon Quest a go, just know that the more easily available ports on mobile phones and the Switch look terrible. A lot of the art in the game feels very mismatched. The environments, characters, and monsters all feel like they are drawn for separate games. It’s strange for a foundational game in a series that continues to sell large numbers gets something that looks this bad.
However you go about playing it, I think it’s worth going back onto Dragon Quest especially if you’ve been playing a lot of RPGs like myself. I’m surprised how long it’s taken me to get to it myself.
I can easily see how this works as a foundation for many games after it, but it’s also interesting in its own way. It’s a shame that a lot of discussion of this game in particular seems to stop at how “old-fashioned” it is. This game didn’t always exist as being a predecessor to something else.
You could probably finish the whole thing on a lazy afternoon anyway, so it’s worth a shot to find out what you make of it for yourself.
This article contains major spoilers.
The first playable moment of Final Fantasy X put into perspective a lot of what this game does for me. Main character Tidus has to make his way to the big blitzball stadium, he’s the star player for the Zanarkand Abes so he needs to be there on time, especially since it’s a home game. When he almost reaches the stadium he has to push through a crowd to get to it. When this game came out it was a very impressive moment, the crowd reacted to the player’s movement like a real one would react to a celebrity athlete. It’s nearly a 20-year-old game now so the graphical spectacle didn’t hit the same way but I still found something surprising.
I had actually put my controller down when I got to that part. I can’t remember why exactly but because I hadn’t pressed any buttons for a short amount of time Tidus pushed through all by himself. It makes sense of course, there’s no reason for him to be stuck in there being mobbed by fans. It could have been something they put in because people testing the game were spending too long playing with the crowd or couldn’t see where to go on smaller TVs, but it doesn’t just feel like a functional moment. It feels like the character is doing something he reasonably would.
If you take a reductive look at Final Fantasy X, it’s a role-playing game like many others. You control a party of characters as they explore many locations with random bouts of turn-based combat and light puzzle solving serving as interruptions. Every so often there’s a boss or a cutscene too. That could just be a description of several other videogames. What sets this apart from others is how thoughtfully put together many of its aspects are. The game’s systems and structure are closely intertwined with its character writing and worldbuilding.
So what’s that world like? After that opening moment, Tidus only gets to play in his big blitzball for a short amount of time before it’s attacked by a giant monster that sends him 1,000 years into the future. Completely lost in this new world called Spira, he eventually meets a party of adventurers led by a woman named Yuna. She is a summoner, one of many on a pilgrimage to destroy Sin, the monster that attacked Zanarkand earlier. Tidus joins them as one of Yuna’s guardians.
The party’s journey is one that’s constantly moving forward. It’s one many other summoners and their guardians have taken. Most have failed and some have succeeded, but Sin always comes back. It’s a very linear journey, moving from one place to the next without going back. There’s no reason to backtrack as the path to defeating Sin is always forward. Save points also fully heal the party on approach, meaning that there’s very little reason to return to a town. All of that helps the game to move forward at a good pace. It also gives a real sense of adventure because every step forward takes the party further from where they started and into somewhere new.
Summoners also have another job, which is to send the souls of the dead to the afterlife. If this isn’t done and they remain for too long, they will turn into fiends, which are the monsters often encountered in random battles. It gives good reasoning for why the strength of monsters increases as the party gets further through the game, as in later areas summoners and their guardians are more likely to have died, and the ones that made it further are likely to be more powerful.
But what about the biggest monster of them all? Sin is an embodiment of grief; a source of mass destruction and constant reminder of all that has been lost. Even Sin’s origin itself is a way of dealing with loss as it exists to preserve a society which is long dead. Grief and loss is something all of the characters experience. It’s what gives the party motivation to move ahead.
Almost all members of the party have a different experience with loss and a different way of dealing with it. Yuna lost her father at a young age and wants to honour him. Tidus also lost his father at the same age but wants to forget him. Wakka lost his brother Chappu and uses his religious beliefs to help guide himself through mourning. Lulu was also close to Chappu and was previously guardian to summoners who died on their pilgrimage, but she chooses to hide her feelings. Auron saw his friends die trying to defeat Sin and wants that to never happen again. Because of this and the time they spend together, the party gets closer to each other.
Those relationships come through in the game’s cinematic direction too, though a more appropriate phrase would be televisual direction. During cutscenes the camera feels closer than it often did in prior Final Fantasies and its movements don’t seem very intricate. It does give more of a TV drama vibe, but that only serves to further highlight how friendships develop. It’s noticeable when looking at the blocking throughout the game too. The party members seem to initially have scenes in pairs: Tidus and Yuna, Wakka and Lulu, Auron and Tidus. There’s also an early section of the game that takes place on a boat, and to find everyone you have to go through different rooms. As the game progresses further more scenes happen with bigger groups. When the party eventually reaches the ruins of Zanarkand towards the end of the game, they all sit together at a campfire.
Another means in which it demonstrates growing friendships is through its character growth system, the Sphere Grid. It looks like a board game map where many of the spaces provide stat upgrades and abilities. It’s an abstract system to show how characters learn to fight and how they learn from each other. Each character starts off in their own section of the grid upgrading stats and learning abilities that seem tailored for them, before eventually having to move into other sections and gaining skills from the others.
The placement of characters even correlates to how they feel about each other. Tidus and Yuna hit things off very quickly when they first meet and later fall in love with each other. If you follow Tidus’ standard path on the grid, it links up with Yuna’s multiple times. Wakka and Lulu have known each other for a long time too, which is why their paths are close together too. Auron watched Tidus grow up, so they’re next to each other. Kimahri is able to go onto other characters’ sections faster than any other, mostly down to his skill at mimicking others’ abilities. Interestingly the quickest one for him to get into is Tidus’, likely because Kimahri keeps a close eye on him around the start, as he doesn’t know him as well as the others.
Plenty of RPGs have relationship mechanics in them these days because of the popularity of games like Persona (which isn’t an originator itself, but certainly a trendsetter). The thing that tends to irk me with Persona’s friendship systems is that they feel very transactional. You put enough points into a relationship and eventually they will give you something that will make progressing through the game easier. The difference with the Sphere Grid is that it’s not a relationship mechanic, it’s one that happens as a result of relationships.
It’s really cool to see this all play out in battle too. At the start of the game most of the characters are best suited to fight specific enemy types. Once they get more powerful through the Sphere Grid they can start filling in for others. By the end of the game I was only making use of three out of the seven available party members, which I could only do because of what they learned from the other four.
So now I want to focus on one character in particular: Tidus. They made the right sort of protagonist for this kind of RPG. He’s got a very energetic curiosity for the new world that he recently came to and a tendency to get easily distracted. His good nature also results in him taking the party with him to help others off the beaten path. When they all reach the Mi’ihen highroad they hear about a monster called the “Chocobo Eater” which is causing trouble in the area. Tidus says that they should help get rid of the monster because it’s “the right thing to do”. The Chocobo Eater isn’t an optional boss but this is a character moment that justifies the tendency to get sidetracked from the journey like many RPG players do.
It’s also shown through blitzball as well, which is a minigame that plays out very similarly to rugby or football. It’s something that’s likely on Tidus’ mind a lot, as every save point comes with an option to “Play Blitzball”. During portions of the game where playing blitzball isn’t possible, the option still shows at a save point, just greyed out. Even when he can’t play he still thinks of it.
But the reason he starts playing it is because he is helping out a struggling team, the Besaid Aurochs. The first playable match is very difficult, it’s set up so that it’s almost impossible to win. I lost but I couldn’t leave it at that. While there is a whole system of recruiting players to build a better team, I chose not to engage with that and stick with the original team. It made sense to do this, as this game is all about sticking together. Turns out the game supported this too as I ended up winning multiple leagues.
However blitzball is a distraction, both in the fiction and in the game design. It is popular in Spira simply because it allows people to take their minds off of Sin. I was having a lot of fun with it myself, but there was a journey I had to continue with.
One thing I was wondering about while playing the game was why none of the party really gave much resistance to the many distractions they were dragged along to. It’s because they didn’t want to accept the end result of the journey, something which Tidus didn’t know from the start. Going along with the pilgrimage through to the end and defeating Sin results in the summoner dying. None of them want Yuna to die as every single one of the party members has a close relationship with her.
Yuna has a quiet determination to do what she wants, but even she doesn’t want to rush to the end right away. I think about the often misunderstood laughing scene where Tidus and her make fools of themselves. It’s a sweet moment of them stopping to have fun with each other. At the end of that she says she wants her journey to be “full of laughter”. She wants plenty of time in her journey to stop and appreciate the friends she has around her. All of this recontextualizes the standard pacing of an RPG, as it just feels right to have these people stay with each other a bit longer. I’d feel guilty if I chose to rush to that conclusion. It’s no accident that the Calm Lands, an area where more side content begins to crop up, comes soon after a scene where Tidus and Yuna’s romance deepens.
But they find a way to defeat Sin forever where Yuna doesn’t die, but Tidus and Auron go instead. Because of what they’ve gone through with Yuna they don’t tell anyone until it’s too late. Things would just slow down and Sin can’t be left alive. Of course the player is told long before they all are, so you could choose to continue at a slower pace if you wanted.
The importance of slowing down even extends to the music. The Hymn of the Fayth is a motif that recurs throughout the game. It plays at important moments such as when Yuna gains more summons to fight with, when important characters are introduced and when big decisions are made. There’s also a track that sounds very similar to it called The Travel Agency, which plays during visits to certain inns where the party decides to stop and rest. It doesn’t have the exact melody, but it’s very close, almost like a reharmonized version with some of the timing changed. During some parts of the song I could hum the Hymn over it, and it sounded like it belonged. It helps to highlight that moments where the party stops are just as vital.
Of course so much of the music is excellent, though I near enough say this about most Final Fantasy games anyway. It’s all music that fits together perfectly, but surprisingly from three composers who manage to keep their tracks distinct from each other. Nobuo Uematsu keeps true to the dad-prog sensibilities that he is best at. Masashi Hamauzu bolsters beautiful melodies with sustained harmonies that give great depth to his tracks. Junya Nakano layers many melodies to create more atmospheric pieces that sound wonderful. Of course three people working together with their own strengths is true to this game (sorry that is a bit cheesy).
All of these aspects would serve to strengthen a standard JRPG story about friendship and coming together to fight a big bad guy, but there’s a bit more to it than that here. So much of the themes of the game centre around death and grief, so by having a lot of details that put the character relationships to the front it makes all of it hit much harder. They’re only able to make progress in the game by confronting their own fears of death and of losing friends. The Sphere Grid shows that the impressions these characters leave on each other are long lasting. When Tidus disappears at the end after giving Yuna one last embrace, it’s a powerful moment because I saw those characters grow in multiple ways. I know he won’t be forgotten.
Final Fantasy X is such a holistically designed game. Each element of it has me thinking about how it interlinks with others. It’s not as though the sum is greater than its parts because those parts are fantastic. The characters are great, it still looks very nice, and the battle system is so much fun. There are some exceptions to this (I would never like to see the chocobo minigames again), but still so much of these things come together to build an excellent game.
There are so many things about this game I could talk about, but I feel as though that would bloat out the article and it would be less focused. It’s just like how there are so many things to get distracted with travelling across Spira, but at some point this has to end.
If you liked reading this, why not check out other pieces I’ve written on Final Fantasy here!
I would not have anticipated playing fifteen Final Fantasy games in a year but I did it. The really astounding part is that’s not even the halfway point, they made so many of these and they’re still making more! I’m certain that if I do catch up at least a few spin-off games will come out before then.
Anyway that’s the future. This article is actually going to be about something from twenty years ago: Final Fantasy IX. It’s interesting that it is the twentieth anniversary year yet I haven’t seen a lot about it online. It was likely overshadowed by Final Fantasy VII Remake coming out. Let’s talk about the old game.
Final Fantasy IX
There were a couple of things that really struck me when I started playing this recently. The first is that visually this game holds up really well. It seems that while FF8 seemed to take more steps towards realism, 9 goes in the opposite direction and opts for a more exaggerated cartoonish look that plays more to the strengths of what consoles at the time were capable of. It’s nice and colourful, with some great character designs that make it really easy to tell what they’re like at a glance. If you were to only show me a silhouette of them i could probably tell you which one it is (something that gets much less likely with newer games).
The second thing is that battles in Final Fantasy IX are so slow! There is a lengthy load before they even start, and the meters that fill up before a turn starts are just so slow. Normally in these games I would have the battle speed on a medium setting, in this case I put it to the highest possible speed and it still felt like it could have gone faster. The amount of time between picking actions to do on turns and characters actually doing them was long enough that I had sometimes forgotten what I’d picked. Even the battle music has a slow buildup to account for the amount of time it takes to begin. I assumed that this was initially because it was pushing the Playstation to its limits since there’s now four characters in a party instead of three, and a lot more visual effects going off. However it just seems like that slow speed is just baked into the game, as my recent playthrough was on a version that came out last year.
This wasn’t too much to push past as in a lot of other ways this game opens really strongly. This era of Final Fantasy games always seems to start strongly with a lot of forward momentum. There’s new area after new area, with the right amount of intrigue, and new characters come in who are endearing immediately.
One of Final Fantasy IX’s biggest strengths is the cast of characters. Pluckish protagonist Zidane brought a good amount of energy in. Princess Garnet and Freya keeping confidence after horrible tragedies they experience won me over so much. Vivi is one of my favourite characters that they’ve ever put in one of these games. He already began timid and anxious at the opening, so when he found out he was created to be used as a puppet with a short lifespan and used that as forward motivation instead of completely giving in to despair, it was inspiring. It’s even reflected nicely within Zidane’s character arc when he finds that he had a very similar origin.
As strong as the characters are it really feels like a lot of them don’t have enough to do. Outside of Zidane, Vivi, Steiner and Garnet it feels like the game just doesn’t do anything with the rest of the cast past their initial setup.
There are also just characters that aren’t very good. Amarant only ever seemed to exist in my mind when I can see him on the screen. Kuja is a dull villain and largely a mishmash of what came before him.
That last point is indicative of one of the biggest issues that I had with Final Fantasy IX; I’ve seen so much of this before and those older games did it better. It goes with how the game treats these characters in that it brings a lot of these ideas in again and just doesn’t do anything with them, and sometimes damages things that could be better.
Mist being used as a resource to power machines used for warfare that’s destroying many cities is reminiscent of the lifestream in FF7, where it’s misuse is harming the world. However much later it’s found to be something that’s pumped in by a villain from another world to specifically be used in war machines so that the world will destroy itself. Conflict being influenced by a shadowy figure behind the scenes in order to colonise a world is an interesting idea to base a villain on but it ends up disrupting other things that came before it.
Take Garnet, a kind princess who had to reckon with her mother Queen Brahne using heavily destructive magic in order to take over the world. It was something that really drove the story forward, but the resolution to that part of her arc is really unsatisfying. Brahne wasn’t known to be a conqueror by a lot of people, and many cities didn’t have a lot of resources to defend against her because they just didn’t expect this. When she eventually died against Kuja, on her deathbed her greed and lust for power dissipated almost as if she was being influenced by someone else. Finding out that actually the Queen should be kind and someone else did makes it feel that Garnet’s (and also Steiner’s) initial internal struggles were a waste of time.
And the game is content to continue to waste time in the moments just after that. It takes a lot of time to show Garnet becoming the Queen of Alexandria, and what could have been an interesting break to focus a little more on developing characters instead becomes a tedious wait for the plot to start happening. It’s around this point where I felt like I was burning out on the game.
This game having a more traditional character-growth system didn’t help with that. It felt like the games before this were getting really experimental and allowed for decent parties to include any character. In Final Fantasy IX, because every character is now a specific class that has a specific role in combat, I have to include specific characters to have a useful party. The only things that made them stronger were experience points from combat. I missed having to manage things like materia and junctions to build what I wanted. There is an ability system where new moves and passive buffs can be gained from equipment, but it’s a bit of a missed opportunity. It’s an interesting way of making all sorts of equipment useful, but abilities don’t allow for much experimentation as the best moves are ones that do more damage/healing, and the best passive buffs are ones to resist status effects (which could be achieved in prior games with equipment).
My feelings on these systems seem really weird to me now, especially since those are what made the game feel safe to me after I struggled with Final Fantasy VIII almost a decade ago. Now I have a lot more experience with RPGs feeling safe isn’t the only thing I look for. I don’t say this to mean that games shouldn’t be easy to understand, because I appreciate those too and have a great time with them. It’s just that in this case the rest of the game didn’t make up for it, and I was also already finding comfort in the stranger mechanics of prior games.
However there’s still some good stuff here, like the music. It’s an enjoyable soundtrack, but for many of the tracks it feels like there’s something like it in a previous game that sounds better. That said Nobuo Uematsu always has some tracks that just sound weird, and his music in that style is especially fun here. Gargan Roo has a sound that I think is best described as “squelchy”. Black Mage Village creates a walking-pace-tempo town theme out of instruments normally used for 90s rave tunes. The music that plays in the Crystal World being a foreboding rendition of the prelude is also a nice touch.
There are also some other things I really liked, such as the way it showed how other minor characters went about their lives. Sometimes it would cut away to them just to give scenes without the main party present, and at other times a button could be pressed to see more of them (what the game calls the Active Time Event system). It was just cool to see things like guards at their post discussing pickles, poor children plotting to overthrow nobles and a few more. The side-quest to deliver letters to moogles was also neat as the letters would usually include their reactions to events taking place in the game.
When I was planning this whole thing out, I made a decision very early on to play this game on the Nintendo Switch, mostly to be consistent as I’d be playing a few others in the series on this platform. Sadly it’s an imperfect version of the game as it did crash for me a handful of times, but luckily there is an extremely generous auto-save that meant I never lost more than a few minutes of progress. There were only six crashes over the course of 45 hours of playing the game, but so far every other game I’ve played for this has had zero. The extra speed-up option in this one goes at a higher speed than the ones in the ports of FF7 and 8. It’s fast enough that it’s almost unusable at times. The filters put onto the game’s CG backgrounds make them look a bit strange as well, especially when they move as the upscaling filter seems inconsistent on each frame of animation.
Those are mostly nitpicks however, as in other ways it’s a better port than FF7 and 8. It’s not as ridiculously loud as the others and sound effects are often truer to how they were on the original platform. FF8 and 9 featured a reverb on all sounds on the Playstation, which was created using the sound hardware of the console. As current platforms don’t have that, FF8’s port had no reverb and all sound effects sounded much too tinny. In FF9 they actually managed to rework them so that there is reverb included, so it was hard for me to tell if the sounds were more detailed compared to the prior games, or just that they didn’t mess things up this time. The way the character models looked was nice too. The higher resolution textures on them seemed to make them look painted on. Combined with the cartoony proportions and exaggerated movements to emote, it made them look a bit like wooden puppets which fits in really well for this game.
So to close on Final Fantasy IX, I didn’t like this game as much as some of the others. That isn’t me calling this game bad either, I really did enjoy myself while playing it, I just think it could be better. Playing Final Fantasy games mostly in order honestly casts a harsher light on this one. However the weather is now getting much colder, and coming inside after a walk to sit down in a warm room to play this was appreciated and felt very cosy.
If you’re someone that really likes Final Fantasy IX in particular I think you should give Dragon Quest games a go. That’s not meant to be a dig, just I think you’d enjoy them, and I like having excuses to talk about how good Dragon Quest IV is, a game that I’d like to play again some time (no I’m not doing a Playing Dragon Quest from the Start project).
It’s going to be a bit of time before I play anything with Final Fantasy in the title, probably not until the new year. Some other games are coming out, and I do want to take a bit of a break. I do have a few other FF articles planned for the rest of this year so don’t worry about that. If you haven’t read any of the others I’ve written you can check them out here.
Not enough people talk about how Capcom did strong work bringing their creepy horror vibe across more games than just Resident Evil. Devil May Cry uses it well, but I specifically want to highlight Onimusha: Warlords. It’s not really a horror game, it’s an action game where you spend a lot of it doing flashy moves with a samurai sword, but it brings in some of that atmosphere to heighten tension.
It also has tank controls, and now that I’ve actually played a game to completion that features them alongside fixed camera angles, I think they work. I used to be someone who didn’t really like them and felt like they were a limitation brought only by the era they came from. However Resident Evil 2 on the N64 had the option to turn them off in 1999, and Capcom kept making games using control scheme long after others with similar camera perspectives didn’t.
The argument for tank controls in Resident Evil is that they make it harder to avoid enemies in tight spaces, but Onimusha doesn’t really have that, it’s just the game’s method of travel. Dodging an enemy is easy since there’s a lock-on ability that lets you strafe around them, and most attacks can be simply blocked by holding down the guard button. There’s also plenty of offensive options available to deal with the bad guys: sword swings have a wide range around the character; magic abilities can almost fill the screen at times; and you also get an instant kill move (which can’t be used on bosses, and neither the game or manual will teach you how to do it).Well if the tank controls don’t add any tension to the game what’s actually there? There’s not much in the way of good characters. Samanosuke is a bland hero without a personality, Princess Yuki only exists as a damsel in distress, and the bad guys are evil because they’re demons I guess.
What’s really good about Onimusha is the combat. Strafing around an enemy doesn’t feel like it moves too far or too little, weapons and magic attacks have the right amount of heft to them, and while it is at times incredibly tricky to do, actually pulling off an instant kill move is greatly satisfying. My only issues are towards the end, where a few late game bosses have too much health. It doesn’t feel like it makes them harder, the fights just begin to drag a little.
It’s all tied together with Resident Evil-style lock and keys, which require a small amount of backtracking. This really works here as it allowed me to familiarise myself with the spaces for combat, and the game managed to mix things up by changing up enemy placements each time I had to go back through an area.This isn’t a particularly scary game, but it has a very creepy atmosphere. Most of the game is spent in a palace taken over by demons, it’s suitably dingy, dark and some areas have a fleshy, almost gigeresque feel to them. There’s also a roughly twenty minute stretch of deadly puzzles that I wish the game did a little more with. One was a little unfair as failure did result in instant death, but there was a fun kind of pressure to it.
There’s not a lot to get sick of in Onimusha: Warlords, it only took me five hours to finish the game so everything came at a quick pace. If you have a fondness for Playstation 2 action games, like myself, then I would seriously recommend giving this one a chance. I’ve got the sequels to be checking out soon and I’ll be sure to report again if they’re just as interesting.
The new Devil May Cry reboot has been a bit controversial for making some pretty big changes. Now the demo is out there and people can get a real feeling for whether the game is going to feel good or not. It’s certainly going to be very divisive.
I for one really enjoyed playing it, but I’m saying this as someone who could probably be considered as a sort of casual player of previous Devil May Cry games. I’ve never really been into the story of the games, really dislike the music, but I’ve always found fighting demons in each game incredibly fun.
Oddly enough, I’m very interested to where the story goes with the new one, because it’s being handled by developer Ninja Theory, who did a terrific job telling a great story in Enslaved: Odyssey to the West. This seems a very different take on what is Devil May Cry, and I for one can’t wait to see how they take existing concepts and apply them in new directions.
I’ve been finding combat very exciting, and already feel a good wealth of options with being able to switch between light, medium and heavy fighting styles by holding down the triggers on the controller.
There’s also two kinds of grappling arm, which can either pull you to things or pull things to you, and I feel that allows for some very interesting manoeuvres when fighting demons. For example, I found fighting flying enemies to be quite fun, as I could grapple towards them and hit them up close with the sword, but also could keep grappling back onto them if I fall a bit, essentially staying in mid-air and not touching the ground at all.
I’m very interested to see how people respond to this, but I’m certain that there are people out there that won’t like it at all, and that’s fine, because it’s certainly different to the games they played beforehand. Honestly I think it retains enough of what it is to be considered part of the franchise, and can’t wait to get my hands on it when the game is out proper in January.