Trying to understand how games work

Category Archives: PC

Just recently I finished Elden Ring. I had a mostly good time with it, but it definitely felt like it suffered with open world bloat. Considering the scope of the game I was a little worried about how I would be able to progress through the sort of cryptic questlines that are typical of a From Software game. 

Before starting it, I saw a lot of mentions of people writing journals to keep track of things that the game wouldn’t. It actually helped a fair amount, as I could check it and refresh myself on certain things to come back to. I also thought it would be interesting to publish the journal. As I was writing in the journal to assist my own memory, this doesn’t paint a complete picture of my experience. It was unnecessary to write down the ways forward that seemed obvious. It’s also not a complete picture of the side-quests of Elden Ring, as I didn’t feel the desire to finish them all. Because of that there are a few dead ends here. I also took care not to spoil myself on the game too much, so some of this could be wrong.

To be fully clear, there will be spoilers. They also might not make sense without the context of playing the game, but I wouldn’t take the risk or reading if I was interested in something like this.

This is what I wrote in a notebook as I was playing Elden Ring:

  • Found a rat-person named Boc. They had been turned into a tree. Said something about sneaking into a cave on the shore.
  • Boss enemies roam the open world, don’t forget it. I was surprised by a rider in black who made short work of me.
  • A man named Diallos is looking for his servant Lanya, who is said to be the sort to wander around.
  • I found Boc beaten up in the Coastal Cave, saying I’d end up like him if I ventured further in. He was not wrong!
  • I saved a man named Kenneth Haight. He’s asked me to help take back his fortress. It’s south of the Mistwood. It sounds like there’s a big reward for helping him.
  • I cleared out Fort Haight. The reward was underwhelming, and my promised knighthood did not materialise. All I got was half a key. Now he wants me to find a suitable lord for this place. Let’s hope they can sort Kenneth out.
  • I spoke to a merchant about a mysterious wolf howl in the Mistwood. If I snap my fingers in the right place I may be able to speak with someone.
  • I revisited the Coastal Cave and emerged at the Church of the Dragon Communion. I’ll need to obtain some dragon hearts to learn some enticing spells.
  • At a small church of Irith, I came across a man named Thops. He told me that I needed a glintstone key in order to reach the academy. He’d also like one if there’s any going spare.
  • Sir Gideon was cold to me on my initial visit to Roundtable Hold, but after Godrick’s defeat by my hands he became very welcoming. He told me where I can find the other shard-bearers.
  • I snapped my fingers like the merchant said. A half-wolf named Blaidd showed up. He is looking for a man named Darriwill, and wants to “end his tale”.
  • I freed the Warrior Jar Alexander. He is headed to the Caelid Wilds for some “festival of combat” at Redmane Castle. Maybe I should be on the lookout for him when I take on Radahn.
  • A girl has asked me to deliver a letter to her father at Castle Morne in the Weeping Peninsula. There has apparently been a servant rebellion. The castle came into view when I was halfway across the peninsula, but then a large ballista bolt coming from that direction landed only a few feet from me. They must not want visitors.
  • Found a place called Oridy’s Rise. It’s locked. A book outside informed me I must find “three wise beasts”. There’s a ghostly-looking turtle in front, and a shallow pool with something invisible to the right.
  • Went a little north from Oridy’s Rise to find some mage-looking folks around a portal. I fought with them no issue, but then a tall warrior who knew some sort of magnetising magic gave me some trouble. I still won though.
  • I fought Darriwill with Blaidd and won. I’ve now been informed of a blacksmith in Raya Lucaria who can help me out.
  • I found the map for the glintstone key. It led me to a dragon, who I could not defeat, so I took the key and ran.
  • I came across a place called Boilprawn Shack just south of the Academy. The guy there seems friendly.
  • There was another fortress in Caelid called Fort Faroth. I didn’t stick around for long as I ran past the bat-like creatures and ghostly knights. I found the second half of that key I got from Fort Haight. I need to see how I can use it.
  • I read up on the glintstone key and figured why Thops was asking me about a spare one. It’s bound to whoever uses it first. He will have to wait as I’ve already made use of mine to get through the Academy.
  • That key in two halves took me up a lift to the Altus Plateau. In that place I bumped into someone who can read fingers. She told me about “ruins of gold” to the east and “the serpent’s sacrilege” to the west, both paths which apparently lead to sorrow. It had something to do with the “Curse of Queen Marika”, which seems ominous to me, so I should find out more.
  • Brother Corhyn has told me that he plans to leave in search of a man named Goldmask, in order to further his study of incantations. Maybe that man can help me too.
  • Fia, the deathbed companion, has given me a dagger to return to its rightful owner, without telling me who that is. D seems to know who that should be so I gave it to him.
  • That might have been a bad idea.
  • Roderika has warned me of spirits howling and wailing in fear of a curse. I apparently should be keeping my distance from something.
  • Apparently D found the “mark of the centipede”, whatever that is. I’m curious about it.
  • Iji is the name of the blacksmith Blaidd sent me to. He told me not to set foot in the Carian Manor as it’s dangerous. I must go explore it.
  • I went to Castle Morne and delivered Irina’s letter to her father. However, he assured me that he will stay until he is certain that the Sword of Morne is protected.
  • Irina has been murdered. Her father is now looking for whoever is responsible.
  • Met another woman who can read fingers in Caelid. She tells me a festival is to the south. Is this the one Alexander was telling me about?
  • I found a man in the Altus Plateau with a gold sun-shaped mask. He wouldn’t talk and kept staring at the Erdtree with his finger pointing at it.
  • Re-reading my notes I realise that this was probably Goldmask, I directed Brother Corhyn to him.
  • I met up with the witch Renna, who is actually Ranni, daughter of Rennala. She told me of Blaidd and Iji’s work with her, and mentioned another man named Seluvis. She wants me to go through the city of Nokron for her, wherever that is.
  • Blaidd says the well in the Mistwood may lead towards Nokron. I had already explored that region and found myself at a dead end.
  • Seluvis has asked me to deliver a potion to the warrior Nepheli. The last I saw of her was in Roundtable Hold, but she’s long since left the place.
  • I found her at the Village of the Albinaurics.
  • Rogier says that he may fall into a “fathomless slumber” and that it may become a problem. What does that mean? This can’t just be a euphemism for death?
  • I gave the potion to Nepheli’s father Sir Gideon. Seluvis hasn’t told me enough, and I don’t know much about Nepheli either. I’ve let Seluvis think I gave it to her.
  • Met up with Blaidd again, who tells me he also can’t find a way forward to Nokron. Apparently Seluvis may know more, but he just directed me to another sorcerer named Sellen.
  • Sellen informed me that I need to fight Radahn. I suppose this was inevitable.
  • Nepheli talked to me about her father disowning her, but mentioned how she might have been helping him to become the Elden Lord. Is this what I’ve been working towards?
  • A masked man in Liurnia seemed to have some suspicions about the Two Fingers. He offered me an opportunity to hunt those working for them.
  • I found out what’s inside the jar people…
  • I fought and defeated Radahn with many at my side. This included Blaidd who informed me that the path to Nokron should be open “where the star fell”, wherever that could be.
  • The cryer at Redmane Castle is leaving as he has business to take care of. I guess he’s free to do what he likes now as the “festival of combat” is over. It sounded like there’s a possibility of seeing him again.
  • Iji told me that the star fell in Limgrave. I’m going to need to take a look at my map. I’ll be searching for Nokron alone it seems, as Blaidd has another important task to do.
  • Rogier has fallen into that “slumber”, but he wrote a letter for me. It says that D has a younger brother who also fell into a deep sleep in an aqueduct near Nokron. It’s said that D’s brother stood before the “Prince of Death” near that spot. I hope he doesn’t mind that I’ve been wearing D’s armour.
  • Miriel tells me of a statue in the Erdtree capital of Radagon’s likeness. It apparently harbours a big secret.
  • I think I found D’s brother, but he wants D’s armour. I’m not giving this up.
  • I found a mysterious blade in Nokron, which I delivered to Ranni. She’s given me a key I can now use in the Carian Study Hall. The enemies there gave me a lot of trouble before, but I’m stronger now.
  • I came across some deadly gargoyles in the aqueduct near Nokron. They were too much for me right now. I can always come back.
  • Renna’s Rise at Three Sisters opened up. There was a teleporter that took me to part of River Ainsel that I was looking to get to but struggled to reach it. Turns out patience is not only rewarded in combat, but also in exploration.
  • I found a miniature Ranni, and the real witch herself speaks through it! She wishes me to eliminate the Baneful Shadows. I did so making use of Scarlet Rot, but now I come to a place full of that disease. This is what I deserve.
  • Went up Mt. Gelmir to the Volcano Manor. Met a masked woman named Tanith. I told her I would join her, but only so I could make my way to Rykard.
  • I went past that lake of rot to obtain a ring I could give to Ranni. She said that she’d see me again “when it’s all done”. Does this mean it’s over soon?
  • Iji had some words to say about Blaidd’s fate.
  • Sir Gideon has informed me of the remaining demigods that haven’t been located: Miquella, Malenia, Ranni, and the Lord of Blood. He is not concerned with Ranni as she cast aside her great rune, but maybe he should be. Of course I’m not going to tell him that.
  • I found a letter detailing a request from Volcano Manor for a Tarnished to be hunted. I marked the location for “Old Knight Istvan” on my map.
  • The woman at the church of plague needs a gold needle to be healed. A man near Selia said I should be able to find one in the Swamp of Aeonia.
  • I made short work of a rider in black.
  • So begins an age of the stars.

The world of Final Fantasy Crystal Chronicles begins in a bad state. Everywhere is covered in a poisonous miasma, leaving adventurers joining caravans to journey in search of “myrrh”. This substance helps to fuel crystals which keep a safe atmosphere around villages. 

Eventually after a few years, a hero hears a few odd rumours that could lead them towards ridding the world of the miasma. This hero tried to get others to join them, but ended up going it alone. They had heard tales of four-person parties who spent the entire journey together (though they required special equipment). The only company this hero had was a moogle who would frequently complain about how tired they were.

Things seemed bleak for the world as only one person was there to save it. There were people the hero would come across in their journey who would only stay for small conversations. They never joined the hero on their trips to dungeons. The hero would make memories, but they were often never shared.

This is a roundabout way of me saying that the online multiplayer for Final Fantasy Crystal Chronicles Remastered Edition is dead. I tried multiple times to look for games but I had no luck. It doesn’t help that Square Enix made the baffling decision for progression to be tied solely to the host player, leaving no incentive for anyone to join in.

It left me a bit disappointed, as this game feels purpose built for cooperative play. It’s a stripped-down Diablo-style console role-playing game that’s very simple to understand. Simplicity is perfect for co-operative games, it was the appeal of most of the Lego games made in the last 17 years. It made it so much easier to convince people to join in.

So many aspects of the game made me feel like I was missing out on something by playing alone. Health is displayed as a small collection of hearts, so it’s easier to parse for multiple players. The camera is far back enough to leave room for everyone to run around. Spells can be held onto to allow time for other players to combine theirs with it. Too much was purpose built to remind me that I should have been playing this with other people. 

The story even puts an emphasis on communities and groups. As you traverse the map you can run into other caravans, which almost always include multiple people in them. Anyone alone is either lost or in/causing trouble.

There are parts of this game which could annoy a group. For one it’s still a role-playing game built around character growth, which wouldn’t be too much of an issue if it used a more traditional method. At the end of a dungeon characters are rewarded a choice of individually named artefacts, which can raise stats by somewhere between 1-5 points. However, artefacts you’ve already collected can often show up, and you can only keep one of each, leading to situations where I finished a dungeon with no stat upgrades. It’s annoying enough alone so I can’t imagine it going down well in a group.

I don’t only have bad things to say about the game. The combat has a good rhythm to it, especially during bosses. I was always kept on the move, avoiding attacks and finding the good windows for hitting back or healing myself. Most of the time I didn’t feel like I was getting hit by cheap shots.

I also love how cosy the soundtrack by Kumi Tanioka feels, which the game’s colour choices reinforce too. The character designs by Toshiyuki Itahana continue the same aesthetics of the great work he did for Final Fantasy IX. The same people seem to come back for later games in this sub-series, so I am looking forward to future sights and sounds I will come across in the rest of the Crystal Chronicles.

While I was left with mixed feelings on this game in particular, that has not eliminated my curiosity for what comes next. I just hope they’re games that play better alone.

And what happened to that hero? They had almost eliminated the source of the miasma, but gave up just before doing so. They didn’t fancy the grind required to finish the job. Guess they weren’t much of a hero.


While the situations in them don’t fully map to the real world, there’s an implicit understanding that there is a shared logic between videogames, especially within the same genre. A constant staple of the console roleplaying game is how characters become stronger. When the player visits a previously unexplored corner of the world map or dungeon, they encounter monsters more powerful than before. In most circumstances, the more powerful the monster, the more experience points offered for defeating it, which allows the playable characters to get stronger faster.

This is mostly done away with in Saga Frontier. There’s a different sort of logic to the encounters, where this time the enemy’s strength is determined by how many battles have been fought. That gives a bit more weight to getting into fights, because it gives the impression that there’s such a thing as too much fighting.

However, it’s still important to get into battle as it’s still the main way of getting characters stronger. There’s no experience points to be rewarded. Certain statistics are upgraded based on the action that’s chosen in battle. Pick physical attacks and strength goes up. Choose to defend and health points go up. Decide on a spell and magic-related stats go up. Crucially they don’t even have to be used in battle, if the battle is won before a character gets to use their ability, they still get the reward. It’s not the experience that strengthened them, it’s simply the idea of taking part. The only thing gained from an action being used is new abilities.

It’s one of the many things that makes Saga Frontier feel unusual. That it’s using a kind of interface I’m familiar with, but the results aren’t quite the same. I would argue that everything in this game ends up giving it a rather dreamlike quality. The intense pre-rendered visual style, terse NPC dialogue, and seemingly random assortment of monsters make everything seem surreal.

But dreams are collections of thoughts and feelings, while sometimes being a seemingly random collage of events, can also be interpreted as a narrative. That’s what I found from the seven scenarios in this game. Each lasts about the length of a night’s sleep.

One scenario that has stuck with me is Red’s, which follows the rules of a Japanese superhero show. The henchmen always have to be defeated before the boss. Sometimes enemies can put themselves in a special arena to make themselves more powerful (usually a way of justifying a recurring set in shows to have less locations to film). The most important part is that Red can’t be seen by others to transform into a masked hero. It would be simple to think that you have to put Red in a party alone in order to use it, but enemies in this scenario seem to cast a “blind” status effect fairly frequently. If the rest of the party is blinded, the game smartly determines that Red should be able to transform, as no one can see him.

I should also mention that the character progression mentioned only works for one of the four types of party members: the humans. Monsters can become other monsters to get stronger, Mystics will take on the essence of defeated foes, and the stats of Robots depend entirely on the equipment. It’s possible to go on entire runs and only encounter one or two party member types. Saga Frontier is full of ideas and places you might not even take a look at.

There are a lot of moments where the game cuts things short. A sudden game over from falling off a ship. A quick defeat from being caught while sneaking. A wrap up that’s all too fast, or even a sudden ending in the middle of a boss fight. These moments make everything feel abrupt. It’s like suddenly waking up.


The videogame RPG was created as a bit of a compromise. They were attempts to bring experiences from tabletop games into a digital format but changes had to be made. What was initially a collaborative activity became a solo one. In this way compromise also brought convenience, as it is much easier to set up a console with a game than it is to get a group together.

From the outset there wasn’t a consistent idea of how to transfer the tabletop experience into software. Games like Colossal Cave Adventure chose to act like a virtual dungeon master by describing scenes through on-screen text to create a prototypical adventure game. Ones like Akalabeth: World of Doom chose to build a simulation using the play mechanics of pen-and-paper games as the world’s logic, which worked like what we would call a “dungeon crawler” now. 

The modern RPG standards seem to fit somewhere between those two but I’m going to put more focus on the Japanese console RPG. By reputation it’s a fairly maximalist subgenre. Lengthy adventures across worlds visiting many towns, cities and dungeons not only to battle but also to watch big story events unfold, or to take part in various minigames (that aren’t optional). As the game progresses, playable characters will be getting stronger through multiple layers of growth mechanics. While there are many Japanese console RPGs that aren’t exactly like this, they’re thought of in this way because of the efforts of a particular company.

Square Enix has a long history of making big games. Their flagship franchise Final Fantasy epitomises it. There are just so many things to do in those games. Some of them go so far that I could load one of them up for several hours without even progressing any story or getting into a single random battle. These are high budget games with a focus on variety. It’s what people want out of these games too. Final Fantasy XIII is a game with so much detail in all the aesthetics and world-building that was criticised for its lack of variety. It’s still a big game too, one of the longer games in the series, but with no towns to visit and no minigames to lose even more time in, it wasn’t what some wanted.

They must have taken these comments to heart too, as Final Fantasy VII Remake has many distractions in it. They may have taken that too far though, as this is now part one of a multi-game saga, with other mobile games to supplement it. This is the same company that took Kingdom Hearts, a mix of RPG and platformer featuring Disney characters, and made it into a massive story spanning 13 games.

All of this is to establish that Dungeon Encounters is a bit of an unusual game for Square Enix. It’s a much smaller scale game with a simpler look to it and a more focused play experience. Unlike those other games, this is minimalist. There’s also been little promotion for its release, just a couple trailers and some obligatory social media posts. A massive contrast to the release of Final Fantasy XV where the leadup to that game’s release included an animated series, a movie starring Sean Bean and Aaron Paul, and an officially licensed car manufactured by Audi. This deluge of promotional material made it impossible to ignore.

Whereas, Dungeon Encounters is apparently not notable enough to have its own Wikipedia page (so far as of writing this article anyway). The only mentions of it on that site are within lists of works on pages of the staff that worked on the game. It’s not as though unknown people worked on the game either, it was directed by Hiroyuki Ito, who designed the battle systems used in many Final Fantasy games and was also a lead on Final Fantasy VI, IX, and XII. The music was “overseen by” Nobuo Uematsu, who I would consider as one of the most famous game musicians. It seems as though even with these notable people, Square Enix aren’t doing much to push it. 

That said, Ito isn’t often in front of the public eye. Square Enix produced documentaries for multiple Final Fantasy remasters, but he is absent from the one made for Final Fantasy IX. Most quotes featured on writing about games he’s directed come from other developers, usually Hironobu Sakaguchi who directed Final Fantasy games up to FF5. Funnily enough Ito is listed as one of the directors on FF6, but in an interview with Chris Kohler for the book Final Fantasy V, Sakaguchi mentions that he still performed the same role as he did in prior games, but had his title changed to producer because he thought it sounded “really cool”. Square Enix likes to push people forward when they are brands themselves, it’s why they’ve put a lot of games onto Tetsuya Nomura, the man responsible for iconic character designs. They put Sakaguchi aside when the movie he directed, Final Fantasy: The Spirits Within, was a huge bomb. Hiroyuki Ito is simply a person who makes games and spends less time out there promoting.

It’s not a graphical showcase like much of Square Enix’s output too. Even on lower powered systems like the Switch they emphasise graphical quality in different ways. Games like Octopath Traveler and Triangle Strategy can’t just be RPGs with old-school sprites, the company feels the need to prettify them up with modern effects and brand them as “HD-2D”.

Visually Dungeon Encounters looks straightforward. All floors of the game’s titular dungeon are rendered as grids on coloured floors, and combat encounters are simply portraits with numbers next to them and menus beneath. Events and battles are displayed on the map as letters and numbers. The game eschews the standard context-giving mechanisms of cutscenes, detailed animations, and elaborate environments. While this may give the impression of a simple game, in practice it is not.

The exploration is fairly basic: fill out the grids by walking through them and go through 99 floors. Sometimes a battle will be in the way and the rules of combat are easy to follow too. Both the playable characters and enemies have three healthbars: one that only takes physical damage, another that only takes magical damage, and the last one which only depletes once the others are empty (or if certain special abilities are used). Weapons and spells deal damage in either a fixed amount or a random number, which is clearly labelled on them. It’s a very consistent ruleset that the enemies also follow. There are a few surprises in how some enemies deploy status effects, but once they happen for the first time they become expected, as it’s routinely from the same monsters. Eventually more abilities that can be used through exploration and combat by the party can be found throughout the dungeon, adding in an extra layer of growth.

As with many RPGs that are often labelled as “traditional”, it’s the combining of all of those elements into a system of resource management that makes it compelling and challenging. It’s never a question of whether a single combat encounter is survivable, it’s whether ten can be overcome, or even more once the party is stronger. By simplifying the visuals and structure of the game it puts a laser-focus on that.

It’s also a fairly quiet game, there’s almost no music except on the starting floor and in combat. I found the combat music to be grating so I lowered its volume. It consists solely of a few electric guitars, which at the game’s standard loudness sounded too abrasive.

That lack of music, combined with there being no visible non-player characters on the maps, makes Dungeon Encounters feel lonely. If many other RPGs try to simulate the existence of a dungeon master, this game feels like they’re completely absent. The events on the map being labelled with letters and numbers in a standardised way makes it seem as though each one is being checked against some invisible reference book. It would be easy to imagine this game as an adaptation of a tabletop RPG solitaire.

I ended up thinking about trust in the context of board games because of that. Those things trust that players will follow the rules of their own accord (or even bend it to suit themselves). Videogames can’t allow for that as often, as they work using a specific ruleset that has to be followed in all circumstances (any exceptions are notable for being so).

What Dungeon Encounters does trust is imagination. So much of the game is numbers and grids, but it isn’t called Maths Problems. By including a little bit of character art, short biographies for the party members, and small descriptions for items, it lets me fill in the blanks. Swords are things that make damage numbers appear but I always think of each attack as the character moving forward to strike with them. There’s a party member that’s a large cat named “Sir Cat” and that’s adorable. I only need the picture and character bio to know that. Even the choice of enemies had me thinking more about what this dungeon must be like. What must a fight with a shark be like? The low health values of skeletons told me that this is an old place, and their bones are brittle from being buried for a long time. Also the few details shown in the environments raise questions. Ten floors down appears to be taking place in grasslands. Did I end up in a hedge maze?

The game also places more trust in mechanics to do the job. Other Square Enix games make use of a variety of elements that complement each other in order to tell stories (Final Fantasy X is an excellent example). Dungeon Encounters leaves it up to players to bring that with them, if they want to or not. Some people just like to watch the numbers go up and down. 

It’s also built for those more familiar with RPG conventions as little time is spent explaining how everything in battles works. Sometimes an enemy will show up marked as “flying” or “reflected” and while those mean the same thing as they would in similar games, without prior experience a player will learn the hard way.

It’s also very easy to pick up and play this game for short periods of time. This makes it a great fit for the Switch, as that’s the only mainstream portable system around these days. They didn’t put this game on phones, but you have to admit, playing games on phones isn’t the same as portable games used to be.

I’m actually a bit sad about the current state of handheld gaming. The Switch is technically a handheld gaming device but it doesn’t always feel like one. Many of the games made for the platform don’t suit being played on the go. I can’t imagine people getting on public transport and playing a bit of The Witcher 3 or Doom (2016). On one occasion I played Xenoblade Chronicles 2 on a train journey that lasted 50 minutes, and I spent almost all of that journey watching cutscenes that I had to finish on the platform after getting off the train.

There was a small downloadable game on the 3DS called Crimson Shroud, which was also an RPG on a reduced scale. It gave the impression of being a tabletop game by characters being rendered as models, and some actions being determined by rolling dice. The story was also told primarily through text on the screen acting as narration, almost like a dungeon master is telling it to the player. It was a neat little game, and was actually part of a collection of smaller scale games called the Guild series. They varied in quality, but I appreciated the experimentation in them. They were also fairly cheap.

Which brings me to an issue with pricing. Part of the reason it was easy to get into the Guild series was that each of those games cost around £7. Dungeon Encounters sells for £24.99, which isn’t too far from what a boxed copy of a 3DS game sold for. This isn’t a one-off as Switch games can retail for up to £60 when they’re new, and some launch games still retain that price. Handheld gaming used to be a cheaper option overall, but because the Switch is also a home console, the games are priced to match that. In this specific case it’s partially the fault of Square Enix too, as with downloadable games like this one, they don’t have to follow fixed pricing. But I just know that even with the company’s old habits of charging a bit of a premium, if this game had been released ten years ago it would have cost half as much.

My ulterior motive for writing this piece has been to put a bit more attention on Dungeon Encounters, since it’s not getting much of it from its own publisher. It’s a game I’ve really been enjoying playing and thinking about. I’ve brought it up with a few people as a good game to recommend but the price ends up becoming a barrier.

I just wish that Square Enix could put a bit more trust in the game.


One of the nice things about getting into Sonic the Hedgehog is that the community doesn’t tend to forget things. All the successes, failures, and obscurities are well documented. Strike up a conversation and they’ll have a lot to talk about (if they’re British they’ll probably insist on talking about Fleetway’s Sonic the Comic). They’ll often have stories of the first time they encountered the hedgehog.

I initially came to Sonic as a game that I’d play at the houses of friends and family. It was usually Sonic 2 or 3 and I was always playing as Tails. Eventually I bought a couple of the games myself on PC, thanks to the budget brand Xplosiv. Their releases were often found in the 3 for £10 section of Game, which made it easy for me to get more games as a child. One of the first I picked up from that was Sonic 3D: Flickies Island (the other two games I got in that deal were Sonic R and Theme Park World but those aren’t important right now).

The interesting novelty of Sonic 3D is that it’s not using polygons, it adopts an isometric viewpoint with pre-rendered sprites to make it look three-dimensional. This is probably down to it being a game intended for the Mega Drive (I’m aware of the Sega Saturn’s polygonal special stages, but those don’t feature in either version that I’ve played).

That novelty wore off very quickly when I returned to it recently, as it’s a frustrating game to play. It seemed as though developers of early “3D” games felt the need to facilitate some amount of exploration. There were more directions for travelling, so with that came more reasons to go all over the place. Sonic 3D: Flickies’ Island chooses to do this by making each level a compulsory egg hunt, with the titular flickies taking the place of the eggs hidden inside the various baddies to defeat within each level.

Many classic 3D platformers use similar structures so it’s not inherently a bad idea, but the mismatching of character movement and level design is what spoils the fun. Sonic is built for speed but the levels are not. To move through a lot of narrow spaces I felt as though I was constantly wrestling with momentum. It became especially annoying whenever I had to search every nook and cranny for a flicky that I missed along the way.

While the game was lacking, I admire that even Sega is happy to ensure this game isn’t forgotten, as they’re still including it on Mega Drive compilation releases that are available on current consoles. 

There’s an unofficial “director’s cut” of Sonic 3D, which makes the game a little less tedious to play, but it doesn’t make it into a good one. However the existence of this shows that the Sonic fan community makes a habit of not abandoning games that are considered bad. Even notable trainwrecks like Sonic ‘06 get another chance. To the community, a bad game isn’t something to be forgotten, it’s a mistake which could be fixed.

This article is part of the Sonic Mega Collaboration, a collection of articles from other writers about games found in the compilation release, Sonic Mega Collection Plus. This project was coordinated by Super Chart Island, a blog covering every UK No. 1 game in chronological order which I enjoy reading.

If you’ve come from that website to read this article, welcome to PixPen! Feel free to take a look at the articles on Final Fantasy I’ve been putting together, or read about other RPGs that I’ve been covering.


It feels weird to start playing Final Fantasy XI in 2021. There’s a 20-year history to this game that’s immediately apparent from the title screen. A version number of “30210327_1” is in the corner. Pictures representing the game’s expansions are also listed here to show off the sheer amount of stuff that’s been added in since it first came out. It’s not even over as Square Enix are still adding more. I got a distinct feeling that they will never truly be finished with this.

When I started playing it was overwhelming. There were a lot of things I didn’t fully understand, so I had to do research. It’s not as easy to just pick up and play this one, which is what I’ve managed for several other Final Fantasy games. This one is more of a commitment (a commitment I abandoned after a few weeks but I’ll get to that). Even just getting this game ready to play required more effort than usual, as I had to set up an account and also change some settings to make sure the game actually ran on my PC.

It’s not surprising why many longtime Final Fantasy fans I’ve spoken to choose to write off this game entirely. The immense scope of it gives completionists plenty of anxiety, and it still continuing to require a subscription fee is off-putting. I’ve gone through this as part of a larger project to play through Final Fantasy from the start and it’s always seemed like the one that would be too much work.

So what was it actually like for me to play this? Surprisingly lonely. One thing added into the game at some point was something called “Trusts”, which are simply AI-controlled party members which you can summon to assist in battle. This gives an impression that the game can be played alone, as trusts of many different classes can be summoned to accommodate what the playable character can’t do. They were somewhat limited in how they could help, so they weren’t a full replacement for real players. Even with that caveat they helped me make a fair amount of progress.

The game’s cutscenes also emphasize a solo nature to the game. They position every player as a lone hero, which is normal for most RPGs, but strange in a game purpose built for grouping people together. I do understand that writing a videogame where you’re told that millions of people are also doing the same things to save the world is potentially difficult, but sticking to conventions here doesn’t feel quite right.

Because the main character is also a player-created silent protagonist, it brings a much different style of storytelling compared to what I was used to with the series. The protagonist of Final Fantasy XI is effectively an extension of the player. A blank slate for anyone to project their own feelings on or roleplay with. With main characters from prior games, such as Cloud, Squall, and Tidus, I was able to see how they grew over time because I spent most of the game with them. Although some of those characters started off emotionally isolated, they weren’t always lonely because the characters that followed them gave support, both emotionally and in combat. Those games were big open doors into pivotal points in their lives. To contrast, my created character would almost never speak, and the party of trusts that accompanied me didn’t say much either.

Defined characters that develop over time exist here as the NPCs but those are still limited by comparison. I only had small amounts of time with them before having to spend many hours on an adventure before I could see them again. It felt as though I was only peering in small windows into their lives. The moments I had to find out more about people were often when they were giving me missions. Short functional scenes with a bit of character flavour.

I also didn’t find many other players when I was adventuring. There were crowds of them in towns and cities, but forests, fields, and dungeons had significantly lower amounts of players hanging around.

On the day I began playing I found another player in a starting dungeon. They were killing all of the enemies before I even had a chance to, meaning that I had to wait like I was in a queue for a theme park ride. They did apologise for this, but I didn’t know the right buttons for sending messages at that moment so I just left an awkward silence. It gave a bad first impression of the game, but it turned out this would not be a common occurrence for me. 

I also encountered another player who seemed very proud that they were controlling two characters at once. It was very bold of them to tell me through the in-game chat function. They were having the second character follow them, but I wonder if they ever tried having them in two different places at the same time. 

While it might have been more convenient for me to not come across many players, as my initial anecdote suggested, these moments highlighted how much time I was spending entirely alone.

It’s an odd feeling as many of the systems seem intended to encourage cooperation. There isn’t much in the way of tutorials and the game doesn’t always pinpoint on a map where you need to go (and the version I bought on Steam doesn’t seem to come with a manual either). I would assume that this would have encouraged players to work together in order to figure some things out back in the day. 

These days it’s become more common to share information through indirect methods such as fan wikis and Reddit. These are also a small window into the communities that still exist, and the history of the game too. Sometimes I would read a comment thread complaining about something that led to people joining forces. There were also plenty of “back in my day” posts which often brought up how comparably convenient the game has become.

I looked through a fair amount of these so that I could know what I was doing and where I needed to go. This would lead to me having the game display in a smaller on-screen window so that I could have pages up on the screen while I was playing. It could have created more distance from the game but I actually felt a little more connected to it, as it meshed well with the in-game systems.

This is more of an involved game than any of the other Final Fantasies I’ve played so far. Having to do research in order to understand the game feels like preparing for an adventure. The game itself features a few systems to make it feel that way too. Maps have to be bought from vendors, many areas have to be reached on foot (or by mount), enemies can be sized up to see if they’re safe to fight, and quest items have to be handed in using the same systems used to trade with players. What’s interesting is that they are all simply options in a menu. It evokes enough to spark my imagination without the need to recreate a physical gesture within the game to seem “immersive”.

There became a point where I started to feel comfortable with Final Fantasy XI. I was gaining levels at a fast rate. Travelling around the world was much easier to do once I was able to connect more fast-travel points. With the help of the trusts I was able to get through many encounters quite easily. Until they failed me.

I was almost finished with the base game. All that was left to do was a fight with the big bad, the Shadow Lord. A boss fight that ended up becoming a brick wall. After a certain amount of time in the encounter, he becomes immune to physical attacks. My trusts had foolishly used up all of their magic points before that moment, so they just kept trying to hit him with attacks that did no damage at all. The Shadow Lord then proceeded to slowly defeat each party member one by one until the fight was over. I tried the fight multiple times with all sorts of different trusts and it just didn’t work out. There were things I could have done to become stronger, but it was so much of a grind that I decided to give up on the game.

If anything I don’t necessarily feel that this is a fault with the game. I made assumptions that I could power through a game built for multiplayer on my own. I could have taken the opportunity to engage with the community of Final Fantasy XI but it seemed unfair for me to do so, as I was only planning on being a tourist on a short stay in Vana’diel.

It really feels as though I can’t give a fair assessment on this game as a whole because I wasn’t able to break past that wall. Things I disliked could have gotten better, things I liked could have gotten worse. So much could have been different or even the same after it, but at this point I won’t know.

Maybe if I had roped some other people in before starting, I might have been able to see more of it. For now I’m going to move on to something else.


This article contains spoilers for both Final Fantasy X and Final Fantasy X-2.

At the end of Final Fantasy X the world has dramatically changed. Sin is no longer a constant threat and major organisations have fallen apart. The game doesn’t actually do much to show you the results of that. A big speech is given and the game ends.

So Final Fantasy X-2 shows very quickly how the world has changed. For a start this isn’t the mostly linear journey like the preceding game. Almost every area is open to be explored from the beginning, which felt a little overwhelming to me.

Yuna, the summoner from FFX, is now a “sphere hunter”, one of many in search of ball-shaped recorded videos showing Spira’s history. Most sphere hunters seem to be doing it for the sense of adventure found in hunting for these items. Yuna started because she received a sphere showing someone who looked like Tidus, who died at the end of the last game.

But how has the world of Spira changed materially? This game has a reputation for being seen as the “fun and frivolous one”, but I was surprised by how bleak it actually seemed from the start. Things have gotten better in some ways (less people are dying from random monster attacks), but it doesn’t feel as though much work is being done to improve the world in other ways.

The Mi’ihen Highroad, a place many summoners walked down, no longer has anyone travelling on foot. When Yuna and the party walk through it, people remark how strange that is. Most travel across it is now done by hovercraft, which costs money. The place is now also patrolled by sentry machines which are supposed to take care of monsters, but haven’t had the best history of safety, and at one point start attacking people.

The former final stop on a summoner’s journey, Zanarkand, is now a tourist hotspot. People travel from all over the world to feel like they’re going on an adventure. There are even treasure chests for sale. The Zanarkand of the old Spira was a very traumatic place. It was the place where many summoners would go to die in order to maintain the lies of Yevon. Now it has been transformed into a theme park.

These are only a few examples. Industry and commerce have moved into places previously dominated by religious dogma, and haven’t proven to be a good replacement either. Factions have been set up with the intention of taking places for themselves. The villain of the game is a victim of a war that took place 1,000 years ago who feels unhappy that the world just hasn’t changed enough.

But it isn’t beyond saving. Final Fantasy X-2 actually has a much more positive and optimistic outlook on all of this, it just makes one thing very clear: it takes a lot of work to fix everything. Yuna looks around at the world and sees that not many people are doing anything to save it, so she feels she has to.

Yuna can stop the dangerous machines at the Mi’ihen Highroad by dismantling them. Yuna can reduce the level of tourism in Zanarkand by encouraging wildlife to breed. Yuna can resolve conflicts between others. It genuinely takes a lot of work for a player to do this and most of it is optional and can be easily missed.

I ended up burning out on it and only resolved a fraction of the problems. Partly because in some cases I couldn’t because of something I missed at an earlier stage. This is all tracked in-game by a completion percentage. I’ve been told by many that to achieve 100% on the first go, a guide needs to be checked considerably often.

Areas have to be visited several times over and over. After a while they get boring to travel through, as most of them retain the same structure as seen in Final Fantasy X, so very few of them have something new. The straight-line structure many of these places have doesn’t suit repeat visits well, and the music that plays in them is annoying and repetitive.

Battles got tiring too. They initially seemed interesting, as they brought back the Active Time Battle system from older games, and also included mechanics that built off of it being in real time. For one example, if party member attacks happen around the same time, they can become a combo which increases the amount of damage done. Eventually my party became powerful enough that I didn’t need to think about that, and I spent most combat encounters on auto-pilot.

It doesn’t feel like these sorts of annoyances are in conflict with the game itself. It’s all things that make it feel as though Spira is very resistant to change. Yuna’s personality also seems to provide context for the game structure too, as she seems to have taken on Tidus’ desires to actively provide help to people, even if it requires a detour.

Putting in all of this effort pays off too. Do enough work and Tidus will be brought back to life. The only way to unlock the game’s perfect ending is by achieving 100% completion (of course that’s not the only way to actually see it, thanks Youtube). This adds on an extra scene which is a conversation where Tidus tells Yuna that there’s a possibility he could still disappear again. This also underscores that they have to actively work to keep things how they want them, much like how Yuna did for the rest of the world.

Playing through Final Fantasy X-2 was a strange experience for me. I wasn’t really enjoying it so much in the second half. When I finished it, I began to put everything together and really appreciated what it was doing. In writing this piece I actually grew fonder for the game. Maybe I’ll like it more on a second go with all of this in mind.


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!


 

2019-02-01_16-57-46Not 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).2019-02-01_17-00-30Well 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.2019-02-01_16-59-24This 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.

 

 


1Freebird games make video games that look and sound a lot like mid-90s Japanese role-playing games, it’s an aesthetic they have completely nailed down. But they’ve removed core elements from them to create something that feels a little more like a traditional adventure game. To The Moon completely eschewed with combat and focused on exploration of areas in order to tell its story, it involved a lot of characters talking to each other.

Their most recent game, A Bird Story, does away with even more. There’s no dialogue at all and it’s a much more scripted linear experience that would probably upset the same people that would say that Gone Home and Proteus are not video games. It uses so little traditional game mechanics in order to tell a story of a boy bonding with an injured bird. It also can be finished in an hour.

2

But let’s look past that really, it’s not like this game costs a lot, it’s short but really sweet. The thing that really grated me about To The Moon is that portions of it felt too ‘video gamey’ and somewhat diminished the emotional impact of certain sequences. A Birds Story takes a much more minimalistic approach like something you’d see in a Sylvain Chomet film, though not quite as tear-jerking. There was no point where I had to engage in annoying video game rubbish in order to progress.

It’s so simple, it only uses the arrow keys and spacebar for controls (a controller is also supported). I suppose because it’s using old fashioned sprite graphics, the mind does a lot to fill in what’s going on, the music helps a lot, especially since a lot of it feels completely tailored to fit each moment. A couple of times I noticed that the game and music felt really in sync with each other, which helped to elevate some of those moments.

Sure I only got an hour out of it, but during that hour I had a smile on my face.



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