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.
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!
If you read about Squaresoft’s videogames from the 1990s, they are often framed as the trendsetters. Final Fantasy is still the lens many assess the entire Japanese role-playing game genre through, but that’s just what happens when it’s the most popular example. That didn’t stop them with looking to other games for inspiration with Parasite Eve. In this case, survival horror.
I’ve made multiple attempts to play Resident Evil games of that era, and I’ve found them very difficult and stressful to get through. It’s not because of the tank controls, since I’ve enjoyed games that feature those. It’s because of the specific tensions those games created, usually through limiting resources. Fighting every enemy was discouraged because it could have resulted in taking more damage or wasted ammo. Even saving was a limited consumable resource. Limiting an in-game item activates my tendency to hoard them, meaning that it extended the time I took between saves, which resulted in heightened anxiety because if I lost the game I would lose a lot more progress.
Parasite Eve doesn’t have that tension, because it approaches things from an RPG-first perspective. To really highlight that difference, fighting as many enemies as you can is encouraged here, because doing so will actually increase resources. Both genres are about seeing how far your resources can take you, it’s just that a lot of RPGs give more opportunities to farm for them.
What Parasite Eve does retain from horror games is tone, atmosphere and the level of violence they have. It’s not a scary game, but there’s a lot of body horror present. An organism known as Eve has managed to gain control over the mitochondria found in human cells, causing people to spontaneously combust or melt, and turning animals into grotesque mutations (which mostly act as the game’s stock of enemies to fight). NYPD officer Aya Brea, the playable protagonist, is immune to all of that.
This means she can go into places where others can’t, so most locations she visits appear mostly empty until a random battle starts, and you can’t talk to the monsters. Tight spaces and close up camera angles serve to heighten the sense of loneliness this all brings. Setting the game in New York during Christmas also contributes to this, as it’s typically a time when people get together. Seeing the game’s imitations of real places with small amounts of festive decorations and zero people around conveys a real sense of isolation. Sometimes the transitions between camera angles doesn’t quite match up with the direction of travel, meaning that at times Aya will possibly turn back and go back to the previous screen by accident. While it is a minor practical nuisance when moving around, these small stops manage to suggest a little anxiety about pushing forward.
The one thing that the makers of this game seemed to also have some fear over is guns. Seemingly because she’s part of the NYPD, Aya comes across many firearms she can use to face off against all enemies. While guns are used to solve many of the problems found in the game, there are characters there to specifically lament the increasing militarization of the police force. But that’s all it really amounts to, a few characters that are sad about it. It would have resulted in an entirely different sort of game if it fully decided to commit to that as an overall theme, but that may have been interesting.
Ultimately Parasite Eve is a game that’s made to be fun to play. It’s a stripped down RPG without any towns, shops or places to rest up. There are some interesting quirks to its real-time turn based combat. Aya can freely move around the combat arenas to dodge enemy attacks, and once her turn meter has filled up the player can choose to take the turn at any point. This is because committing to an attack can leave Aya vulnerable to be hurt by the enemy, so it’s best to learn the enemy patterns and find the right opportunity to strike without taking too much damage. That’s something that could have brought more tension but she can take quite a lot of hits, which isn’t what people usually mean when they say playing horror games of this era feels like controlling a tank. Aya’s special mitochondria immunity powers seem to give her the standard suite of RPG magic spells like Heal, Haste and Barrier. I also really love the music in the game, but it often goes for dance house more than haunted house.
There’s nothing quite as bizarre as playing a game like this, where a city is made empty because of a deadly biological threat, during a real pandemic. While the danger is considerably heightened in Parasite Eve (nobody’s bursting into flames from the virus as far as I know but people are still dying), just seeing media where an immediate effort is made to remove citizens from danger can’t stop me thinking about the real world. It makes me wish more effort was taken in the reality.
They made two sequels to this game, and I don’t know much about them except that a small fraction of games media people that I followed were not happy about the most recent one, The 3rd Birthday. I’m eager to find out for myself soon enough.
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.
It’s fairly common for people to overstate how difficult Dark Souls is. In the past couple of weeks I managed to finish both games in the series. They’re fantastic games, but really not as rock hard as people make them out to be. As long as you’re cautious, observant and learn how to create a decent character build, then the game gets much easier. Not to say it becomes super easy, but it becomes manageable.
There are certainly moments where I felt frustrated because I was losing a fair amount of times, but then I would slow down, and keep an eye out for what was killing me. After doing that I wasn’t dying so much. Most of my deaths were down to rushing in and over-estimating my own abilities.
I even managed to get my younger brother to sit and play the game, he mashed buttons through most of the combat and ended up losing very quickly. He didn’t enjoy it. To be fair he doesn’t play video games much.
But really, Dark Souls might just be one of the greatest video games I have played recently. Once I figured out how to handle each enemy, it became very satisfying, not because I was winning by blind luck, but because I earned those victories. It doesn’t stick you in a room full of fast enemies and expect you to deal with it quickly, Dark Souls works at your own pace. You can avoid being overwhelmed by picking off enemies one at a time. That might sound very easy but don’t let your guard down too much around a single enemy.
When I finished the game a friend said to me: “Every other game is going to feel a lot easier now.” I said not if I play Dark Souls II next, which is exactly what I did.
Dark Souls II is even easier, mostly because a lot of the bosses follow the same patterns as each other, healing items are in an absolute abundance, checkpoints feel closer together and your character levels up a lot faster.
There are a few points where the game feel a bit harder, but not fair. You are forced into combat situations where you have to take on multiple enemies at once, which is not suited to some of the mechanics of the game. The lock on targeting isn’t really made to deal with more than two or three enemies at a time, which is why it becomes a bit of a hassle in large combat situations where you have to take on five or more enemies at once. And when there are so many enemies, you have to wait for a lucky chance in which one of them isn’t attacking, which can sometimes take a fair bit of waiting.
Then there are moments where it just feels rougher around the edges. The hit-boxes in the game don’t feel consistent, some of them are about three times the size of what you’d think they would be. Sure you can get used to it eventually, but it’s not fun to be suddenly magnetised into an enemy’s instant-kill grab attack.
I wouldn’t say that this makes it a bad game because it’s still better than a lot of games out there. At its greatest it still has the same satisfaction you would get from besting an area in the first game, it just doesn’t feel as refined in spots.
Which is why I would seriously recommend trying these games out if you haven’t, they might not be for you, and it’s possible you could get frustrated from losing so much. But I haven’t felt as satisfied by a game recently as when I did when I took down some of the more challenging bosses.
Proteus is weird. There’s not much else like it out there, however that doesn’t mean to say it’s better than everything else because it’s different.
This is a game of pure exploration, and not much else. It’s a virtual nature-walk with old-school graphics.
There is fun to be had in that, it’s bright colours allow it to look very pretty, and the games music sounds fantastic.
Speaking of music, it is a strong point of the game. The players movement and location controls it, with sombre tracks on high lonely hills, and upbeat melodies in the lush green forests. Each kind of animal you encounter adds their own flourish to the soundtrack, giving the game that extra bit of personality.
All this sight and sound comes together to something pretty lovely. A short and sweet little game.
The problem however is that it isn’t really much beyond that, it doesn’t offer a lot that the traditional videogame would.
And that could lead some to being very oppositional to it, Proteus is just a game that a lot of people aren’t going to understand, but that’s absolutely fine.
It does make this much harder to write about the game, I’m unsure of the type of person who would like it. I know I did, but people have also told me that it’s the worst thing they’ve played in a while, because it lacks the ‘core parts of being a videogame’.
I’m of the opinion that Proteus is most certainly a videogame, it does fun things with it’s interactivity, and I feel something can easily become a game with the smallest amount of interactivity.
There’s no winning and losing in Proteus, no roadblocks, no challenges, no boss fights. You walk around a little island that looks and sounds really nice. I honestly can’t say whether or not you would like that. It might be worth giving a go, but don’t say I told you it was amazing.
The version of Proteus played for review was on PSVita, it is also available on PS3 and PC. Review code was supplied by Curve Studios.
This plays just like that, it takes the adventure game format, and instead of making it about ‘item a’ in ‘slot b’ style puzzles, it gives more of a focus on narrative choices, mostly through dialogue.
Often at times you’re given a timer, and forced to make a decision that doesn’t quite have a clear cut right or wrong answer.
They’re also both released episodically, which worked great because it gave it a similar feel to a new TV show, complete with the whole dialogue of “Oh did you see that new episode”, “No man don’t spoil!”
As much as there are similarities, this does not feel the same.
For a start it’s a much more colourful game, set during the 80s, it makes use of a bright pinks and light blues, but it’s shadowy night-time setting gives a gritty noir tone to the visuals.
The pacing feels slower, it doesn’t have the constant sense of dread that came from The Walking Dead’s apocalyptic setting.
Once I had gotten quite into the game, I stopped doing internal comparisons, and started appreciating the game for it’s own aspects.
It’s based on the comic book Fables, and has a murder mystery, peppered with aspects of class tension, all presented through fairy tale characters in a modern setting, known in-game as ‘fables’. Most of the non-human looking ones have bought ‘glamours’ a spell which allows them to appear human, however it costs money.
And Telltale have managed to make good characters out of them. The Big Bad Wolf reformed and is now Bigby Wolf, sheriff of Fabletown, New York. Most fables see him as too strict and controlling, how he sees himself is up to you through the dialogue choices. Mr Toad has gone from the lavishness of Toad Hall to a cheap apartment where he can’t even afford a glamour to make himself look human, and is frustrated by it.
Then there is an interrogation scene, which you look around a crime scene in someone’s house, and ask them questions. Picking the right dialogue choices to catch them off guard is really cool, I wouldn’t want to spoil too much of it, but I think it’s experiencing for yourself.
But it does have it’s drawbacks, towards the beginning a few of the fight scenes feel like they lack impact, and are heavily dependant on timed button prompts. It’s a shame because at times those sorts of button prompts were used to such good effect in the Walking Dead. Also if you’re the impatient sort, you might have to tolerate some load times, but nothing crazy significant.
For now though this is a good first start, and has made me hopeful for future episodes.
The Wolf Among Us Episode 1 is available on XBLA, PSN and Steam. Steam requires you to buy all episodes at once, a season pass is available for XBLA and PSN to gain every episode when they are released.
One of my favourite things about this game are benches.
It sounds mundane, but sitting on a bench moves the camera out to give a full view of the area, and the locations in Brothers are beautiful.
It’s great looking in general, with a lovely soundtrack to compliment it’s visuals, and despite the lack of any understandable dialogue it manages to tell a great story through sight and sound.
It opens with simple premise of two brothers journeying off to a far land to find medicine for their sick father, and builds to a very emotional conclusion.
The control scheme can take a small amount used to, each brother is controlled with either analogue stick, and can sometimes feel like the videogame equivalent of patting your head and rubbing your belly. However there isn’t really a lot of dexterity required in playing Brothers, and the controls really serve to pack an emotional punch in certain scenes.
Following a recent trend with certain games, I managed to finish it in one sitting, about 3 hours-ish. I like that, it can give a more ‘movie-like’ pacing to these sorts of games, it also means that there’s never a dull moment in the game. I’d rather take a great 3 hour experience over a 40 hour slog.
If you have an evening, or lazy afternoon to spare, I’d recommend giving Brothers a try, especially if you like purely narrative driven games.
Brothers: A Tale of Two Sons is available to buy on Steam, Xbox Live, and Playstation Network.