Covering Final Fantasy games on this blog has been great because of how different each one is. Even with the games I don’t like as much there’s a lot for me to think about. The hardest part about writing those other pieces was cutting them down into something readable, as I could personally ramble on about all of those games for quite some time. I have hundreds of pages of notes relating to the series so far.
Now I’ve come to a game where I barely managed to muster half a page of notes. There’s just not many interesting things to say about Chocobo Racing. It’s a derivative game lacking in its own identity, which makes it hard for me to not constantly compare it to other games.
This is a kart racing game, where items litter each track which racers can use to gain advantages or hinder competitors. It’s like Mario Kart, you probably know what Mario Kart is like and if you don’t, you know someone who does. Nintendo has a cultural near-monopoly on kart racing videogames, which means that no matter how good it is, every other game in the genre has to be compared to Mario Kart, even if it’s better but especially if it’s worse. While it’s unfair on many games (Sonic & All-Stars Racing Transformed is a great game in its own right) the copycat nature of Chocobo Racing actively invites comparison. Pre-rendered sprites in 3D environments, the particular theming of the stages, and even the fonts used just scream Mario Kart 64.
It’s not a good version of that either. The characters control well enough on the race tracks, but the items are constant interruptions. Items in Mario Kart are varied and act as boosts or hazards which also help give racers behind the leader a chance to catch up. Most of the items in Chocobo Racing just stop other players from moving temporarily and can easily be used to increase the gap between the leader and everyone else.
There’s also a “Story Mode” to play here that has some amusing writing, but it’s brief and mostly acts as a tutorial for the items. Unlike in Mario Kart it’s very difficult to tell what a lot of them do by simply playing the game and seeing them in action, you have to be told. A manual that came with the game probably would have done the same thing.
After finishing the story I was given some points which could be spent to increase statistics on a racer. Once I improved the speed, grip, and acceleration on a chocobo I attempted some races with it but I was getting so far ahead of everyone else I lost interest in playing. There was no challenge. No item could stop me (well actually they could literally stop me, that’s what they do, but they didn’t prevent me from winning).
I hate that I’m comparing everything to Mario Kart here, but it’s difficult to take this game on its own terms when they’re liberally borrowed. When I say all this I don’t mean that games shouldn’t copy from others; they should be doing it with good reasons. The strengths of games like Final Fantasy X come from building on existing RPG ideas, many of which Squaresoft didn’t invent themselves. I also don’t want to paint it as though Mario Kart is the “right way” to do things, I’m just certain Chocobo Racing has found the wrong one. All this game has done is made me think of kart racing games where I’ll have more fun. Does anybody fancy playing some Sonic and All-Stars Racing Transformed?
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.