1253: Nepgagaga the Third

As I mentioned yesterday, alongside Atelier Rorona, I’m also finally getting around to playing the third Hyperdimension Neptunia game, Hyperdimension Neptunia Victory.

For those who haven’t read my numerous enthusiastic rants on the previous entries in this much-berated series, allow me to get you up to speed.

The first Hyperdimension Neptunia was critically panned for numerous reasons, but I found myself enjoying it a huge amount despite its crap 3D graphics, repetitive gameplay and clunky mechanics. It established some immensely endearing characters, and it was largely this fact that encouraged me to check out the subsequent entry in the series.

Hyperdimension Neptunia mk2 was more of a reboot than a sequel, since it didn’t really acknowledge the first game existed. It was superior in almost every respect — better graphics (though the frame rate was still on the low side), an almost infinitely better battle system, more streamlined mechanics and massively better music — but kept the things that were good about the original game: the wry, self-referential sense of humour; the endearing, memorable characters; the amusing setting; the gorgeous 2D art. It was one of the few games I actively wanted to play all the way through and see every single bit of content it had to offer — including the surprisingly dark “conquest” ending that took a considerable amount of effort to unlock.

Now, I’m playing Hyperdimension Neptunia Victory, the third game in the series. This is more evolution from mk2 than the revolution that mk2 was over the original, but that’s fine; I loved mk2, so I’m happy to effectively play it again with a bunch of refinements. The adorably ditzy Neptune is back in the lead role this time around, after giving up the spotlight to her sister Nepgear in the previous game, and there’s been a strong focus on the rather tsundere girl who represents the PlayStation platform, Noire so far in what I’ve played. (This is absolutely fine by me, as I have a total crush on Noire.)

I’m still quite early in the new game so far, so I’m hesitant to comment on it too much. What I instead wanted to mention was an Extra Credits episode I watched earlier today, in which the different between game mechanics, the dynamics they create and the aesthetic reasons to play were explored. It got me thinking about the various JRPGs I’ve been playing recently, and how not all of them would appeal to everyone — even among JRPG fans.

Given the diversity of the games industry today, it’s very difficult and not particularly helpful to say that you’re a fan of a specific “genre” of games any more, because these genres exclusively describe game mechanics. “I like RPGs,” people will say, implying that they like games that involve hit points, statistics and equipment. And yet if I plonked Skyrim’s biggest fan down in front of Hyperdimension Neptunia mk2, they’d probably look at me in disgust, walk out then never speak to me ever again. (I’m seeing my friend Tim tomorrow night, who is possibly the biggest Skyrim fan in the world; I might try it. Though he probably won’t walk out of his own house in disgust.)

What we should actually start doing a little more is considering our tastes with regard to things like subject matter, mood and the aesthetics described in the Extra Credits piece. Hyperdimension Neptunia doesn’t appeal to me because it’s a JRPG — though I enjoy those mechanics and the related play aesthetics — it appeals to me because of its characters; because of its bright colours; because of its light-hearted nature and refusal to let you take it seriously. We’re talking about a series of games where one special attack allows you to summon Keiji Inafune in the form of a sword, then hit things with it; and another where a girl using an electric guitar as a weapon smacks an enemy into a giant microwave and then turns it on for massive damage. We’re talking about a series of games in which Sega, Sony, Nintendo and Microsoft’s gaming platforms are personified as a series of young girls who rather aptly embody many of their inspirations’ key characteristics.

Despite superficial similarities, I wouldn’t necessarily expect someone who enjoyed, say, Ar Tonelico to enjoy Hyperdimension Neptunia — though there may be some crossover. (I love both, for example!) Ar Tonelico has its light-hearted moments but, for the most part, takes itself reasonably seriously; Neptunia, meanwhile, is flippant and silly. Both are emotionally engaging but in completely different ways; Ar Tonelico is dramatic and affecting; Neptunia feels like hanging out with old friends.

Anyway, I’m looking forward to playing more of Neptunia V, particularly as the story seems to have some interesting, mind-bending twists this time around. It’s early days yet, but I’m already having a blast, and I anticipate spending a considerable amount of time on this game.