1968: Another Week, Another Pound

Weigh-in night tonight, as it is every Wednesday, and I’m pleased to report that I’ve shed another pound this week. This is less than I’ve lost in some weeks, but I’m just pleased that it’s continuing to go in a downwards direction almost every week. In the however-many-weeks it is since I joined Slimming World, I think I’ve only had one week where I put on weight, and in that instance it was only a pound. (And an entirely justified pound, given the amount of meat I consumed during my birthday celebrations.)

I’m still feeling positive about the whole thing, and I’m glad; one of the things that put me off any sort of dieting before was the fact that I’d get so utterly bored of it by a few days in, start “treating” myself to something because it couldn’t hurt, and then end up right back where I started again. Or, in some instances, the diet would prove to be detrimental to my health; I recall I experimented with Atkins on one occasion and promptly spent most of that week suffering from some of the worst headaches I’ve ever had in my life. I didn’t try that again.

But Slimming World allows me the flexibility to enjoy food — and food I like too. I’d probably get faster weight loss if I had a few more salads and few less bacon sandwiches of a morning, but I like bacon sandwiches and salads are rubbish, so since I’m still losing weight even when I have bacon sandwiches in the morning, I think I will stick with the bacon sandwiches, thank you very much.

I think the key to the whole thing, which is what I didn’t seem to work out and/or stick with on any previous occasion where I’ve tried dieting, is to find “acceptable” substitutes for the things I like. My biggest weakness was always sweet things — sweets, chocolate, fizzy drinks, cakes, pastries, that sort of thing. The most significant change I’ve made to my eating and drinking since I started Slimming World is swapping out highly calorific sweet things for things that still satisfy that craving for something sweet but which don’t cause me to pile weight on.

Muller Light yoghurt, for example, is “free” on Slimming World, meaning that you can have as much of it as you like in a day. I’ve found a bunch of flavours that I like very much (Vanilla with chocolate sprinkles, orange with chocolate sprinkles, coconut with chocolate sprinkles, cherry and the cappuccino one they don’t seem to make any more) and will now reach for one of those rather than a chocolate bar.

Of course, the “syns” system on Slimming World means that I do have the flexibility to have a biscuit or a piece of chocolate now and again, so long as I don’t go completely out of control with it. I can even enjoy an Indian takeaway within my allowance — turns out my favourite curry (dansak) is the lowest-syn curry there is, so I call that a win and a half. (Other favourites Chinese and pizza, however, are pretty much out of the window, sadly, though I’m surprised how little I’ve missed them.)

I have set myself a “target” weight that is still a fair distance away, and depending on how long it takes to get there and how I look and feel when I get there, I may consider attempting to lose even more on top of that. But I no longer feel as I once did — that the weight I had put on was never coming off, ever — and I feel hopeful and confident that, even if it takes months or years, I’ll eventually be able to get to where I want to be. Seeing one member of the group tonight picking up his award for having lost a total of six stone since he joined was inspiring; I’m already over halfway to where he is after a relatively short period of time, so I’m looking forward to what the future holds, particularly as I’m already starting to feel better about myself when I see myself in a mirror or look down at my still-flabby-but-not-quite-as-much-as-before gut.

The journey will be long, then, but I’m still very much on the right road. I’m glad I took that difficult first step.

1967: Drift Girls – Surpassing My Expectations

A few weeks ago, I happened to come across a site promoting an upcoming new mobile game called Drift Girls. On paper, it sounded like my sort of thing — a combination of dating sim and arcade driving mechanics — but I was wary of it for being on the mobile platform, primarily because playing driving games with a touchscreen suuuuuucks.

Regardless, I signed up to be informed when it was available (and to be in with a chance of winning some in-game goodies when it launched) and I was pleased to see this morning that the game had apparently launched either last night or early this morning. So, with some trepidation, I decided to fire it up and take a look.

And… and… well, it’s good. Really good, actually.

The basic structure is similar to most other free-to-play gacha games out there, since those are a proven model for profitability, expandability and social features. In this case, the things you’re collecting, fusing, evolving and upgrading are cars and car parts, and as usual there’s more than a slight element of “gotta collect ’em all!” to the gameplay — though personally speaking, I find collecting things like cars somewhat less compelling than collecting characters, so I feel far less “guilt” in this game when sacrificing things I don’t need to level up the things I am using.

There are a few twists, though. Firstly, unlike some past street racing-themed free-to-play games that didn’t even bother to depict the races — yes, this is a thing that actually happened, and several times, as I recall — Drift Girls has some really rather lovely-looking 3D racing sequences that make good use of the limitations of touchscreen-based mobiles to provide an enjoyable, snappy experience that rewards skill as well as making the numbers on your stat sheet go up.

The control scheme works because it doesn’t expect you to do too much. All you have to do is rev your engine at the start line, preferably so it’s in the green area of your rev counter to get a Perfect Start, and then press and hold one of the two directional “drift” buttons when you reach a corner. Timing your drift appropriately will increase your speed through the corner as well as earn you nitro boosts, which can be either triggered for a big speed boost or saved until you finish for some bonus monetary rewards when you finish the race. That’s it, essentially; the challenge comes from increasingly complex courses and increasingly unforgiving opponents, so you’ll need to improve both your own skills and your car’s stats in order to progress beyond a certain point.

Here’s where the dating sim aspect comes in. Shortly after the opening, the game presents you with three eligible young bachelorettes and invited to spend some time with one of them. You can take the girl on dates or buy her gifts to increase her affection, and higher affection means that she provides you with more significant bonuses as well as some other… benefits. Yes, if you max out her affection, you can shag her… I’m sorry, “take her on an overnight date”, which, if you pick the right place to take her, will confer on you a long-lasting 100-point stat bonus, which is significant in the early game.

Mechanically, then, the girls are “equipment” of a sort, but the developers have actually bothered to put some effort into the writing, with each girl having a distinct personality, a backstory that she gradually reveals as you get to know her over the course of a few dates, and her own set of reactions to various in-game events such as winning, losing, challenging particularly difficult races and all sorts of other things. You’re even rewarded for each of these events that you see, even if it’s only a couple of lines, so there’s incentive to stick with one girl and get to know her fully — though you can also be a bit of a player if you really want to, too.

It would be easy to dismiss Drift Girls as shallow fluff of the usual sort you see on mobile, and sure, there’s a certain amount of the usual free-to-play stuff going on — energy bars, premium currency, that sort of thing — but like many of the other actually good free-to-play games I’ve had the pleasure of playing recently, the game isn’t stingy with rewards for non-paying players, and it’s overall a highly polished experience that is just plain good. Not “good for a mobile game”, but good.

If the premise sounds intriguing, then I recommend giving it a shot — and feel free to add me as a friend in the game under the ID “AstralFire”.

Grab it from Google Play or the App Store.

1966: Yes, Please Kill Clickbait

I read an interesting piece earlier on the subject of clickbait. I won’t quote it extensively here as I recommend you read it yourself, but I will provide a handy link for you to do just that. Here. Go on, I’ll wait.

The article makes a lot of good points, but the one which stood out most strikingly to me was the suggestion that “via clickbait, many companies believe they can do away with the concept of demographic”. And it’s absolutely true: the concept of a “target demographic” when it comes to Internet-based publications is fast becoming a thing of the past in favour of casting a wide net in the hopes of snagging as many people as possible.

It feels like it’s getting more and more transparent, too; I don’t know if this is simply because I’m aware of it from the inside — during my latter days at USgamer, I spent a lot of time publishing walkthroughs for new games to draw in the clicks, so believe me, I know clickbait — or whether outlets really are getting more and more transparent. But when, for example, sites like Forbes Games (games, note) are publishing articles about something that happened in last night’s Game of Thrones (a TV show), or sites like Polygon and Kotaku are trying their level best to relate real-world events to video games in as ham-fisted a manner as possible, something is very, very wrong.

I’ve mentioned before that I very much miss the “golden age” of magazines in the mid-to-late ’90s. Magazines each had a distinctive voice, style and target audience. Some, like the Official Nintendo Magazine, were aimed at kids, and used layout, language and presentation to match. Others, like Zero, were aimed at slightly older people who enjoyed a bit of irreverent humour. Others still, like ACE, were aimed at the general games enthusiast, not someone loyal to a particular platform. And others still, like Page 6/New Atari User, which my father, my brother and I all used to contribute to, had a tightly focused target audience of platform enthusiasts who were into more than just games.

While certain sites do still have “voices” to an extent thanks to well-known writers, there’s less and less to distinguish between them, particularly as the default “thing to care about” for these publications these days appears to be Social Issues like sexism and racism. But I find it hard to take these articles seriously when they clearly very much fall into the clickbait category — Polygon’s recent piece on The Witcher 3 maybe possibly probably being racist was a double whammy, in fact, combining two pieces of bait: the name of a popular current release, and an accusation that said popular current release is, in some way, bad and wrong. Whether or not it’s “right” to read the piece in that way — or in a manner which suggests If You Like The Witcher You’re Okay With Racism — is kind of besides the point; people do read it that way, and they quite understandably take umbrage with the implications suggested by articles like this. Same with Kollar’s piece on Dungeon Travelers 2 from a while back, though in that case the game was largely unknown and it was the publisher Atlus that was the “household name” to draw people in and then slap people around the face with a bit of This Is Problematic bullshit.

I remember before this dark period of games journalism started when a lot of people were attacking Kotaku for different reasons to today. In fact, there’s a relevant entry on this very blog from that very period, in which I explored the possibility that Kotaku might have actually been doing what I’m arguing for here: pursuing a specific demographic.

Targeting a specific demographic isn’t a negative thing, and we need to stop thinking that it is, because if you spread yourself too thin, you don’t serve any of your audience to their satisfaction. One size does not fit all, and not everyone wants to read about the same things. And that’s fine! What we need is more diversity of opinion and more places for people to go and get different viewpoints. And that’s something we’re not getting at the moment — at least not from the commercial sites. It’s pretty telling that the small, independent sites out there are doing a far better job of this than the big names — and it’s absolutely criminal that sites like this are, at present, unable to make money thanks to the business’ continued reliance on the clickbait model rather than something more fair and less manipulative.

Ultimately it’s best to find places you enjoy reading that you feel “speak” to you, but if I may give a recommendation to those of you who are into similar sorts of games to me: do check out Digitally Downloaded; editor-in-chief Matt Sainsbury and his team work hard to provide interesting, thought-provoking and well-written pieces of criticism about a diverse array of games as well as anime, manga, film and literature. They manage to produce pieces of relevant social and cultural commentary and criticism and relate them to games without pointing fingers or pandering to anyone; its writers are passionate and believe in the things they write, and the result is a site I continue to enjoy and respect even as I’ve switched off from reading most of the mainstream games media these days. It’d be great to see sites like this grow, and the industry as a whole evolve.

Will it happen? Well, that’s partly up to you, isn’t it?

1965: Some More Words About Vita

I feel like I’ve written this post a number of times before — indeed, I had to search my own blog just to make sure — but I feel it’s time we talked about the PlayStation Vita. Again, because the issues I described last time really haven’t improved a great deal — at least not so far as the press is concerned.

Sony’s handheld is a wonderful platform. It’s arguably the most distinctive of all the currently available platforms — with the possible exception of Nintendo’s 3DS — thanks to its unique library of titles, and it’s very much carved out its own niche.

By virtue of this, however, the platform is, by definition, not ideal for everyone. Despite originally being marketed as the most powerful handheld on the market — and I don’t have the tech specs to hand, but certainly from casual observation I don’t doubt that claim — Vita is not a platform on which you should expect to play a lot of “triple-A” games. And this is what has led some people to regard it as a “failure”; a seeming lack of the big hitter franchises like Call of Duty, Assassin’s Creed and Battlefield on the platform coupled with the apparent lack of support from both triple-A studios and, at times, Sony itself doesn’t paint a particularly rosy picture.

But here’s the thing: it doesn’t matter. It may not be entirely what Vita was originally positioned as, but Vita’s niche serves a passionate market. Several passionate markets, in fact: specifically, the market that enjoys localised Japanese games (or, indeed, those who like to import, since Vita is region-free, unlike the 3DS) and the market that enjoys interesting, creative and/or experimental independently developed Western games. Between those two niches — which have a certain degree of crossover — Vita has an astonishing library of quality games, even without the heavy hitters of the industry.

And who wants to play visually spectacular triple-A games on a tiny screen, anyway? Triple-A isn’t playing to the platform’s strengths at all, which explains why since an initial few attempts — most notably an Uncharted game that apparently wasn’t all that bad but not as good as the PS3 installments, and an absolutely terrible Call of Duty spinoff — triple-A developers are paying the console little to no mind. (Ubisoft is something of an exception to this, though their smaller titles are very much designed with an “indie” philosophy in keeping with the Vita anyhow.)

Vita’s strength is its portability, and its best games are those that cater both to short play sessions and longer marathons. The many, many quality role-playing games that grace the platform are testament to this: although RPGs are typically regarded as somewhat slow-moving, in most cases those that have been designed specifically for Vita have been put together in such a way that you can fire them up for a few battles and still feel like you’ve had a worthwhile experience. The Neptunia games are a good example; their dungeons are short and their battles super-quick, but if you want to sit down with them for a few hours at a time as opposed to a few minutes, there’s plenty of depth to explore there, too.

So what’s my point? Well, mostly bafflement, as expressed by a number of us Vita enthusiasts on Twitter earlier today when we saw yet another article snippet berating the handheld for no particularly good reason. We found ourselves questioning exactly why it’s treated this way, and why it’s still regarded as a “failure” or “dead”. The misinterpretation of Sony’s recent “legacy platform” comments certainly didn’t help, though one can lay at least part of the blame at the feet of the press for that one for poor reporting.

Another possible perspective is to do with what I’ve just talked about: the niches that Vita serves. A while back, Polygon’s Phil Kollar — a supposed JRPG expert and enthusiast — posted a particularly obnoxious article berating Atlus for localising Dungeon Travelers 2, a dungeon-crawling RPG starring a cast of cute girls that has a lineage which can be slightly indirectly traced back to an eroge called To Heart 2. (Read my response here, if you’re bored.) Kollar lambasted the game while clearly having little to no knowledge of it whatsoever and no desire to explore or investigate it, and he’s not the only one to post such a piece. In other words, it’s little surprise that popular perception of Vita suffers when it’s typically ignored in favour of the big-budget PC and console triple-A flavours of the month — except, of course, when something “problematic” rears its head and gets all the “progressive” types in a tizzy.

It’s probably a gross oversimplification to consider that Vita might be suffering at the hands of the press because many of its games don’t fit neatly in with the “progressive” ideology that most mainstream gaming sites are presently trying to peddle — this viewpoint ignores the numerous successful Western indie games, including the more experimental, arty end of the spectrum, for example — but I can’t help but feel there’s a bit of truth in there. To return to Neptunia, for example, we’re talking about a series of games that has grown from very humble beginnings in 2010 into one of the most popular, recognisable, prolific and varied series in the whole Japanese niche gaming market, but is it ever acknowledged by the big sites? Is it bollocks.

Anyway, fortunately, despite the perpetuation of the “Vita has no games, Vita is dying/dead” narrative, the platform is very much alive, well and beloved by those who have taken the time to understand what it’s doing and engage with it. I have a healthy collection of Vita games in both physical and digital format; a somewhat more dedicated friend on Twitter has over a hundred games for his Vita in both physical and digital format, and the new releases out of Japan don’t look like slowing down any time soon.

One thing that’s become increasingly clear to me as the years have passed is that the press is rapidly losing relevance, and the numerous “social commentary” pieces that regularly rear their ugly heads are an attempt to move with the times and evolve. Fair enough, but that’s not what I want to read in most cases; meanwhile, that which I used to get from games magazines and websites — enthusiastic discussion of games I’ve played, and recommendations of games I might like to play — I now get from social media, via personal interactions with the people who actually matter when it comes to this sort of thing: the people who are actually playing them.

As a former member of the games press, it’s a slightly frustrating and disheartening situation to see. But so long as Vita keeps coming out with great games that I want to play — and two new ones arrived just this week (Moe Chronicle and Operation Abyss), so I don’t think that will be a problem — I’ll keep talking about it, and I’m far from the only one who feels this way, thankfully. It’s just a pity it’s so hard to make people outside our circle of enthusiasts listen.

1964: 95 Hours With the Idols

My game clock in Omega Quintet now reads somewhere in the region of 95 hours. I’m now about three-quarters of the way through my New Game Plus run and attempting to get the True Ending, and then there’s a bunch of post-game stuff, too, so that timer’s going to tick well over 100 by the time I’ve finished, I’m sure. This officially makes Omega Quintet certainly the Compile Heart game I’ve spent the longest on, and probably getting on for the overall RPG (Final Fantasy XIV excepted, of course) that I’ve spent the longest on. The previous record holders were Hyperdimension Neptunia Victory from Compile Heart, and I think I took slightly longer than the 100 hours I took for Victory over Xenoblade Chronicles on Wii — and didn’t see anywhere near everything.

Anyway. I don’t want to dwell on how long this game is — I could have been done long ago, since I’ve technically already “cleared” it once and I’m doing all of the optional side quests — but rather on something that I noticed as I was playing today: after nearly 100 hours, I’m still spotting new things about the mechanics and working out ways to leverage them to my advantage.

Compile Heart games are often quite mechanically interesting. The original Hyperdimension Neptunia, for example, featured a combat system in which I spent hours assembling combo attacks that would neatly chain into one another, swap out characters mid-combo and do all sorts of other cool things. The later Neptunia games took a different approach to battle, with freedom of movement, area-of-effect attacks and different types of strike. Hyperdevotion Noire is a solid strategy RPG with easy to understand but tricky to master mechanics involving elemental affinities, range, height and areas of effect. Moe Chronicle — my copy of which arrived today, hooray! — sees you equipping stereotypically moe traits onto a range of monster girls to give them various special abilities. And there are a few I’m still yet to play, too.

One thing that the Neptunia series in particular lacks a bit, though, is customisation. The characters aren’t completely fixed in their abilities — you have some flexibility in the combo attacks you can equip each character with, and it’s possible to customise the special attack combo-finishers they use, too — but so far as their main special abilities go, they’re fixed.

Enter Omega Quintet, then, which offers more customisation than I think I’ve ever seen in a Compile Heart game, with the possible exception of the original Neptunia. And it’s far, far slicker than that game — much as I love it, it was very, very flawed in many places.

The early part of the game sees you assembling the titular Quintet, and various mechanics are locked out until you’ve assembled them all and you’ve read all the tutorials (which are thankfully skippable, so you don’t need to read them again on a second playthrough). When the team is assembled and all the mechanics are in place, the default setup gives each of the five girls a different weapon and a basic few skills that they’ve already learned.

Skills fall into three broad categories: Elemental Skills (or E Skills) are magic-like abilities that either attack with elemental affinities or provide beneficial effects such as healing or buffing. Mic Skills — the weapons are known as “Mics”, because they’re idols, after all — are attacks that are tied to an individual weapon type, so the character must have the appropriate weapon equipped in order to use them. And Special Skills are character-specific attacks that require “Voltage” built up through performing well in combat to be able to pull off.

Of these abilities, only Special Skills are fixed on a per-character basis; everything else is fully customisable. The girls each clearly have a favoured weapon — the one they start with — but there’s nothing stopping you from levelling their proficiency in other weapons, too. In fact, it’s beneficial to do so, since levelling up a weapon proficiency provides you with additional “Disc Analysis” points besides those you already get from increasing the character’s overall level.

Disc Analysis is Omega Quintet’s main progression and customisation system. Each character has a large diamond-shaped grid with lots of nodes on it. Each node represents a new skill, an upgrade to an existing skill or a buff to the character such as additional E Skill slots or increased stat growth when levelling up. Spending the Disc Analysis points acquired through levelling and increasing in proficiency unlocks new abilities and opens up new nodes, since some nodes have prerequisites before you can use them or require you to “approach” them from a particular direction on the grid.

In my first playthrough, I wasn’t terribly careful with how I organised my characters’ development. I kept long-term goals in mind — “I want that ability that’s all the way over there” — and attempted to take the most direct routes across the grid to where I wanted to go, picking up any necessary prerequisites along the way. This mostly worked, but it left each character feeling fairly “generic”, since a lot of them had ended up learning the same or similar skills, and none of them were particularly playing to their strengths.

This second playthrough, I’ve been more focused, since I’m playing on the Advanced difficulty. (It hasn’t been too difficult yet, but that may be something to do with the fact I carried over my weapons and items from my first playthrough, making me a powerhouse in the early game) I’ve been specialising my characters and paying more attention to the “Chain Skill” system, which allows multiple characters to trigger more powerful special attacks if they perform the right skills in the right order using the “Harmonics” (simultaneous turn) system.

Kyouka, for example, has high Vitality — Vitality in this game is your speed stat, for some reason, rather than its more common usage as “ability to take punishment” — which means she usually acts first in a fight. This puts her in an ideal position to be a “buffer”, so I’ve given her all of the stat-boosting spells and, using her four actions per turn, she can increase any four of the party’s Song Power (physical attack), Stamina (physical defense), Knowledge (magical attack), Divinity (magical defense/healing power), Technique (accuracy) or Vitality (speed). Alternatively, she can use her spear skills to attack; she has a couple of useful area-of-effect attacks as well as one which draws enemies closer, helping to negate the damage penalty for attacking something at the “wrong” range for your weapon or ability.

Aria, meanwhile, has high Divinity, putting her in a good position to be a healer. So I’ve given her the healing spells. Her high Divinity also means that she can shrug off magical attacks quite easily — sometimes they even miss her altogether, and she has good resistance to status effects. When she’s not healing, her combat fan skills have some large area-of-effect attacks as well as two skills that steal items from enemies, making her very useful indeed for farming items.

Nene has the highest Knowledge in the party, making her the “mage”. Most of the other characters have fairly woeful Knowledge stats, making their E Skill attacks next to useless for anything other than the status effects or stat penalties most of them come with. Nene, however, probably does more damage with her E Skills than with her gun, so I’ve given her the most powerful, most costly area-of-effect offensive E Skill spells, making her a powerhouse for blowing things up. She’s also very useful for item farming, since her Special Skill comes with a “Rare Steal” effect attached, allowing you to acquire items that you can’t get otherwise. In the case of the powerful bosses in the Training Center optional dungeon, these rare items are extremely profitable, though you can seemingly only fight each of these bosses twice before they’re gone for good, so no endless farming!

Otoha and Kanadeko are more “average” characters, with their main strengths stat-wise being Song Power, Stamina and, in Kanadeko’s case, Vitality. This makes them solid physical attackers, and in Kanadeko’s case, her high Vitality means that she usually acts immediately after Kyouka, allowing for some quick hits before the enemy gets started on pummelling the party. The two of them are distinguished by their Mic Skills, however; Otoha has two large area-of-effect attacks and a huge area-of-effect Special Skill, while Kanadeko has some smaller area-of-effect attacks and a single-target Special Skill, but does considerably more overall damage and also has the ability to delay enemy turns with many of her skills.

Things get even more interesting when you throw the Chain Skills into the mix. Because Chain Skills necessitate each “step” being performed by a different character, this makes each individual character’s arsenal of E Skills important to consider to give access to the widest possible variety of Chain Skills at any given moment. But then you need to consider that character acting by themselves, too, since you can’t always guarantee you’ll be able to get the turn order to line up just the way you want it in order to pull one off.

Then you have the Neptunia-esque guard break system, whereby each enemy has a “magnetic field” surrounding them that weakens to varying degrees with each hit they take, and which replenishes fully when the enemy’s turn next rolls around. When the field is broken, not only does the enemy take more damage, but certain abilities — particularly Chain Skills and Special Skills — activate a special mode called Pursuit, which extends the usual animation for the skill and does additional hits, usually for quite a bit more damage. As such, it’s in your interest to try and batter the magnetic field down as efficiently as you can with low-cost skills, then unleash the powerful Chain Skills and Special Skills when the field is already broken, since Pursuit will only activate if the field is broken at the start of the move in question.

Sound complicated? It kind of is; the game does explain each of these individual elements to you on your first playthrough, but it doesn’t really tell you how to apply them to your advantage. That part is entirely up to you to figure out, and after nearly 100 hours I think I’ve pretty much cracked it. We’ll have to see if these tactics will take me safely to the end of the game and beyond, or whether I’ll have to have a strategic rethink at some point!

Anyway, I’ve been playing the damn thing all day so I’m going to bed now.

1963: Cold Steel

XSEED Games, localisation specialists extraordinaire, made a number of delightful announcements for fans of Japanese games earlier today. Firstly was the entirely expected but now thankfully confirmed news that Senran Kagura Estival Versus is coming to Western PS4s and Vitas later in the year — I’m supremely happy about this, as Senran Kagura is a fantastic series with some of the best characterisation out there.

Secondly, the more “major” news for many was the announcement that Trails of Cold Steel — known to Japanese fans as Sen no Kiseki or its previous unofficial English moniker Trails in the Flash — is also coming West. Not only that, the first of its two chapters is pretty much finished and almost ready to go.

For the unfamiliar, Trails of Cold Steel is part of the Legend of Heroes series by Falcom, a long-running and deeply, deeply respected series of role-playing games. We haven’t had a lot of them over here in the West, but PSP (and later PC) installmentTrails in the Sky First Chapter came out a few years back to critical acclaim — I wrote some words about it here — and its own Second Chapter is coming shortly having nearly killed poor Andrew Dice of Carpe Fulgur, who worked on the mammoth job of translating its extremely substantial script.

After the initial joy at the announcement came some concern from long-standing series fans who had played Trails in the Sky’s follow-up games Zero no Kiseki, Ao no Kiseki and Trails in the Sky Third Chapter. Unlike many of the previous Legend of Heroes games, the Kiseki games have a deep relationship with one another, with each of the three “groups” of games (Trails in the Sky, Zero/Ao no Kiseki and Trails of Cold Steel) unfolding on a different part of the same continent. The games all refer to one another and act as “prequels” to one another, so some fans were concerned that newcomers to Trails of Cold Steel would be thrown in at the deep end having missed three whole games’ worth of lore and background. And the Kiseki series is not what you’d call light on lore; in fact, it features some of the most well-realised worldbuilding of any RPG I’ve played.

Brittany “Hatsuu” Avery of Xseed, one of my absolute favourite people in the games industry, took to the Xseed blog to address some of these concerns. And she’s certainly set my mind at rest.

To summarise, the reasons why we’re not getting Zero and Ao — yet, anyway, since there’s a strong suggestion that they will come at a later date, probably on PC — is partly due to technological and marketing concerns. Zero and Ao are PSP games, you see, and while there are still a few PSP games trickling out here and there due to their Vita compatibility — Trails in the Sky Second Chapter will be one — the PSP as a platform has technically been “dead” for some time. As such, it makes sense to push out Trails of Cold Steel for PS3 and Vita, since both of those platforms are still relevant at this time — PS3 is on the decline somewhat, but while developers such as Idea Factory/Compile Heart, Nippon Ichi and Square Enix have made the transition to PS4, there are still a number of PS3 titles incoming for the next year or two at least. Vita, meanwhile, for all the press’ attempts to declare it “dead” every few weeks, is enjoying a small-scale but successful existence as the go-to platform for fans of role-playing games and other Japanese fare.

Hatsuu also notes that Xseed took this decision with the full approval of the games’ original developers Falcom, whose original intention was always that the three sub-series of the overarching Kiseki storyline could stand on their own and be played in any order. In fact, what you’d get from playing them “out of order” would be an experience and perspective on the overall story unique to Western players and different to what Japan had. Kind of like the difference between watching the Star Wars films in chronological order of release or watching them in “canonical” order from I-VI.

Trails in the Sky First Chapter was a stunning game that I enjoyed very much, and I’m glad to see the rest of this highly regarded series is coming West. It may not be in the “right” order and that may have a few snooty fans being a bit salty, but I’m more than happy to support Xseed taking on ambitious projects of this magnitude and delivering them with aplomb. Xseed are one of my favourite developer-publisher-localisation outfits right now, and they deserve the support of anyone who loves Japanese games.

1962: Great Title Sequences (From My Living Memory)

Re-watching Star Trek: The Next Generation and Deep Space Nine recently has made me more conscious of something that had been on my mind for a while: the fact that TV doesn’t really seem to do lengthy credits sequences any more.

This isn’t necessarily a bad thing, as in the case of Star Trek you’re sitting there for a good few minutes watching swirly space and Patrick Stewart as Capt. Jean-Luc Picard and Avery Brooks as Commander Sisko (still in season one at the moment) and, consequently, without a credits sequence the show itself has a few more minutes to play with. But does that few minutes really make a difference? Perhaps when the show is a short 20-minute affair, but when it’s 45 minutes or more there’s a strong argument for saying the writers should maybe look at where a few bits can be snipped.

But anyway. Whether or not credits sequences are a good thing isn’t really what I want to talk about today, since that would be a short discussion — yes, they are — but what I did want to talk about is the ones that have stuck in my head over the years. A good credits sequence is strongly iconic and does a good job of summing up what the show’s all about — either literally, by introducing characters, or sometimes in a more abstract sense by using representative imagery.

These are in no particular order. Given how I’m attempting to call them up from my living memory, they’ll probably in roughly chronological order, but I am making no promises. I’m simply going to provide them for your delectation, with a few words about why I like them, why they’re important to me or why I simply find them memorable.

Henry’s Cat

I hadn’t thought about Henry’s Cat for the longest time, but a brief Twitter discussion with the fine Mr Alex Connolly the other day reminded me of both its existence and its terrible but strongly iconic credits sequence.

I honestly don’t remember much about Henry’s Cat beyond the title sequence and the little bit of an episode I watched out of curiosity on YouTube the other day. But I do suspect it’s rather a product of its time, and not the sort of thing that kids are watching on TV these days.

Count Duckula

Whoever uploaded this gets bonus points for including the “Thames” logo at the beginning. Ahem. Anyway. Count Duckula was brilliant. And I’ve watched a few episodes recently and it’s still genuinely quite amusing thanks to some wonderful voice work and characterisation… not to mention its baffling premise of a vegetarian vampire duck voiced by David Jason.

Unlike Henry’s Cat, the Count Duckula theme and intro has stuck with me all these years. However, I did not know until two minutes ago when I looked at Wikipedia (to make sure it really was David Jason who voiced Duckula) that Count Duckula was actually a Danger Mouse spinoff series. TIL, and all that.

Star Trek: The Next Generation

You can’t really get more iconic that Star Trek when it comes to title sequences, and there’s really not much more that needs to be said about The Next Generation — aside, perhaps, from the fact that when you look at it, it’s actually rather basic. Once the credits themselves start rolling, it’s little more than text and the Enterprise occasionally hurling itself at the screen.

Star Trek: Deep Space Nine

I didn’t like Deep Space Nine all that much when I was younger; its relatively “static” nature of being set on a space station rather than on an exploratory starship made it feel a bit more “boring” to the young me. Revisiting it recently has made me realise (or remember?) that it’s actually really rather good — and certainly a lot more consistent than The Next Generation was in its early seasons.

I like the theme very much. It’s one of those pieces of music that just sounds satisfying. What I did find interesting, though, was when they changed it very subtly starting in the fourth season:

It becomes faster, I think it’s in a different key, the orchestration is different and the accompaniment is less “bare”. It accurately reflects the show’s noticeable change in direction from the fourth season onwards, not to mention the changes in the cast: Commander Sisko becomes Captain Sisko, The Next Generation’s Worf joins the crew and Shit officially Starts Getting Real with regard to interstellar conflicts.

Friends

Friends was everywhere when I was a teenager, and I didn’t mind because I enjoyed it a whole lot. The credits sequence was simple and straightforward, accurately summing up each character with a selection of season-unique snippets of their most iconic moments. It was fun to try and identify which episode each of the snippets had come from… you know, if there wasn’t anything better to do.

Angel

Ah, Angel. Probably one of my favourite TV shows of all time, next to its companion piece Buffy the Vampire Slayer (which is also one of my favourite TV shows of all time, but whose credits sequence I never really rated all that much). Angel’s intro was great in that it reflected the dark, brooding nature of its title character, but it also allowed the show to pull off one of its best features: the unexpected and surprising fact that while it wasn’t afraid to deal with some seriously dark themes, it was very happy to poke fun at itself and show the silly side of the supernatural as well as the scary. The intro helped with this in that it set the expectation for a very “serious” and dark story, then in true Whedon fashion, it often subverted these expectations with the actual content of the episode.

Yuru Yuri

(This was the best video of the intro I could find that hadn’t been snagged by YouTube’s copyright laws. You’ll just have to deal with the Spanish subtitles.)

I love Yuru Yuri. It’s such a delightfully mundane and silly anime; very little actually happens in it, but by the end you have such a wonderful understanding of these loveable characters that it doesn’t matter that they haven’t done anything of note. The opening titles complement it perfectly, introducing the characters visually and setting the energetic, joyful tone for the rest of the show.

Love Live!

You’d hope a show about music would have a catchy theme tune, and Love Live! doesn’t disappoint. This video (which repeats several times; you’re not going mad) is from the first season and, like any good opening sequence, neatly summarises the show and its characters without them actually “saying” anything (although one could argue the lyrics of the song have a certain degree of meaning). Also it’s just plain catchy.

Akiba’s Trip

One thing I really like about Japanese games is that they treat them the same as anime — and that means that a big deal is made out of the opening credits, with music that is often released as a single in its own right. Akiba’s Trip had a particularly strong opening with a catchy theme song, a good introduction of all the characters and, again, a summary of what to expect from the next few hours of your life.

Hyperdimension Neptunia Victory

The Neptunia series has some excellent songs throughout, but the opening theme for third game Victory is one of the stronger ones. It does a great job of capturing the games’ energetic, joyful spirit and acknowledges their origins as a parody of the video games industry at large through heavy use of electronic effects and synthesised sounds. It also makes a point of demonstrating the extremely strong friendship between the core cast members — they may not see eye-to-eye about everything (or anything) but they stick together and help one another out.

Omega Quintet

Last one for now, otherwise I’ll be here all night and I quite want to go to bed. I wrote a few days ago about how I like the fact Omega Quintet treats its episodic story just like an anime series, complete with opening and ending credits sequences. Here’s the opening sequence, which you see not just at the beginning of the game, but at the start of every chapter. It’s as delightful as the game itself.

1961: Sound Shapes

I remember first seeing Sound Shapes at a Gamescom I was covering for GamePro back when GamePro was still a thing. I found it immediately intriguing — partly because it was a game on the then-new-and-shiny Vita, but also because it looked to have some interesting ideas. Now, some several years later, thanks to a significant PlayStation Plus discounted price, I’ve finally played it. And I’ve been quite surprised by what I found.

Sound Shapes, if you’re unfamiliar, is ostensibly a platform game, but with a few peculiar twists, the first of which being that you don’t play as a “character” as such, instead this weird sort of ball thing that can switch between “sticky” and “non-sticky” states at will. When in its default sticky state, it can stick to certain walls and even ceilings; when in its non-sticky state, it moves faster and can jump further. These are the only controls you use in Sound Shapes; where the game gets interesting is in the sheer variety of ways it uses these very simple mechanics.

The “sound” part of the title comes from the fact that the game is heavily music-based. Elements of each screen you visit — no scrolling here; only old-school 8-bit style flick screens — move in time with the music, and the collectible objects in each level are “notes” that affect the soundtrack once you’ve picked them up. Indeed, when you make use of the level editor, you’re not only putting together some fiendish platforming puzzles, you’re also composing a piece of music.

And there’s a surprising amount of variety, too. Shipping with a number of different “albums” and providing plenty more to explore online, Sound Shapes sees you exploring a number of different environments according to special guest musicians and artists. The first “world”‘s art is done by Capy, for example, while the second is a collaboration between Jim Guthrie on music and Superbrothers on art. The two contrast hugely; Capy’s world is very organic and smooth, looking like it’s been drawn in flat-shaded vector graphics. Guthrie and Superbrothers’ world, meanwhile, looks very much like their well-known game Sworcery, but appears to be some sort of introspective reflection on the futility of modern everyday office life.

What I like about Sound Shapes is that it’s arty without being pretentious about it. You can treat it as a straightforward platformer if you like, or you can treat the stages as works of interactive art, where the overall multimedia experience has been crafted to put a particular image in your mind, or make you feel a particular way. Some are more successful than others, but all are satisfying and fun to play.

I’ve been really surprised at quite how good Sound Shapes is. It’s a shame I didn’t pick it up sooner, really, but I’m having fun with it now, at least; I can recommend it if you’re in the mood for some straightforward, pick-up-and-play platforming with a very distinctive, striking audio-visual aesthetic.

1960: Preview a Game Like Polygon

FIFA 16 is a game about football, and you probably want that

FIFA 16 should be celebrated for its inclusion of women players -- better late than never. — FIFA 16 should be celebrated for its inclusion of women players — better late than never.

There’s a joyful cheer from the crowd; a roar of approval and a vibrant expression of intense approval. But I can’t join in; I know it’s not real.

It’s literally not real. It’s a virtual crowd in a virtual stadium, applauding, cheering and yelling in delight at a goal that didn’t happen. But that doesn’t stop some of the other real people who are nearby joining in with their own whoops, hollers, shouts and cries.

I’m at Wembley Stadium in London, spiritual home of football — at least in the United Kingdom. Some of my companions clearly feel that coming here is like having the opportunity to visit the Holy Land, particularly as we’re in one of the mysterious event rooms that the public don’t usually get to see. Even those who aren’t looking at the screen seem excited; they’re pointing at pictures on the walls, and at the view through the window out onto the pitch.

I envy them a little as I stand back, sipping my fizzy water and munching on a canape, wishing desperately that there was someone else here who wanted to have an open and frank discussion about the situation in Syria. But there isn’t. I’m alone; so very alone, even though this room is full of people. I’d find it distressing if I weren’t so used to it, but this is my life thanks to the choices I’ve made: doomed to forever operate on the fringe of events like this, unable to participate or even put up a convincing facade of excitement at the abject tedium I so despise unfolding on the screen in front of me.

The game at times lacks racial diversity, but the presence of women after so many years makes up for this to a certain degree.

The virtual crowd cheers again, and there’s a roar of approval from my assembled colleagues; apparently whoever it is that has the controller right now has scored an impressive goal against the carefully selected PR person: I’m guessing they play well enough to show the game at its best, while simultaneously being able to let my peers win and give them a sense of satisfaction and send them away with a positive impression of this dreadful, interminable, never-changing series of awful games.

But do any games truly change? After all, we’re still shooting people of colour in obviously Middle Eastern allegories. We’re still relentlessly collecting objects in what is clearly a potent metaphor for capitalism that shoots straight over the head of most people. We’re still upholding traditional gender roles and tacitly encouraging the approval of the patriarchal status quo — a status quo that objectifies and exploits women — over more progressive attitudes. And we’re still playing the same old sports; outlets for attitudes of toxic masculinity that are only distinguishable from the never-ending stream of games allowing testosterone-fuelled men to indulge their wildest, most perverse of rape culture fantasies by the fact that they are slightly less violent than Call of Duty and Destiny.

There are women in FIFA 16, which I suppose is worthy of some praise, and football games by their very nature include a healthy number of people of colour. But the outcry from the vast majority of the Internet over the inclusion of women’s teams in this installment indicates that the world of sports games is still very much a man’s world — but only if you’re the right kind of man, of course. I’m not the right kind of man, it seems; I’m happy to see women included in the game as a step forward for progressiveness rather than, as some particularly obnoxious Facebook comments had it, the chance to “combine boobs and football”.

I finish my fizzy water and head for the table to pour another. I feel a touch on my shoulder and turn around to see who is trying to attract my attention. It’s the PR person who was playing the game a moment ago — I think her name was Ashleigh — and she’s giving me a gentle smile.

“You don’t look like you’re having a good time,” she says.

“No,” I say. “I’m not.”

I want to elaborate, to tell her that attending this event is a living hell for me, that there is literally anything I would rather be doing than taking a look at a game I have no interest in that represents a sport that I despise with absolute passion owing to its use for continuing the dominance of the prevalent toxic patriarchal attitudes in society. But I don’t. After my admission, I simply take another sip of water.

“You should give the game a try,” she says, still smiling — though I have a feeling that it’s changed from a genuinely warm smile to a false one. She proffers a DualShock 4 controller; I contemplate it for a moment, its wonderful ergonomic curves bringing to mind the body shape of a beautiful woman who cares not for whether she’s “beach body ready”, but then I shake such borderline misogynistic thoughts from my mind lest Ashleigh can see the beast of suppressed lust in my eyes and dismisses me as yet another perpetuator of rape culture rather than the progressive feminist that I actually am. “You might enjoy it.”

“I don’t think I will,” I say, giving her a smile of my own. Then I put down my unfinished glass of fizzy water, head for the door and don’t look back.

It’s raining outside. The black clouds overhead mirror the darkness in my soul. There’s a flash of light and a clap of thunder, and I realise, as if given a message from a non-specific divine entity, that I am wasting my life.

(Disclosure: This article is a parody of this monstrosity that hit the Interwebs yesterday to much well-deserved derision.)

1959: High School DxD is Exactly What I Want From an Anime

For a while now I’ve been seeing numerous images from the anime High School DxD that were, shall we say, somewhat on the titillating side. I follow a lot of anime and Japanese gaming fans on Twitter; a number of them are fans of this show and rather fond of posting pictures of it. And with good reason: it’s a very “photogenic” show. Particularly if you like pretty ladies.

Despite the numerous sexy pictures that had been shared, though, one thing was clear: the people who enjoy this show regard it with genuine affection and enthusiasm rather than treating it as the softcore pornography that so many people outside of the various otaku fanbases tend to write Japanese popular media off as. And so I was curious, for several reasons: first of all, who was the intoxicating redhead who seemed to dominate so many of the pictures; and secondly, what exactly was this show all about?

I’d been meaning to check the show out for some time but it’s only in the last couple of days that I’ve finally started investigating it. And, what do you know? Within just three episodes, it’s already abundantly clear to me that this is exactly what I want from an anime — and I already understand why those people who are fans of the show are quite so passionately invested in it.

The basic setup runs thus: Issei is a particularly obnoxious horny teenage protagonist who is obsessed with breasts, but, as is usually the case with this sort of character, finds himself unable to convince any self-respecting young ladies to show theirs to him. Everything changes for him when he meets a girl on the way home from school, though; she claims to have been watching him, and desperately wants to be together with him. The two begin dating and all appears to be going well for a while — Issei even manages to rein in his baser urges for long enough to appear almost respectable.

Then the shit well and truly hits the fan for our Issei. After a thoroughly enjoyable date, his new girlfriend kills him by stabbing him through the chest with a spear of light, and leaves him to die in the park. It transpires that she was a fallen angel, and that Issei has a mysterious power within him called “Sacred Gear” that the fallen angels very much wanted to dispose of — and for a moment it looks as if they were successful.

Given that all this happens in the first episode, though, that would make for a very short series, and as such it will probably not surprise you to hear that Issei is rescued from his plight by red-haired beauty Rias Gremory, a young woman held in high esteem by everyone at the school they both attend, and president of the school’s Occult Research Club.

The Occult Research Club is a not-terribly-subtle front for the fact that Rias and the other members are actually devils, and in allowing Issei “rebirth” from his murder they turn him into one, too — specifically, a servant devil of Rias. From there, Issei gets drawn into a situation that is clearly well beyond his understanding — at least in the early stages of the series — as a three-way holy war unfolds between the forces of Heaven, the devils of Hell and the fallen angels attempting to usurp the devils from Hell to claim it as their own.

What’s interesting about High School DxD is that it presents the devils — typically depicted as evil, monstrous creatures prone to the most dreadful acts of depravity in anime — as the most sympathetic, relatable of the characters. Rias and her companions are for the most part very “human” in terms of their attitude towards their situation and towards Issei, with a few exceptions; Issei, for example, is extremely surprised to wake up from his initial ordeal with a naked Rias in his bed next to him, with her seemingly completely unperturbed by the fact that they are both nude. Rias is absolutely in control of herself and clearly takes pride in her appearance — and this sort of overt sexuality is not at all uncommon in numerous mythological depictions of devils. Rias isn’t a succubus or anything — I don’t think, anyway; I may stand corrected after a few more episodes! — but it’s clear that, for her, she has transcended such petty human concerns as being embarrassed about being in the nude, or being seen by someone with whom she doesn’t have an “intimate” relationship.

By contrast, the fallen angels and the representatives of Heaven have so far been thoroughly horrible pieces of work, with an exorcist priest in the third episode even going so far as to sadistically murder someone who had attempted to make a pact with one of Rias’ household of devils and then threaten to rape his own assistant, herself also a member of the clergy, all because she had met Issei earlier in the episode and believed him to be a “good person” despite being a devil.

There seems to be a pretty strong anti-religion sentiment underpinning the series — or, to be more specific, an anti-fundamentalist sentiment. The fallen angels and the forces of Heaven — with the exception of Asia, the aforementioned exorcist’s assistant — have so far been pretty much psychopathic in how devoutly they follow the tenets of their faith, while the devils themselves are more philosophical and deliberate in the way they go about handling things.

There’s a strong amount of chess imagery used throughout the series, too, with it being explicitly lampshaded and spelled out for the viewer in the third episode. Rias is the “king” of her little group of devils, and her companions fulfil the roles of the knight, queen and rook. (Even odds that Asia shows up again later to fulfil the “bishop” role.) Issei is dismayed but unsurprised to discover that even with his mysterious Sacred Gear power, he is no more than a lowly pawn who has yet to prove himself — but even with his low status, it’s clear that Rias wants to protect him and help him grow stronger. Whether this is due to her own self-interest — his Sacred Gear would clearly be a potent weapon in the holy war — or whether she actually cares for him remains to be seen, but it’s certainly an interesting setup.

And my God — no pun intended — is it ever a beautiful-looking anime. Gorgeous women doing sexy things aside — and there’s plenty of that — the animation and design is spectacular, with some gobsmacking battle scenes in just the first few episodes. The more monstrous foes Rias and the gang face are truly hideous to behold, but even in its more mundane moments the show simply oozes style.

Wonderful use of colour helps give cues to the viewer as to what is going on, with each of the main factions involved in the holy war seemingly having their own colours associated with them. Most things the devils get up to seem to be bathed in red light, for example, while the fallen angels tend to bring an ominous, sinister, high-contrast purple light with deep shadows in their wake.

This beautiful visual design is perfectly complemented by a Gothic-cum-rock soundtrack — it may be a cliche by now for this sort of “good versus evil” affair (particularly if you’re a Castlevania fan) but it really works wonderfully, giving the show a fantastic sense of energy and a feeling that it’s had some real love, care and attention poured into it.

Yes, it’s dripping in fanservice and I’m disappointed to admit that I know all too many people out there who will write this show off purely on these grounds regardless of whether or not it’s actually any good. But there’s a strong argument for the heavily overt sexuality of the show to very much be part of its overall aesthetic, with it being used both to reflect Issei’s forever sexually frustrated teenage desires — which are still very much intact even after becoming a devil — and the common depiction of devils as something erotic, exciting, tantalising and well and truly off-limits to the “normal” people.

So why do I say it’s exactly what I want from an anime? Well, it has all the things I enjoy: light-hearted slice-of-life character interactions (yes, there’s time for that between all the Good Versus Evil Versus A Bit of Both shenanigans), thrilling action sequences with kick-ass soundtracks, memorable characters and a whole lot of sexiness. My dream anime, in other words.

I’m really intrigued to see where the show goes from here. After just three episodes, it’s already a favourite, and I’m absolutely in it for the long run.

Rias is love, as they say.