1563: Sullen and Ill-Tempered

I'll level with you, dear reader, I'm not entirely sure what to write today. The Black Dog has been creeping in somewhat over the course of the day, leaving me somewhat morose and not particularly in the mood for a great deal of communication. This feeling sucks, but I am taking some small solace from the fact that there are a few irons in the fire right now. Whether or not any of them will come to anything remains to be seen, but at least they're there.

In the meantime, it's largely been business as usual. I rediscovered the fun of Japanese doujin title Croixleur earlier through its new Sigma edition and would encourage anyone who enjoys a bit of hack-and-slash goodness to check it out. Then I spent some time moving towards cleaning up the rest of The Witch and the Hundred Knight. I'm torn on which ending to try for, since both the Normal and True endings are very straightforward to get, while the "Bad" ending actually takes significantly more effort to attain.

This isn't the first time a Japanese game has locked its worst ending behind a particularly complicated series of hoops to jump through, and it probably won't be the last. The last time I encountered such a practice was with Hyperdimension Neptunia mk2, where the "Conquest" ending — an incredibly dark affair that, despite featuring a huge tonal shift from the rest of the game managed to fit in quite well with the overall narrative — required a huge amount of faffing around to accomplish. And your reward? Feeling awful at what you had done to the characters. I am, frankly, glad I did it first, and it's for this reason I'm contemplating getting The Witch and the Hundred Knight's "bad" ending out of the way first.

Meanwhile, I continue to be enraptured by Demon Gaze. I adore the characters whom you get to hang out with while back at the inn between expeditions into the game's sprawling dungeons, but I was surprised to discover that it's the dungeon-crawling aspect I've been having the most fun with. Demon Gaze's dungeons are relatively simple in terms of tech, being designed on a flat 2D grid, but their design is superb. The current dungeon I'm running through — Endless Road, a dungeon towards the end of the game — is a multi-floor monstrosity that demands you pay careful attention to the relationship between the different levels and areas, and search carefully for secret doors.

Secret doors! When was the last time you searched for a secret door in a video game? Demon Gaze is full of them. Granted, much of the old-school frustration of hunting for secret doors is mitigated by two things — the demon Comet, who, if equipped, marks them with a big flashing mark, and the fact that players tend to leave helpful Gazer Memos in front of them — but it's still enjoyable to kick down a wall and discover a door behind it.

At the other end of the spectrum, I've been enjoying the aforementioned Gazer Memo feature a great deal, too. Somewhat similar to the messaging system in Dark Souls (in that you can't type freely but instead pick from predefined words and phrases) but with a few more suggestive terms included along the way, the Gazer Memo system allows you to scrawl messages on the dungeon floor which are subsequently uploaded to the Internet and downloaded into the game of anyone else who happens to be playing. During the time I was reviewing the game, the messages were fairly sparse and mostly helpful; now, they're still fairly helpful, but there's been a clear explosion in players: the sheer number of messages making rather suggestive implications about spears and butts is testament to that, I feel.

It's fun to leave these messages, too. At several points during the game, after overcoming a particularly challenging maze of one-way doors, I found myself deliberately going back and leaving memos to future adventurers helping them out. (I also left them a few sarcastic "Nope"s if they went the wrong way.) I also couldn't resist a "Caution! Gigantic Butt Ahead" at the entrance to one particular dungeon — a message that I now see every time I happen to wander back to that area.

But anyway. I'm rambling on about nothing much in particular and it's getting late. As such, I'm going to leave that there. Here's hoping that tomorrow is a more positive day.

1561: End of Another Era (Or: Please Hire Me)

I was informed today that, owing to various circumstances that I won't go into right now — it would be unprofessional of me to do so, but suffice to say it's not anything to do with something I've done, nor is there any ill will there — my position on Eurogamer's US counterpart USgamer would be coming to an end within 4-8 weeks, depending on how long I want/need to stay on.

To be frank, I haven't quite processed this news yet. I fully expect that when I do I will burst into tears and be a dribbling, horrible mess for at least an hour or so but that hasn't happened just yet. It will come, though. In the meantime, while I'm still feeling reasonably rational, I wanted to compose a post explaining where I'm at in my career and where I'd like to head from here. Hopefully then anyone reading this as part of the traffic spike my blog is currently enjoying will have a better idea of who I am and what I can offer.

The biggest thing that has come out of my announcement that I would be leaving USgamer is the confirmation (via direct messages and mentions) that I have built up a solid reputation as someone who not only knows his stuff about Japanese games, but that I am also someone who treats them with respect. You might not think this is a particularly unusual characteristic for a games critic, given the importance of Japan to console gaming throughout video game history, but in recent years, Japan's turn towards the moe side of gaming has caused many Western commentators to take its output considerably less seriously — even going so far as outright derision at times.

Attitude and tone are, of course, the prerogative of the individual publication or writer in question, but I had been feeling for some time that there was a significant gap in the market for respectful, non-disparaging coverage of niche Japanese games such as RPGs and visual novels, and set out to provide that, first with my experimental columns over on Games Are Evil, where I served as Managing Editor for a short period, and later at USgamer, where I ran a weekly Japanese gaming column called JPgamer. This column attracted a regular audience who were both appreciative and vocal about my support for Japanese gaming, my positive attitude towards it and my willingness to look beyond the most superficial elements — an attitude perhaps best exemplified by my piece on "The Hidden Depths of Otaku Games" and my review of the widely derided Time and Eternity as well as JPgamer at large.

J-gaming isn't the only niche I attempted to fill, though. I'd recently also launched a board game column on USgamer called BOARDgamer, and past coverage of board and card games had proven somewhat successful. Alongside this, I made a point to cover interesting, unusual games rather than the same things other sites were looking at. I'd accept reviews of games that other sites would either ignore or pass off with a cursory quick look — titles like The Witch and the Hundred Knight and Demon Gaze — and I'd treat them with the same amount of respect afforded to the big triple-A titles. I hope I don't sound arrogant when I say I feel I was fulfilling an important role that helped me to stand out somewhat.

Which is why I'm so sad that my time with USgamer has to come to an end. Between us, Jaz Rignall, Jeremy Parish, Mike Williams, Cassandra Khaw and I — plus the various contributors who have come and gone over the months — were building USgamer into something distinctive and interesting; a site that celebrated long-form magazine-style articles as well as the usual daily grind of news. We each had our own interests and specialisms, and we were each afforded the opportunity and a platform to talk about those things as well as the latest hotness in gaming news and reviews. That's an immensely valuable thing not only for readers, but for writers, too. And, yes, I'm sad and upset that I will no longer be part of that once my time on the site comes to an end.

As previously noted, I have between 4 and 8 weeks left on the site depending on how quickly I can find a new position. I am happy to continue doing what I've been doing — writing about games, and hopefully letting some of my passion shine through — but I am also interested in getting involved on the editing side of things. I've been doing this a long time now; it would be nice to move on up and take a little more responsibility if the opportunity is available.

If you happen to hear of anything — or if you're hiring — then please reach out and get in touch. You can send me an email via the About Pete page on this site if you don't know my email address, or just leave a comment. You can also follow me on Twitter if you don't already, and check out my professional history via LinkedIn.

Here's hoping I have some good news to share sooner rather than later; 1) it's my birthday tomorrow and 2) Andie and I are buying a house. Also, you know, 3) I don't like being unemployed.

Thanks for reading, and thanks in advance for any help you can offer in the job search.

1560: Paradoxes and Worldlines

Time-travel fiction is notoriously difficult to get "right" (for want of a better term) because it brings all sorts of baggage with it, both from established (or at least popular) science as well as conventions of fiction. It can be interesting to see how different works of fiction tackle these aspects — if at all.

The visual novel Steins;Gate jumps in head-first and attempts to spin a plausible example of how time travel might actually work were we to invent it in our lifetime. But despite the heavy science component — Steins;Gate really doesn't hold back on the science side of things, which will delight those who are particularly interested in the "sci" part of "sci-fi" — it is, at heart, a story about people and how they're affected by the strange, unnatural phenomenon of moving through time in a non-linear fashion.

SPOILERS AHEAD for the Suzuha and Faris endings of Steins;Gate — if you're on the front page, hit Continue Reading (or whatever it actually says) to, err, continue reading.

Continue reading "1560: Paradoxes and Worldlines" →

1559: Life Walkthrough: How to Defeat the Big Breakfast

You'll probably encounter the Big Breakfast on a weekend, particularly if you finish a Friday low on HP, MP or Sanity. If you want to guarantee an encounter with one, do one of two things: either ensure the fridge-freezer is stocked with Bacon, Eggs, Sausage, Hash Browns or Waffles and that you have at least one Beans in the cupboard; or alternatively, ensure that the fridge-freezer and cupboard have a complete lack of the aforementioned, in which case you'll fight a Big Breakfast in the wild rather than at home. The latter case is slightly advantageous in that you have a little longer to shake off the Sleepy status effect before the confrontation begins, but the former gives you the Home Turf boost.

There are a number of ways to defeat the Big Breakfast, but following this strategy is one of the most effective and efficient. Prepare for battle!

As the battle begins use the SAUCE — either brown or ketchup according to the preference you set during character creation — on Big Breakfast. Using the wrong sauce will provide you with smaller benefits.

Next up, grab the BUTTER and apply it to the TOAST using the KNIFE. Don't attack the TOAST yet, though; we'll come back to that later.

Equip the KNIFE and FORK and attack the TOMATO. This is the weakest part of the breakfast, but also has the potential to do the biggest damage to your Sanity. Try and defeat it in two attacks at most.

Follow up by attacking the MUSHROOM. This is likewise weak, and its status effects can be mitigated if you applied the SAUCE correctly.

Once the TOMATO and MUSHROOM are down, you'll need to begin attacking the SAUSAGES, but don't jump straight in to pure attacking. Instead, use STAB on a SAUSAGE and then attack the EGG with it — you'll be pleased that you did. After you've done this on both EGGS, you can commence normal attacks. Each attack will drain your MP significantly so don't be afraid to take a turn or two to rest if you need to.

Follow up the assault on the SAUSAGES by attacking the EGGS. Weakening them with the SAUSAGES beforehand will make this part of the battle much easier.

Attack the BACON once the EGGS have been defeated. The bacon should quickly fall to a concerted assault, but keep a close eye on your MP. You should find that your HP is steadily increasing as you defeat each opponent.

Following the BACON it might be tempting to go for the next target in the list — the HASH BROWNS — but pass them by for the movement in favour of an attack on the BEANS. Characters with low agility will need to take a few turns to defeat these, but they're nothing too much to worry about.

After the BEANS have been defeated, you'll notice that they've left a pool of BEAN JUICE behind. This cannot be defeated with normal weapons, so instead you must use the STAB move on a HASH BROWN to attach it to either your KNIFE or FORK — preferably FORK, since using the KNIFE carries a risk of damaging your own HP — and only then attack the BEAN JUICE.

If the HASH BROWN attached to your weapon breaks, use STAB again on one of its remaining companions. Repeat the process until the BEAN JUICE has been defeated. If you fail to defeat it before the HASH BROWNS have been defeated, however, don't worry, you still have a final weapon up your sleeve.

Unequip the KNIFE and FORK and pick up the TOAST. Equip it in either hand, then attack any remaining BEAN JUICE. If none is left, simply open your Item menu and USE the TOAST like any other item. If you find your MP are too low to be able to use the TOAST, rest for a turn or two until they restore. To restore them more quickly, either use the COFFEE or get up from the table and visit the TOILET. Note that if you pick the latter option you will need to be partied up with at least one other player, otherwise upon your return you will find that Big Breakfast has been taken away, and you will not receive full XP value since parts of it were left undefeated.

Once Big Breakfast has been defeated, sit back and enjoy the cutscene, then save your game. The true weekend begins here.

1558: PeeVeePee

I'm not a huge fan of competitive play, be it online or on the tabletop; I generally prefer cooperative games. This explains why I'm generally drawn to theme-heavy games on the tabletop — they often tend to be cooperative in nature — and why I've been enjoying Final Fantasy XIV so much to date — most of it is cooperative.

Tonight, though, a couple of members of my Free Company in Final Fantasy XIV said that they'd been trying out the game's PvP (Player vs. Player) area, known as The Wolves' Den. And they'd been enjoying themselves a great deal. So, curious to take a look at this part of the game that I had, to date, never touched despite having ploughed an unspeakable number of hours into the game as a whole, I decided to join up with my comrades Avexxis and Emma and jump into The Wolves' Den.

Before I go on, let me explain a little: I've played a number of MMOs in the past, and given the PvP experiences a go in most of them. And I've never really had a satisfying experience with them. In World of Warcraft my main experience with PvP was being ganked when I'd forgotten to turn my PvP flag off for whatever reason. In The Secret World the areas were too big and it couldn't seem to make its mind up if it wanted to be a fast-paced shooter or an RPG. Star Wars: The Old Republic had the same problem; sprawling areas and a feeling of extreme unbalance. The closest I've come to having a good time with PvP in an MMO was in Guild Wars, and coincidentally that's probably the closest equivalent to Final Fantasy XIV's PvP.

PvP in Final Fantasy XIV isn't about huge, sprawling battles that inevitably continue into a stalemate because no-one knows how to work as a team and accomplish objectives together. Rather, it's about short, snappy, four-on-four battles in a small, enclosed arena that nonetheless has a number of convenient walls and pillars around the place to block line of sight. And it's a completely different experience to playing the normal "PvE" (Player vs. Environment) cooperative game.

The biggest difference is that you can't rely on your usual MMO setup of the tank maintaining the attention of all your enemies while everyone else knocks them down one by one. In PvP, your opponents are controlled by actual, real people so a tank's aggro-management skills are utterly useless. More often than not, you'll see the enemy team making a beeline for the opposing healer, who will find themselves having the most to do in the fight — usually in the form of running away and trying to get out of sight for long enough to catch their breath.

I was playing as the healer using my White Mage class, and it was a lot of fun. PvE White Mageing involves a lot of standing still and casting Cure on the tank, with occasional breaks to heal the party when a wider-range attack hits them, or to cure status effects when they crop up. In PvP, however, I was constantly using the Sprint ability to put some distance between me and the enemies chasing me — usually the opposing tank — and doing drive-by Regen casts on anyone I happened to be in range of. There simply wasn't time for the lengthy casting of Cure and its ilk, except when I had the opportunity to make use of the Black Mage skill Swiftcast and quickly drop in a Cure II on someone whose HP had reached critical level. It was extremely satisfying to bring someone back from the brink of death — even more so than in PvE.

The second battle we fought this evening was my favourite. I saw the enemy team heading straight for my comrades rather than me for once, so I hid behind a pillar, hoping they wouldn't see me for a little while. But then out of the corner of my eye, movement: a tiny Lalafell black mage, creeping towards me. Before I could react, I heard the telltale sound of the Sleep spell, and I was completely immobilised for 30 seconds. Fortunately, the Black Mage chose not to get a quick hit off on me — that would have woken me up — and instead fled to return his attention to the rest of my party, but later returned to fling a Thunder (damage over time) spell at me just as the Sleep effect was set to wear off.

I started running around the arena, hoping I wouldn't bump into someone who could stun me or do significant damage. I passed the opposing healer, who was fleeing in the opposite direction around the arena. I did a complete lap, and by the time I reached the rest of my party there were three members of the opposing group lying dead on the floor. I stopped running and watched them finish off the last. While I hadn't done any damage directly, I had evidently proven distracting enough to help win the fight, if only by dropping a few Regens and helping keep everyone alive.

Overall, a thoroughly pleasant surprise, then, and I can see myself indulging in it a little more often, particularly if I can get together with some guildmates and form a team.

1554: Hyperlynx

The Game Boy apparently turned 25 recently, but I didn't own an original Game Boy when they first came out. (I did later pick up a Game Boy Pocket, a Game Boy Color and indeed every Nintendo handheld since, but no original Game Boy.) As such, I don't have quite as many fond memories of the little yellow-and-black wünderkind, because our household instead elected to indulge in the Atari Lynx for their handheld gaming needs. (More specifically, the Lynx 2, which was considerably smaller than the monstrous original Lynx but still far too big to even think about putting in your pocket.)

The Lynx was a surprisingly impressive machine for the time, boasting a full-colour backlit screen, a 16-bit processor (compared to the Game Boy's 8-bit) and hardware scaling for smooth "zooming" of sprites and images a la the SNES' Mode 7 facility without the "rotation" part. All this technological advancedness (spellcheck tells me that's not a word, but I'm going to use it anyway) came at a price, though; the system gobbled batteries like they were rapidly becoming extinct. (In fact, the rate the Lynx consumed AAs, it's a wonder batteries didn't become extinct.)

So bad was the battery life that it was literally impossible to make it through the entirety of a game such as Gauntlet III without having to plug the AC adapter in partway through the play session. And with the Lynx's "game card" cartridges lacking any sort of battery backup functionality (and, consequently, the ability to save games) this meant that every time you started playing a game you had to begin from the beginning again, unless the developer had thoughtfully included some sort of "password" function. (Oh, remember passwords? What a hellish time we used to live in.) This meant that games either had to be very short or friendly to replaying. Certain games handled this well. Others, like the otherwise excellent quasi-point-and-click adventure based on Dracula, did not.

There were some really solid games, though. Unofficial Pole Position sequel Checkered Flag was a particular highlight due to its impressive use of the Lynx's sprite scaling facility (albeit on a distinctly "retro" style of racer, and Warbirds proved that it was indeed possible to have a good crack at a flight sim on a handheld device. The aforementioned Dracula had some impressively stylish visuals and was a good adaptation of Bram Stoker's story, lack of save function aside, and Gauntlet III was arguably the best version of Gauntlet the world has ever seen thanks to its wide variety of characters and sprawling, interesting levels.

One of my favourites was Electrocop, a game whose technological achievements were really quite impressive for the time. Effectively a 3D third-person shooter before anyone knew what those were, Electrocop cast you in the title role as you wandered around a 3D base from a side-on perspective blasting robots and hacking terminals to open locked doors. It was far more than a straight blastathon, and the side-on 3D effect, in which you could run left and right as well as "into" and "out of" the screen in smooth motion, was utterly gobsmacking for the time. I also vaguely remember it having cool music. Let's see if I can't find some.

Also of particular note was the Lynx version of Klax. Klax remains one of my favourite puzzle games of all time — there was just something so satisfying about it — and the Lynx version was pretty much arcade-perfect, right down to having a vertically-oriented screen.

Yes, the Lynx was not at all afraid to demand that the player hold the already unwieldy device on its side with the joypad at the top and the buttons at the bottom (or the other way around if you preferred — there's a feature that modern handhelds don't offer!) and indeed boasted a number of vertically-oriented games, of which Klax was one and the aforementioned Gauntlet III was another. After you got your arms used to the initial awkwardness of the arrangement — a problem mitigated marginally on the slightly smaller Lynx 2 — it was actually quite a good way to play, and an eminently sensible solution to the problem of how to accurately represent ports of arcade games that originally played on vertically-oriented monitors.

Anyway. I sold off my Lynx a good few years back now, along with the hefty collection of games I had for it. There are occasional days when I regret doing that, but unlike a lot of the old Game Boy games, many of the Lynx titles don't hold up particularly well these days, sadly. Although there were a few standout titles — most of which I've mentioned in this post — the majority of the library was fairly mediocre in retrospect, and would probably come as an unpleasant shock to people used to the incredible depth and breadth available in handheld games today. Like many systems that failed to endure as well as others, the Lynx was an impressive gizmo in its day, but today, I feel, owning one would be little more than a curiosity rather than something to take particularly seriously.

Or perhaps just a Klax machine. Which, frankly, is actually probably reason enough to own one.

1553: Fight On: A Music Post

I wanted an excuse to share this excellent piece of battle music from Demon Gaze, which I'm still playing through for review, so I figured, what the hey, why not just do a battle music post?

All right. Without further ado, first up, and in no particular order after that:

Demon Gaze (PS Vita) – Blue Eyes Hunter

This track from the dungeon crawler is the battle theme that plays when you fight against the enemies that pop out when you toss a gem into one of the many Demon Circles that adorn each of the game's levels. This is a core game mechanic that allows you to acquire new equipment without having to pay for it; you can subsequently either equip it if it's better than what you've got, break it down for Ether to use in upgrading existing equipment, or sell it for profit.

Demon Gaze's soundtrack is consistently excellent and unusual. The fact there's a heavy Vocaloid component to most of the tracks gives them a very distinctive feel, and this track is a good example. There's a pretty wide selection of music throughout the game, and partway through your adventure the default battle theme changes — something that I always like to hear happen in an RPG, as it's an obvious signal that you've made significant progress.

Final Fantasy XIV (PC, PS3, PS4) – Fallen Angel

This track from one of the toughest battles in Final Fantasy XIV's main story (but one of the more straightforward battles from the endgame) is one of the best pieces of music in the whole game. It accompanies the battle against Garuda, one of the gigantic Primals who are threatening the land of Eorzea after being summoned by the beastmen tribes who worship them.

Garuda, or the Lady of the Vortex as she's also known, is a nasty piece of work, and her fight really gives a strong feeling of clinging on for dear life against powerful winds lashing against your face. The music's frantic energy helps complement that, too, making this an incredibly exciting confrontation.

Menace (Atari ST, Amiga) – Boss Fight Theme

This isn't an RPG battle theme; instead it's a boss battle theme from the Psygnosis side-scrolling shooter Menace — a surprisingly competent game that stood up reasonably well to its console equivalents of the same period.

This track by David Whittaker may be repetitive and simple, but it helped get the idea across that battling bosses was serious business. I vividly recall finding it almost impossible to beat the first boss on Menace when I was a kid. I wonder how difficult I'd find it now?

Time and Eternity (PS3) – Towa Battle Theme

Time and Eternity was critically panned when it was released by pretty much everyone except me — I rather liked it, and looking back on last year it's actually one of the games I feel like I enjoyed most even though I will freely admit it was not, by any means, the best game I've ever played.

Two big contributing factors to my enjoyment of the game were its beautiful HD anime art style — the game used hand-drawn anime cels for sprites rather than the more common polygons seen in many of today's games — and Yuzo Koshiro's astonishing soundtrack. Koshiro, if you're unfamiliar, is the guy behind one of the finest soundtracks of the 16-bit era, the Streets of Rage 2 score. This particular track is one of the normal battle themes for the game — there are two; one for each of the two main characters, Toki and Towa. This is Towa's.

Baldur's Gate (PC) – Attacked by Assassins

I'm generally not so much of a fan of Western-style RPG soundtracks because they tend to be more "cinematic" in nature; in other words, in contrast to the catchy, singable tunes of Eastern games, Western games tend to have music more as something going on in the background. This is fine, of course — it's worked for a lot of movies and TV shows over the years — but I've never been a huge fan because it makes the soundtracks less memorable overall for me.

There are exceptions, though, and this track by Michael Hoenig for the original Baldur's Gate is one of them. One of the first battle themes you hear in the game, this track just has a wonderfully aggressive, pounding energy to it that makes you want to keep on fighting. (Of course, at the time you first hear this track, all your characters are level 1 and consequently are very likely to get killed by a small rat breathing anywhere near them, but that shouldn't stop you from feeling like a hero while you still have a few HP.)

TFX (PC) – Defence Suppression

Oh man, I've been wanting to hear this track again for years now, and good old YouTube delivered the goods. YAY. Ahem. Anyway.

This is from the distinctly "arcadey" (for want of a better word) flight sim TFX from 1993, a spectacular-for-the-time game that I always really wanted to play 1) to hear this music (which was included as Redbook CD audio, so you could listen to it on a CD player) during gameplay and 2) to switch between the internal and external views a few times just to see the G-LOC-style "zoom" animation where the camera zipped back and forth dynamically rather than just switching like other boring flight sims.

Unfortunately, I could never get the copy we owned running, and thus to this day I've still never played TFX. I somehow doubt it will stand up quite so well today, but this is still a cool (if distinctly '90s cheesy) piece of music.

Ar Tonelico Qoga (PS3) – EXEC_COSMOFLIPS

Ar Tonelico Qoga was not the strongest installment in the Ar Tonelico series — that honour belongs to Ar Tonelico 2 — but it has one of the finest soundtracks. In fact, with the amazing music in all three Ar Tonelico games, it's nigh-impossible to pick one favourite soundtrack.

It is less difficult, however, to pick a favourite individual song; this one, from Ar Tonelico Qoga, is simply wonderful. Just listening to it will hopefully give you an idea of its majesty to a certain extent, but taken in context of what is going on in the story at this point, it's just magnificent.

Final Fantasy Tactics (PS1) – Trisection

Final Fantasy Tactics had a few good tunes, but on the whole I thought it was a relatively weak soundtrack, especially when compared to the rest of the Final Fantasy series which, at this point, was still dominated almost exclusively by Nobuo Uematsu. (Tactics, meanwhile, was composed by Masaharu Iwata and Hitoshi Sakimoto.)

This track, though, is one that I'll always remember. Accompanying the very first battle in the game, it was the absolute perfect way to stir up the emotions and encourage you to do your best — which is why I was disappointed it wasn't used more often over the course of the rest of the game. I always wanted major battles to be accompanied by this tune, and every time the "story" music faded out in preparation for the battle to begin, I found myself hoping and hoping that I'd hear those distinctive opening rising passages again.

Trauma Team (Wii) – Be the One

The Trauma Center series has consistently fantastic music throughout, thanks largely to the involvement of Persona composer Shoji Meguro for part of the run, but this track here is a particular highlight that I believe I've drawn attention to on this blog before.

This track is from the culmination of the entire game's storyline; the final operation to stamp out the disease that has been running rampant throughout the population once and for all. (I won't spoil any further circumstances, as additional narrative aspects make this an incredibly nerve-wracking scene overall.) It's a track that says "don't fuck this up; everything is depending on this", and the track that comes immediately after it was enough to get me sitting forward in my seat pretty much holding my breath as I attempting to bring the game to its conclusion. Amazing stuff.

Well, at nearly 1,500 words that's probably enough for a "throwaway" post on battle themes from video games. If you have any favourites of your own, feel free to share in the comments. Include a YouTube link if there is one!

1551: Late-Night Dungeon

I've been dipping in and out of Demon Gaze since I wrote about it a few days ago, and while it has a few issues here and there — the discussion of which I'll save until my review on USgamer, coming next week — I've been really rather impressed with this game.

In fact, that's a bit of an understatement; on more than one occasion now the game has kept me up until well past 3 in the morning after I thought I'd just flip the Vita on for a "quick" game in bed before I went to sleep. (Granted, the last occasion this happened — last night — I had had far too much caffeine throughout the course of the day and was consequently finding it very difficult to sleep, but I could have done anything else with that time, and I chose to spend it lying in bed playing Demon Gaze.)

I've been trying to pin down what's so enjoyable about it and it's honestly quite difficult. It's not that there's no obvious good features about it; it's that they blend together somewhat, and different aspects of the game appeal in different ways according to the conditions under which you're playing.

Playing late at night, as I was, I was particularly enjoying the dungeon-crawling aspect of it. It's not quite as hardcore as the 3DS series it's taking pot-shots at, Etrian Odyssey in that you don't have to map the damn thing by hand, but it's still a game that, from the very outset, doesn't hold you by the hand and expects you not only to work things out for yourself but also to experiment with the mechanics just to see what happens.

The core game structure is based around capturing demons. In order to do this, you must explore the dungeon that is the demon's domain and capture all of the "circles" throughout by tossing a gem into them and then fighting the slobbering monsters that come out. Win, and you'll capture the circle as well as receive an item according to the gem you tossed. Lose, and, well, you're dead and better hope you had a recent save.

For the most part, this isn't an issue. The monsters that come out of the cirlces are usually the same monsters you get in the rest of the dungeon, though sometimes in considerably larger numbers. As such, if your party is well-equipped to batter its way through the monsters in the dungeon, they can probably deal with the groups that come out of the circles.

Until the demon master of the dungeon shows their face unexpectedly, that is. You're set up to believe they won't turn up until you've captured all the circles and found the boss fight location, but in actuality what happens is some time around when you capture about half of the circles in the dungeon, the next one you try for will summon the demon. And it's entirely possible they will smash your face in and then wear your buttocks as a hat, particularly in the first dungeon where your characters likely still aren't all that powerful or well-geared.

The first time this happened, I thought I'd done something horribly wrong. Surely the game balance couldn't be that broken? I experimented a bit; did the demon only come out of one circle, or all of them? (All of them.) Was it every time? (No, but seemingly most of the time.) Did using special abilities help? (A little.) Did levelling up help? (A lot.) Did better equipment help? (Also a lot.) By the time I'd reached my own conclusions — I should have just run away the first time I encountered Mars, then come back better-equipped and better-trained a little later, and probably with a healer in tow — it felt enormously satisfying to take the demon down and effectively clear the dungeon.

There are more subtle things, too. Occasionally you'll find "Loot Maps" as random treasures in battle, for example, and these will give an area name, an X and Y map reference and the name of the "power" you need to reveal the hidden treasure at that location. Trouble is, the area name never matches the actual area names — "Garden of Thorns" becomes "The Vine-y Land" — so you have to use a bit of your own brainpower and deduction to figure out what it's referring to. (Pro-tip: if the grid reference the map is pointing to appears to be a solid wall miles away from anything, you're probably looking at the wrong area.) You also have to figure out which of the demons the "power" names refer to — rather than saying "you need Comet, Mars or Chronos" it'll say something like "requires Dragon power" or the like. Again, there's a wonderful feeling of smug satisfaction when you successfully decipher a map and uncover the treasure hidden in the location — particularly when the treasure in question is something that you've been searching for for hours for a quest.

Demon Gaze doesn't give up its secrets easily, then, but for me, this is proving to be one of the best things about it as it makes your victories feel like genuine accomplishments. I'm looking forward to working my way through the rest of the game not only to see how the interesting story proceeds, but also for more sweet old-school grid-based exploration and treasure-hunting.

It's bringing back fond memories of old titles like Lands of Lore, it of the Patrick Stewart-voiced intro fame, and will be a solid investment for any Vita-toting players who have a penchant for traditional dungeon-crawling. Watch out for it — and my full review — this week.

1549: HOUOUIN KYOUMA

Still not finished Steins;Gate — it's long! — but I wanted to talk about it a bit more, as I played it a whole bunch this evening and think I may be closing in on one of the games several endings.

Like most good visual novels, Steins;Gate does an excellent job of drawing you into its world and helping you understand its protagonist. Despite being entirely composed of static images, character portraits and very occasional "event" images — much like every other visual novel — it manages to craft an extremely convincing setting. Or perhaps, given the game's focus on manipulation of time, the many-worlds interpretation and all manner of other goodness (this isn't a spoiler, by the way; it's a core theme of the whole thing), it would be more accurate to say "settings".

One of the most interesting things about the game is the effort to which Nitroplus (and, by extension, the translators) has gone to ensure that all the background detail in the world is consistent, detailed and, in many instances, based rather obviously on reality. An extensive in-game glossary allows you to look up information on a variety of different keywords that appear throughout the course of the narrative and dialogue — and these cover a range of subjects from real-life scientific theory to popular hypotheses put forward by science fiction, snippets of otaku culture, online culture, and "chuunibyou" conspiracy theories. Although the game takes obvious pains to twist things slightly from their real-life counterparts — IBM becomes IBN, for example; CERN becomes SERN; names of popular anime and manga get similarly bastardised — it's obvious that a lot is based on things from the actual, real world, and consequently it's hard not to feel like the game is subtly sneaking some genuine knowledge into your brain as you play it.

Okay, a lot of it may not be all that useful unless you have an otaku friend who constantly drops references you don't understand (Hi!) or are acquainted with a conspiracy theorist nutjob, but it's interesting that it's in there nonetheless — plus it helps provide a lot of the narrative with an interesting degree of context. It's also just plain cool for a narrative to be based on real-life urban legends such as John Titor and the question of what CERN are really up to with their Large Hadron Collider.

Aside from all that, though, Steins;Gate is simply a phenomenally well-written visual novel. It's long and wordy, sure, but all the exposition in the game's early chapters really pays off with some wonderfully strong character development. The protagonist in particular is a fascinating individual; being a "chuunibyou" conspiracy theorist himself with delusions of being a mad scientist named Hououin Kyouma — a name his voice actor takes considerable delight in bellowing every time it comes up in the script — makes him far more interesting to inhabit the head of than many other "blank slate" protagonist characters seen in other visual novels. Not that there's necessarily anything wrong with those — they often fit well with more "dating sim"-style stories in which the protagonist is usually intended to be a self-insert for the player — but, well, yes. Steins;Gate makes a convincing case for the protagonist being a strong character in their own right.

Anyway, three solid hours of reading earlier have driven my eyes a bit squiffy so I'm off to bed. Further thoughts will doubtless follow when I've finished the damn thing.

1548: Sell-Out

This is probably going to sound like a terribly "inside baseball" post, but I feel the need to vent a little, so apologies in advance.

I am absolutely sick of the lack of respect given to my profession — games critic, games journalist, person who writes about games, whatever you want to call it — and I am likewise sick of the daily drama that accompanies it, particularly on the UK/European side of things. It's getting extremely tiresome to put up with the daily snark, outrage and condemnation of this, that or the other, and I really can't help feeling that ultimately all it does is distract from the reasons most of us got into this business in the first place: loving games.

Whether it's someone using the infuriating scare quotes around the job title "journalist" (as in "so-called games 'journalists'"), the regular (and, to my knowledge, usually unjustified) accusations of bribery, corruption and otherwise unethical behaviour or the current favourite of the social justice crowd, complaining whenever a white man writes something, you sometimes have to wonder why people put up with this shit. And indeed some don't. And I can't say I blame them.

I've been quite fortunate throughout my career in that there's only been one real occasion where I became a little uncomfortable as a result of the behaviour of a reader or community member. That was back on GamePro, when the GamePro Facebook page was frequented by a rather strange individual who didn't believe in debit cards and had some peculiar political ideas. He was harmless for the most part, until I posted a piece about an interesting-sounding game developed by a university that promised to explore matters of sexuality and gender. He exploded in a fit of rage; forced to confront things that clearly didn't fit in with his rather narrow-minded view of the world, he became extremely aggressive and unpleasant, and for the first time I felt a little afraid of the Internet. (The second time I was afraid of the Internet has been well-documented on these pages, but that was nothing to do with work.)

The latest incident in Games Industry Drama involved a recent press event for Ubisoft's upcoming game Watch Dogs in which attendees were reportedly given a free Nexus 7 — a decent Android tablet. Predictably, this quickly descended into people condemning the people who had accepted them and people arguing about "ethics", while at the same time NeoGAF was doing its usual thing of whingeing about how game journalists are all paid off and how no-one writes "objective" reviews. (Hahaha.)

It is exhausting to have to process all this sort of thing on a daily basis. I write about games for one reason and one reason only. (Well, two if you count the paycheque.) I write about games because I love writing about games. No other reason. I'm not trying to change the world. I'm not trying to make people rise up and fight against oppressive powers. I'm not trying to make people confront things they're uncomfortable with. And perhaps I should be doing those things. But I'm not. The reason I write about games is because I love writing about games, and because I love games.

When I come across a brilliant game I love that few people are talking about, the first thing I think about is how I might be able to write about it in a way that gets my passion and enthusiasm across. These are experiences I want to share with people; experiences I want other people to be able to have. And if just one person reads something I've written and thinks "hmm, that sounds interesting; maybe I'll check it out!" then I'm happy.

But if just one person rolls up and calls me a sellout or calls my integrity into question, that sucks. Fortunately I haven't had to deal with that particular issue in my career, but seeing it constantly going on all around me on a seemingly daily basis is just exhausting. Sometimes I wish everyone would just shut the fuck up and just enjoy themselves for once.

And I realise that by writing this I'm simply contributing to the noise. But it needed to get out of my brain and on to the page. And now I'm done. I'm off to go and play either Final Fantasy XIV or Demon Gaze and not look at social media for the rest of the day.