1258: Crossing Over

After a bit of time playing Animal Crossing, I think I sort of "get it" now.

Well, as much as it is possible to "get it", anyway.

See, the thing with Animal Crossing is that it is precisely what you make of it. If you want to play it as a financial management sim and try to get all the upgrades to your house as quickly as possible, you can do that. If you want to play it as a collectathon game, attempting to fill the in-game encylopaedia and museum as well as your virtual house with everything the game has to offer, you can. If you simply want to play it as a means of chilling out for a bit without any pressure… well, you can do that, too.

The nice thing is that it doesn't railroad you into any of these activities. It encourages you to try things for yourself and see what you enjoy. There's no obligation to keep doing the same thing over and over again — though you'll find that there are certain things that are more enjoyable or profitable to do more often than others. The game also keeps introducing things at a good pace as you play, too — new characters, new shops, new gameplay options — and continues doing so months and months after you started playing. It really is quite impressive how much content there is packed into a game that is ostensibly about nothing at all.

One of the things I never really explored in my last encounter with the series on the DS was the multiplayer stuff, and I believe that the 3DS version adds a considerable amount more depth to the multiplayer — i.e. you can actually see each other, wander around together and interact with one another. This is surprisingly entertaining, though it's a little frustrating that some game mechanics simply "switch off" when other players are visiting, leaving you unable to take advantage of them.

I played for a bit with Andie earlier, and it was great fun. We wandered around her town together, then took a boat trip over to her town's tropical island, and played some of the "Tour" minigames, in which you cooperate with one another to achieve various tasks — catch a certain number of bugs, retrieve and reassemble fossils, fish a certain number of fish. The nice thing about these games is that they encourage you to work together to a certain degree, but also provide a mild competitive element in that whoever "worked harder" gets a slightly larger reward at the end of the game. It's not a massive extra reward, no, but it's enough to put a nice competitive spin on things and keep them interesting.

I'm certainly enjoying it now — for a while after starting to play I was wondering if I was actually enjoying myself when I was playing, but I'm well and truly into the groove now. I'm interested to see how my little town develops over time, and how the game grows, changes and evolves — and the nice thing is, because so many other people are playing the game at present, it's possible to share all this fun with other people. It's a social game in the very truest sense, and one that encourages people to laugh, play and enjoy themselves together, rather than simply to spam each other with facile Facebook wall posts.

Good job, Nintendo.

1256: V for Victory

Jun 27 -- Victory Been playing a bit more Hyperdimension Neptunia Victory this evening. While the newest game is, as I mentioned a few days ago, more of an evolution from mk2 than the revolution that mk2 was over the original, I'm starting to notice some more pronounced differences — differences that make it abundantly clear Idea Factory and Compile Heart are both receptive to feedback and keen to iterate on their past work in order to make things better in subsequent installments.

Let's take Victory's battle system as an example. At first glance, it appears almost identical to mk2's mechanics. On a single character's turn, they can move within a set radius according to their Move stat (which tends to be improved from its per-character baseline value via equipment rather than increased through levelling up) and, if they can reach an enemy, they may attack it. Different weapons have different "threat" areas, meaning that some are designed for focusing on a single enemy, while others have long areas that can attack enemies in a line; others can "sweep" in a wide arc in front of the character. Usually, you can position yourself in such a way that it's possible to hit two or more enemies at once for the most efficient combat. There are three different "types" of attack — Rush attacks hit more times, Power attacks are stronger (and often magical) and Break attacks have a stronger effect on the enemy's "Guard Points" bar, which, when depleted, causes them to take more damage.

In these respects, the two battle systems are identical. But from hereon, they diverge somewhat. Today I am going to talk in detail about how they are different from one another. A good proportion of you will not find this in the slightest bit interesting, and I make absolutely no apologies whatsoever for that. I'm going to talk about it anyway.

In mk2, the amount of attacks a single character could perform in a turn was determined by their "AP" (Ability Points) value. Each attack they performed cost a set number of ability points to perform, and the character could continue attacking until they had run out. Alternatively, it was also possible to finish the combo early and "bank" some AP for the following turn — in order to perform some of the special moves, this was necessary, as the AP cost was more than the character's baseline maximum AP in many cases. If a combo spent over a particular number of AP in a single turn, an "EX" move became possible, which tended to be more powerful, hit more times or have some sort of special effect.

In Victory, meanwhile, the AP system has been removed entirely, and each character's combo in a turn may only ever consist of up to four moves. (At least, this is true at the early stage I'm at, anyway.) The big difference comes in how you assign the Rush, Power and Break moves to each character; rather than being able to assign any unlocked moves at will and being able to perform them if you had enough AP, Victory gives each move a "CP" (Combo Points) cost, and each character an allowance of CP that gradually increases as they level up. Early in the game, there are not enough CP available to fill all possible slots in the command list, meaning that you're forced to think a bit more carefully about each character's strengths and weaknesses when prioritising which moves they should have available.

This is a very simple and straightforward change to mk2's system, but it works incredibly well. While I enjoyed fighting in mk2, there was relatively little to differentiate between a lot of the different characters, special moves aside. In Victory, meanwhile, it becomes possible (and indeed necessary) to specialise characters in each of the three types of attack, then make them work as a team to take down enemies. For example, my current party contains Plutia, who is weak at physical attacks (particularly Rushes) but has some strong elemental-infused Power attacks and is also very good at Break attacks; Neptune, who is a fairly well-rounded character I have focusing on Rush attacks; and Noire, who I have using some strong Power attacks.

With this configuration, I can have Plutia run in and wear down the enemy's guard, then Neptune and Noire can step in for the kill. Noire does more damage with her power attacks; Neptune's Rush attacks cause the "EX meter" to rise quicker. When said meter reaches particular boundaries, strong "EX Finisher" moves become available, allowing for slightly longer combos with special effects at the end. Later in the game, the EX meter can also be used to unleash extremely powerful special attacks, though doing so depletes it, unlike the Finisher moves.

Another big change comes in the SP (Skill Point) system. In mk2, SP, which were used to cast spells and/or allow the characters to transform into their more powerful "Hard Drive Divinity" forms, gradually charged up as the characters took and received damage. In Victory, they start a dungeon expedition with a full bar, which gradually depletes as special abilities are used. In this sense, it's more like a traditional bank of magic points, which is arguably a little less creative but works somewhat better. The SP system of mk2 nerfed the Hard Drive Divinity feature significantly in that it was often only possible to remain transformed for a turn or two at a time, which didn't seem quite in keeping with the supposedly awesome power of these "CPU" goddesses. In Victory, meanwhile, you can transform at the start of a fight and remain comfortably in HDD for quite some time — what you have to take into account here instead is managing your stock of SP over the course of the whole dungeon, rather than within the individual fight.

These few changes to Victory's battle system help make a game that initially seems rather similar actually quite distinct from its predecessor, which is very much a good thing. The enemies have been buffed up somewhat, too, meaning that you have to work quite hard to defeat some of them, and many of them are more than capable of giving you a good smack in the face in return. I don't remember getting a Game Over more than once or twice over the course of mk2; less than 10 hours into Victory and I've already had 4 or 5, and all of them have been my own stupid fault rather than the game being cheap. This is a good sign — while piss-easy combat has its appeal, it's nice to have a bit of challenge now and then.

Anyway. Suffice to say I am enjoying Victory so far and have little doubt that I will spend an obscene amount of time on seeing everything it has to offer in the long term. I am, however, a bit put out that my favourite character IF doesn't seem to be in this one very much! Oh well. You can't have everything, and Plutia is kind of adorable in a dopey sort of way. Also, Noire still makes me weak at the knees. "I-it's not like I'm lonely or anything…!"

1255: A Realm Reborn, Redux

I really, really like Final Fantasy XIV.

There, I said it.

It may not be fashionable to like a new (well, rebooted) MMORPG that steadfastly follows the old-school subscription model, but given the alternative is the inherent restrictions and inconveniences of the free-to-play model or the regular badgering to check out the "cash shop" in pay-once-play-forever games, I'll take a few quid a month on the promise of gradually-evolving content.

I'm not going to rabbit on about the game itself here — I've already written two articles over at USgamer on that very subject — but I do want to talk about one thing I'm quite looking forward to: the game's social aspect.

A touch of context here: I have a pretty wide circle of friends, but unfortunately the vast majority of them are scattered across the globe, from California to Japan and everywhere (well, not everywhere) in between. I get to see the friends I have in the local vicinity every so often and we have a good time, but 1) I don't necessarily get to hang out with them as often as I'd like — none of us are in our twenties any more — and 2) not all of them are into the same things as me.

One thing I'm looking forward to with Final Fantasy XIV is the opportunity to make new friends. But I have some personal struggles to overcome in order to make that happen.

As longtime followers will know, I suffer from a degree of social anxiety, particularly when confronted with strangers. I worry a lot about what people will think of me, and my low self-esteem and low opinion of my physical appearance causes me to immediately believe people will think the worst of me.

So strong is this issue — and yes, I know I should do something about it; that's not really the issue here — that I've been surprised to discover myself having the same feelings of anxiety when playing online games. I'm actively afraid of voice chat with strangers, for example — a hangover from when I was young and really, really hated the sound of my own voice — and I even find myself hesitant to do what I feel would be "butting in" to online conversations in virtual worlds such as World of Warcraft and Second Life. I haven't hung out in Second Life for a very long time, but on more than one occasion I behaved in that virtual world's virtual clubs exactly the same way as I did in real clubs; I'd sit or stand at the side of the room, watching everyone, and wondering what it would be like to talk to that person over there, who I found quite attractive, or that person over there, who was wearing a T-shirt emblazoned with a design based on something I found interesting.

Well, I feel like I need to take control of this somewhat. While my issues with interpersonal interactions with strangers in "reality" are a more deep-seated issue that probably requires a degree of professional help (or at least a lot of self-discipline), I can do more about the online thing. I chat with people with no problem on Twitter, for example, and pretty much every means of online communication has some form of "safety net" where you can either "escape" from an uncomfortable situation or "mute" people who are bothering you. Chances are I won't need to use either of those things, but the knowledge that they're there is comforting.

So where does Final Fantasy XIV fit into all this, then? Well, once the current phase of the beta test ends and the characters everyone starts playing as become "permanent," I intend on actually making some new friends. I want to play with other people; I want to enjoy the game together with people who like it as much as I do.

I've been hesitant to join "guilds" or equivalents in MMOs in the past because I fear not being able to commit to the regular play schedules that they often require. But the more I think about it, the more I think it might be something worth pursuing. After all, at present, I have no regular "social" event in my weekly calendar; my board gaming nights with my best "real-life" friends are sporadic and irregular, and hanging out with everyone else tends to be a more "spur of the moment" thing. Why shouldn't playing Final Fantasy XIV be some sort of regular, albeit electronic, social event, in which I can get to know people and hopefully make some good friends? Stranger things have happened.

The reason I'm picking Final Fantasy XIV for this purpose? Because Final Fantasy XI is, out of all the MMOs I've tried over the years — and that's quite a lot — the one in which I found people whom I most enjoyed hanging out with virtually. I have no idea where the delightfully entertaining "Bendix" and "Nefertari" are now, but I do quite often find myself missing them. Obviously having some friends a long time ago in a completely different game is no guarantee that the same thing will happen in Final Fantasy XIV, but it's as good a starting point as any, I figure. I've long since abandoned all hope of getting existing friends to play with me in an MMO, because it's impossible to coordinate.

It remains to be seen whether this plan is successful once the game enters open beta and rolls ever-onward towards its August launch. But I feel strangely optimistic about this coming opportunity to meet some new virtual people; I can represent myself however I want in the game, with no-one pre-judging anything about me besides my character's name and their appearance. And since everyone in Final Fantasy land is impossibly attractive in that distinctively "Japanese video game" sort of way, I don't even really have to worry about that, unless I accidentally call myself Pooface McScruntyflange. Which I probably won't.

Anyway, in the meantime, rest assured that Final Fantasy XIV is shaping up to be something actually quite special, and I'm really looking forward to getting stuck into the game as a whole for realsies. Enthusiastic blog posts will undoubtedly follow once my "real" character is born.

1253: Nepgagaga the Third

Jun 24 -- Neptunia As I mentioned yesterday, alongside Atelier Rorona, I'm also finally getting around to playing the third Hyperdimension Neptunia game, Hyperdimension Neptunia Victory.

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

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

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

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

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

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

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

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

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

1252: The Alchemist of Arland

Jun 23 -- Atelier Now Ar Tonelico is over and done with, I've been able to start up some other games without guilt. Specifically, I made a start on Hyperdimension Neptunia Victory today, which I'll talk about in more detail in a day or two, as well as Atelier Rorona: The Alchemist of Arland.

This is my first encounter with the Atelier series. I do, in fact, own all three PS2 games (known as Atelier Iris) and all three PS3 Arland games (Atelier Rorona, Atelier Totori and Atelier Meruru) plus the first entry in the new Dusk series (Atelier Ayesha), but this is my first time playing them — they're all games that I picked up when I saw good deals a while back, and subsequently added them to my stack of Stuff I'd Like to Play at Some Indefinite Point in the Future.

From what I understand, each "subseries" in the Atelier franchise as a whole does things markedly differently. The PS2 games, from what I can make out, appear to be rather more conventional JRPGs with a lot of game mechanics brought across from the Ar Tonelico series — no bad thing. The PS3 games, meanwhile, if Atelier Rorona is anything to go by, are an interesting twist — and not at all what I expected.

In Atelier Rorona, you play the titular heroine, a young girl with a bit of a self-confidence problem. Rorona is currently employed in an alchemy workshop as a means of paying off a debt to the alchemist Astrid. Rorona is a lovely girl, but unfortunately Astrid is not particularly popular, and as such the kingdom of Arland is doing its level best to get her workshop shut down so factories can be built on its location. It's up to you to make sure that doesn't happen.

On the surface, Atelier Rorona resembles a fairly straightforward JRPG. You have big-eyed anime characters who chat to each other at great length via the medium of 2D emote portraits, text and voice acting. You have hit points, experience and levels. You have "dungeons". But it's not a JRPG. No, in fact, it's actually more of a strategy/management game, in which the most important thing is not pushing through the story or powerlevelling your characters, but instead making careful — very careful — use of your time.

The flow of gameplay in Atelier Rorona is pretty straightforward. Roughly every three months or so of in-game time, you're given an assignment by the kingdom of Arland; meet the deadline and everything's fine, but fail to meet the requirements and your alchemy workshop will be shut down, prompting an immediate Game Over. The assignments generally require you to turn in items of one or more different types, with your overall evaluation score for the assignment as a whole being calculated on a combination of the number of items you submitted in total, their quality, and the variety of different types of item you submitted.

Completing assignments isn't the only thing you have to do, though. No, as well as ensuring that your workshop survives for the next three months, you also have to try and improve its dreadful reputation by taking on smaller-scale quests for the local populace, and improve your relationship with your friends by taking on quests for them. And in the meantime, you need ingredients, of course, so you'll need to spend a few days every so often going on a jaunt into the forest/ruins/mines to go and collect things. And in order to protect themselves on said jaunts, your party needs equipment, of course, which means you need to synthesise the raw materials needed then take them to the friendly local blacksmith to forge them into something new.

It's initially overwhelming, but once you get into the groove of prioritising what you need to do vs. what you want to do, it's a lot of fun.

What I find particularly interesting is that while it's clearly a strategy game, its approach to things is very different to the high level of abstraction found in Western games. Were this a Western-developed game based on the same premise, you'd be spending a lot of time in abstract menus, dragging icons around and that sort of thing. Combat would perhaps be resolved automatically. There's nothing wrong with that approach, of course; it's just a little too dry for my tastes. Which is why I appreciate the amount of time and effort which Gust has made to infuse Atelier Rorona's tiny world with a great deal of character.

In order to do various things, you need to wander around town and visit people. In the process, you'll stumble across things happening on various occasions, with further events happening according to your friendship level with your various party members. We get a strong feeling of who Rorona is and how she relates to the people around her, not to mention a strong sense of unfolding narrative, but the core gameplay is straight up hardcore strategy/management.

It's actively stressful to play, but enjoyable in the process; there's just enough light relief with the characters and story sequences to keep things interesting. I'm already very much enamoured with the Rorona's rather tsundere best friend Cordelia, who hasn't explicitly said so yet, but clearly has a big chip on her shoulder about her short stature. I'm looking forward to the inevitable explosion about that at some point, but in the meantime I have a batch of incense to make that just won't wait…

1249: Platinum

Finally finished Ar Tonelico Qoga as much as it is possible to finish it tonight. I saw every ending, got every PSN trophy (including one that required me to go back and replay a good three hours due to an inadvertent mistake I made, and that ABSOLUTE COCK of a "find every treasure chest" trophy) and generally had my money's worth several times over.

All told, the experience took me in excess of a hundred hours altogether. Given that I exhausted literally every piece of content that game had to offer, I'm happy with that. Were there more content, I would have probably continued, but as it stands, I feel very satisfied with what I've experienced.

A hundred hours is a long time to spend on a single piece of entertainment, and there was a growing movement a while back in favour of shorter, more easily-digestible games. To be honest, I can see the appeal — it's nice to sit down to play something and know that you're almost definitely going to finish it — but at the same time there's something immensely gratifying in a game that takes this long to exhaust the possibilities of.

A hundred hours isn't actually a particularly long period of time to be required to see everything in a role-playing game, however. Persona 3 and 4 each take approximately a hundred hours to finish normally, let alone collecting all the Personas, completing all the sidequests and levelling up enough to beat The Hardest, Most Irritatingly Cheap Secret Boss in the Known Universe. If you delve into all that extra content, it's entirely possible you could add at least another 50-100 hours on top of that base figure. I must confess to having never actually finished a Persona game in this manner — generally, by the time I get to the end, I'm exhausted and ready to move on to something else. This is a compliment to the game's story, incidentally — Persona games are deliberately emotionally exhausting, and the palpable sense of relief you get from beating the final bosses in them remain among some of my favourite moments in gaming.

Where's the sweet spot? And what was it about Ar Tonelico Qoga that made me want to see absolutely everything it had to offer, regardless of how long it took?

Well, in part, it's because everything I did felt like meaningful content. Sure, I had to repeat some story bits several times over, but there were differences here and there that kept me paying attention. Nothing felt grindy; my characters hit level 99 naturally while I was doing other stuff, so it was pretty rare that I'd find myself running around in circles waiting for enemy encounters. Similarly, crafting was a pleasure, because the enjoyable combat meant that I'd been inadvertently stocking myself up on ingredients without realising it over the course of the whole game and thus never had to go hunting for anything in particular. And when I did craft something new, I was rewarded with one of the many delightful intra-party scenes where the characters discuss whatever the hell it is they're putting together this time, and Aoto can embarrass himself in some new and exciting way. ("Every man's number one fantasy is a drill!")

I can't help comparing and contrasting with my experiences in something like Skyrim, which I played and sort of enjoyed for about 35-40 hours or so, then gave up on without getting anywhere near the conclusion of the main plot. It just wasn't interesting. It didn't draw me in. I felt like I was walking around a diorama rather than a living world; a model populated by mannequins who all said the same thing rather than a world filled with actual people.

Your average JRPG's worldbuilding is all an illusion, of course — if anything, most JRPG worlds are even more static than those seen in Western RPGs, but a great deal more character is added by making every single character unique, regardless of their relevance to the overall narrative. This is something that Ar Tonelico did consistently well throughout — NPCs would change what they said according to the point in the story where you visited them, allowing for the exploration of some completely irrelevant but fun little mini-stories in the process.

Anyway. That's that. Now I have to decide what's next. While I'm mildly tempted by The Last of Us, I find myself wondering if I'll feel like I got my money's worth if it's over in 10 hours or so. Perhaps I'll wait until the price comes down a bit, as I have no real interest in the multiplayer modes. In the meantime, I have a pile of shame the size of a house to start on, and doubtless you'll hear all about what I'm going for next very soon.

1247: Easy Listening, Part 3

I'm feeling marginally lazy, so I thought I'd continue with a post style I last did some time ago. Yes, it's time for a soundtrack post. And, if you know what I've been playing recently, you'll probably know the subject of said soundtrack post. That's right, it's Ar Tonelico!

(Note to those who are sick of me rabbiting on about this series: I'm closing in on absolutely, positively and completely finishing the third and final game in the series, so short of deciding to run through the whole trilogy again — which I promise I won't do for at least a year or two — you will be subjected to enthusing about something else from thereon. Indulge me a little while longer, however.)

The Ar Tonelico series has consistently fantastic soundtracks, but there's a clear divide in them between the "game" music and the vocal, choral "Hymnos" pieces that mark special events in the story. Today I'm going to focus on the latter and share some of these astonishing pieces of music with you. I urge you, even if you normally skip past the promise of "video game music", to listen to these in their entirety: they're simply gorgeous pieces of music in their own right, and carry a significant amount of emotional weight to them when heard in context.

Let's begin, then. I'll try and refrain from spoilers while discussing these, but be aware that the lyrics shown in some of the videos may constitute mild spoilers.

This piece, known as EXEC_LINCA — pretty much all the Ar Tonelico Hymnos songs are named like computer processes or programs — marked the moment that made me sit up and pay attention to the music of this series. Up until this point, the music had been competent, even memorable and catchy, but it wasn't until this piece that I had to just sit back for a moment and take in the majesty of what I was hearing. This led to some rather conflicting feelings, as the moment in the story where this song comes up is a very dramatic one that makes you want to keep pushing forward — but, of course, pushing forward runs the risk of causing the music to end sooner!

In stark contrast to EXEC_LINCA, EXEC_CHRONICLE_KEY is a much more restrained, majestic piece for the most part. To say too much more about it would constitute spoilers, but suffice to say the time when this piece plays is a moment of significant emotional significance in the story of the first Ar Tonelico game, Melody of Elemia.

A significant proportion of Ar Tonelico 2 is spent attempting to assemble the legendary Hymnos Metafalica, which supposedly has the power to magically create new land. This version is the first time we hear half of the Metafalica theme, known as EXEC_METAFALICA.

Here's the second half, known as METHOD_METAFALICA.

And here's what happens when you put the two pieces together: possibly one of the most spectacular, beautiful pieces of music I've ever heard. Also noteworthy for the moment near the beginning where the two singers are singing in binary code.

Here's a strongly-contrasting piece from elsewhere in Ar Tonelico 2. This one technically isn't a Hymnos piece, being in Japanese, but it's a lovely little song that accompanies a rare moment of calm in that game's storyline. It's called "Hartes ciel, melenas walasye", which translates to "Beloved World, Beloved People."

And on to Ar Tonelico Qoga, the third and final game in the series. Give this one a moment to get going; it starts slow and gentle, then builds to a furious climax that truly gets the blood pumping.

And I'll leave you with this one, a grand, majestic piece that accompanies an important story moment in the latter third of Ar Tonelico Qoga. Again, to say too much more would be to spoil it, but that doesn't mean you can't enjoy the regal nature of this piece.

I hope you enjoyed these pieces. If you've never played the Ar Tonelico series, rest assured that the music alone makes these three games more than worth playing — it helps enormously that they're all excellent games in their own right, too.

1245: New Game Plus

I'm currently 90 hours or so into Ar Tonelico Qoga, an RPG that is, by all accounts, quite short (about 30-40 hours or so) under normal circumstances. And yet for some reason I've been inspired to not only try and get all its endings, but to literally see everything it has to offer, leading to the grossly extended playtime just mentioned.

This is not something I generally do unless I really like a game, so it's considerable praise from me to Ar Tonelico Qoga that I'm doing this. I never went back and finished Dragon Age Origins with a different, well, origin, for example, nor did I ever go back and play through Knights of the Old Republic as a Dark Jedi rather than the poncey Light Side-type person I normally do. I liked those games, sure, but they didn't grab me by the Feels in the same way that the Ar Tonelico series has done fairly consistently over the course of three games, despite the fact that both Dragon Age and KOTOR are objectively "better" games in terms of mechanics, production quality and all manner of other considerations.

I've been trying to determine the reasons why Ar Tonelico in particular has resonated with me so much that I want to seek out everything it's hiding. Longtime readers may recall that I felt much the same way about Hyperdimension Neptunia mk2, a game which was almost universally panned by the press (though not quite as much as its predecessor) that I actually ended up loving.

The reasons why these games resonated with me so much are many. Chief among them is the fact that I genuinely adore both the setting and the characters. Neptunia's cast is silly and full of tropetacular stereotypes, but, crucially, is well aware of what it's doing and consistently pokes fun at itself. Ar Tonelico, meanwhile, simply has an astonishingly well-realised world with some incredible backstory and lore. And, unlike many Western RPGs that include an in-game encyclopaedia of completely irrelevant information, Ar Tonelico's lore is woven into the tapestry of not only the individual games, but the overarching narrative that runs across the three games in the series. Each game stands by itself, but playing all three gives you a thoroughly deep understanding of the situation that humanity has found itself in, and the quirks of this strange world's unique culture.

Aside from the narrative, setting and characters, though, another reason I have found such enjoyment in the Ar Tonelico series is that I've never once felt like I was grinding through content, plodding through "filler" material solely designed to artificially bump up the playtime. Granted, I artificially bumped up the playtime to a certain degree myself by deciding (foolishly) that I'd seek out each and every treasure chest in the game for the measly promise of a bronze PSN trophy, but even while doing that, I begrudged the game anything it was doing — though I must admit that after I hit level 99 with all my characters, I began to wish there was a button to turn enemy encounters off.

I'm not going to lie; not everyone will enjoy the Ar Tonelico series. If you can't stomach big-eyed teenage anime girls and Japanese voice acting with a lot of melodramatic screaming and crying, then this series probably won't do much for you. If you enjoy those things, though — or if you can at least look past them — then you'll find one of the most interesting, emotionally engaging JRPG series that I've ever played, and one that, across its three games, has some of the richest content I think I've ever explored in the genre.

I've got five more endings to get. I'm closing in on the first of these, and the last four should be pretty straightforward to get. When I've seen everything the game has to offer, I'll be genuinely sad to leave the game world behind, because not only will I be done with Ar Tonelico Qoga, I'll be done with the series, too; not to spoil anything, but the "true" ending of the third game all but guarantees that there won't be a fourth game.

Still, stranger things have happened, particularly in the world of Japanese games.

1244: New Leaf

I started playing Animal Crossing: New Leaf on 3DS today. I haven't played an Animal Crossing game since whatever the one on the DS was called, and I didn't really get very far into that one. It wasn't that I didn't like it, it's that it came out at a time when there was all manner of other stuff I wanted to play, and I didn't give it enough of a chance to get into it. Consequently, when it came to time to trade some stuff in — this was back when I still traded in games, something which I rarely do these days (though I still buy used games) — it was one of the first things to go.

Consequently, I'm still pretty much a complete newcomer to Animal Crossing and the way it does things. And I'm still somewhat confused. But in a kind of good way.

Most games you play these days take a very proactive approach to directing the player's enjoyment. "Go here," the game will say. "Do this." In the case of terrible, awful, shitty Facebook games, more often than not the game will literally prevent you from clicking on anything but the thing it wants you to click on.

Animal Crossing, meanwhile, takes the complete opposite approach. It drops you into a strange world — a small town populated by animals in which you are inexplicably the only human resident, and which you have somehow become the mayor of — and then pretty much tells you to just get on with it. There are characters wandering around who will give you a nudge in the direction of things to do, but for the most part, the game is all about figuring out what the fuck it is you're supposed to be doing.

And the answer isn't a simple one. There's a sense of structure given to the game by the ever-present loan-shark raccoon Tom Nook and his increasingly-unreasonable bills he keeps lumping you with game after game, but other than that it's entirely up to you to make your own fun. Will you cultivate a crop of profitable fruit trees? Will you spend your time catching bugs? Will you dig up fossils and try to fill the museum? Or will you primarily spend your time bumming around your friends' towns, stealing their fruit when they're not looking?

This latter part is where the 3DS version is infinitely superior to the DS version. Theoretically, the DS version featured Internet connectivity and the ability to do things with your friends, but when I was playing I didn't know anyone else, and as such this feature — which is, to be honest, a big part of the game's appeal — was completely useless. Contrast that with today, when I went over to my friend Jeff's town along with our mutual friend Cody, then we took a trip over to a tropical island, swam in the sea, harvested bananas and mangoes and marvelled at Cody's ability to catch the most enormous fish I've ever seen.

It's an utterly pointless experience at heart, but unlike many of those utterly pointless Facebook games out there which are only after your money, Animal Crossing's self-contained nature means that there's always a sense of gentle, good-natured humour about the experience — and, more importantly, no pressure on the player. It's an escapist experience for you to dip into for half an hour to an hour at a time, not something you play as your "big game". And yet even in those short, bite-sized sessions — ideal for handheld play — there's plenty of stuff to do, and enough variety to keep some people playing for hour after hour after hour after hour.

It remains to be seen how long I stick with it, but I'm interested to see how much more there is to the experience over time. Something must be there to keep people playing for upwards of a hundred hours; let's see if I can find it.

1243: A Realm Reborn

I spent some time with the Final Fantasy XIV beta earlier. Since said beta is now in its third phase, Square-Enix has dropped all the non-disclosure agreements and has started to allow people to talk about it, which is nice, because I'd quite like to talk about it. I'll add at this point that I've only just started participating in the beta, so my thoughts on Final Fantasy XIV are based purely on the hour or two I spent fiddling around with it earlier. But — spoiler alert — my thoughts are positive.

I'll preface this by saying that I really enjoyed Final Fantasy XI, Square-Enix's previous foray into the massively multiplayer online RPG market. Final Fantasy XI successfully managed to capture the feel of a Final Fantasy game while simultaneously transplanting it to a massively-multiplayer environment. It had its problems, sure — mainly a glacial rate of experience gain that didn't accelerate in line with what level you were, meaning by the time you reached about level 20 or so it was taking weeks to gain a single level — but it was good fun, and I met some entertaining people during my time in that world. (Bendix and Nefertari, I often wonder where you are! I miss you! [Bendix pokes.])

Anyway, from what I can see, Final Fantasy XIV — in its new A Realm Reborn incarnation, at least — appears to fix most of the annoying things about Final Fantasy XI while keeping the things that were awesome.

One of my favourite things about Final Fantasy XI was character creation. It was a very simplistic character generation tool with very limited options, but the characters it created looked recognisably "Final Fantasy" in nature. They had the spiky hair and the obviously Japanese "look" about them (artistically as opposed to their physical characteristics), and I found them a lot more appealing to look at than, say, World of Warcraft's heavily-exaggerated, low-poly physiques.

Final Fantasy XIV takes the recognisably Japanese aesthetic of XI and provides you with a veritable wealth of options with which to customise your avatar. Consequently, you can take a much greater degree of control over how you represent yourself to the world, but you'll still come out of the process looking like a Final Fantasy character. And the decisions you make about your character's appearance aren't just there to be forgotten, either; cutscenes in the game make a point of giving you a good look at the parts of your character you don't normally see during regular gameplay — i.e. their face.

Once into the game proper, I was immediately struck by how much better than XI it looks. This isn't altogether surprising, of course — XI was built on an engine designed to run on the PlayStation 2, while XIV was designed for the PlayStation 3 and beyond. There's a high level of graphical detail, but the best thing about the way the game looks is the butter-smooth frame rate. XI was capped at somewhere around 25-30 frames per second regardless of how good your computer was; XIV, meanwhile, will happily glide along at 60+ frames per second, looking simply lovely in the process.

The sound is way better, too. Final Fantasy XI had a great soundtrack, but it sounded very synthesised. This was in keeping with the "sound" of the Final Fantasy series at the time — it wasn't until Final Fantasy XIII that we'd finally get a fully-orchestrated soundtrack for the duration of the game rather than just in special cutscenes — but it sounds a little dated now. Final Fantasy XIV, meanwhile, has a simply gorgeous orchestral soundtrack that I'm going to have to score a copy of if and when it becomes available. It's properly "cinematic" in nature, and is very much in keeping with the game's style.

In terms of gameplay, your initial minutes and hours in the game are relatively business as usual for an MMO. You pick your class (which also determines your starting city) and set off to complete quests for random strangers all over town. These quests are generally either fetch quests of some description, or kill quests that demand you leave the safety of the city walls and start punching ladybirds in the face. Like Final Fantasy XI, however, a nice feeling of "context" is given to these quests through short dialogue sequences before and after them, which is much more immersive and interesting than World of Warcraft's pop-up wall of text. The quests themselves generally aren't all that interesting — yet, anyway — but promise to provide the main means through which the game's story unfolds a little later.

The biggest and most welcome change from XI's mechanics is in the way you gain experience. In XI, the maximum amount of experience you could gain from a single enemy was 200, and this was only if you took on something considerably stronger than yourself, preferably in a group. Since the amount of experience required to level up increased very rapidly, there was a lot of grinding involved. This improved significantly with subsequent updates, which added "hunt" quests with experience bonuses, but the quests you got from NPCs around town largely remained as a means of gaining cool items rather than experience.

In XIV, meanwhile, you get experience for all sorts of things. You get it for killing monsters, for completing quests and even for crafting items. This means that you don't get the feeling you occasionally got in XI whereby you felt like you were "wasting your time" if you weren't out in the fields killing monsters — you can be rewarded for non-combat activities, which is great.

There's some neat little additions to the usual formula, too. As well as quests, you have Hunting, Crafting and Gathering logs, which challenge you to hunt specific creatures, craft specific items and gather specific raw materials respectively. Successfully completing challenges in these logs provides significant experience bonuses, so if you just want to spend a bit of time grinding rather than working on specific quests, this provides a degree of "direction" to what you're doing by encouraging you to hunt down specific things.

I'm only level 5 so far, so that's about all I can talk about as yet. I haven't yet fiddled around with the strange class system, whereby you can change your class simply by changing your equipment, but I'm interested to see how it differs from XI's excellent Job system. I also haven't actually spoken to or teamed up with anyone yet, but the community speaking publicly seems to be very friendly and very positive about the game so far, which is nice to see. I'm sure it won't last, but for now it's nice to see people speaking politely and helpfully to one another.

Anyway. It's nearly 4am because Ar Tonelico. I am, much to my chagrin, apparently chasing the Platinum trophy for that game, and one of the tasks required to attain said intangible reward is to locate all the treasure chests in the whole game. I am having some difficulty with said task, but I will return to that tomorrow, and perhaps even finally finish the damn thing.