Category: Squadron of Shame

#oneaday Day 815: Pandora's Tower -- Some First Impressions

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So, the third of the three "Operation Rainfall" titles is finally upon us here in the UK (well, technically tomorrow, but Amazon were good enough to ship it to me a day early), completing the Holy Trinity of Wii-based Japanese role-playing games that many are lauding as the real last hurrah of Nintendo's system. (I've actually lost count of how many times people have referred to Wii games as the system's "last hurrah" or similar, but with Wii U on the relatively near horizon, it might actually be true this time.)

Like its predecessors Xenoblade Chronicles by MonolithSoft and The Last Story by Mistwalker, Ganbarion's Pandora's Tower is far from what you'd call a conventional JRPG. In fact, of the three titles, Pandora's Tower is the least traditionally RPG-ish and will likely prove to be the most divisive due to its curious mix of game styles. That's not to say it's bad — far from it, in fact — but those coming in and expecting a traditional globetrotting adventure with a cast of loveable misfits will find themselves surprised by what they discover.

Pandora's Tower tells the story of a pair of young star-crossed lovers named Aeron and Elena. Aeron, the player character, doesn't say much besides the odd grunt and "yes" but is clearly devoted to Elena. Elena, meanwhile, has a bit of a problem; she's cursed. And, as curses go, this one's a doozy — she's slowly turning into a slobbering monster with icky skin and tentacles wriggling out of her shoulder. Discovering the nature of the curse at a harvest festival, Aeron and Elena flee into the wilderness accompanied by a strange old crone named Mavda who inexplicably carries a jar on her back containing an enormous skeletal man who occasionally babbles indecipherable gibberish. Madva reveals that there is one way to break the curse — for Elena to eat the flesh of twelve "masters" who reside in twelve towers that make up an imposing-looking fortress hovering over a terrifying-looking abyss known as The Scar.

As you have probably surmised, this is where the player comes in. Elena, being rather delicate and demure when she's not slobbering and betentacled, isn't exactly equipped to go monster hunting, so it's up to Aeron to take his improbably large sword, magic chain (provided by Mavda) and floppy hair (model's own) into the aforementioned towers to defeat the masters, rip out their "master flesh" and feed it to Elena (who was, at least until this whole mess started, a vegetarian for religious reasons) in order to save her from a hideous fate. Simple, right? All in a day's work for an almost-mute hero.

Gameplay evolves in several discrete sections, and it's the combination of these factors that makes Pandora's Tower such an original, distinctive experience. If you were to boil it down to video game math, then the following equation would probably cover most of what I've experienced so far:

(Castlevania: Lords of Shadow – Patrick Stewart) + Ico + Shadow of the Colossus * Zelda + dating sim = Pandora's Tower

There are two main components to gameplay: dungeoneering and downtime. During downtime, the player may, as Aeron, hang out with Elena in their makeshift hideout, ask her about the lore of the world, shower her with gifts, feed her various meaty treats and throw her untranslated texts so she can make herself useful. Aeron may also call up Mavda, who appears to perpetually live outside the back door of the hideout, and buy things from her, get her to craft and repair items, get her to upgrade equipment and offload excess meat. She'll also pay Aeron for any texts he's found — including newly-translated ones from Elena — which provides the player with a decent income stream if they take the time to explore and discover things. That completionist's nightmare — the "percentage completed" gauge — makes an appearance in the game's menu so those who want to make sure they get the full experience can see at a glance how close they are.

All this downtime activity isn't just for show — most of the Elena-related activity affects the couple's relationship, and providing certain gifts also causes her to spruce up the hideout with her own personal touches. The game's ending is supposedly determined by the relationship value between the two by the time the story comes to an end, so it's in players' interests to ensure that they keep their lady sweet.

Upon leaving the hideout and heading for one of the dungeons, however, gameplay takes a decidedly different turn. It becomes a combination of third-person combat and environmental puzzle solving. Aeron may attack beasties with his sword and unleash combos, but it's the chain that provides the most interesting gameplay possibilities. By aiming the chain with the Wii Remote's pointer (or the right analogue stick on the Classic Controller) and attaching it to enemies, environmental structures and all manner of other things, Aeron is able to cause all kinds of mischief. And there's plenty of scope for creative silliness, too — try attaching one end of the chain to one enemy's legs and the other to another enemy's face, for example.

Aeron's goal in each dungeon is, like a Zelda game, to unlock the boss chamber and then defeat said boss. Rather than relying on a huge inventory of items, however, the majority of the game's puzzle solving comes from creative use of the chain. Sometimes you'll be pulling levers with it, sometimes you'll be throwing chunks of ore into soft walls to use as hooks to grapple on to, sometimes you'll be tying sentient plants to pillars and chopping them to bits before they burrow into the ground. And you'll often be using the chain to rip out gobs of flesh and other crafting ingredients from fallen enemies, because Elena's curse isn't waiting for you.

No, indeed — a timer in the corner of the screen shows the progress of Elena's transformation. It can be reset by grabbing some tasty meat and taking it back to her, but this requires you to make your way back through the dungeon you've just battled your way through, then delve back into it once you've given her her treats. Fortunately, the dungeons are designed in such a way that progressing further in them allows you to set up various shortcuts, and knowing the layout of them a bit better also allows you to romp through them fairly quickly. Progress doesn't reset upon leaving the dungeon, so it's perfectly feasible to unlock the boss room, go back, feed Elena and then go kick some boss ass.

It becomes an exercise in time management — can you make it through the boss fight before Elena goes all tentacly? (Should she find herself going all tentacly, this does, as you may expect, have an adverse effect on the couple's relationship.) Or should you play it safe and head back with a bag full of meaty treats? This constant weighing up of pros and cons is further exacerbated by the fact that Aeron can only carry so much crap in his bag at once, necessitating a return to the hideout every so often to offload junk or craft it into useful items. This does, however, provide an opportunity for Aeron and Elena to spend some time together and improve their relationship, so it's not a wasted trip — though the traipsing back and forth may annoy some.

There's a lot to do, but the dungeons (at least the two I've completed so far) are well-designed and satisfying to figure out. A real sense of urgency is provided by the curse timer ticking away in the corner of the screen, and I can only imagine how the intensity of this will increase as the dungeons grow in complexity. The story is told in a less "in your face" manner than a lot of other games, with a strong focus on the relationship between Aeron and Elena, and a lot of environmental storytelling through discarded notes and architectural design. It's an intimate sort of game, by turns lonely and daunting in the dungeoneering segments and heartwarming when the couple is together. At its heart is the tale of a relationship between two people and the lengths people will go to for love — an experience that, so far at least, is altogether unlike any other Japanese role-playing game or action adventure that I've played in recent memory.

In short, it's a fitting dénouement to the "Operation Rainfall" trio of titles — and to the Wii's catalogue in general. It's actually pretty remarkable that three of the best "core" games of the generation are on a system that many people denounce as being "kiddy", "casual" or a waste of time — or dismiss outright for not being HD. Deprive yourself of these three games simply on the grounds that they don't look as good as, say, Mass Effect 3 and you're depriving yourself of three distinctive, bold and original titles that are the perfect antithesis to the "cookie-cutter" approach of triple-A development and publishing. I hope beyond hope that their small but loyal fanbases will be enough for these studios to be able to keep doing what they do.

Further thoughts on Pandora's Tower will follow when I've beaten it. In the meantime, if you're American, go pick up a copy of Xenoblade Chronicles before it becomes impossible to find, and be sure to support Xseed's release of The Last Story — and whoever picks up Pandora's Tower — when they show up later this year.

[Edit: Apologies — I misread some recent news that made it look as if Xseed was bringing Pandora's Tower to the US later in the year. It seems the status of that title's US release is still somewhat up in the air — but we can hope!]

#oneaday Day 811: Some Handy Tips for Those of You who Wisely Picked Up Xenoblade Chronicles This Weekend

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Bought a copy of Xenoblade Chronicles? Firstly, well done. Secondly, it's rather good, isn't it? Thirdly, you've probably noticed that it's a massive, sprawling, deep game with lots of things to think about.

Being a grizzled old veteran who has played the game to death already, I thought I'd share a few tips to help you along the way. I'll try and remain spoiler-free in the process, and I won't be giving plot walkthroughs or anything like that — just general tips. Bulleted tips, even. Here we go.

(Note: If you're not playing Xenoblade Chronicles, this will all mean nothing to you. I'll be back in the normal world tomorrow.)

  • Pick a good, complementary party, but don't be afraid to experiment. You can make most combos work — and in fact to max out Party Affinity you'll probably have to — but a safe option is to have a tank (Reyn or Riki), damage dealer (Shulk, Dunban or Melia) and healer (Sharla or, to a lesser extent, Melia). Note that you don't need to have Shulk in the party, but it's easier to deal with visions if he is.
  • Don't forget to level up your Arts. You gain AP with every successful combat and these can be used to power up each character's Arts — the special abilities that they are able to use in combat. Don't forget to drop into the menu regularly to spend these AP — which each character has their own individual bank of — on improving their abilities, because the game sure won't remind you. On that subject…
  • Pick Arts that complement each other. Depending on your party lineup, ensure that you have Arts picked that work well together. Don't worry about changing around Shulk's Arts, since he has a fixed arsenal. But depending on who else is there and what they're capable of, pick ones that work well together. A good combo is to ensure that between all three members, you have the ability to Break, Topple and Daze an opponent. By doing this to an enemy that isn't immune, you buy yourself a good few seconds of uninterrupted beatdown time, which is very helpful on baddies with high HP. Note that most — but not all — bosses and Unique Monsters tend to be immune to Break and Topple.
  • In Chain Attacks, colour is everything. The other thing you should consider when preparing your party's Arts is to make sure that you have appropriate colours covered to unleash a decent Chain. The colours typically correspond to what the Art does — red ones tend to deal direct damage, pink ones tend to inflict Break, green ones tend to Topple and blue ones tend to be restorative or supportive — so a good thing to do is to ensure your whole party has at least one red Art equipped in order to do a damaging Chain Attack. When you start the Chain, choose a red Art to kick off, then when it switches to the next character, choose one of their red Arts and so on. Bear in mind that according to both random chance and Party Affinity, you may have the opportunity to continue the chain after everyone has had one go, so it's worth having more than one of the same colour if you can spare the slots.
  • Skills aren't as complicated as they look. The tutorial for the Skill system makes it sound bewildering, but think of Skills as passive bonuses and you'll be fine. Picking a character trait to focus on provides a bonus to a particular stat, then all SP earned (also after combat) will be applied to that particular skill branch. When sufficient SP have been earned, that bonus or passive ability starts to take effect automatically. Note that each character starts with three Skill paths, but has the opportunity to unlock up to two more through quests.
  • Skill Links let characters use each others' Skills. This is the complicated bit. You've probably seen that killing bosses nets you Affinity Coins. These are used to let characters "borrow" each others' Skills, thereby enabling them to get passive abilities they wouldn't normally have access to. For example, if Reyn has learned the skill to equip heavy armour, another character who is normally limited to light armour can Skill Link with Reyn in order to also be able to equip heavy armour. The number of skills characters can borrow from each other is determined by the number of Affinity Coins you have and the Affinity between the characters attempting the Link. Speaking of which…
  • Build up Party Affinity as much as you can. Your characters fight better alongside each other if they actually like each other. They also say different things in battle or when they jump in to conversations. There are lots of ways to improve this. Firstly, put the characters you're trying to develop the relationship between in your active party. Make the character you want to see the most gains the leader, since when party members jump into conversations, it improves Affinity with this person. Hit as many Burst Affinity button prompts in battle as you can. Encourage characters who are suffering from low Tension in battle (they'll have a purple cloud behind their face in the interface — run up to them and press "b" to whisper some sweet nothings at them). Don't forget to go and do Heart to Hearts when you have sufficient Affinity between two characters — these provide massive Affinity boosts even if you balls them up. And don't forget that you can gift Collectibles to characters via the Inventory menu — the game forgets to mention how to do this. Select an item, choose a character to gift it to and you'll see the affinity gain (or loss) it generates. For hints on what might be good items to give different characters, check the Achievements menu or think about the characters' personalities.
  • When hunting, use the reload trick. Saving your game then immediately loading it causes the monsters in a zone to refresh, so if you've run out of mobs you need to bash over the head for a quest, save and reload to respawn them. If you're hunting a Unique Monster and there's no sign of it in the place where it's supposed to be, do the same thing for a chance of respawning it.
  • If looking for specific weather, use the clock. Advance time from day to night (or vice versa) until you get the weather conditions you're after. Note that "thunderstorm" is a different weather condition to "raining".
  • Talk to everyone with a name. Speaking to a named NPC adds them to your Affinity Chart and sometimes improves your Area Affinity. When your Area Affinity levels up (it doesn't tell you when this happens, so check the Affinity Chart regularly), new quests become available, and named NPCs also get new items to trade with you. It's possible for every single person on the entire Affinity Chart to be joined to at least one other person by the end of the game, so consider that a challenge if you're a completionist.
  • Collect collect collect! Collect every sparkly blue blob you see. Not only will it help you fill the Collectopaedia, there's usually a questgiver somewhere nearby who will pay you good money for them. Or you can always gift them to characters.
  • Trading is usually a quicker way to fill the Collectopaedia. If you're struggling to find a specific collectible item in the field — and some are considerably rarer than others — then try trading with named NPCs instead of talking to them. When trading, offer them goodies that are considerably higher in value than the thing you're looking to grab — double is usually a safe bet — and they'll often throw in an extra free gift, too. Note that NPCs' inventories expand as Area Affinity improves. Their tradable items always come from the zone in which they are found.
  • Don't forget about Gems! Equipping gems in slotted items can make the difference between triumphant victory and crushing defeat. Note that bonuses to stats have a cap — if the bonus turns green in the menu, equipping further gems won't have any effect. Pick gems that help strengthen a character's particular specialisms rather than compensate for weaknesses — e.g. apply Muscle Up gems to Reyn to increase his physical defense to make him a better tank, add Strength Up gems to Shulk to make him deal more damage. Remember that Unique items (the ones with "U" on their icon instead of "S") have preset gems that cannot be removed.
  • Explore everywhere. Discovering new Locations, Landmarks and Secret Areas is a good non-combat way to gain experience points, plus it has the positive side-effect of filling in your map and providing you with places to fast-travel to. You might also be surprised where questgivers are hiding.
  • Do every quest you can. It may be time-consuming, but questing builds up Area Affinity and provides you with some good rewards that often negate the need to go equipment shopping. The stock "Monster", "Collection", "Search", "Material" and "Challenge" quests you get in every zone also provide a good way to get to know an area. Be sure to talk to the questgiver for these questlines several times as you can normally pick them all up at once — and you don't have to return to them to complete them. Never sell quest items — they'll be marked in the menu — or items you've seen in visions. You can get them back, but it'll be a waste of time, particularly if they end up being rare items. For quests with multiple outcomes, there are no "bad" consequences, just differing rewards.
  • Backtrack! When the story advances, that's usually a good cue to wander around the areas you've already visited and see if any new quests have popped up — some appear based on story progress rather than Area Affinity. Fortunately, the skip travel feature makes this a painless process. If you're not sure who to talk to, try looking for people on the Affinity Chart who don't have any links yet. There are some quests you can miss — these are marked with a stopwatch in the quest log. There's generally a pretty obvious mini "point of no return" before these expire, however, so be sure you've cleaned up your quest log before you answer "yes" to any important-sounding questions.
  • Don't rush. Xenoblade Chronicles is a big-ass game and there's a lot to see and do. Playing as a moderate completionist, it took me 101 hours to beat on my first playthrough, and I could have easily spent a lot longer. While it may be tempting to rush forward into the next plot beat, bear in mind that the quests, exploration and incidental combat is all there to provide a painless means to ensure you're strong enough to tackle the challenges the story quests provide you with. You'll be around the level 80 mark by the time you're on the home straight if you're doing it right — you'll hit a wall and be forced to grind (or backtrack and do all the stuff you missed!) for a little while if you haven't. That said…
  • Don't feel you have to get everything. Beat the game and you can do a New Game+ with all your levels, equipment and Party Affinity intact, but quests, Area Affinity and everything else reset to normal. Now you can rampage through the world with impunity and concentrate on picking up as many quests and entries on the Affinity Chart as you can rather than running away from red monsters.

Above all, enjoy. This is one of the best RPGs of all time, and it's wonderful to see so many people on my Twitter feed are playing and loving this at the moment. Stick it out to the end — it's a long road, but it's very much worth it.

#oneaday Day 809: PAX Pact

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Disclaimer: I'm aware that I wrote almost exactly the same post as you're about to read at this time last year, and for that I make absolutely no apologies.

It's PAX East time! Yay! I'm not there! Boooo.

I've not been to many conventions or big shows like that over the years, so I have very fond memories of those I have been able to attend. My decision to attend PAX East in 2010 was very much a spur of the moment thing — I'd decided I wanted to leave my primary school teaching job because I'd given it a chance and determined it wasn't for me, I was trying as hard as I could to pursue a career in the Writing Words About Games industry, and I was feeling a bit miserable and lonely. So, with a little financial help, I flew across the pond to Boston and went to my first big show in America.

It was an exciting time for a number of reasons. I'd just started working for Kombo.com which, while it didn't pay particularly well, provided me with a position where I could legitimately say I was a professional member of the games press. I knew that a large number of my buddies from communities such as Bitmob and The Squadron of Shame would be in attendance, so I'd have the opportunity to meet some people face to face. And I always love the opportunity to visit the States. I'd never been to Boston before, and while I was under no illusions that I'd be seeing much of the city while I was there, I was looking forward to being Somewhere New.

It was also terrifying. As a sufferer of social anixety at the best of times, the prospect of meeting people I'd only ever talked to on the Internet in the past was a scary one. What if we didn't get on? What if it was a massive disaster and it destroyed the carefully-cultivated relationships we'd built up with one another? What if I had nothing to say? What if I got lost and it was actually because they wanted to lose me? All these thoughts whirled around my head as I was on the plane, but I was very happy to discover that PAX was, in fact, a happy, inclusive and wonderful place for geeks of all descriptions to call home — whether they were someone who just liked video games or was also into collectible card games, role-playing games, board games, cosplay, the history of technology… anything like that.

That word — "home" — is an important one. Because it felt good to be there. It felt like a world which I wanted to belong to, surrounded by people that I wanted to be with. It was a world that accepted and embraced each other's differences and brought people from many different walks of life together in the name of common interests. Perhaps most importantly, it made friendships real. It's all very well chatting to people online on a regular basis, but once you've spent time with those people in person — seen them, heard them, hugged them, tickled their beards in a homoerotic manner where applicable — your friendship is on a different level. I haven't seen some of those people I met at PAX East 2010 in person since that weekend two years ago, but in many ways I feel closer, more connected to them than many of my — for want of a better word — "real" friends. Perhaps it's because they're also "Internet friends" that I speak to most days via Twitter, Facebook and G+.

Whatever the reason, knowing that lots of people I know are at PAX East right now and undoubtedly having a great time (and/or queueing for hours) makes me a bit sad — not that they're there, obviously, but that I'm not there with them.

I propose a pact, then, faraway friends: PAX East 2013. Be there. You have a year to prepare. Get cracking.

#oneaday Day 808: Xenoblade Chronicles is Out Tomorrow, and Here's Why You Should Play It

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As a European, I was lucky enough to be able to play the Nintendo-published, MonolithSoft-developed Wii role-playing game Xenoblade Chronicles last year. It ended up being my favourite game of 2011, and many North American gamer friends were suitably jealous that I had been able to play it through while they hadn't. I didn't feel too guilty, though, because North America has its own branch of Atlus and doesn't have to depend on other publishers to bring titles like the Persona series over.

But I digress. Xenoblade Chronicles is out tomorrow — April 6 — in North America, and here is why you should play it if you're an American. Or even if you're not.

The Japanese role-playing game genre is often accused of stagnation and a lack of innovation. This is, in fact, not particularly true — even the much-maligned Final Fantasy XIII was trying things which other role-playing titles hadn't attempted before. Okay, they weren't always successful, but it was at least attempting to innovate.

The real issue is actually that for whatever reason, Japanese role-playing games (and, to a certain extent, Japanese-developed games in general) have lost the resonance they once had with the core gamer audience in the West. Players are quick to judge them as clichéd and derivative before moving on to whichever game starring men in armour with guns is the flavour of the week. Specific attempts by Japanese developers to create games that appeal to Westerners end up having limited niche appeal despite their quality (see: Platinum Games' Vanquish, which isn't an RPG but demonstrates the point effectively) or end up being laughable attempts to pander to the Japanese image of what a Westerner supposedly wants (see: The Last Remnant).

Xenoblade Chronicles is a remarkable game because it nails that balance between Western and Japanese sensibilities, making a game that combines the positive aspects of WRPGs (freedom, exploration, a degree of sort-of-non-linearity) with those of JRPGs (stronger storytelling, more memorable, well-defined cast members, a firm sense of being unafraid to continually up the ante). The result is quite brilliant, and a significant step forward for the genre in one possible direction it way wish to take in the future.

The game casts players in the role of Shulk. Initially, he seems like every other teenaged JRPG hero, but a number of aspects make him stand out. He doesn't whine. He's not moody or angsty. He's just a guy, but he has a personality. He has friends, too, who form your early party in the game, and these, too, don't fall into the trap of clichéd character archetypes. This pattern continues throughout the course of the whole game. Even the "small furry thing" character introduced later in the story isn't typically irritating — he's quirky and silly, sure, but his character is defined well, and he proves to be more than just a means through which to provide silly slapstick gags.

The diverse, likeable cast you find yourself travelling with over the course of Xenoblade Chronicles' lengthy adventure provides several highlights to the game experience. Firstly, and most simply, they're a good ensemble cast who help drive the story forward. That's not their only function, however. As you might expect from an RPG, they each have their own role to play (natch) in combat, and finding the best combinations of three characters to take into battle is a key part of the experience. This affects not only your battle effectiveness, but also one of many stats that the game tracks in the background — Affinity.

Affinity is, quite simply, how much characters like each other. Characters with high Affinity with one another fight better alongside each other, but as their relationship develops, they also have the opportunity to participate in numerous "Heart to Heart" events that are scattered around Xenoblade Chronicles' vast world. These short sequences provide the opportunity for two party members — not necessarily including protagonist Shulk — to spend a little alone time with one another and get to know each other a little better. These typically involve multiple-choice conversations, providing the "correct" answers to which will give a big boost to the pair's Affinity with one another. (Giving "incorrect" answers often provides very amusing exchanges and still gives a smaller Affinity boost, however, so you shouldn't feel like you have to reach for the walkthroughs immediately.)

Affinity doesn't just affect combat and unlock Heart to Hearts, however; there's a host of little touches in the game that it affects, most notably during and after combat. Rather than simply yelling individual stock "battle victory" phrases, characters will often have short conversations with one another. This banter between characters is a real highlight of the experience, and while you will have heard everything they have to say a good few times by the end of the game, they remain entertaining and endearing.

Speaking of combat, Xenoblade Chronicles' battle system is a refreshing change from the turn-based systems that Japanese role-playing titles usually adopt. You control a single character out of the three in your active party, and are able to freely move around during combat. You and your party lock on to a single enemy at a time and automatically attack it, though many battles involve multiple assailants. In order to gain the upper hand in battle, it becomes necessary to make use of the unique skills the character under your control has.

Most characters have more skills than it's possible to hold in the "quickbar" at the bottom of the screen, so it becomes possible to customize the way they play to your own personal style. Some skills manage aggro, some attack areas, some provide more damage or inflict status effects when unleashed from beside or behind an enemy. Some skills are dependent on other characters doing things like knocking the enemy down or stunning them, and the AI which controls the other two party members does an absolutely astounding job of keeping up with what you're doing and understanding the strategy you're going for. It's very rare that you will be cursing the game for causing you to fail — more often than not it's a result of you either adopting a poor strategy, or simply needing to go and do something else for a while until you're a little stronger. This doesn't mean you have to resort to grinding, either — inevitably there will be some quests you have missed that you can go back and do, and returning to earlier-visited locations often throws up even more things to do.

Another great thing about the combat is that you can elect to control any of the game's cast in battle, not just Shulk. Each character plays in a significantly different manner to all of the others, so if you find yourself getting bored of the same old skills over and over, simply switch to another character for a brand new experience. Fed up of tanking? Spend some time with Sharla, a ranged character with healing abilities. Or Melia, a magic-user who can summon elementals that either provide ongoing buffs or can be "unleashed" to deal direct damage. Or the aforementioned small furry creature, whose skill names are genuinely hilarious.

Perhaps the strangest but coolest innovation in the combat, however, is the fact that you're occasionally presented with "visions" of the immediate future, usually when a character is either about to die or be afflicted with a debilitating status effect. A countdown timer starts, and you're given the opportunity to either do something to take attention off the enemy's target or warn another party member. If you do the latter, you're able to pick one of the warned character's skills to unleash — usually either a healing or aggro-management skill — and hope for the best. If you do the former, you have until the countdown timer depletes to do something very special, or your party member will suffer their grisly fate. It's a neat system that isn't overused.

Outside of combat, there's plenty to do, too. Exploring each of the game's massive zones rewards you with experience points and uncovers part of the map as you discover each sub-area. There are collectible items scattered around each area at random, with rewards on offer for collecting whole sets. Those who find item-hunting frustrating, however, may instead complete these quests by trading with other non-player characters. There are rare monsters to take down, loot to find, secret locations to discover. Xenoblade Chronicles' world is more than just a pretty backdrop for combat — it's a rich, beautifully-rendered environment in which to spend time, and it looks gorgeous. This may be a Wii title, and it may have been even more lovely to see it in HD, but it doesn't detract from the fact that the hugely-varied vistas you find yourself running and fighting over throughout the course of the game look simply magnificent. There's a waterfall you'll come across partway through the game which is genuinely breathtaking to look at, for example — you'll know it when you see it.

If the game's combat, quests and exploration aren't enough for you, there's also a deep Achievement system to delve into. Since these Achievements aren't online-connected, they're simply there as challenges for you to undertake, and all provide you with experience point rewards. In essence, they're mini-quests (although some will take you the majority of the game to complete) and rarely feel as "gratuitous" as some examples seen on Xbox Live and PSN. Rather, they provide yet another means of getting an enormous amount of entertainment out of an already vast, sprawling title.

This isn't even getting started on the deep crafting system, which allows characters to team up to create enhancements for their weapons and armour, with the results of their collaborative efforts dependent on their Affinity and compatibility with one another. Or the fact that the game allows you to change the time and fast-travel at will, eliminating a lot of the inconvenience and backtracking endemic to the genre. Or the colony-building minigame. Or the fact the voice acting is all British rather than American, giving the game a unique aural aesthetic in a genre typically dominated by whiny teenagers and squeaky-voiced females. Or the fact that when you're all done, you can New Game+ it and do the whole thing again with your levels, Affinity and a suitably broad spread of awesome equipment intact — something I will be doing when North America gets its hands on the game tomorrow.

Xenoblade Chronicles is, in short, a magnificent evolution of the Japanese role-playing game genre. While it's easy to dismiss it as "an offline MMO" or "a Final Fantasy XII wannabe", the reality is something quite different. This is truly a game that is greater than the sum of its already-fantastic parts, and one which will have you bellowing "Now it's Reyn time!" at your friends for months to come.

(Grab yourself a copy soon, though, as this is the kind of game that will get pretty tough to find pretty quick.)

#oneaday Day 806: Shadow Hearts: Covenant: A Scoreless Review

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Shadow Hearts: Covenant (aka Shadow Hearts II) is, quite simply, a must-play JRPG. Whether you're a devoted fan of the genre or a jaded veteran who decries its supposed lack of innovation in recent years, there is a ton of stuff for you to like in this epic PlayStation 2 title from Nautilus (née Sacnoth).

Let's rewind a moment before we get into specifics. Is it necessary to have played the original Shadow Hearts to appreciate its sequel? As you'll recall, I noted that the previous game hadn't aged hugely well, with its pixelated prerendered backdrops, wooden animations and low-budget voice acting bearing the brunt of the ageing process. It's still a solid game, but those who expect a bit more than a PS1 RPG that runs at 60 frames per second may find themselves suffering from culture shock for a little while — whether or not that culture shock is insurmountable depends entirely on the individual.

To answer the question, though, yes and no. That may be a copout answer, but it's true. Shadow Hearts: Covenant's story stands completely by itself as a self-contained tale, but it also follows on directly from the first game's narrative. There are a number of shoutouts throughout the course of the adventure which refer back to prior events, characters and locations, too, which will delight series veterans. In short, if you can't stomach the old-school sensibilities and aesthetic of the original, you can jump into Covenant without guilt, but those who are willing to play the two games one after the other will have an altogether deeper experience to appreciate.

What makes Covenant a more easily-palatable title than its predecessor, however? Many things, starting with the presentation. Rather than taking the old-school approach of polygonal characters on a prerendered backdrop, Covenant features fully 3D environments, albeit with preset camera angles a la Final Fantasy X. The characters have been infused with a great deal more detail, too, with hair and fur looking particularly good, and some excellent animations thanks to motion capture. Alongside this, the voice acting has been given a kick up the arse, with a full English dub, fully-voiced cutscenes for the more important story scenes and none of the original's corner-cutting. Were it not for the lack of widescreen support, this game wouldn't look out of place today being released alongside titles like Xenoblade Chronicles and The Last Story.

Like its predecessor, Shadow Hearts: Covenant revels in the fact it has an eccentric cast who rarely fall into standard JRPG tropes. While protagonist Yuri initially appears to be the moody "Squall" type, he quickly shows himself to be a deeply-nuanced character who undergoes some significant development over the course of the story. As he's joined by the other cast members, who include a puppeteer, an exotic dancer/fortuneteller/aromatherapist, a female German World War I officer (whose nationality and occupation quickly becomes completely irrelevant) and a fricking wolf among others, it becomes abundantly clear that we're not dealing with a conventional sort of JRPG setup here. To its credit, the game plays things admirably straight all the way through, which makes its more humorous scenes all the more effective — and proves that it's not afraid to make its characters suffer a little along the way in the name of drama. It doesn't descend into exaggerated melodrama at any point, and for the most part resists the temptation to get too wacky. Characters occasionally make a few "fourth wall"-breaking comments, though these are spread far enough apart to be effective and amusing rather than feeling like the game is going "LAUGH, DAMMIT!" A few characters are a little underdeveloped and underused over the course of the story (and one in particular is introduced much too late to give the player a chance to get to know them as well as the others) but this is a relatively minor niggle — those who are most important to the narrative are well-defined, deep, likeable cast members whom it's a pleasure to spend time with.

An RPG often lives or dies by its story, and thankfully Covenant provides a good one that I won't spoil here. But those who play for the joy of discovering things and building up an unstoppable fighting force won't be disappointed, either, for Covenant provides a brilliant combat system that puts many recent titles to shame. Based around the cool "Judgement Ring" system of the original game whereby successful actions are determined by timed button presses, and featuring multi-character combos, an array of wonderfully silly character-unique abilities and a flexible but simple magic system that allows for the detailed customisation of characters, Covenant is a satisfying game to play even during plot downtime. While each "dungeon" only contains maybe three or four different types of enemy tops (plus a boss, usually), combat is such a joy and the encounter rate is so finely tuned that it never becomes a chore. The fact that grinding seems relatively unnecessary if you take a little time to go and do some sidequests — which are worth doing, incidentally, as they feature some of the best scenes in the game — is also a pleasing development.

In short, the whole thing comes together to create a joyful whole that will keep you busy for about 40-60 hours depending on how much optional stuff you want to do. It's a good length — while it's approximately twice the length of its predecessor, it never feels like it's outstaying its welcome, with a wide variety of locations to explore, treasures to find and creatures to fight. Completionists who like to explore and find all the hidden secrets in a game will be amply rewarded, while those who simply want to charge ahead with the plot won't find themselves punished for wanting to progress.

As I said at the beginning, Shadow Hearts: Covenant is, quite simply, a must-play JRPG. Should you have the opportunity to pick up a copy, do so. I'm disappointed I didn't take the time to explore this series sooner, as it's shot to somewhere around the top of my list of favourite games of all time. I am, however, very glad that I took some time away from the mainstream, from current-generation consoles and from the shitstorm surrounding Mass Effect 3 to immerse myself in a true, underappreciated classic. You should try it, too.

#oneaday Day 797: Enthusing Regarding Shadow Hearts: Covenant

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Haven't written about what I've been playing for a little while, so here's an update.

I'm currently playing Shadow Hearts: Covenant, aka Shadow Hearts II. If you've been reading my previous entries, you'll know that this is the second entry in a PS2-based RPG series published by Midway (in Europe, anyway) and developed by Nautilus (nee Sacnoth). If you haven't been reading my previous entries… uhh… Shadow Hearts II is the second entry in a PS2-based RPG series published byMidway (in Europe, anyway) and developed by Nautilus (nee Sacnoth).

Jesting aside, Shadow Hearts II is a significant upgrade over its predecessor. Where the original Shadow Hearts could have easily been a PS1 game, with its prerendered backgrounds, polygonal characters and turn-based combat, Shadow Hearts II is not only a fine example of a PS2 game, but a game which still stands up remarkably well today regardless of platform. Replacing the original game's prerendered vistas with a 3D world full of dynamic (but still game- rather than player-controlled) camera angles is the most obvious difference, and it's striking what a change it provides. Shadow Hearts didn't look bad but it did suffer a little from characters standing around somewhat woodenly when having conversations. Shadow Hearts II, by comparison, takes a much more cinematic approach to its presentation and looks great as a result. It helps that the character models are fantastic and well-animated, too — this really is a great-looking PS2 title.

Going hand-in-hand with the cinematic presentation of the visuals is the move to the game being mostly voiced rather than almost entirely text-based. This has the sad side-effect of meaning it's no longer possible to rename your characters, but since the original Shadow Hearts featured a voiced ending sequence in which the default names of the characters were used even if you'd played for over 30 hours with a party sporting a completely different nomenclature… well, I can deal with that. The voice acting is mostly decent, but pays absolutely no attention whatsoever to the countries that the cast members are supposed to be from. Leading lady Karin, for example, is supposed to be German, but she sure doesn't sound it. It doesn't take long for the suspension of disbelief to kick in, however, as you immerse yourself in Shadow Hearts' surreal parallel reality in which World War I is happening at the same time as Bad Shit is going down with demons and monsters. Eventually the fact that everyone from a wide range of different nations all sounds American ceases to matter, and the fact it's set in the real world alongside real-life historical events and figures becomes almost incidental. It just becomes a cool JRPG story in which the place names sound very familiar.

I'm not going to talk too much about plot here as I'll save that for a post once I've finished the game, so instead I'll now dwell a little on some mechanical highlights from the game — specifically, the combat system.

Shadow Hearts featured a functional, fun combat system that didn't deviate hugely from the traditional turn-based "heroes line up one side, enemies line up the other, polite violence ensues" system used by many RPGs over the years. The main twist on the formula was the use of the Judgement Ring, which required carefully-timed button presses to ensure the success of actions. More powerful, complex moves required more button presses, while the use of the Ring also allowed the designers free reign to throw in a variety of unconventional status effects besides the usual Poison, Paralyse and the like. Some enemies might make your Ring very small, for example (stop sniggering at the back) while others might make it spin very fast. It was a pleasing extra layer of interactivity atop an otherwise fairly conventional battle system.

Shadow Hearts II keeps the good bits of the original — the Judgement Ring and the need to keep an eye on your party's emotional as well as physical state during combat — while completely shaking up the core battle mechanics. No longer do both sides stand still waiting to be smacked across the face. Instead, characters move around the battlefield to make use of their abilities, and various different types of attack allow the player a degree of control over the battlefield. If you see a bunch of enemies lining up for a concerted attack, for example, then you can perform some sort of explosive move that scatters them and prevents them from unleashing said attack.

This system is given a whole new layer of depth by the Combo mechanic. Characters (player or enemy) who are standing directly adjacent to one another are eligible to participate in a "Combo" attack. This still takes place in a turn-based manner, but allows characters to take their turns outside of the usual order determined by their agility statistic. Repeatedly wailing on a single enemy with several characters also gradually increases the damage inflicted, with more and more total hits contributing to a bigger and bigger damage bonus, particularly if you combine this with knocking the enemy up against a wall. It's immensely satisfying to pull off successfully, and adds a much greater degree of strategy to battles. Do you risk characters being knocked out in favour of unleashing a four-man combo? Or do you keep someone held back on healing duty while the others batter the enemies with magic and a giant frozen tuna? Karin's sanity is a bit low — can you risk her going Berserk after she's done her job in the combo?

Alongside the excellent combat comes a fine system of character development. Player characters may equip "Crests", which allow them to cast spells. Almost any character may equip any combination of Crests, so long as their total level doesn't exceed their "capacity" statistic. This allows you to set up characters as healers, buffers, offensive mages or any mix you please.

This doesn't make characters interchangeable, however — far from it. Alongside the Crest Magic system is the Personal system, which features a unique mechanic for every character. Karin must collect Wagner scores to inexplicably teach her new swordplay moves. Friendly wolf Blanca (incidentally, one of the most subtly hilarious characters of any game I've ever played) powers up his special moves through defeating rival wolves from around the world in one-on-one combat. Vampiric wrestler Joachim learns new moves from his "Teacher", real-life wrestler The Great Gama. Not only that, though, but he occasionally suffers uncontrollable transformations into a golden bat, an invisible form or a superhero alter-ego according to his biorhythms. Highlight of this "Personal" system, however, though, has to be Gepetto the puppeteer, who fights using his slightly creepy kid-like doll Cornelia, who gets new dresses infused with new magical capabilities by taking cards with naked, muscle-bound male pinups on them to a rather effeminate French tailor who persistently follows the party around from location to location. No, I'm not making any of this up.

Herein lies the genius of Shadow Hearts II. It is filled with inspired lunacy, and every time you think you've got the hang of its peculiar mindset, it throws something newly bizarre into the mix. And the best thing about it is that it plays it all so straight, so deadpan. These strange systems are just how things work — no explanation required. In the case of Joachim's transformations, for example, the game doesn't even bother to mention that this might happen at some point, or even explain it when it does happen for the first time. Instead you're left gazing at your battle screen, bewildered as to why a party member has inexplicably turned into a bat without warning. Fortunately, there's an in-game help facility which does explain these quirky little features, but in a way it's more fun to discover things for yourself and only resort to the help if you find yourself really confused.

It's proving to be an utterly brilliant game so far, then. I've no idea how far I am off finishing it — I'm about 40 hours in and have been on the second disc of two for a little while, so I'm guessing there's not that much left — but I'm certainly going to continue to enjoy the ride while I can. And if you get the chance to, you absolutely should play this and its predecessor, too.

#oneaday Day 791: Give Me More J

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The Squadron of Shame recently tackled the subject of Japanese role-playing games in the first of a new format show that we're experimenting with. You can check out the show here, or if you're on something Flash-enabled, you can use the fancy-pants player below. (If you're not, you'll simply see a white space, for which I apologise.)

If I had to pick a favourite genre of interactive entertainment, it would, without doubt, be the Japanese role-playing game. I came to the genre relatively late (yes, I was one of those people who discovered RPGs in general through Final Fantasy VII) so I didn't really have the NES-era epiphany of realising that RPGs were the only genre of games that were attempting to tell a story — for a while, at least. I also didn't discover the earlier Final Fantasy games until much later, though I have, to date, played every one of them (except XIV) and have finished most of them. I still have V and VI outstanding. Shameful, I know.

There's something about the JRPG genre that has resonated with me ever since I first got off that train in Midgar and that awesome music started up, though. For one, I find the sort of over-the-top wackiness and melodrama that typifies the genre to many people to be entertaining and fun to get invested in. For another, I have absolutely no objection to a bit of moe in my games, and generally find anime characters of this type very appealing despite the fact that in many ways they're just as generic and widespread as the bald space marine with no neck. And for yet another, I enjoy the creativity frequently on display in the genre, both from an artistic and a narrative perspective.

It's a cliché to say that Japanese RPGs are clichéd, and a lot of people who accuse the genre of that probably haven't played one for a while. Sure, there are certain thematic elements and tropes which many of them have in common, but all are unique in some way. I can remember pretty much every JRPG I've played over the years in great detail — contrast this with the fact that there are a whole bunch of shooters I struggle to distinguish from one another, and it's pretty rare than I can even remember characters' names from Western RPGs like The Elder Scrolls. Each JRPG has its own unique cast of characters who are (in most cases) well-developed and display plenty of growth and change over the course of the story. Sure, some of them start their journeys as unlikable arseholes (Squall from FFVIII and Neku from The World Ends With You spring immediately to mind) but having a strong emotional reaction to a character — "I really don't like this guy" — is surely a sign that the writers have done their job well. It's sometimes a difficult experience to play a game with a seemingly dislikable protagonist, but often this is a sign that he's going to go through some experiences to soften that stony heart of his, and I'm a big fan of that particular narrative trope.

Leaving narrative aside, I've always been a fan of the often abstract, creative battle systems that populate Japanese role-playing games. This is perhaps best exemplified by the Final Fantasy series, which significantly shakes up its core mechanics with every single instalment. Don't believe me? Here's how the battle system and related mechanics differ from game to game:

  • Final Fantasy — Traditional D&D-style turn-based combat without movement. Spells split into levels, like D&D, and characters have a limited number of casts per level that increases with their character level. Characters have set classes and, later in the game, may promote these to "prestige" classes.
  • Final Fantasy II — Turn-based combat, but progression is tied to an Elder Scrolls-like system whereby using something makes it improve. Whack things with a sword and your sword skill will increase. Take a lot of damage and your hit points will increase. Use a lot of magic and your magic points will increase. This system proved rather divisive at the time, and predated Bethesda's implementation of a very similar levelling system into its flagship Western RPG series by six years.
  • Final Fantasy III — Turn-based combat, with progression tied to a "Job" system where characters could switch classes almost at will, allowing players to dynamically build a party to fit the situation at hand.
  • Final Fantasy IV — The first appearance of "Active Time Battle", the almost-real-time-but-not-quite system which has been present in most of the subsequent titles. Progression and skill unlocks were static and unique for each character.
  • Final Fantasy V — The Job system returns in a much more well-implemented fashion. Players may develop Jobs at will, and may also equip certain skills that they have learned from another Job to build multi-purpose characters.
  • Final Fantasy VI — Each character has unique special abilities but everyone has the opportunity to learn the same spells by fighting with "Espers" equipped.
  • Final Fantasy VII — The Materia system allowed for deep customisation of characters with a slightly puzzly element — how best to fill the available slots in a character's weapon and armour?
  • Final Fantasy VIII — By drawing magic out of enemies and "junctioning" these spells to statistics, players could create powerhouses that made their character level practically irrelevant. A bizarre and abstract system that didn't quite work.
  • Final Fantasy IX — Characters learned skills from their equipment. Once they had learned the skill, they could use it any time, otherwise they had to keep the equipment in question in use to perform the action.
  • Final Fantasy X — A brief break from the Active Time Battle system brought a clever turn-based system where certain actions could rearrange the turn order. Also saw the first appearance of a non-traditional levelling system in the form of the "Sphere Grid"
  • Final Fantasy X-2 — A return to the Active Time Battle system and a variation on the Job system came with X-2's Dressphere setup, whereby each of the game's three playable characters could equip several Jobs and switch between them mid-battle.
  • Final Fantasy XI — The first MMO entry in the series had another variation on the Job system whereby a single character had levels in every Job, but could only have one active at a time, with a "Sub-Job" becoming available after some progression had been made and allowing characters to use skills from this second Job.
  • Final Fantasy XII — Taking the combat of XI and applying it to a single-player game allowed XII to have a real-time feel while still feeling strategic, as players were able to pause the game to issue commands to characters while battling without being sent to a separate screen. Progression was split between a traditional levelling system and the "License Grid", whereby characters had to purchase licenses to use specific pieces of equipment and abilities, then purchase the equipment and abilities separately.
  • Final Fantasy XIII — Active Time Battle on a separate combat screen returns, this time with players taking control of a single character in fights that focus more on carefully-timed Paradigm Shifts (effectively Job changes by another name) rather than using specific abilities. Had a distinctly unconventional levelling system whereby characters could gain levels and abilities from six different classes independently.
  • Final Fantasy XIII-2 — Similar to XIII, but with only two characters available. Players could catch various monsters to fill the third party slot. Characters could once again develop down the six different paths, though monsters had a fixed class which could also be developed. Unlike XIII, where you were stuck playing as the party leader, in XIII-2 you could switch between the two characters at will, and one of them getting knocked out did not mean failure.

As you can see, Final Fantasy is a series which has evolved significantly over the years, and yet many accuse Square Enix of letting it stagnate. Sure, they've arguably made a few missteps over the years — XII, XIII and XIII-2 have all proven somewhat divisive in particular (though I enjoyed all three of them) — but one thing that the Final Fantasy team really can't be accused of is sitting on their laurels and churning out the same old thing year after year. The same is true for many other JRPG developers. It's one of the richest, most creative genres out there.

So why has it fallen from grace? A combination of factors. With the increasingly-busy lives people lead today, a 100-hour game is no longer necessarily seen as a good thing. Budgets for high-definition games spiral out of control, making the production of an HD JRPG an impractical prospect for many studios, particularly when they can't necessarily count on huge sales numbers to recoup their expenditure. (This is perhaps why MonolithSoft and Mistwalker chose to release the gobsmackingly brilliant Xenoblade Chronicles and The Last Story on the Wii rather than the more popular/"hardcore" Xbox 360 and PS3.) And the eye of "the average gamer", whoever that might be, has drifted towards the West these days for the majority of their gaming fixes, rather than the East as once was.

There's still a rich back catalogue of excellent titles out there to explore in this deep genre, however — even more so if you learn Japanese. I'm making a point to go back and revisit some titles I missed the first time around at the moment — having recently played Shadow Hearts I'm now on to its excellent sequel, for example — and I'm having a great time. For the vast majority of these games, they're a reminder of a simpler time — no "Your friend is online!" notifications, no party chat invites, no DLC, no controversy over endings even when they sucked — and they're great.

So while the rest of the Internet yells and screams about each other about Mass Effect 3 (still!) I'm more than happy to immerse myself in a world of HP, MP, Attack, Magic, Item, Escape.

#oneaday Day 787: Shadow Hearts: A Scoreless Review

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Shadow Hearts for the PS2 is a game which seems to be almost universally adored by everyone who has played it. It's certainly a far cry from the reaction its PS1 predecessor Koudelka got, for sure, proving that yes, sometimes developers do learn from their mistakes.

Is it worth playing in 2012, though? That's one of the questions I set out to answer when I eschewed the latest and greatest in fancy-pants HD gaming and booted up Sacnoth's classic for the first time. I'd never played it before, so coming to it as a 2012 gamer would be my first experience — hopefully allowing me to determine whether or not it's still worth your time.

First impressions are striking, and not necessarily in a good way. We're in full-on old-school JRPG mode here, with polygonal characters wandering around on top of pixelated prerendered backdrops, occasionally stopping to perform a canned animation and generally not looking overly natural in their surroundings. Couple this with that much-maligned mainstay of Japanese roleplaying games, the random battle, and you have an experience which takes a little getting used to if you're accustomed to the ways in which the genre has grown, changed and adapted over the years.

Once you get your head into the mindset of how things work, though, all that culture shock quickly fades away. The characters may have somewhat wooden animations, but they're detailed 3D models with plenty of personality, and they provide the party you eventually assemble over the course of the game's 30 hours or so with a distinctive look. When combined with the good quality localisation job which has been done on the game's dialogue, the game's cast comes together as a loveable, memorable crew of misfits that is all the more notable for not relying on traditional JRPG archetypes.

The plot, too, is interesting and unconventional, blending real-world events from the early 20th Century with pure fantasy that occasionally drifts into Lovecraftian "it came from beyond the stars" territory, though with a slightly light-hearted edge on everything. It works well, and all the more so for the fact that it doesn't feel the need to necessarily spell things out for the player. You can tell that we're dealing with some sort of twisted alternate history here when we see how comfortable everyone is with the use of magic, for example — there are no exaggerated "Wow, you have amazing special powers!" scenes when new characters join the party, even when protagonist Yuri reveals the ace up his sleeve: his ability to transform into slobbering death monsters.

The characters' special abilities are what provides depth to the game's combat system. Characters tend not to be single-minded specialists, but often have a range of skills that unlock over the course of the game which can be applied to a variety of situations. Even leading lady Alice, who is set up pretty early on to be your stock "healer" character, has some entertaining tricks which she can perform — and she's not the only one with the ability to heal, either. Even some of Yuri's monster forms have the ability to heal, meaning the player can stick with a party arrangement that works for them — or that is simply made up of characters they find appealing. Given Yuri and Alice's importance to the overarching plot, however, most players will likely find themselves spending the majority of their time in the game with these two and one of the four other characters in the third slot.

Combat unfolds via a rather sedate turn-based system. There's no time bars here, just a simple behind-the-scenes initiative calculation determining who gets to go next. There are two twists on the traditional turn-based combat formula, however: sanity, and the Judgement Ring.

Sanity points gradually drain over the course of a fight, reflecting the mental strain battling horrific eldritch monsters has on the human psyche. Running out of sanity points causes the character to go Berserk, attacking enemy and ally indiscriminately accompanied by the word "Violently" curiously emblazoned in the air over their head. In a nice nod to characterisation through statistics, different characters have varying pools of sanity points according to their own mental faculties. Alice, for example, being a bit of a scaredy-cat girly-girl at times, has a very small pool of sanity points, while Yuri, who is wandering around with a variety of monsters living in his psyche, has a very large pool which he expends any time he turns into a monster — presumably a rather traumatic experience.

Meanwhile, the Judgement Ring is the mechanic which drives the whole game. Rather than simply hammering the Attack button to get through fights as quickly as possible, the Judgement Ring is a timing-based system that requires players to accurately tap the X button on their controller in time with a predefined pattern. Said pattern varies according to what the player is trying to do — using an item only requires one tap, for example, while the characters' later special abilities may require three or four carefully-timed taps in total. It's a simple means of making combat feel significantly more interactive than turn-based titles otherwise can, and it's also used outside of combat to resolve situations which would be handled by a dice-based "skill check" in a tabletop RPG — kicking down a door, negotiating for better prices in a shop, perfomring a task which requires endurance.

Whether or not you'll find Shadow Hearts to be a palatable play experience in 2012 will depend a lot on your patience. While the random encounter rate isn't overly high, you can expect exploration of the game's world to be frequently interrupted by battles with enemies — and, as is common for this breed of role-playing game, you'll see the same enemies and groups of enemies quite a lot over the course of a dungeon. Boss battles, meanwhile, are generally fairly lengthy experiences, partly to put a bit of pressure on the game's sanity system. Later conflicts can feel like they're dragging on a bit, particularly once you've managed to acquire some equipment for the party which allows them to shrug off things like status effects. The requirement to use the Judgement Ring with each ability use and attack helps keep things moving, but a few of the later bosses just go on a little bit too long to be comfortable or fun. The final boss is particularly prone to this, it has to be said, as it's something of a damage sponge. In a game where three-figure damage is considered a strong hit, taking down something with over 10,000 hit points is a task you'd better set aside plenty of time for.

Presentation has also moved on significantly since the game's original release back in 2001. Video sequences feature characters with that obvious sort of "rendered on the cheap" animation, and the voice acting is woefully inconsistent. Some English characters speak with an American accent, and others speak English at times and then yell something in Japanese in the middle of battle. The slightly rough edges do give the game a certain degree of charm, however, and the lengthy sequence where an old lady reads you a ghost story — complete with vocalised sound effects — is extremely memorable.

All in all, though, Shadow Hearts' charms considerably outweigh its idiosyncracies, and the game remains fun, entertaining and engrossing today. While it's not the most technically polished, high-budget JRPG — something which was apparent even back on its original release, especially when compared to Final Fantasy X, which came out the same year — it's certainly one of the most memorable. And, crucially, by clocking in at around 25-30 hours, beating the game is well within the reach of even people who like to go outside sometimes. In these days of everyone seemingly being increasingly busy, the importance of brevity shouldn't be underestimated.

So should you check it out in 2012 if you've never played it? Sure, but do be prepared for that initial culture shock as you adjust to the Way We Did Things over ten years ago. Times have changed, for sure.

#oneaday Day 783: Prepare for Moxibustion: Shadow Hearts First Impressions

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[I am not at all sorry for the above image.]

I recently acquired copies of Shadow Hearts and Shadow Hearts: Covenant for PlayStation 2. My good friend and podcasting buddy Mark has been extolling the virtues of this series (well, its first two entries anyway) for a considerable amount of time now, and given my current aversion to recently-released triple-A titles, I figured it was about time to give it a shot.

For those unfamiliar with this particular little gem, Shadow Hearts is a Japanese roleplaying game from 2001 developed by a company known as Sacnoth (later Nautilus) and published by Midway in Europe. It's the sequel to an unusual PlayStation 1 roleplaying game called Koudelka, which blended survival horror and tactical RPG elements to create a game that had a rather mixed reception upon its original release. Shadow Hearts, unlike its predecessor, is a much more traditional Japanese roleplaying game, with a great deal in common with the PS1-era Final Fantasy games. Players control a 3D character on a flat, prerendered backdrop and are thrown regularly into random battles against enemies which are otherwise invisible on the field.

Aside from these basic mechanical and technical similarities, however, Shadow Hearts is a very different beast to Square Enix's franchise, for a wide variety of reasons.

Mechanically, an innovative feature in the game was the "Judgement Ring" system, whereby any action which would be resolved in a tabletop roleplaying game by a throw of the dice is instead left up to the player's reflexes and sense of timing. The titular Ring appears on screen with markers placed on it to show where the player needs to press the button. An indicator sweeps round it, and the player must tap the button as the indicator passes through the various areas. There are variations on the theme, but this is used throughout the game whenever there is an element of chance — both in and out of combat. For example, the Judgement Ring is seen when attacking an enemy, attempting to cast a spell or use an item in combat (outside combat, magic and item use automatically succeeds, thankfully) or attempting to haggle for a better price in shops. It's a simple system that through its inclusion lends a much greater feeling of interactivity and involvement to a genre known for making the player sit back and tap the X button 300 times before getting to do anything. Its timing-based nature means that combat can't simply be resolved by strapping a rubber band to the X button and walking away — the player must learn the various characters' "rhythms" for their attacks and stay on their toes to tap the button appropriately.

It's not just in mechanics that Shadow Hearts differs somewhat from the norm, however. In a typical Japanese RPG, the party tends to be made up of a group of idealistic teenagers (with optional "old man" character who is actually simply in his late 20s), at least two of whom will be childhood friends; at least two of whom will fall in love with one another; at least one of whom will be a moody bastard who grows to understand human kindness and friendship by the end of the story; and at least one of whom will be a demure, shy girl while another will be a borderline-inappropriately sexy girl in a teeny-tiny skirt. This kind of ensemble works well, which is why we see it so often, particularly in popular franchises such as Final Fantasy.

Not so in Shadow Hearts. In Yuri, we have a moody protagonist, sure, but he's angsty because he can turn into monsters. Also he's half Russian, which explains why he hails from Japan but has a name which is commonly used to refer to lesbian-themed content in Japanese. (His name also means "lily" in Japanese, which might explain why he's so upset and surly. Although if we take "Yuri" to be the Russian half of his name, then that means "farmer", which is a bit more manly.) Then in Alice we have the shy, demure girl, but she's clad in what can only be described as an incredibly impractical outfit which precludes her from ever volunteering to bend over and pick anything up ever. She's also English. I've never met any English girls who dress like that. But then I wasn't alive in 1913, either.

Aside: not only does Shadow Hearts take place in the "real world" (albeit a real world with magic and demons and vampires and whatnot), it also takes place in recognisably "recent" (relatively) history, meaning we get a pleasing blend of low-tech fantasy-style stuff with the trenchcoats and Mauser pistols of the World War I-ish era.

But back to the cast. We also have a crotchety old Chinese oracle who calls people "son of a bitch" all the time and a friendly vampire called Keith (Keith?) who woke up from a 200 year slumber only to find himself bored stiff with nothing to do in his monster-infested castle. There may be more, but I haven't got that far yet. Already it's a memorable, bizarre cast, though the game nails the whole "suspension of disbelief" thing so well that it seems perfectly natural for this oddball group to be hanging out together while discussing the movements of the Japanese army.

Shadow Hearts is a slow burn that takes a while to get going. If you've been playing more recent Japanese roleplaying games that tend to be a bit pacier or have battle systems that veer a little closer to "action" (see: Final Fantasy XIII and its sequel, The Last Story and Xenoblade Chronicles to a certain extent) then there's a bit of an adjustment period to get back into random battles and completely turn-based combat. It's also a bit of a culture shock to go back to a game where the dialogue is pretty much all text — though this rekindles the once-common love for renaming your characters; a joy which the age of voice acting has rendered obsolete.

I'm guessing I'm about halfway through at the moment. Further thoughts to follow when I've beaten it.

#oneaday Day 781: Pink Pussp

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Poor old PSP. You've had a hard life. Unappreciated in your own lifetime, it seems that you're actually home to some truly brilliant games, particularly if your user happens to be a fan of JRPGs like I am.

I've owned two PSPs over the years. Both have been somewhat underused. My first had a dinky memory stick that was far too small to download anything on to, but then this was in the days long before PlayStation Network anyway, so it wasn't an issue. I recall spending many long hours playing Lumines and Untold Legend: Brotherhood of the Blade on it when it first came out, being rather impressed at the large, bright screen and then-impressive visuals for a handheld; being rather less impressed at the amount of "ghosting" which occurred whenever anything moved or scrolled and the dead pixel just to the right of the centre of the screen.

Then I put it down for a bit and didn't pick it up again for a long time, except for on one memorable occasion when I was guesting on an Internet radio show with my friends Mike and Simon and "someone" had loaded porn onto the memory stick in question in order to distract the person who was talking at the time. (It worked.) Besides that, I didn't take much time to explore the growing library of games out there — I played Loco Roco briefly, for example, and very much appreciated its charming aesthetic, but never quite thought it was worth the money to pick up a copy myself.

I got poor, and ended up selling the PSP and its games to help pay a gas bill or something. I regretted it a bit, but then figured that I really wasn't using it that much.

I got a Nintendo DS and found a bunch of games on there that I took to — Ace Attorney, Hotel Dusk and numerous others captured my attention so much that my DS was, for a brief period, my most-used games system. I didn't think about the PSP for quite a long time, until I went to visit my friends Mark and Lynette in Canada, and Mark was talking about the bizarre Atlus strategy game based on R-Type, and I found myself desiring a PSP once again. I took a trip to my Canadian friends' friendly local game store and scored myself a cheap PSP-3000 with a copy of Ratchet and Clank (which I, err, still haven't played) and 1 GB memory card.

All was well for a little while. I picked up a copy of Final Fantasy Tactics: The War of the Lions and played that for a while, and R-Type Command proved interesting, though I didn't finish either of them. (I had previously finished Final Fantasy Tactics on PS1, I should add at this point, back when the translation meant the plot made even less sense than it does now.) Eventually, it got set aside once again in favour of Big Exciting Things on Xbox 360, PS3 and iPhone, which was just starting to hit its stride with awesome games by this point.

I held onto it this time, though. And I'm glad I did, because I can't help feeling that the device is enjoying something of a renaissance thanks, as it happens, to its offspring, the recently-released PlayStation Vita. Vita's connectivity means that it's dead easy to get online and download games to play — something which Sony got terribly wrong with the rather disastrous performance of the PSP Go, but which they seem to have a better grasp on now. Even better, the Vita plays the vast majority of the PSP back catalogue, though lacking a UMD drive, it's unable to play games on physical media.

As such, the PSP library has been enjoying renewed scrutiny, and it's becoming abundantly clear to many people that the PSP, a system often passed over and at times even ridiculed, is home to some fine games. Just one such example that I've blogged about recently is Corpse Party, and I have several other titles lined up to play in the near future.

I was tempted to pick up a Vita, but there's not really anything on it right now that interests me enough to blow a few hundred quid on it. (When Phantasy Star Online 2 and Persona 4: The Golden come out, however, things will be very different.) So instead I bought a 32GB memory stick for my PSP. That 1GB stick I had was fine for save games, but wasn't big enough to contemplate downloading games from PSN to, so I'd never really investigated in great detail. I figured it was time I took a look, though, so that's what I've been doing.

I'm glad I did. I'm finally getting the chance to discover the roots of the Persona series, for example. P3 and 4 are probably my favourite games of all time, so to see where the series came from with the PSP remakes of the PS1 originals is interesting — it helps that they're still decent games, too, though from my relatively limited experience with Persona 1 so far, not a patch on their PS2 descendants.

Then there's all manner of other great titles just waiting for me, too. The portable versions of Disgaea, for example. Tactics Ogre. Trails in the Sky (aka "TitS", which makes me giggle childishly every time I remember). The PS1 Final Fantasy games in my pocket. Ridge Racer Type 4 (which is still awesome). And all manner of other stuff, too.

It's for this reason that I really don't feel like I'm missing out by not playing Mass Effect 3. Because there's a very deep library of unexplored classics just waiting for me to dive in, and I intend to do so with aplomb over the course of the next few months. Couple that with a pile of PC and PS2 titles that I'm finally going to get around to playing thanks to our "Pile of Shame" challenge, and my immediate gaming future looks both rosy and cheap. Which is nice.