2284: Nights of Azure: Encounter in the Abyss

I only have a couple of trophies left before I have the Platinum on Gust's action RPG Nights of Azure, and I'm coming away from the game very impressed. I wasn't quite sure what to make of it to begin with — though I adored its aesthetic and narrative — but once I got my head around its unconventional systems and subversions of standard RPG mechanics, I was well and truly enraptured.

The game has excellent combat. I was concerned that it would be a little hack-and-slashy when I first started playing, but as it progresses and you open up more and more systems and options for yourself, it becomes really interesting. In fact, oddly enough, one game that I'm constantly reminded of while I'm playing Nights of Azure is Final Fantasy XIV, of all things; while the two games may not appear to have much in common initially, one being an action RPG and one being a hotbar-and-cooldown-based MMO, I maintain that Nights of Azure is what Final Fantasy XIV would play like if it was a single-player action game.

Perhaps I should clarify that. Both are based on making good use of a gradually expanding roster of abilities that you unlock bit by bit as you progress through the game, rather than outright customisation (though Nights of Azure has considerably more customisation when it comes to equipment than FFXIV, with up to four items being equippable, each having both an effect on Arnice's stats and some sort of special effect). Both are based on a combination of open world adventuring (albeit in Nights of Azure's case, said "world" being just one town) and linear dungeons with boss encounters. And in both cases, said boss encounters are based heavily on learning the boss' attacks, how to avoid them, making sure you don't stand in area of effect markers, and recognising when it's safe to attack.

This latter aspect is particularly apparent in the later hours of the game and especially the "epilogue" chapter after you beat the final boss for the first time. The "epilogue" is actually a retread of the last chapter with some additional content and the ability to raise Arnice to the level cap of 11 rather than the previous 10; she also gains the ability to transform into Nightmare form as well as her previous Demon, Moon Rabbit, Phantom and Armour forms. More importantly, totally completing this final chapter unlocks the "true" ending, which I haven't seen yet, since I'm cleaning up the last few trophies first.

Throughout the game, there are a number of boss battles. These are all very good and have a nice amount of variety between them, but for me, the absolute highlight of the game's battles has been the optional "Abyss" battle in the Arena. The Arena is initially designed as a place to practice the various techniques you'll need to use in the game, ranging from chaining long combos to defeating enemies using only your summoned Servans. "Abyss", meanwhile, is the culmination of everything you've learned, in theory, pitting you against the toughest individual foe in the game over the course of several phases; a fight that rivals some of Final Fantasy XIV's raid bosses in its complexity.

Let me explain how I beat the fight and you'll see.

Your opponent is a demon girl fiend — Yfritte, I believe, though don't quote me on that. She's a level 11 opponent — enemies in the game go up to level 15, and your Servans can level this high with an appropriate ability, though Arnice herself can only level to 11. Unlike similar-looking enemies you might have encountered elsewhere in the game, Yfritte (as we'll call her, even if she isn't) has about a bazillion HP and, it becomes clear immediately after engaging her, isn't going to go down without one hell of a fight.

You start across the Arena from Yfritte with no Servans summoned. I summoned all my Servans immediately — my main party consisting of Alraune (healer), Plumie (ranged damage dealer), Toy Trooper (group of damage dealers) and Toy Sentinel (single damage dealer, hits lots of times) — and straight away set off Toy Trooper and Toy Sentinel's Burst attacks to deal some initial damage to Yfritte.

Using Arnice's Blood Sword, I alternated between using the Special attack, which knocks Yfritte down for a couple of seconds, and the Weak attack, which, with the Vlad's Crest item I had equipped, restored Arnice's SP quickly enough to perform Special attacks almost indefinitely, effectively stun-locking Yfritte. This process repeats until about 80% of her HP, at which point she summons two Manticores.

The Manticores can Paralyse you and your Servans, so it's a good idea to have status-repelling abilities or equipment on at least Arnice and your healer. They also have a nasty multi-hit fire breath attack, so staying behind or to the side of them is a good idea. Continue alternating Weak and Special attacks to repeatedly knock them down until Arnice's Transformation bar fills, at which point the combination of Servans I had equipped allowed me to transform into the speedy Moon Rabbit form.

Moon Rabbit's Special attack needs 100SP, but it's a huge area-effect attack that hits lots of times — and, with Vlad's Crest equipped, this means that 100SP is regenerated almost immediately if you hit more than one target with it. It also inflicts Bleed for some damage over time, so it's good for upping your average damage per second. I repeatedly triggered Moon Rabbit's Special Attack, taking care to catch Yfritte and the two Manticores in the AoE, until the transformation ran out, by which point the Manticores were dead and Yfritte had a chunk of life missing.

There now follows a short phase where Yfritte is by herself. She flings missiles at you from a distance, some of which home in on you, and sets off close-range area effect abilities when you're up close, some of which are powerful enough to one-shot Arnice. Distract her with your Servans — use Alraune's Mega Heal to top up their HP if necessary — and return to the Weak-Special combo to keep her off-balance.

After a while, she'll summon a huge number of level 1 Shadows. Move away from Yfritte and hack and slash through the Shadows to build up both SP and the Transformation bar. It's potentially worth unsummoning your Servans at this point, as the Shadows don't hit hard and if you keep clear of Yfritte (and avoid her missiles) you won't take a lot of damage. Plus when you re-summon the Servans, they'll have full SP again, although their HP will be where you left it, so be ready to heal if necessary.

I had a second deck of Servans set up to transform Arnice into Nightmare form, so I took the opportunity to use this powerful transformation once the bar was full. Nightmare form has a wide arc ranged attack that hits multiple times as its default weak attack, so spamming this and avoiding Yfritte's missiles does a significant amount of damage in a short space of time. Once I was safely in Nightmare form, I switched back to my initial deck, summoned Alraune for healing purposes just in case a shot got through, and prepared for the next phase.

The next phase comes when Yfritte summons a huge blue area of effect marker on the ground. This inflicts poison and is also slippery ice, so having status resist abilities or equipment is a good idea, particularly on Alraune. The Mermaid's Tear item completely nullifies any area-effect abilities, so this effectively allows Alraune to shrug it off and continue healing you. Don't summon any other Servans until the AoE disappears, since they're dumb enough to blindly charge straight into it, get poisoned and die straight away. Once it goes away, however, go nuts; return to the Weak-Special combo to knock Yfritte off balance until the next phase starts.

Next up, Yfritte summons a doll who chucks toys at you, which can be easily avoided, and a spirit-type who we'll affectionately refer to as the "bullet hell fairy". Kill the doll first, since it's not got many HP and will go down quickly. The bullet hell fairy is a little more troublesome, since she repeatedly summons large groups of bullets which then explode for significant damage. You can see where they're going to appear and get out of the way of them; use the Follow command on Servans to get them out of harm's way. They're always in the same formation: one at "twelve o'clock", then two more at "eight" and "four". Take care to continue dodging Yfritte's bullets and close-range AoEs while you deal with the fairy.

By now we're getting close to the end, but there's still a couple of phases to go. Yfritte will do another big AoE — red this time — so deal with it the same way: unsummon everything except an immune Alraune and perhaps pelt Yfritte from afar with the Blitz Shooter if she refuses to come out of her little safe space. When the AoE disappears, you're on the home straight.

Yfritte will summon some Shadows again — level 7 this time, so they don't go down so easily. Re-summon your Servans and get them to hack and slash their way through the hordes, though keep an eye on where Yfritte is so you don't get caught out by a one-shot AoE at this late stage in the fight. Build up SP with Weak attacks and clear an area with a Special from the Blood Sword, preferably catching Yfritte on the outside of it so you can knock her down for a bit of damage. Repeat until you charge up another transformation; it's a good idea to pick Moon Rabbit for this one for the large Special AoE, though Nightmare works too, since its ranged attack covers a wide area. Basically you want to rip through as many Shadows as possible while still hitting Yfritte in order to keep your SP topped up.

Towards the end of the fight, Yfritte will summon a Stone Hellion — the same really annoying ones that were in earlier Arena battles, equipped entirely with nothing but one-shot abilities with huge AoEs. Fortunately this one goes down a little easier than the boss-class ones in earlier battles, so catch him in a Moon Rabbit Special if you can while continuing to hit Yfritte. Take care to avoid all his big AoEs — Moon Rabbit's speed is really helpful here — and continue pelting Yfritte with everything you've got while making sure to stay clear of her bullets and AoEs as well as ensuring you don't get overwhelmed by shadows… and eventually, hopefully, you will prevail with time to spare.

2283: Emergency, Emergency, Incoming Enemy Fighters

Star Fox Zero is out this week. This game has kind of snuck up on me, but I'm very excited to give it a go, because I love Star Fox.

Or, well, I love the original Star Fox/Starwing and the N64 sequel/remake/reboot/whatever it was Star Fox 64/Lylat Wars — I must confess, I never played the more recent games on the Gamecube and DS, partly because they weren't particularly well received and partly because they didn't quite sound like what I wanted from a Star Fox game, which is to say, a solid rail shooter in '90s arcade style.

I vividly remember playing the original Star Fox (in Japanese) for the first time. Having been playing computer games on the Atari ST, I was already used to what was supposedly Star Fox's biggest innovation: polygonal 3D graphics. And, in fact, in many regards, the polygonal graphics found in Atari ST games were often more complex and impressive than those found in Star Fox, though there were a few fancy tricks that Nintendo's game used sparingly that absolutely couldn't have been done on the ST, most notably some occasional texture mapping and the combination of hardware-scaled sprites with the polygonal ships and structures.

The fact that I wasn't as immediately gobsmacked by Star Fox's graphics as I felt like I was supposed to be didn't matter, though, because everything else about that game made up for its relatively simplistic polygons. The spinning, digitised speech-accompanied launch sequence that reminded me of an arcade game; the incredible music; the G-LOC-style zooming in and out of the cockpit in the spaceflight sections — all of these things combined to give me an experience on a home console that, while I recognised wasn't quite up to the standard of arcade games — most notably in terms of frame rate, resolution and screen size — certainly came damn close, reminding me in particular of Namco's Starblade, particularly in the first-person spaceflight sections.

Lylat Wars was interesting because there were a lot of things it did better than its predecessor, and some things it did worse. Most notably, the graphics were considerably better, with the game being probably one of the most visually impressive games on the N64, and the music was fairly atrocious, making use of Nintendo's dreadful MIDI synth chip that it used throughout most of the N64 era, which somehow managed to sound worse than the wonderful wavetable synthesis music of the previous generation's SNES. Thanks to its inclusion of digitised speech throughout instead of nonsensical babbling, Lylat Wars was also the birthplace of what was arguably one of the first ever gaming memes in the form of "Do a barrel roll!" — though my friends and I always preferred "You've gotta use the boost to get through!" for some reason.

I'm looking forward to trying out Star Fox Zero for myself, an am unperturbed by question marks over its strange-sounding control scheme; Splatoon's control scheme sounds strange on paper, and that certainly works extremely well, so I'm open to being convinced. I'm also reassured that Arthur Gies of Polygon hates it, because Arthur Gies of Polygon hates anything fun.

Game assures me that my copy has been shipped so if I'm lucky it might even arrive a day early tomorrow… if not, expect some first impressions on Friday.

All ships check in!!

2279: Matchmaking: A Great Way to Waste Time

I downloaded the Doom beta on PS4 earlier out of curiosity. I hadn't heard particularly positive things about it — though admittedly, this was mostly from disgruntled PC players who were whining about the lack of mod support and how it was "obviously built for consoles" — but as someone who actually used to really like Doom, I was interested to take a look.

I booted up Doom, fiddled around in the options a bit, took note of the entertaining options to weather, dirty up and scuff your armour in character customisation — not to mention painting it lurid shades of pink and purple — and then jumped into the multiplayer playlist.

Then, I waited.

And waited some more.

And then a bit more.

Well, okay, this perhaps makes it sound a bit longer than it actually was: it was probably less than five minutes in total, all told. But that was five minutes utterly wasted in which I wasn't doing anything apart from staring at the screen and perhaps rotating my character model a bit.

My mind was cast back to a comment someone I follow on Twitter made a while back, whose sentiment was along the lines of "rather than wasting your time with endless, pointless matchmaking games, throw yourself into enjoying games with stories; games with clear beginnings, middles and ends". At the time, I thought it a slightly extreme viewpoint, since I have enjoyed multiplayer matchmaking games in the past, but on reflection, he was absolutely right: for me, right now, matchmaking multiplayer games are a total waste of time and energy for what I find to be a subpar, unsatisfying experience compared to something that is either a bit more structured or something that has immediacy.

Doom isn't the only game where I've encountered the tedium of waiting for matchmaking queues. Playing a damage-dealing class on Final Fantasy XIV often leads to long queues for dungeons — although at least in that game, you can do other stuff in the open world while queueing, though there are a few limitations on your activities to prevent your queue popping and you being unavailable. Grand Theft Auto Online is particularly unpleasant to try and find a matchmaking session in, since it's riddled with people who pop into a lobby, then quit out again after five seconds if it's not already full. And I'm sure there are plenty of other examples, too.

So, I think I've had enough. I've felt a slight temptation to check out things like Doom and even the more recent Call of Duty games in the recent past, but on reflection, I feel they'll only frustrate me: time spent "waiting for players…" is time not spent enjoying a story in a single-player game, or trying to beat a high score in an arcade game, or chasing trophies in a game I've reached the post-game for.

This isn't to say I'm not going to play multiplayer at all, mind you: TrackMania Turbo has an excellent multiplayer where you can just jump in and out of player-made rooms at will, with no waiting around for there to be "enough" people to play. And I have a lot of fun playing Grand Theft Auto Online with my local friends. Those represent two different ways of having a fun online experience without getting matchmaking systems involved.

Strangers who are beyond that great wall of matchmaking, then? Fuck 'em; I've got better things to do than wait for them to show up to my party.

2278: Difficulty Switch A and B

Spending a bit more time with Atari Vault over the last few days makes me appreciate one of the most interesting things about the 2600 — and something that, to my knowledge, hasn't really been done on any other console since: its use of difficulty switches and game selectors.

It wasn't unusual to see 2600 cartridges promising "9 video games" or similar on their front covers; by modern definitions, this wasn't entirely accurate, as each cartridge did indeed contain just one game, but tended to have multiple variations available to play. In some cases, these variations were minor — difficulty modes, essentially — but in others, they changed the gameplay fairly drastically. And along with these selectable games, the 2600 also afforded both players the opportunity to select their difficulty independently of one another.

Handicap systems are still found in modern multiplayer games in various ways, the most common of which being racing games' tendency to give the pack's back markers a slight speed boost to allow them to catch up a bit. But on the 2600, this was a revolutionary feature: by setting difficulty levels independently for each player, it became possible for experienced players to play "fairly" with newcomers, youngsters or those who simply didn't have quite the same dexterity and/or ability to handle those horrible Atari joysticks.

The ways that the difficulty switches were implemented varied from game to game. In the case of Air-Sea Battle, for example, the difficulty switches allowed players to set the size of their bullets independently — less experienced players could have larger bullets, making it easier to hit the targets. In Combat, the difficulty switches adjusted the speed of the player's bullets — more experienced players could choose to have slower shots, making it easier for their opponent to dodge. (Of course, you could then tweak the difficulty further by playing one of the variants where you could "bend" your shots around corners by steering after firing.)

It's a really interesting idea, and one of the coolest things about the 2600. I knew about the existence of these switches before — I've played some 2600 games before — but it hasn't been until I've actually started investigating some of these games in detail that I've really appreciated the surprising amount of interest and flexibility that they bring to these rough-looking but surprisingly fun old games.

Plus another nice feature of 2600 games I've discovered is that they're straightforward and easy to learn enough that my wife and I can play together without me having to spend hours explaining how to do things, or for us to play with an enormous skill imbalance thanks to the fact I have more experience than her. Thanks to the 2600's switches, we can tweak the experience to one that we both find challenging, but fair — and, it has to be said, the 2600 had some enormously fun two-player games that, while simple, can get very, very competitive very quickly!

2277: That Girl's in Lesbians with That Other Girl

Playing through Gust's latest game Nights of Azure, I was struck with how… explicit the romantic relationship between the two heroines is. I don't mean sexually explicit; I mean that the fact that the two of them even have a romantic relationship is acknowledged at all.

Yuri (lesbian) themes are frequently a part of Japanese popular media — an interesting fact to toss back at those who are keen to paint the nation as being somewhat less than progressive when it comes to attitudes towards gay people. Indeed, while "real world" Japanese society in general may not appear to look on homosexuality with as tolerant an eye as we like to think we have here in the West, it's clear that there's plenty of the old "public face, private face" going on, since there are a ton of creators who are obviously fascinated with the idea of same-sex relationships — both male-on-male and female-on-female.

The thing that struck me about Nights of Azure's depiction of its central relationship is the fact that, as I noted above, it's pretty up-front about it. This is noteworthy because although yuri themes often make an appearance in Japanese popular media, they're often more implied than explicit, with it often being left up to the audience (and fan artists) to explore these relationships further.

Take something like popular anime Love Live. Even the most casual viewer will notice the blossoming relationship between Maki and Nico by the end of the run, but the show never particularly draws attention to it; it's just sort of there. Likewise, the Senran Kagura series features a number of obviously romantic relationships between many of its all-female cast members, but it's rare for these to be acknowledged or not "laughed off" by the characters — though, interestingly, latest installment Estival Versus did feature a scene where one character specifically called out Asuka and Homura for being so obviously gay for each other, even if they'd never properly admit it. And the Neptunia series is riddled with yuri undertones, ranging from Nepgear and Uni's heartwarming relationship to Noire's obvious but perpetually unspoken interest in Neptune — and, in most recent installment Megadimension Neptunia V-II, K-Sha's obsession with Noire, though this particular instance was an explicit admission of lady-love.

Nights of Azure, though… it's right there from the beginning, and it develops over the course of the game. Several other characters comment on it. And, most tellingly, there are outright romantic scenes between protagonist Arnice and other leading lady Lilysse. The two share moments of intimacy with one another that, on reflection, are actually quite unusual to see so explicitly depicted in games: in one scene, Arnice comforts an upset Lilysse by draping her arms around her neck from behind and holding her close; in another, the two dance together, their devotion to one another immediately apparent from the way they look at each other. And after a particularly heartfelt make-up session after a dispute between the two, we see them waking up in bed together, having obviously slept facing one another holding hands. (There's no yuri sexytime, though; it's not that kind of game.)

As with other Japanese games that feature yuri themes, Nights of Azure treats its central relationship with the appropriate amount of respect: that is to say, it's just there, and no-one thinks it's anything unusual. A couple of male characters are introduced by hitting on Arnice, but once they see she and Lilysse are obviously involved with one another, they back off — not with an "oh, wow, you're gay" sentiment, but with a simple recognition of "oh, well, you're together" that would have been the same if either of the two ladies involved were the opposite gender.

This is the sort of progressiveness and diversity that is a very positive part of the modern games industry — however, sadly, given Nights of Azure's status as a niche title that a significant number of people probably haven't even heard of, it's a game that you likely won't hear many games writers from big sites talking about.

Consider this my small attempt to acknowledge and celebrate the good that this game is doing, then, and rest assured that Nights of Azure is very much worth your time as an action RPG as well as an interactive lesbian experience.

2276: Video Computer System

As I wrote in a few posts recently, I've been checking out the new Atari Vault compilation on Steam. Rather than talking about a specific game today, I wanted to talk a little bit about the value of the compilation as a whole, and why I'm enjoying exploring it.

Atari Vault is a compilation of somewhere in the region of 100 Atari games from the '80s. The bulk of the compilation consists of VCS 2600 games, but there are some arcade games in there too, including the likes of Crystal Castles, Missile Command, Major Havoc and Liberator.

I've owned a number of previous similar compilations in the past, and have typically gravitated towards the arcade games, since they seem more "palatable" from a modern perspective than the extremely primitive-looking 2600 games. I recall growing up with the Atari 8-bit home computers, and in comparison to those, 2600 games looked primitive even back at that time when it was relatively current, and as such, I've always found them a little offputting. I've made a specific effort to explore them a bit more this time around, though, and I've been pleased to discover some really interesting games.

Take Haunted House, for example. This is a fairly straightforward top-down "find all the things" game with an intriguing twist: you're in the dark. With your character represented as nothing more than a pair of eyes, you navigate around by either bumping into walls or lighting matches to illuminate the area immediately around you. A single game of Haunted House requires that you find all the pieces of a… thing… an urn? And you have to do so while using as few matches as possible and losing as few lives as possible, for this being a haunted house, it has a number of unpleasant beasties lurking around just waiting to nibble on you.

Or take Save Mary, a prototype game that never saw commercial release, but which presented an interesting twist on vaguely Tetris-ish block puzzles. The eponymous Mary is trapped at the bottom of a pit which is slowly filling with water. You control a crane and have to drop blocks into the well for Mary to climb up. You need to get her high enough to be able to grab her with the crane and save her. Once you've done this, you have to do it again, only with significantly more awkward-shaped blocks. The peculiar variation on the typical block puzzle formula is the fact that Mary has a mind of her own (albeit a predictable one) and you have to be careful not to squish her with the blocks you drop as she wanders back and forth trying to get to high ground.

Or how about Atari Video Cube, a really simple but surprisingly compelling puzzle game loosely based on Rubik's Cube? Controlling a weird little man (who has a name and a backstory and everything, though I can't remember it offhand), it's your job to pick up coloured squares from each of the 3×3 faces of the cube and lay them down so that each side is a solid colour. To make this more difficult, to pick up a coloured tile, you have to swap it with the one you're holding, and to make it even more difficult, you can't walk through tiles that are the same colour as the tile you're holding, even if they're on a different face of the cube.

The 2600 back catalogue appears to be filled with these sorts of interesting little games that we'd probably find laughable if released as full-scale, full-price commercial releases today, but as part of this compilation, they provide a surprising amount of entertainment value — and, in some cases, represent types of games that are very much deserving of a modern remake.

My only issue with them from a modern viewpoint is the fact that 2600 games tend to end rather abruptly, regardless of whether you "win" or "lose", and this can sometimes make victories over a particularly difficult level feel a bit less than satisfying. Still, this was from an age where gaming was quite a social pursuit — many of the 2600 games are very much designed to be played together with a partner — and so, I feel, a key part of the fun back then must have been making your own fun with the games to a certain extent; similar to how a tabletop game doesn't automatically set off fireworks as soon as you win, neither does a 2600 game. The celebrations and victory rewards are entirely up to you; I recommend betting each other a slice of pizza or a big lump of cake on a game of Combat and see how much you like each other by the end of the evening!

2275: A Need for Progression

Playing some Dungeon Travelers 2 this evening, I found myself pondering exactly why I have, so far, spent 130 hours on this game — the longest I've ever spent on a single-player RPG, I believe — while a short time back, I decided that I really needed to take a break from Final Fantasy XIV, which was previously something of a life and free time-devourer.

On reflection, it comes down to a need for progression; more specifically, a need for a near-constant feeling of progression.

Herein lies the main reason I've set Final Fantasy XIV aside for the time being, and it's by no means an issue exclusive to that game, either — it's a genre-wide thing with all MMOs. And that issue is that once you reach "endgame" level — i.e. you hit the level cap, and progression becomes about acquiring better gear and taking on tougher challenges rather than earning experience points and levelling up — progression stops being constant and instead comes in fits and starts, in extreme cases, with instances of actually improving coming weeks apart from one another.

To put this in some sort of context for those who are unfamiliar with MMO endgames: you have several means of acquiring new gear at the level cap in Final Fantasy XIV. You can loot it from dungeons, which is based on random drops. You can acquire it from the raid dungeon Alexander, but this requires strategically acquiring items from its various floors, because you are limited in what you can acquire each week and different bits of gear require different numbers of items. You can acquire it using Tomestones of Esoterics, which have no limit on how many you can acquire per week. You can acquire it using Tomestones of Lore, of which you're limited to collecting 450 per week. You can take on the lengthy Anima Weapon quest. Or you can acquire it by running the top-tier challenging stuff such as the latest Extreme primal fights or Alexander on Savage difficulty.

Part of the issue here, I guess, is that everyone generally wants to go for the biggest upgrade possible at any given time, and it's these bigger upgrades that you're somehow limited in, meaning progress is artificially constrained. In order to earn a piece of body armour using Tomestones of Lore, for example, which is among the best equipment in the game right now, you need at least two weeks to earn the 825 or so Tomestones required, since you're capped at 450. In that intervening period, all you're doing is grinding for no discernible gain: the actual gain comes only when you've finished the process and you get your shiny new armour. (And then moan about it not having the stats you want, probably.)

Now, this sort of design is a key part of how MMOs generally keep people engaged over a long period — if everyone could get the best possible gear immediately, they'd complain about having "not enough content" more than they do already (which is a lot), and that is obviously undesirable for the development team, who are put under pressure to put out more content more quickly, which inevitably leads to quality suffering. Instead, these moments of progression are significant, but time-consuming: they have a noticeable impact on your character's abilities, but only after a long period of doing the same things over and over again until you've earned enough whatevers to get your doohickey.

That sort of treadmill progression had started to become a little less enjoyable to me than it had been, particularly as the current endgame of Final Fantasy XIV now has a number of different grindathons required to get the best possible gear. And so I put it down for now and instead focused on Dungeon Travelers 2's postgame (actually bigger than the main game) which is also a grindfest, but which is considerably more appealing to me right now for that feeling of constant rather than sporadic progression.

Progression in Dungeon Travelers 2 comes in several forms. The most obvious is in the earning of experience points and levelling up: finishing the main story will get you to about level 50, but the postgame will take you to the cap of 99 by its conclusion. This means that rather than hitting a level cap early and progression slowing by very nature of one of its sources being cut off, there's the constant satisfaction of earning experience points right up until the end of the game. And if you're still hungry for more, a "Level Reset" system allows you to discard those hard-earned levels in favour of some bonuses to the character's base stats if they had reached a high enough level, meaning you can level them up all over again and they'll be marginally better.

That's not the only means of progression, though. Gear is another important aspect of progression in Dungeon Travelers 2, much like other dungeon crawlers. The gear system is very interesting, in fact, since it's based around just a few base items, and then built upon with an enchantment system. What happens is you have a piece of base gear (say, a piece of leather armour) which has a bonus value attached to it (say, +5). The bonus indicates how much better than its base incarnation it is, and the value can keep going up and up and up. In order to make it go up, you have to enchant your gear using the Sealbooks you acquire by defeating sets of 9 of each monster in the game. Each of these Sealbooks has a level, and when you use it to enchant a piece of gear, two things happen: the bonus goes up by the tens value of the Sealbook's level (up to a maximum of 5 for books of level 50 and above) and one or more of the Sealbook's special effects (ranging from bonuses to stats to special effects such as regenerating health and TP each turn) is attached to the piece of gear.

Here's an example. I have a set of Leather Armour+40. I run across the wandering blacksmith in a dungeon, who allows you to enchant your gear. I use a level 50 Sealbook to enchant the armour, which increases its bonus to +45 and attaches a DEF Up and Elemental Resistance Up effect to it, making it considerably more defensive than before. Then I use another level 50 Sealbook of the same type to boost it to +50 and keep the same enchantments. Then I use a different Sealbook of a level higher than 50 (to increase the bonus, the Sealbook must be of a higher level than the bonus' current value) to boost it to +55 and add a Max HP Up effect to my existing DEF Up and Elemental Resistance Up effect, since equipment over +50 can have three, not two, effects attached to it. By this point, I've run out of money for the moment, so I take my leave of the bear blacksmith (yes, really) and proceed on my way, secure in the knowledge that I could upgrade that armour twice more before it becomes "capped" and I'd have to start looking for a stronger base item to progress further gear-wise.

These two systems intertwine so that you're always making one form of progress or the other. Levelling is quite slow in Dungeon Travelers 2 compared to more conventional JRPGs, but it has a noticeable impact, particularly on your characters' maximum HP. In the meantime, you can partly plug the gap for an underleveled character by giving them gear with huge bonuses — there's no level restrictions on equipping items — but you'll need to level them to ensure their survival and their usefulness in most cases.

But that's not all, either. The third means of progression in Dungeon Travelers 2 is simply getting further through the dungeons. Every expedition, you'll manage to get a bit further, perhaps even unlocking a shortcut allowing you to get to the new stuff more quickly next time you head in. Perhaps you'll beat a boss. Perhaps you'll find a nice piece of treasure. Perhaps you'll run into an area that has different enemies to the start of the dungeon. Point is, there's always something to discover, and while you're still wandering around grid-based mazes, swearing at one-way doors and teleporters and fighting battle after battle, at no point are you doing exactly the same thing over and over. You're not running the same dungeon time after time; you're discovering new parts of these sprawling mazes. You're not fighting the same bosses; you're taking on progressively more difficult challenges. And yes, you are grinding, but you're not doing so on a treadmill: you're always moving forwards.

This, I've come to the conclusion, is important to me, and it's why I'm not feeling the MMO thing right now. It's also why I've repeatedly bounced off the Souls series, despite trying to like them several times: those games are so heavily based on learning through repetition that I quickly get frustrated with the lack of forward momentum and tend to put them down after being smacked off a cliff by an armoured douchebag with a hammer for the umpteenth time, only to get smacked off a different cliff by a different armoured douchebag with a hammer on the way to reclaim my hard-earned souls and effectively undo the potential for progression I had before the unfortunate incident.

Nah. Give me a constant feeling of moving forward; that's what I really crave from my RPGs these days. And Dungeon Travelers 2 is very much scratching that particular itch right now.

2274: Holding Back the Night(s) of Azure

The more I play Nights of Azure, Gust's latest game, the more I like it.

It's a slow burn, though, I must admit; although the setup and premise is intriguing, mechanically it feels a little obtuse to begin with — or perhaps I'm just overthinking it and trying to play it like a conventional grind-heavy RPG, which it emphatically isn't.

There are a whole bunch of unconventional aspects to the game, most notably its progression system. The level cap is just 11, for one thing, and unusually, the protagonist's level progression isn't a case of grinding for experience; rather, you collect "Blood" from fallen enemies, and then make use of this in increasingly large quantities to gain a level. Levelling up increases your base stats, unlocks new skills to purchase using the four different types of skill points, and sometimes gives you access to new weapons or abilities.

However, there's a more noteworthy aspect to levelling up, which is that it gives you access to a story scene between the protagonist Arnice and the "Maiden of Jorth", a mysterious young woman who looks awfully like Arnice's ladyfriend Lilysse and hangs out in a dream world. During these scenes, you generally have the option to either find out a bit more about the background lore of the world or a bit more about the relationship between Arnice and Lilysse.

It's interesting to see level progression and narrative progression intertwined so closely, as this isn't something that happens very often. In fact, outside of level-locked quests in MMOs, the last time I remember it happening in a single-player RPG is The Granstream Saga on PlayStation 1, though this came at it from the other angle in that you levelled up at predefined moments in the story rather than levelling up triggering story scenes.

There's a more conventional levelling system in there too in the form of the "Servans" system that forms the main basis for the battle mechanics. During the game's action sequences, Arnice can take one or more "decks" of Servans with her, and summon them in exchange for her SP. She can have up to four Servans out at once, and each of them have a combination of passive, automatically activated and manually activated "Burst" abilities. They all act independently of Arnice; while you can give them some rudimentary orders such as "Follow me" and "Attack my target", they mostly do their own thing according to their personality — some loyally attack your target without question; others hang back and attack if they feel like it; others still don't like fighting at all and would rather dig up items for you.

There was the potential for the lack of direct control of the Servans to be enormously frustrating, but it seems to work pretty well. Arnice isn't an especially strong combatant by herself, but wading into the melee yourself generally sends a clear message to your Servans as to which enemies you want to focus on. And the more you use them, the more they level up; after an action scene, they gain experience points in a more "normal RPG" style, levelling up and unlocking abilities of their own.

Each of the Servans seems to have a very different use; I have what feels like a good party right now, but I'm sure it won't be ideal for every situation. Of particular note in this system is the fact that each Servan has a coloured affinity, and the combination of affinities in your deck (or, rather, which affinity has a clear majority) determines what weird and wonderful demonic form Arnice can transform into after charging up through battle. These demon forms are enormously powerful in various ways — some hit hard, some are very fast, some can take a beating. They're particularly useful when it comes to the bosses in the game, which are interesting, challenging battles that demand successful juggling of Arnice's attacks, your Servans' attacks, positioning and well-timed transformations.

I don't feel I quite have my head around all the mechanics in Nights of Azure just yet, but I'm enjoying it a lot. The story and characters are compelling, and the game doesn't waste a lot of time with endless dialogue sequences; it's pretty pacy, moving from one episode to the next in short order, and the action sequences are cut into short, 5-15 minute chunks, making it an easy game to dip into.

There's a whole bunch of interesting stuff going on in this game, in other words, and I feel it's probably a strong contender to spend a month on over at MoeGamer in the near future. So I think I'd probably better start taking notes!

2270: HunieCam Studio: A Few Tips

Have you been playing HunieCam Studio? If not, you should; it's great.

If you have, you've probably discovered that it's quite challenging, at least for your first few playthroughs. Here, then, are a few tips that I've figured out in my first three playthroughs, the last of which resulted in a lovely gold dick trophy.

The first few days on the job

While your overall goal in HunieCam Studio is to have as many fans as possible by the end of the 21st day, don't sweat fans at all to begin with, since you only have one girl and you need money.

It doesn't really matter which of the three starter girls you pick, since they all have identical stats and none of them are addicted to drink or cigarettes. Choose whoever you like the most, though take note of the fetishes they cater to, as these will be more important later in the game.

Immediately send your starter girl to do a few cam shows one after the other. This will give you enough money to spend on a few upgrades. You'll want to prioritise both the staffing upgrade that increases the number of girls you can hire, and the inventory upgrade that allows girls to carry accessories.

Once you've upgraded your staffing, send your girl to the model agency to find some hot new talent. Pick someone who won't break the bank with her hourly rate, because you don't have a lot of income yet. Once you've got your second girl up and running, you can start branching out a bit.

Getting into the rhythm

Now you can start building your fanbase a bit. Remember that when a girl does a photoshoot, she gains fans of some or all of the fetishes she caters to, so it's actually quite helpful to hire girls with overlapping fetishes. You can force overlaps with the accessories that unlock new fetishes, too; if every girl has a butt plug, for example, they'll all earn fans of Anal when they do a photoshoot, which will give you a fanbase that will apply to all of them when they do a cam show — which means more money.

Consider upgrading one of your girls' abilities with the strip club and the shopping mall, but keep a steady flow of income coming in; remember that you have to pay your girls by midnight every day, and if you get into debt and don't get back out again by midnight of the next day, the game is over! Don't over-upgrade, either, since your money will still be fairly limited until you have more girls with better skills.

Thrusting forwards

From your third girl onwards, don't be afraid to hire a drinker or a smoker, though perhaps steer clear of those who are heavily addicted. Drinkers and/or smokers build up stress more slowly so long as they have a supply of their particular vice(s), so they can perform more actions before you need to send them to the Day Spa to recover.

Once you do hire a drinker and/or a smoker, be sure to either use one of your unupgraded starter girls — or, if you've upgraded them both, a new hire with skills at the base level to save costs — to become your errand girl, doing nothing but running to the shops to get drink and cigarettes. You can make her considerably more efficient by acquiring a Shopping Basket from the Adult Shop, which doubles the yield of both shops, and you can make her even more efficient by dosing her up with coke each day, which makes her complete her activities at double speed. If you find yourself with a considerable surplus of drink and cigarettes, use the opportunity to send her to the Adult Shop whenever you can, as accessories are always useful. Grab condoms and antibiotics when you see them, as these are handy during financial emergencies.

Oh, God, yes

One of the most useful accessories is the Subscribe pillow. This allows a girl to earn fans when she does a cam show — it's not quite as quick as when she does a photoshoot, but it gives you a trickle of fan income, which will gradually increase your financial income and final score, too. Equip all your main camgirls with the best skills with one as soon as possible, and fill their remaining inventory slots with fetish accessories, as these increase the amount of fans they earn as well as allow them to cater to specific fetishes.

As you progress, don't forget about upgrades, particularly those that allow you to collect more money and fans with each click on the cam and photo studios. Time you're spending collecting resources is time you're not spending micromanaging your army of sex workers, so being able to collect it more efficiently is a godsend. Also be sure to invest in at least a couple of levels of the Automation upgrade, since this allows you to passively collect resources even when you're doing other things.

Uhhhhuhhhhggghhhhnnnngh

Money troubles? No worries. Whore out your girls at the Sleazy Motel and you'll earn all the money they'd earn from a camshow in a fraction of the time. There is, however, the risk of them catching an STD from this, and STDs range from mildly inconvenient and curable to completely incapacitating and incurable. If a girl gets AIDS, immediately hire another one to take her place, since AIDS victims are unable to do anything.

To prevent STDs, give the girl you're sending to the Motel — your highest earner, obviously — a condom, and you won't have to worry. If the worst does happen, however, dose her up with antibiotics and she'll be better in three days. Alternatively, you can give her a shot of steroids to negate the effects of the STD temporarily, though this is not an ideal solution.

Aaaaaahhh

Once you've got a good lineup of well-skilled girls and you're making good money, make sure you start investing in advertising, since this simply allows you to exchange money for fans. If your cashflow is a little limited, prioritise the ads that cater to fetishes you have on staff, since this will make those girls more profitable. If money is no object, buy all the ads you can, and upgrade your advertising to be able to purchase more — and better — ads each day. Note that this upgrade isn't retroactive, though; it takes effect from the following day, so it's useless if you forget about it until day 21.

Also, it is very much worth your while to upgrade your web hosting and photo equipment, as these significantly increase the cash you get from camshows and the fans you get from photoshoots respectively. They're expensive upgrades, but they pay for themselves before long.

Finishing off

In your last few days, ditch any "useful" accessories you've been using such as the Piggy Bank, Nicotine Patch or Wine Box, and make sure each girl has three fetish-catering items, increasing her fan yield. Rotate your girls between camming and photoshooting to keep both money and fans coming in, and be sure to buy ads each day. Keep your errand girl active, too; if you don't need drink and cigarettes, keep her shopping at the Adult Shop for condoms and antibiotics.

Most importantly for the whole game, make sure no girl is wasting time: everyone should always be doing something, even if that something is just resting at the Day Spa. If a girl finishes an activity and you're in the middle of collecting a resource, stop and assign her to something new before you resume collection, otherwise she's dead weight for those few moments, and if you want a huge fan count and that big, spunking platinum dick trophy, every second counts.

2269: Video Games (Might Have) Saved My Life

I thought about writing about this yesterday, but didn't; I was feeling rather emotional about it and thus figured it probably wasn't the best idea to spew out an ill-considered rant on such a sensitive subject. It's still a delicate subject, of course, but I feel a bit more mentally prepared to tackle it and attempt to do it justice today.

This will doubtless be difficult to write, so bear with me while I inevitably ramble around the point. It will probably also be quite difficult to read, particularly if you know me quite well… but, again, bear with me — hopefully you'll come away with a better understanding of some of the things I feel.

All right, preamble over: let's begin.

Yesterday, when I first thought about writing this piece, I was angry. I got suddenly very angry about something I've been angry about before, and have been doing my best to not be as bothered by: the ongoing "culture war" that has all but destroyed rational, reasonable discussion of popular media — particularly gaming — through public social channels such as Twitter, as well as all but destroying any credibility, inclusiveness and, in many cases, entertainment value the mainstream video games press had.

It wasn't really a specific event that made me feel angry; it was more a buildup of tension that just needed to be released. Recent controversies over the new Baldur's Gate expansion, the press and "social justice" types outright lying about why people didn't like it, needless outrage over Tracer's butt in Blizzard's Overwatch, the ever-present undercurrent of the morally superior looking down on people who are into video games and branding them misogynistic, homophobic, transphobic, cis white heterosexual male scum… all of it was getting on top of me, even though a lot of it didn't even directly concern me and the games I'm into. But the controversies still resonated with me, since I've also seen very similar nonsense aimed at the games I am into.

When I get angry about something, after the fact I often like to take a moment to reflect on exactly why I got so angry — why is that thing in particular so important to me that it had such a powerful emotional effect on me? Video games are dumb timewasters, aren't they? Why should I care so much what some people I'd never want to hang out with at parties (not that I want to hang out with anyone at parties save for people who want to join me in another room and play computer games all night) think of the things I enjoy? Why do I feel compelled to continually defend my hobby and this medium from people who desire nothing more than to tear it down and remake it in the way they think it should be — because make no mistake, the loudest critics like this aren't after true "diversity" or "inclusion" since they, in many cases, simply cannot accept the existence of material they deem "problematic", nor can they understand that some people enjoy said "problematic" material and don't want to be called sex pests/paedophiles/misogynists/assholes simply for the things they happen to be into. Why?

Well, "video games are important to me" is the simple answer. And I could leave it at that. But I'm not going to: I'm going to explain exactly why video games are important to me.

Growing up, I was a bit of an outcast. I was shy, I lacked confidence, I didn't know how to talk to people. I remember on my first day at secondary school I turned to Matthew, one of my few friends from primary school and, with genuine fear in my eyes, whispered to him that I "couldn't remember how to make friends", which was putting me at something of a conversational impasse with Murray, the boy I had been sat next to in our tutor room. (Murray turned out to be a massive bullying twat, whom I finally punched in the face just as the headmaster was walking around the corner one memorable lunchtime; I escaped truly serious punishment on the grounds that he most certainly had had it coming for a very long time indeed.)

Growing up, I wasn't into sports. I was into stuff that other people weren't into. I played the piano. I played computer games. I wrote stories. (All of these are things I still do.) These were things that I learned I enjoyed at a very young age, so I have clung onto them with all my might for my whole life — and I've always known when someone would turn out to be a true friend, because they'd be into at least one of those things, and preferably more than one of them. Indeed, when I did eventually successfully remember how to make friends at secondary school, the group of friends I surrounded myself with were all a little like me to varying degrees — I was by far the most awkward and nerdy of them, but we all had our shared interest in video games which we felt like other people didn't really get the appeal of.

When the time came for me to go to university, I was terrified at the prospect of having to deal with new people and even live with them. Fortunately, I found myself living with a flat full of thoroughly decent people who tended to be remarkably understanding of my quirks. There were still occasions when what I now recognise as social anxiety would get the better of me, and I'd want nothing more than to lock myself away and escape into the wonderful worlds and stories gaming let me explore and be a part of.

I continued my love of video games throughout my adult life. They always served as something comforting to me: after a challenging day at university, games were there to help me relax. After a difficult day working in teaching, games were there to help me vent my stress. After a day of chaotic retail, games were there to help me chill out and forget about the previous eight hours. And after a day where everything felt like it had gone wrong, games were there to save me.

Those who have been reading this blog for a while will know that I've been through a few difficult periods over the last six years in particular. The most notable of these was in 2010, when my first wife and I parted ways and I was left unemployed, with no money and facing the prospect of having to move back home — something which I found mortifyingly embarrassing for a man of my age who had qualifications (and a failed/abandoned career based on those qualifications).

As time passed, I sank deeper and deeper into a very dark depression indeed. There were days when I was completely unable to function normally. I had a long period where I didn't — couldn't — get up until about 5 in the afternoon, which would always make me feel terrible when I'd stagger, unkempt, to the shop across the road from my flat and the guy with the smelly armpits behind the counter would ask "how my day had been".

Everything felt like it had gone wrong; I felt like I had completely failed at life. I felt like I had made all the wrong choices, and that there was no way out of the situation in which I found myself. And so my thoughts turned, as do those of many people in a similar situation, I'm sure, to whether or not this world really needed me in it any more.

Once that initial floodgate bursts and you start wondering such things, all manner of unwelcome thoughts start coming to the fore. Would it hurt? What's it like to die? If I did die, who would find me? Would anyone find me? Should I tell someone I'm feeling this way? Should I tell someone I'm going to kill myself? If I do, do I actually want them to stop me?

More often than not, these strings of thoughts would cause my brain to get into a bit of a feedback loop and I'd end up eventually just passing out from exhaustion, often after having had a spectacularly undignified cry and/or rage about the whole thing. But so long as the situation remained, the thoughts wouldn't go away entirely. I'd picture different ways of how I might do it, and what would happen once the deed had been done and someone found me — or what would happen if no-one found me.

To cut a long story short, I pushed through all that — more on how in a moment — and, for a while, things started to look up, and I started to think that I might have finally gotten myself into a situation where I could be happy and content, looking forward to the future rather than dreading it.

That didn't happen. The unceremonious loss of my job at USgamer for vague (and, frankly, probably spurious) reasons, followed by the horrendous way in which subsequent employer energy company SSE (or, more specifically, my immediate managers) treated me while I worked for them — yes, I am naming and shaming here, because it fucked me right up, and I am still bitter about it to such a degree that I often have flashbacks to my particularly horrible last day — caused me to once more sink into an awful pit of depression, and it wasn't any easier this time around, either.

Those thoughts of not being sure if I wanted to be part of this world any more started to come back. Familiar images of me holding a gun to my head came around; questions over what would happen if I followed through on these thoughts started to rise up once more.

And yet, even though I wouldn't describe myself as being out of the worst of it even now, I never once harmed myself, let alone made an attempt on my own life. Even in my darkest moments, I was always pulled back from the edge of that particular precipice.

Why? Two reasons, the first of which is the one I imagine most people in a similar situation quote: awareness of the few people in the world who do care about you, and what it would do to them if you were to do something as drastic as killing yourself.

The second is video games.

I'm not joking. A big part of why I am still on this planet is because of video games. And it's hard to explain exactly why, because there are a myriad of reasons I feel this way, but it is absolutely true, as ridiculous as it might sound.

Games have always been important to me. But over the last few years in particular — since about 2010 or so — I feel like I've really found the niche of games that interest and excite me, along with a group of publishers and developers who consistently and regularly put out things that keep me enthralled for hours on end. These games engage my emotions and draw me in with their stories and characterisation; these games make me feel like I can be someone that I'm not; these games put me in a situation where, while there might be problems and strife, there's always a way to deal with it, however challenging.

As I became more and more conscious of how I felt about these games, I started "stockpiling" — picking up games that I had no real intention of playing immediately, but which I wanted to add to my collection while they were still reasonably readily available. I also started re-acquiring games that I had previously owned that had made me feel the same way. And, one by one, I'd work my way through them, constantly finding new and enjoyable experiences to discover — even where, in many cases, said experiences weren't received particularly well by critics.

And here's how games saved me: the knowledge that in every DVD case on my bookshelf there is a new experience to be had; a new world to explore; new characters to fall in love with — that's the one thing that, every time, pulls me back from the brink of doing something drastic, however dark the situation in which I find myself might be, and however persistent those horrible thoughts in my head might be. I have literally had the thought "I can't die until I've played all the Neptunia games". I have literally had the thought "I'm not going anywhere until I've played all the Ateliers". And so on and so on; so much do I value these experiences — and the ability to talk and enthuse about them with those people I know who do respect my interests, even if they don't share them — that I can't bring myself to even hurt myself, let alone make an attempt on my own life.

You may think this is a dumb reason to keep living. You may think that this is unhealthy. You may think that there are more deep-seated problems here (and you'd be right). But trust me when I say: when even a tiny part of your brain starts considering whether or not you're really needed in this plane of existence any more, the part of you that is still concerned with self-preservation will cling on to any thing — however dumb it might be — that will help you survive.

For me, that thing is video games, and to my reckoning they've saved me from three particularly bad periods in my life: the nervous breakdown that convinced me once and for all that no, classroom teaching was not the career for me; my first wife and I parting ways; and my recent employment woes.

Hopefully it is now clear to you, dear reader, how important video games are to me. And, bearing in mind how important they are to me, can you perhaps understand how frustrating and upsetting it is to me when a needless, pointless cultural war comes stomping all over them — with the games that resonate with me the most inevitably being the ones that come under the heaviest fire from some of the most obnoxious people on the Internet?

Video games — as they are today, regardless of how "problematic" or whatever other bullshit adjectives you want to apply to them — saved my life. So you damn well better believe I will fight back with all my might against anyone who wants to change them and the culture surrounding them for the worse.

Video games saved my life. Thank you, video games — and everyone who makes them.

(Here's the source for the awesome image the header pic is based on, if you were curious.)