1142: Hello

So after publishing last night's post (which, I'll be honest, was composed somewhat in haste after a lengthy Ridge Racer Unbounded session prompted it, immediately before my bedtime) I was rather surprised to receive an email from someone named Michelle at WordPress, who informed me that my post was going to be featured in the Freshly Pressed section of WordPress.com. Thank you, Michelle, that was very nice of you, and it was even nicer to receive an email that was clearly from an actual person rather than an automated robot. Big love to all of the WordPress team.

Taking Michelle's email to heart, though, it's entirely possible that there might be a few new visitors around here in the immediate future, so I thought I'd take today to (re)introduce myself for the umpteenth time, and explain a little about what this blog is for and why I number all my posts.

So, then. Hello. I'm Pete. I'm a 31-year old bloke from the grey and miserable isle that is Great Britain. I live in Southampton, which is a city that has been the focal point of my life ever since I left home in 1999 to go to university there. Over the years, I've flitted around a bit for various reasons (mostly work) but always ended up coming back to Southampton either temporarily (to see friends) or, as happened just before Christmas, permanently. Or as "permanently" as any place I've lived since 1999 has been.

I live in a nice flat with my girlfriend Andie. Technically I'm married to someone else, though the circumstances of why the person I'm living with is not the person I'm married to are terribly complicated and not something I feel particularly inclined to go into here. Suffice to say, if you look at blog posts from around May of 2010 you'll get a general idea of how I was feeling when that all went down, and besides, all of that will be resolved this year. (I will also note that there is no bad blood there — forgive and forget and all that — it's just something I have found difficult to deal with until quite recently. And no, I don't want to talk about it further.)

The above sort of brings me onto the subject of this blog, which you may have noticed I update on a daily basis. I actually posted a number of pieces on this site before beginning to post daily, but it was in January of 2010 (the 19th, to be exact) that I started a personal tradition that I still keep to this day: daily blog posts. Originally, these daily posts were part of a Twitter-based movement known as "#oneaday". This was a group who banded together in an attempt to post something — anything — once per day as a means of continually flexing our collective writing muscles. Many of the original participants — including the person who started the whole thing — dropped out of the running very quickly, but there were a number of us who kept it up all the way through 2010. In 2011, I attempted to coordinate a larger effort to get as many people posting regularly on their blogs and encouraging their readers to donate to charity. It was moderately successful — we raised about £200 or so, I think, which wasn't too bad considering the number of people involved — but ultimately most writers lost interest. It also became a bit too much work for me to manage by myself, but I'm not ruling out the possibility of organising something along the same lines again in the future.

Anyway, all that aside, I'm still going, and this post you're reading right now is my 1,142nd daily post in a row. I cover a variety of different topics on this blog according to what I'm thinking about at any given moment and, to a lesser extent, whether or not my girlfriend has complained that I'm being "boring". My strongest interests are video games (particularly Japanese role-playing games and visual novels, though if you mention TrackMania to me I can go for hours); music (I play the piano, clarinet and saxophone and occasionally compose stuff); board games; and, as 1,141 previous posts will attest, writing. I also use this blog as an "outlet" when I need to get some raw, honest words or thoughts out of my head and onto the page. I suffer with depression and anxiety (personified by the big black cloud "Des" in the header image) and find it helpful to talk about these things.

If this blog and its crudely-drawn stickmen aren't enough Pete for you, then you can check out my professional work every day at Inside Social Games and Inside Mobile Apps, and my "pet project" at Games Are Evil. I also hang out a lot with my video gaming buddies the Squadron of Shame on Google+, and if you either 1) would like to hear my delicious, fruity, full-bodied English accent or 2) are interested in "underappreciated" video games , then I suggest you have a listen to the Squad's irregularly-occurring podcast, the Squadron of Shame SquadCast. You can find the archives here, and a new episode on the subject of Spec Ops: The Line is coming soon.

1141: Give Me A Reason to Race

Why are there no racing games with stories? No, wait, scratch that, why are there no racing games with good stories? Or at the very least well-told stories?

It is surely not a difficult thing to do. You take the basic game structure from Wing Commander and replace all the space combat with racing cars around tracks and/or city streets. Then you profit. Why has no-one done this?

The few racing games out there that do have storylines of sort are generally half-assed efforts where all the plot is delivered through badly-written text put into the game as an afterthought, or they simply don't carry their potential through far enough.

I can think of a few recent examples. Motorstorm Apocalypse, though I didn't play it, reportedly had a plot of sorts, but it fell into the former category above. Motorstorm Apocalypse, lest you're unfamiliar, had you racing around a city that was blowing up and falling to pieces — surely an ideal situation for a rudimentary Michael Bay-style plot with some characters and shouting. It wouldn't have to be a complex plot, just something to break up the racing with some motivational scenes that gave it some meaning.

Split/Second had a go, too, with its TV show-style presentation, incredible electro-orchestral cinematic soundtrack and episodic structure. It stopped short of actually giving the game's antagonists, the "Elite Racers", any degree of personality (or indeed faces), though it did end on a cliffhanger (which will now never be resolved — thanks a lot, Disney).

Recent Need for Speed games have taken a pop at it too, but tend to lose interest after the introductory sequences. The closest example I've seen to what I'm looking for is Need for Speed The Run, but apparently — again, I haven't played it — neither the racing nor the plot are particularly up to much. (I must say, I am curious to try it, though, purely to see how close they get to what I'm imagining in my head.)

There's also a Japanese eroge called Moero Downhill Night Blaze that reportedly combines a visual novel with racing action, but judging by its required system specifications, I'm not counting on it being an especially spectacular offering on the racing front. (I do intend to play it, though, as the whole series sounds like fun in story terms, even if the racing ends up sucking.)

And then there's Midnight Club Los Angeles, which occasionally has Grand Theft Auto-style cutscenes, but not nearly enough to carry a coherent plot.

I'm honestly bewildered as to why no-one has tried this properly yet. We live in an age where video games are more "cinematic" than ever, and yet the racing game genre is still following the same old conventions it's been using since the PlayStation 1 era — and possibly before. I would pay good money for a racing game with a good, well-written plot — given that I never, ever complete racing games (Split/Second is, to date, the only exception), an unfolding narrative with interesting characters and a degree of overblown drama would be just the incentive I need to up my game and see the experience through to its conclusion.

If I had any clue how to make such a game — or indeed access to a team to make such a game — I would do so in a heartbeat. Sadly, though, I have a sneaking suspicion my desire to see a game like this will remain nothing but a far-off dream.

1140: Another Valley Without Wind

I really liked A Valley Without Wind, even though I never came anywhere near to "finishing" it, for want of a better word. (I say that because once you beat the "Overlord" who was supposed to be your antagonist throughout the game, you simply moved on to another randomly-generated continent that was being threatened by another Overlord.) It was a really interesting, if somewhat flawed game that obviously had a lot of love thrown into it. It was a game clearly put together by people who had a vision of what they wanted to achieve and were willing to experiment in order to realise that vision.

For those who are unaware of A Valley Without Wind, I wrote about it a few times approximately three hundred days ago. Here's one post, here's another, and here's a bit of creative writing inspired by the game's emergent narrative.

I was intrigued and excited to hear that the developer was putting together a sequel to the game, and that said sequel would be provided free to everyone who owned a copy of the first game. (You don't see that sort of generosity in the triple-A sector, that's for sure!) Details were relatively scarce to begin with, but it sounded like the intention was to completely overhaul the game and make it a more focused experience. The reason it was being developed as a sequel and not as another one of the many updates that the first game saw is that it involved a fundamental rethinking of the game structure in particular — rather than being potentially endless and rather freeform like the first game, A Valley Without Wind 2 was to have much clearer victory and loss conditions, making for a game which felt much more like it had a "point".

I spent a little while playing A Valley Without Wind 2 today and I'm intrigued by what I see so far. Here's the gist: rather than playing the role of a series of adventurers given magical powers by a "glyph" like in the first one, in this game you play a single character who is immortal thanks to a crystal given to them by the big evil demon overlord dude whose dark forces you've infiltrated. This means that you can't technically die — well, you can, but it's more of an inconvenience than a tragedy, since you can just come back again afterwards.

You're thrown into command of a ragtag group of survivors on the planet of Environ as they attempt to scavenge resources, build up their defences and eventually take down the big evil demon overlord dude. The game unfolds in two distinctive components — a turn-based strategy game and a 2D side-scrolling platform game. This is a similar structure to the first game, though the overworld map in the first game didn't involve much strategy and was more a means of simply exploring rather than anything else.

Each turn, you can move any of the survivors in your group to any of the "purified" squares in your domain. If they're already in a suitable location, they can perform an action such as working a farm to produce food, working a factory to produce scrap metal or building a new structure. Occasionally, monsters emerge from the overlord's lair on the map and the survivors must deal with them. Eventually, after 15 turns, the overlord comes out to play and starts stomping around the map, and the survivors must avoid his unwanted attentions as much as possible while you build up your power to a strong enough level to take down His Demonicness.

To end a turn, you move yourself into a space next to your currently-controlled area and begin a 2D platform game mission in which the aim is to get from left to right and destroy a generator to "purify" that square and its surroundings. Beating the level ends the turn, causing time to advance. Each level has a different theme according to its terrain type, and many have special buildings and structures to explore. Within the levels, you'll find various types of enemy and pieces of equipment, many of which have peculiar randomly-generated special effects — how does a pair of boots that makes you run faster but sets you on fire in the process sound?

Your character is highly customizable, and you can tweak your "loadout" each turn if you want — though not once you're into a mission. Several different classes are available at the outset of the game, each of which has their own set of four spells. Additional classes become available as you explore, and defeating bosses in special "Level Up" towers unlocks new perks that improve your abilities in various ways. You have to find a good balance between expanding your territory so the survivors have space to run away from the overlord when he comes out to play; finding Level Up towers to improve your own abilities; and ensuring your forces have enough resources to survive. As soon as your last survivor dies, you lose the game, so it's in your interest to keep expanding and recruiting new members to your forces.

I really like what I've seen so far. It's much more "focused", though this has come at the expense of the wonderfully complex randomly-generated levels of the original game. One thing I really liked about the first A Valley Without Wind was the sheer amount of stuff there was to do. You could wander into pretty much every building and explore it to try and find cool stuff. You'd never get anywhere if you did that, of course, but the fact it was possible was really cool. By contrast, A Valley Without Wind 2's levels are much shorter and more linear, and traipses through buildings are linear shortcuts between two parts of the level rather than sprawling, mysterious structures to explore. On the whole, it's a change for the better — as I say, though, it does make me miss some of the first game's idiosyncrasies.

One thing I'm not sure how I feel about is the change to the soundtrack. The original game featured a rather wonderful score that had more than a touch of chiptune about it, giving the retro-style gameplay an even greater sense of retro flair. The new game features a number of recognisable themes from the first game, but a much more "realistic" sound to its score. It's good — but is it as charming as the bleepy chiptunes from the original? I'm not sure. One thing I will say, though; the title screen music is absolutely gobsmacking and well worth just sitting and listening to for a bit.

I'll be checking this game out a bit more in the coming days, and I'll be intrigued to see if it can hold my attention. I liked the first game a lot, but the fact I never really felt like I was getting anywhere put me off playing a long way into it. This new version appears to have fixed that particular problem with a much more focused experience, so I'm keen to see how it plays out. Knowing my general abilities in the strategic department, I am anticipating a complete loss at the hands of the overlord within 20 turns, but we'll just have to wait and see about that, won't we?

1139: Just Shut Up

I think I'm "over" social media. Allow me to clarify that bold statement, however, as it's perhaps not entirely accurate as is. I think I am over social media as it exists today — a sprawling, disorganised mess of ill-defined concepts that contribute very little to the people's understanding of one another, and more often than not is about vanity rather than actual socialisation.

In other words, I yearn for the days when social media was simple and straightforward — when its sole intended purpose was to allow people to stay in touch with each other and perhaps, occasionally, share a photograph or two with them.

Looking back on this blog, I see I have written about this subject at least twice in the past, and my disillusionment with it has only grown over the last year or so — perhaps due in part to the fact that as part of my job I come into contact with some of the most utterly pointless examples of social media that I've ever seen.

These days, there are social media apps to share anything you can think of. I mean, there are literally (YES LITERALLY) apps and services that allow you to share anything you can think of. There are also more specialised ones with questionable usefulness to society as a whole. I reviewed one recently where the entire purpose was to share what your current mood was — you couldn't add any text explaining said mood, only an emoticon — and another where you could share the weather in your local area, then "like" or comment on the weather in other places. Another still allowed you to send a video or photo to someone, but they were only allowed to look at it for ten seconds, after which it locked itself and became useless (I swear I'm not making this up).

The trouble with these things is that despite their pretensions towards being "social media," they're not actually all that social at all in terms of the way in which people use them. They're a means of broadcasting things and seeking approval of other people rather than a means of actually engaging in conversation with anyone. Take a look at the average comments thread on an Instagram picture of a moderately-attractive person (usually a woman) and you'll see what I mean. No-one's actually talking to each other — everyone's just dropping an asinine opinion bomb and then never coming back. The poster of the selfie is seeking approval from commenters telling them how attractive they are; meanwhile, the commenters are seeking approval from the poster and hoping that their specific compliment is the one that will get them some specific attention.

This isn't the case universally, obviously. There are still some actual conversations that go on on Facebook, for example, but these can easily be lost in the torrent of people resharing crap from pages like "I fucking love science" (do you? Then go do some rather than recycling endless fucking memes) and "LIKE AND SHARE!!" (NO!!). Twitter is a reasonable platform for discussion at times, but conversations are easily derailed and, as has been proven hundreds of times in the past year alone, 140 characters is really not enough to make a coherent argument about a complex issue. It's also incredibly easy to be taken out of context on Twitter.

Google+ perhaps fares the best out of all of these services in my experience, though even that's variable. Join a good, small community that has a clear focus and whose moderators keep a tight leash on discussion and you'll have a good experience chewing the fat with people who may well become good friends. Follow Felicia Day or Wil Wheaton and you might see some interesting content, but the quality of discussion goes out of the window. Follow Google+'s own page and all you get are blithering idiots making ill-informed political rants any time the team behind the page even dare to mention the President.

I think the thing that's been striking me most heavily recently is "do I really need to share this? Do people really need to know this?" And more often than not, the answer is "no". I don't feel the need to collect an arbitrary set of "Likes" with services like CircleMe or GetGlue. I don't feel the need to "check in" to places with Foursquare. I don't even really need to use stuff like Raptr to broadcast my gaming activity, but that has, on occasion, sparked some good discussions — as, I'm sure, the other services do in some cases. Just not mine. Not any more. Perhaps once in the past — I met some good friends through Foursquare's now-defunct competitor Gowalla — but not now.

Consequently, since quitting Twitter a while back (and not really missing it, to be honest — though I do miss some of the people) I've been paring back my personal social media use hugely. I've closed my Tumblr account — I never really understood the point of that site, and these days all it seems to be used for is white people shouting about how guilty they are about being white and how we should all stop being such racists/misogynists/fedora-wearing perverts — and I've unistalled the vast majority of social apps from my phone, including Twitter and Instagram. Facebook made the cut, because as much as I dislike it at times, it's still a good way of staying in touch with a lot of people, and Google+ also survived, as it's the new home of the Squadron of Shame and serving our needs well.

Obviously this blog is still going, too (and will be for a long time to come, hopefully!) and I still comment on friends' blogs — but I don't really count that as "social media" in the same way, particularly as the discussions had tend to be (for the most part, anyway) wordy and thought-provoking rather than inspiring little more than a knee-jerk "lol".

Everything else, though? Out the window. And life is much calmer and more pleasant as a result.

1138: Song Magic

Been playing some more Ar Tonelico 2 this evening, and I'm liking it a great deal. Like its predecessor, it has a very pleasing system of "feature creep" whereby it starts out feeling rather straightforward but gradually, over the course of the early stages of the game, introduces more and more new and interesting mechanics until you have something that is very, very distinctive.

In the original Ar Tonelico, we were introduced to the basic combat system; then the way it worked when you have the magic-using Reyvateil characters in your party; the Dive system, in which you could explore the inner recesses of the heroine's mental "cosmosphere" worlds; the "bedtime conversations" system whereby the protagonist and the heroines could get to know each other a bit better (and subsequently unlock deeper levels in the cosmosphere); the "Grathmeld" crafting system, whereby you could take all the junk you'd acquired from the hundreds of NYO?!s you'd killed and turn them into various items, then enjoy some amusing scenes as the heroines try and convince you to let them name the item something ridiculous; and the "Install" system, whereby you're able to insert crystals into the heroines (and yes, they relish the opportunity for innuendo inherent in this process) to power up their various abilities and customise the effect of their spells.

In Ar Tonelico 2, meanwhile, we're first of all introduced to a new and rather odd combat system in which the two sides in the combat alternate attacking and defending for a set period of time — when attacking, you have to press buttons corresponding to the party member you'd like to attack and combine it with a directional button to do a specific move; when defending, you have to time button presses carefully to protect the back-line Reyvateil "mages" from attack, if they're present. The way the Reyvateils work is then introduced — a weird meter in the corner of the screen reflects what they want the front line to do, and fulfilling their demands provides bonuses, helping them to cast more effective spells more quickly. Then, once again, we have the Dive system, which works largely as it did before, albeit with a lot more multiple-choice bits where you have to say the right thing to proceed. Then we have the "I.P.D." system, whereby part of the plot dictates that you have to subdue and capture Reyvateils that are infected with I.P.D., which hasn't been explained yet. Then we have a slightly different crafting system, whereby certain items can only be crafted in certain places (you can only make food in a restaurant kitchen, for example), and the same recipe has different outcomes depending on which heroine you get to help.

Then things get a little odd. "Dualstalling" replaces the "Install" system from the previous game, and is the only way of levelling up Reyvateils, who no longer gain experience normally. Instead, at regular opportunities, you have to let them take a bath in water infused with crystals you've collected or purchased. During the bath (which looks rather large and luxurious, I must say), they wander around a bit, and if they pass over one of the crystals they dropped in, they gain a temporary special effect until the next time they bathe. And if you drop in toys (bath toys, you pervert) and scented oils, different effects might emerge. Oh, and if both heroines are bathing together, they'll often chat about things, too, which helps improve their "sync" value, which in turn helps them fight more effectively together in combat.

Then we have the "Dive Therapy" system, which I was introduced to in tonight's session. Now the subdued I.P.D.-infected Reyvateils have a purpose — they can be "cured" by one of the characters, who is a Dive therapist. Indulging in Dive Therapy involves talking to the Reyvateil and attempting to manipulate her mood to its ideal level on a meter at the top of the screen. Administering various treatments can affect the rate at which this meter changes with each response you give to their statements. Some responses increase the meter, others drop it, and each infected Reyvateil has a "sweet spot" where the meter needs to be in order to be cured.

That's not all you can do with them, though. The cured Reyvateils then bugger off and scatter themselves around the world to form a fan club for one of the heroines, and their affection for her increases as they see her doing cool stuff. When their affection maxes out, they will help out — exactly how, I'm not sure yet, but we'll see.

Oh, and also through the "Girl Power" system you can "equip" rescued Reyvateils to help the protagonist out in various ways. They then level up and improve their abilities and… waah, my head hurts.

All these weird and wonderful mechanics may sound overwhelming, but they're introduced at just the right rate. You're shown a new concept, then given a period of time in which to explore it in practical terms. Then another one comes along, and you can explore that. And so it continues. The nice thing is that only a few of these mechanics are "spoiled" in the game's manual, meaning the existence of things like the Dive Therapy system and various other bits and pieces are a nice surprise when you come across them for the first time. (Unless you've read this post first, of course.)

On the one hand, it's nice to be ready for all the game's mechanics and be able to refer back to a manual when you need to. But on the other, it's quite interesting (and oddly liberating) to play a game that trusts you to experiment a bit and figure out what on Earth (Metafalss?) is going on. Take the Dualstalling system, for example — while the help menu in the game explains roughly how it works, it's only by fiddling around with various arrangements of bathtime goodies that you'll figure out the most effective means of letting your mage-ladies wash their stinky bits and level up.

Basically, Ar Tonelico 2's more esoteric features are something you'll either be on board with or not. As you've probably gathered, I love them — and besides, are they really any more weird than summoning giant chariot-riding penis demons by fusing cards together, or sucking the magic out of monsters to somehow attach to your own strength? No. No they're not. So shush.

1137: Animal Magic

I could sit and watch animals for hours, and have done on numerous occasions in the past. It can be pretty much any animal, too, so long as it's not a scary one like a big hairy spider or a snake that could kill you or a shark with frickin' lasers on its head. The majority of my animal-watching over the years has been taken up by the observation of cats (both live when I was younger — including one memorable occasion when I was hanging out with my friend Woody, we both got absolutely munted and found my family's cat inexplicably hilarious — and more recently on the Internet courtesy of Maru) but I also often find myself oddly enraptured by a friend's tortoise any time I go to visit and have an idle moment (seeing him munching nonchalantly on lettuce is oddly hilarious — the tortoise, not my friend, obviously). Most recently, though, I find myself spending an altogether healthy, reasonable and perfectly normal amount of time staring at our pet rats Lara and Lucy and have absolutely never got up in the middle of the night if I can't sleep purely to go and see them.

It's been oddly fascinating to watch their behaviour change over time, because both of them have absolutely developed their own personalities. Lara always used to be the dominant one over her original cagemate Willow (who sadly died a few months after we got her) but was always a lot more confident and friendly — Willow, meanwhile, was shy and nervous, and prone to biting if she felt threatened, which was quite often. She got out of the cage on one occasion and it was an absolute nightmare to get her back in, as she was too terrified to realise that we just wanted to help her get back home. (We did, eventually.)

After Willow died, Lara very obviously became very sad. She was much less energetic than she used to be, and spent a lot of time just sitting in her "saucer section" house that hung from the roof of the cage staring out rather pathetically. It was heartbreaking to see, so it wasn't long before we decided to get her a new playmate. We introduced the two of them to each other on "neutral ground" (the bathtub, where they couldn't escape and skitter off), they had a good sniff around each other and a bit of a poo, then both cooperated when we put them in their little carry box and subsequently back into the cage.

Lucy, who is a fair bit younger than Lara and consequently much smaller, seemed to have a difficult time adjusting to her new home initially, as Lara spent a lot of time fussing around her and seemingly frightening her. On one terrifying occasion, we found Lucy lying on her back completely motionless and were worried that she had suddenly died. Fortunately, we discovered a couple of minutes later that it was just a "submission" thing — it was her way of accepting Lara as the queen of the cage. She spent a few days cowering in the corner and not wanting to come out, and gradually built up her confidence. On one evening we put her in her carry box but in the cage so that Lara could get used to her scent without harassing her, and Lara got in an absolute panic, frantically scrabbling around and trying to get into the box because she thought she'd lost her new playmate. They were both fine the next day.

Fast forward to today, a number of months later — I forget how many exactly — and the two have settled into a healthy dynamic. Lara, as the older one, is for the most part a little more "careful" about what she does — though not always — while Lucy is clearly the "annoying younger sister", regularly sniffing around Lara and occasionally… well, all right, fairly regularly giving her a playful nip in an attempt to kick off a play-fight which she'll inevitably lose in a flurry of rolling around and screeching. (Rats can be very loud if they want to be, surprisingly — though it's mainly Lucy who makes all the noise, as Lara doesn't seem to squeak much at all.)

Lucy has also become the adventurous one — if we open up the cage, she's always the first one to come out, start exploring and want some fuss from us. Lara will come out and demand some attention, too, and will also go off and explore, but it's always Lucy who comes out first. She won't stand still. Lara, meanwhile, who is bigger, older and a bit more "world-weary" now — at least, those are the personality traits I attribute to her — is much more receptive to standing still and being petted, and will even sometimes come crawling up me to sit on my shoulder if I sit in a climb-friendly position.

Lara hurt her leg the other day — she was limping around and obviously didn't like putting weight on it, but didn't seem to be in too much pain. She certainly wasn't complaining, anyway, but it was clear that she wasn't quite as mobile as usual. (It transpires that rats are fairly prone to sprains — given the regularity with which they fall off things in an extremely amusing manner, I'm surprised this is the first time either of them have done it.) She spent a lot of time just resting, occasionally coming out for water or food, but for the most part just snuggling down in a comfy, warm spot and letting herself heal naturally. (Rats heal super-quickly.) Rather than being her usual irritating little sister self, Lucy seemed to know that something was wrong with her "adoptive sister" and left Lara alone for the most part, occasionally popping in to snuggle up and keep warm with her or help her groom herself. The two were obviously communicating somehow, and it was really heartwarming to see. After a couple of days of rest, Lara was back to her old self, and the pair were back to their usual dynamic.

When I think of all that time I spent alone and depressed back in 2010, I find myself wishing that I'd discovered how joyful it is to have your own pets sooner, as it would have probably saved a large degree of my sanity around that period — if not my money, of which I didn't really have any at the time. I mean, I always knew that having a cat around was awesome from my childhood, when our family pets Penny and Kitty were fixtures in the household, but somehow the thought of owning my own pets had never really crossed my mind. Largely because most rental properties specifically state that you're not supposed to have pets in them, of course, but seriously, the amount of damage a tiny rat can do is significantly different from the chaos a small dog can wreak!

Anyway. Yeah. Pets are awesome. 9/10. Get one.

1136: Thoughts on RPG Maker

I read this piece by Robert Boyd of Zeboyd Games earlier. Now, I normally agree with Mr. Werezompire on a lot of things, but I take issue with a few things he says about RPG Maker in this article, which was posted shortly after the latest version RPG Maker VX Ace hit the Steam store a while back.

Boyd is quite right to note that this is the first time a piece of software such as RPG Maker has hit a mainstream digital download storefront for PC — past iterations of the software were sold directly by the publisher via a rather cumbersome e-commerce solution, so to get it on Steam is a big step forward in both accessibility and visibility. Boyd is also right to note that lowering the barrier of entry to creating games through tools such as RPG Maker also encourages everyone to want to have a go — and that this can result in a glut of "incomplete, buggy, generic, or downright awful games". (It also results in people who are otherwise unable to get their heads around programming becoming empowered to realise their own digital dreams and creativity.)

What I take a certain degree of umbrage to is his assertion that it is a "general RPG maker" and thus ill-suited to producing anything more than the most generic JRPG possible. While it is true that the default art assets and music provided with the game are aimed at people who want to get a fairly generic JRPG up and running quickly, the very nature of the software is that it is completely customisable depending on how much "individuality" you want to give your project. You can have something fairly convincing up and running in a matter of minutes using the default assets… but with a bit of time and artistic talent (or at least creativity), you can completely revamp the default "look" to anything you please. Not only that, but by using its built-in Ruby-based scripting language, you can completely overhaul the way the game works — battle system, menus, method of moving around the game world, anything can be modified or added if you know what you're doing. And even if you don't, there's a lively and active community out there that has put together plenty of free scripts for anyone to make use of.

This isn't "trying to modify RPG Maker to do things it wasn't really intended to do," as Boyd asserts. This is, in fact, using RPG Maker in the manner in which it was intended for power users — and it also aptly demonstrates one of the most admirable things about the application: the fact that it is simple and accessible enough for beginners to use, yet powerful and flexible enough for more advanced users to take complete control of. You only have to look at examples like To The Moon and Cherry Tree High Comedy Club, both of which were created in RPG Maker XP (two versions previous to the current edition) to see what is possible — and to be fair to Boyd, he does at least mention these titles in his post.

Boyd makes some fair points in the article, but what I don't like much is the underlying tone that "if you're using RPG Maker rather than programming it yourself, you're doing it wrong." While it is undoubtedly more satisfying to program your own engine from scratch and see a complete game come together from literally nothing, not everyone has the time, ability and/or C#-speaking friends to be able to do that. Plus if there's a perfectly good tool already out there to realise what you want to do… why shouldn't you use it?

1135: Melody of... The Other Place

As I noted yesterday, I completed Ar Tonelico: Melody of Elemia. So naturally, having discovered a new RPG series that I like very much, what's a boy to do but to make an immediate start on the sequel, much to the delight of my Ar Tonelico-adoring friend who convinced me to play the damn things in the first place?

Ar Tonelico 2: Melody of Metafalica is a surprisingly different beast to its predecessor in many ways. Its Japanese incarnation came out in the same year as the first Ar Tonelico hit Western shores, but it wouldn't be until 2009 that North American and European players would get their hands on it. That actually makes it a surprisingly recent game, released in the twilight of the PS2 era. This might explain why I never really paid it much mind first time around (besides being unfamiliar with the prequel, obviously) — everyone (including me) was already well and truly enraptured by "next gen" by that point, though games like Persona 4 (which also came out in 2009 in Europe) had shown me that the previous generation still had plenty to offer.

The whole Ar Tonelico experience has had a complete overhaul in Ar Tonelico 2. Gone are the distinctly PS1-ish isometric-perspective graphics (though I actually sort of miss them now), replaced with hand-drawn backdrops in towns and a pleasing combination of polygons, flat objects and fixed camera angles to create "3D" dungeons. The sprites, too, have had a bit of a change in aesthetic — they have peculiar, stylised proportions now, which frankly has taken a little adjusting to, but the improved amount of emotive animation on them makes up for the fact that everyone has really, really distractingly massive hands.

The biggest change is in the battle system, however. I liked Ar Tonelico's battle system, as it combined conventional JRPG turn-based battling with an interesting magic system that encouraged you to find creative ways to finish battles "well" rather than quickly. It was a bit repetitive by the end, however, and it was consistently way too easy pretty much all the way through the entire game.

Ar Tonelico 2's battle system, meanwhile, is a completely different beast. It's still sort of turn-based, but not in the same way as its predecessor. Instead, the two sides in the conflict each take turns to attack and defend. When it's your turn to attack, you have a limited amount of time to use your two "vanguard" (front line) characters to attack; when it's your turn to defend you have to carefully time button presses to protect the back line Reyvateils from taking damage. The Reyvateils make demands on you during battle, too, requesting that you perform specific attack moves by pressing the button for the corresponding front line character and a particular direction. Fulfilling these demands gives you various bonuses that make the battle turn in your favour. It's interesting, as it means you have to really concentrate on every battle rather than just mashing the "attack" button, but I'm yet to have a significantly challenging battle to show its full potential just yet.

The "Dive" system makes a return, and is almost identical to its predecessor. You get to know the game's heroines in the real world by talking to them at campsites and inns, then "dive" into their mental "Cosmosphere" world to find out more about their various inner struggles and problems. Overcoming these problems helps them craft new Song Magic which you can then use in battle — plus these are entertaining mini-stories in their own right. Diving is mostly the same, though there are a lot more situations where you're given a choice of responses to a particular situation and must pick the correct one rather than simply following it through.

In "new, weird gameplay mechanics" news we have the new Dualstall system, which replaces the "Install" mechanic from the previous game (which allowed you to boost a Reyvateil's abilities by plugging various crystals into her… spells in a rather suggestive manner). Dualstalling essentially means flinging the game's two heroines into a bath infused with magic crystals, nice-smelling bath oils and bath toys and letting the attached abilities, uh, be absorbed. The heroines will also have a good chat in the bath, so this is a good way of building up their "Sync" gauge, which helps them work together better in battle.

So far I'm about four hours into the new game and enjoying it a lot so far. The change in aesthetic and gameplay style gave me a bit of "culture shock" initially but that thankfully soon faded, and I'm now enjoying the story and characters just as before. It's interesting to note that the game still feels recognisable as an Ar Tonelico game, yet has a different setting (albeit in the same overall world), different characters and different gameplay mechanics. I'm assuming that the third game (which is where the series made the jump to PS3) will be "similarly different", too, judging by a quick flick through the manual.

Further reports as events warrant.

1134: Melody of Elemia

I completed Ar Tonelico: Melody of Elemia this evening. What a fine, fine game that was. I'll be writing somewhat more "professionally" for want of a better word about it this Wednesday over on Games Are Evil, but for now I just wanted to enthuse a little about the great experience that was that game. There may be some spoilers ahead; be forewarned.

The most immediately striking thing about Ar Tonelico for a new player coming to it for the first time in 2013 is that it looks old. It's also worth noting that it came out in 2007, so it actually looked pretty old when it first came out. That said, after a few hours of play, the low-resolution isometric-perspective sprite-based graphics cease to matter on a technical level, and the amount of character and personality in them starts to shine through. A friend of mine just noted that the visual style is actually something of a successor to stuff like Secret of Mana and the like and that's a great comparision — I'm kicking myself for not figuring that out sooner.

Outside of the in-game graphics, Ar Tonelico has some absolutely lovely character designs. Lyner may look fairly "generic JRPG hero" in his stylings, but at least he has some personality about him. The two heroines Aurica and Misha are both attractive and appealing in completely different ways, and a plot twist I won't go into here sees you interacting with Misha in both her "spunky young girl" and "equally spunky young woman" forms. The third Reyvateil introduced later in the game also proves herself to be an interesting character in her own right, again with her own unique visual style and "appeal elements".

One of the most interesting things about the game to me — and the thing I'm intending to write about this Wednesday — is the game's multi-route, multi-ending structure. Now, this could very easily be a recipe for disaster, as multiple endings in lengthy RPGs are often a good method to ensure your players won't see all of the awesome story content you made. That's not necessarily a bad thing — it's kind of cool when you can discuss a game with a friend and discover they had a completely different experience to you — but it's also frustrating to some people who like to know they've got everything they can out of a game before moving on.

Ar Tonelico's multiple endings and routes are handled in a rather peculiar manner. There are three "phases" to the game, each of which is a complete story arc in and of itself, complete with final boss confrontation at the end of each. Early in the second "phase", you have the opportunity to go with one of the two heroines and experience their story. Aurica's story gives you an overall view of what is going on in the overarching plot of the game, while Misha's story gives you a more personal view of what is going on with her and how she is relevant to everything. If you play Misha's route first, there are a number of scenes you see completely without context that don't really make sense. If you play Aurica's route, however, you play an important part in these scenes. The two paths then converge towards the end of the second phase, and the game then apparently ends — the credits roll and everything.

There's a twist, though. In a post-credits sequence, you get to run around and do all the usual JRPG "our party's splitting up, say goodbye" business, but once you've done all that, you're presented with another choice: live a happy life with [insert girl you chose here], or refuse to accept that as "the end" and move on. If the latter option is chosen, you find yourself entering a completely optional third phase that is about 20 hours by itself, and which leads to the "true" ending.

Except in that third phase, there are four possible endings, three of which relate to one of the three heroine characters — the latter of whom only becomes a major player in this third phase. The third phase is pretty much identical regardless of which girl you picked earlier, but the very end — if you fulfilled some very precise conditions — allows you to pick between the girl you chose earlier and the new addition. There's also a "bad" ending relatively early in the third phase that basically says "I can't be bothered with all this sidequesting, let's just get this over with".

So that's a total of… hang on… (counts) six endings? Fortunately, there's absolutely no need to play through the game six times to see all of them — instead, you can play through once, save before the "big decision" in phase 2, play one route to either the end of phase 2 or to complete completion in phase 3, then go back and do the other route, stopping wherever you didn't stop first time around. In my case, I played Aurica's route through to total completion, then played Misha's route to the natural end at the conclusion of phase 2. I don't feel like I missed out on anything, and it only required me to play less than 10 hours over and above what I'd already played anyway. And I feel rewarded for having done so — I have a deeper understanding of the story as a whole, and particularly the characters.

So that's Ar Tonelico — a really, really excellent JRPG and surprisingly thought-provoking if you can look past the notorious innuendo (of which there isn't anywhere near as much as people make out). It's also in possession of I think the best soundtrack I think I've ever heard in a JRPG… though I'm about to start Ar Tonelico 2 as I type this, so I may well be revising that statement in the near future!

1133: Board Game List of If Not Wishes, then Certainly Mild-to-Moderate Interest

I really like board games and relish the opportunity to play them with my friends — an opportunity I get much more often now that I live in the same place as them.

One of my favourite things about board gaming as a hobby is getting a new game, punching out all the bits and learning to play it for the first time — though arguably it's your second or third game where a new title really starts to hit its stride, as you generally know the rules reasonably well by then.

The trouble with getting new games is that often if they don't prove an immediate "hit" with the group, then they can be relegated to the shelf for quite a long time, with old favourites instead hitting the table much more frequently. Our group is a little prone to this, tending to fall back on stuff like Agricola and Ticket to Ride, though my (relatively) recent acquisition of Descent: Journeys in the Dark 2nd Edition proved to be pretty popular with everyone thanks to its excellent balance of strategic ("hmm, if I use this ability, then move here, I'll be able to win in two turns…") and thematic ("I AM A WIZARD! BOOOOOOOOM!!") gameplay.

As well as player tastes — our group is split roughly 50/50 on people who prefer strategic/mechanic-focused games and thematic-focused offerings — there's also things like player count to consider. Some games only work with three or more people — fine if you have a regular group — while some are for two players only. All of these things can conspire to ensure that something doesn't necessarily hit the table as often as you might like.

With absolutely none of that in mind, here are some board games that have caught my eye recently that I am somewhat interested in acquiring and playing with someone. If any of you, dear readers, happen to have played any of them, please feel free to tell me whether they're actually any good or not.

In no particular order…

Cadwallon: City of Thieves

(Image credit: BGG user bretteur)

I was unaware of this game prior to today, as it happens, but when I wandered into Forbidden Planet in town and saw it on the shelf, it caught my attention.

From the sound of things, it's a competitive game between up to four teams of "thieves guilds" vying for control of a small city district. A number of different scenarios challenges the 2-4 players to, in most cases, nick as much stuff as possible while attempting to ensure the other players get royally screwed over. According to reviews on Boardgamegeek, it's a relatively simple game with an element of strategy to it.

I'm actually fine with it being simple — we have plenty of complex games like Agricola and Power Grid, so it's nice to bust out something simple once in a while. That certainly explains why stuff like Ticket to Ride hit our table so often. The other nice thing about it being simple is that if everyone can remember the rules, everyone's likely to want to play it again in the future — especially if it's a relatively short game, which is sounds like this is.

So chalk this one up as a "very interesting" for me.

RuneWars

(Image credit: BGG user brainst0rm)

I'm primarily interested in this one because it's from the same team as made Descent, and Descent is a popular choice among our group for reasons already outlined above. Rather than being a small-scale strategy RPG type thing with asymmetrical competitive multiplayer like Descent, however, RuneWars is a larger-scale strategy game between up to four players vying for control of an overall world map. I don't know a great deal about how the game works but simply from reading descriptions of it, it sounds like it could potentially prove popular with our group for similar reasons to Descent. Tim and I (the players who favour theme-heavy and co-op titles) will be happy going "DRAGONS! ROOOOOAR!" while Sam and Tom (the players who favour more strategic, mechanics-focused experiences) will be happy planning out elaborate strategies to flatten everyone and declare themselves Overlord of Everything.

The only thing stopping me from immediately picking up a copy of this is the fact that a game takes about 3-4 hours, which means it probably wouldn't hit the table too often. The only other game we have of that length is Arkham Horror, which everyone seems to like, but which everyone is also reluctant to play due to the sheer amount of time it takes to do so.

Carcassonne Expansions

(Image credit: BGG user j0ran)

I like Carcassonne. It's a nice simple game that anyone can pick up the rules of very quickly. It's fun, strategic, has plenty of scope for screwing over your opponents and has the potential to be very different every time you play due to its heavily-randomised nature.

One thing I've not explored, however, is the wealth of expansions available for it. There are loads of them, and I have no idea which ones are actually any good or not. I think the thing to do will be to just pick up one or two and give them a shot to see how they are.

BattleLore

(Image credit: BGG user jtspecial)

BattleLore itself is apparently out of print now, which means that new copies of it will set you back £80 or more — that's only about £20 more than it was when it was readily available, but it's still quite a lot. BattleLore is a two-player skirmish game in which two players face off against one another in an attempt to kick the snot out of each other using their armies. Apparently the game system for this works very well, with a nice combination of luck and strategy making it both accessible and deep.

A new version of BattleLore has been released, based on the Game of Thrones universe. I don't know the setting well — the limit of my knowledge is playing the surprisingly good Facebook game (seriously, try it — you'll be pleasantly surprised, especially if you like stuff like King of Dragon Pass) — but it certainly seems like the ideal setting for armies to kick the snot out of each other.

Two things have stopped me picking this up — one, it's two-player only (though the original BattleLore had an "epic" variant allowing additional players) and two, it apparently involves a bit of faffing around to get all the miniatures sorted out and ready to play. I don't have anything against that per se, but I'd need to know I'd be able to play it semi-regularly before committing to a campaign of supergluing tiny men to plastic bases.

Various "Living Card Games"

(Image credit: BGG user FortyOne)

There's a few of these that look interesting — particularly the Call of Cthulhu, Warhammer and Lord of the Rings ones. Again, I don't know a huge amount about them, but I'm assured that they're good fun, offering the enjoyment of deckbuilding without having to repeatedly shell out ridiculous amounts of money for booster packs that contain cards you've probably already got.

The main thing stopping me checking these out further is that deckbuilding games have had a relatively mixed reception at our gaming table to date — Dominion doesn't come out that often, though I like it a lot, but Ascension proved to be a lot more popular. Again, I'd need to know I'd be able to play them reasonably regularly before investing in one of these.

Elder Sign

(Image credit: BGG user ckirkman)

I'm a fan of Cthulhu-themed stuff, which partly explains why I enjoy Arkham Horror so much. From what I understand from playing the iOS version, Elder Sign has a fair amount in common with Arkham Horror in thematic terms — it even uses the same characters and artwork — but has much simpler mechanics and a playtime that doesn't extend into the days. I believe it's rather more luck-based, though, being primarily based around dice rolls, though Arkham Horror certainly isn't without its share of dice-based randomness, either.

Perhaps I'll play the iOS version a few more times before I consider looking into this one.

____

As with so many things in life, there are hundreds of examples of great games that I'd love to try, but not enough time and/or opportunities to do so. If nothing else, though, building up a collection of board games certainly looks impressive — even if it is a pain in the arse to move the bloody things from one house to another!