1948: Five of My Favourite Music Games

I’ve been a fan of music-based “rhythm action” games ever since they started being a thing around the time of the PS1 era, and while there aren’t anywhere near as many around these days as there were in their heyday, there are still some great ones out there. And, of course, those old games are, in most cases, just as playable today, so long as you can deal with some dated graphics!

Without further ado, then, here are five* of my favourites.

Bust-A-Groove

I can’t quite remember if this was my first ever encounter with rhythm action, but it was certainly one of my favourite games of the PS1 era. It’s also the sort of game that would probably never see a retail release these days: it’d be much more likely to be a £15-20 downloadable game. (In fact, why isn’t it downloadable on PSN? Get on that, Sony!)

Bust-A-Groove was an unusual and creative title that took the overall aesthetic of a one-on-one fighter and transplanted the hot versus action into the context of a dancing competition. Each song was based on four-beat bars, and in each bar you’d have to make sure you hit one of the face buttons on the PlayStation controller on the fourth beat. As you built up combos, you were given more and more directional inputs to squeeze in before that all-important fourth beat, but these didn’t need to be in time. You were usually pressing O or X on the fourth beat, but pressing Triangle would allow you to use one of your character’s special attacks (limited in the number of times you could use them per stage) and pressing Square would allow you to dodge an incoming special attack from the previous bar; failure to do so would put you out of action for a few bars and allow your opponent to get ahead.

Bust-A-Groove wasn’t perfect, particularly in two-player mode, where two equally matched players tended to reach a stalemate due to the way the game’s scoring worked. But as a single-player rhythm action game in particular, it’s still hard to beat — and it had some of the most memorable songs of any game I’ve ever played.

Frequency/Amplitude

I always get Frequency and Amplitude mixed up — one was the sequel to the other — so I’ll cop out and put them both in here, since they were fairly similar to one another, as I recall.

Frequency and Amplitude were early titles from Harmonix, who would go on to create the Rock Band series. And it’s clear where the inspiration for those later, more popular titles came from: Frequency and Amplitude had the “note highways” almost as we recognise them today, but with a twist: you were playing all the parts on your controller.

This wasn’t as ridiculous as it sounds; what you’d do is pick a “track” (as in, part of a song, not a whole album track or something) and bang out a decent combo on it. After a short period, that track would “lock” in place and continue playing, allowing you to move on to another one and gradually build up the texture of the music, effectively creating a dynamic remix as you played. Perform well enough and you’d be able to get all the parts going together; perform badly and it would sound like a teenage wannabe rock group attempting to perform a piece far too ambitious for them one lunchtime at school.

Space Channel 5 Parts 1 and 2

Yes, I know that’s two games, making my “five” rather dishonest (particularly after including both Frequency and Amplitude), but really, Space Channel 5 deserves to be considered as a complete… thing. Because it’s quite something.

I’ve often described Space Channel 5 as “the gayest game ever” (the second-gayest game ever being Final Fantasy X-2) and I stand by that sentiment. Gloriously, unabashedly cheesy and camp as fuck with a kitschy ’60s sci-fi aesthetic, Space Channel 5 sees the leggy pink-haired beauty Ulala strutting her way to fending off an alien invasion and eventually saving the galaxy from the machinations of an evil villain.

Space Channel 5’s gameplay is extremely simple, essentially boiling down to a game of rhythmic Simon Says. Flowing pretty much seamlessly from cutscene to gameplay, Ulala would be confronted with some sort of sticky situation to resolve, and would have to do so by copying the moves of whatever dastardly (or, in many cases, not-so-dastardly) foe she’s facing this time. The twist on the usual Simon Says formula is that you have to do it in rhythm as your “partner” did it, too, and there are some seriously challenging rhythms to deal with. Once you learn it, though, you should be able to rattle through the whole game in about twenty minutes or so, but it’s very replayable, much like an entertaining short movie. Space Channel 5 Part 2 also comes with a sort of “challenge mode” alongside the main story, and that’s a lot tougher.

Space Channel 5 Part 2 is also noteworthy for featuring a bizarre cameo from a low-polygon depiction of the late Michael Jackson… sorry, “Space Michael”.

Elite Beat Agents

Elite Beat Agents is one of the best games on the Nintendo DS, and, surprisingly, one of the most effective examples of storytelling I’ve ever seen.

The titular Agents are tasked with jetting off around the world to save people from various mishaps, and they do so by dancing at them. Exactly how this solves the problem is anyone’s guess, but it seems to work, even going so far as to fend off an alien invasion accompanied by Jumpin’ Jack Flash in the wonderful finale.

The game uses licensed tracks (albeit cover versions in most cases) to complement the on-screen action and help tell their stories, and there’s at least one instance where the combination of music, subject matter and events in the story are genuinely emotional. You know the one if you’ve played it. (Also, it’s in the video above.)

But aside from all this, Elite Beat Agents is a strong rhythm game that makes excellent use of the DS’ touchscreen and stylus — and is a challenge and a half even for the most seasoned rhythm game pro, to boot. It’s just a pity we never saw the sequel over here.

Hatsune Miku: Project Diva f

I include Project Diva f (and its PS3 counterpart F, though I greatly prefer playing on Vita) on this list rather than its (apparently superior) sequel largely because I haven’t played said sequel. Project Diva f is a great game in its own right, however, and made me all sorts of happy the first time I played it, largely because it reminded me of the old PS1-era games.

It’s no Bust-A-Groove, though; no regular beats for you here. Instead, you’re expected to play Project Diva f’s levels like a percussion instrument. Depending on the piece in question, you might be accompanying the vocals, lead guitar and synth, rhythm section or even playing some completely different counter-rhythms that complement the main bulk of the music. The lower difficulties are deceptively easy; the higher difficulties are as challenging as playing an actual instrument.

It’s satisfying though. Pulling off a “Perfect” score on a difficult level is a wonderful feeling, and it’s something that will only come with practice — remember that, when games didn’t hand victory to you on a plate? Yes, in order to get good at Project Diva f you’re going to have to do more than just try each song once or twice; you’re going to have to actually learn them, so that eventually you don’t even need to look at the incoming note patterns, you can just perform them. When you reach that stage, then you’re a true Miku master.

Senran Kagura: Bon Appetit!

I won’t lie, I’ve lost count now, but I’m pretty sure we’re not doing “five” any more. Oh well.

Senran Kagura: Bon Appetit! is a game in which the ninja girls of Senran Kagura take time off from fighting each other and worrying about youma to indulge themselves in a cooking competition organised by pervy old ninja master Hanzo, who apparently wants nothing more than to watch his granddaughter and her friends literally cook each other’s clothes off in an attempt to secure a Super-Secret Ninja Art Scroll that will grant one wish.

It is as ridiculous as it sounds, but there’s actually a really solid, fun — albeit simple and straightforward — rhythm game underneath, with some wonderful pieces of original music; for those less familiar with Senran Kagura, it has consistently great soundtracks, and Bon Appetit! is no exception; good job for a music game, huh?

Not only that, but the game actually makes an effort to put all this ridiculousness in context with story sequences just like those in the mainline Senran Kagura games. It does take great pains to point out that you probably shouldn’t take Bon Appetit! too seriously or expect it to be acknowledged in the “canonical” Senran Kagura narrative, but it’s more than just a generic rhythm game with the Senran Kagura characters hastily slapped atop it.

It’s lewd as fuck, though; if you thought the clothes-ripping action of the main games was a touch on the suggestive side, you’ve not experienced anything until you’ve seen the cast posing provocatively and naked atop various delicious-looking desserts. But that is what Senran Kagura does, and by golly, we love it for it.

Love Live! School Idol Festival

The most recent addition to this list (which I’ve been keeping in my head prior to this post), Love Live! School Idol Festival is one of a few games that have got me playing games on my phone again for the first time in ages.

The basic rhythm gameplay of School Idol Festival is solid, and designed well for touchscreens — the icons you have to tap are all arranged in an inverted arc across the screen, making it easy to hit them all with your thumbs even when holding on to your phone. The songs are a lot of fun, too, capturing a lot of the energy of the show — and, of course, making use of some of the show’s most well-known and loved songs.

But arguably the more interesting thing about School Idol Festival — and the thing that keeps players coming back to it day after day — is its comprehensive metagame. At its core, it’s a fairly standard Japanese style collectible card game — collect cards of varying rarity, sacrifice cards you don’t need to level up cards you do need, increase the rarity of cards and assemble a powerful team — but the attachment to Love Live! makes it very endearing, and the game even goes so far as to include fully-voiced (in Japanese) visual novel-style story sequences as you make progress. The metagame also affects your performance; better cards will allow you to obtain better scores, and different cards have different “skills” that trigger over the course of a song and provide you with bonuses or other benefits.

You’ll obviously get the most out of School Idol Festival if you’re already familiar with Love Live!, but even if you’re not, it’s a solid rhythm game in its own right — so long as you like super-happy, cheerful, saccharine-sweet J-idol music. And I’m not sure I trust anyone who says they don’t!

Okay, okay, I’m done. Whatever.

* Hah.

1771: Dungeon of the Endless is Pretty Great

Before I left my friend Tim’s yesterday, I quickly gave him a tour of Amplitude’s Dungeon of the Endless, one of the three games in the studio’s Endless series of sci-fi strategy games and, I think, my favourite of the three overall. Demonstrating the game to Tim reminded me how much I like it, and thus I spent a fair amount of time both last night when I got home and today playing it.

For the uninitiated, Dungeon of the Endless is a peculiar affair somewhere between roguelike, real-time strategy game, turn-based strategy game, tower defense game and board game.

Here’s how it works. Your party of heroes (initially two, but expandable up to four by finding and recruiting additional characters as you progress) have crash-landed in a dungeon. The only way out is to use the otherwise destroyed spacecraft’s energy crystal to power the ancient elevators which proceed upwards through the twelve levels of the complex. Inconveniently, of course, these elevators only go up one floor at a time, so on every level you have to go through the same process of exploring, finding the exit and then transporting the energy crystal from the start point to the exit. Do this twelve times and you win; let the crystal be destroyed or all of your heroes die and you lose.

Each level is randomly generated, and they get larger and more complex as you progress, but still follow the same basic formula. A level is constructed out of individual rooms separated by doors, and opening a door is akin to starting a new “turn” in Dungeon of the Endless’ stablemates Endless Space or Endless Legend. Upon opening a door, you produce a particular amount of Food, Science and Industry, with the exact amount dependent on various conditions, including the heroes you have on your team, the modules you’ve built around the dungeon and whether or not there’s anyone trained to operate said modules and improve their output.

Food is required for healing, levelling up and, occasionally, recruiting new heroes. Science is used for researching new modules to construct and resetting ability cooldowns. Industry is used to actually construct things. There’s also a fourth resource called Dust, whose main use is to increase the power capacity of your crystal. Every ten units of Dust you acquire, you earn the ability to power an additional room. Powered rooms — which have to be connected to the crystal or to other powered rooms — can have modules built in them. Unpowered rooms have the chance of spawning waves of monsters every time you open a door — or indefinitely once one of your party members picks up the crystal and starts transporting it.

Playing the game effectively involves carefully strategising how you can balance exploring the dungeon to find the exit, constructing defensive positions to protect the crystal from attack, and powering rooms in such a way as to prevent enemies spawning in inconvenient locations — or perhaps to funnel them towards an easily-defended position. It’s initially overwhelming, but once you master the basic strategy — power rooms along the path to the exit, place heavy defences in between where the enemies are likely to spawn and where you’re going to be heading — it’s satisfying, but still challenging. As the game progresses, the enemies get stronger and come out in greater numbers, so you’d better have levelled up your heroes and researched some better modules in preparation for the increasing intensity of the assaults.

Being inspired by roguelikes, Dungeon of the Endless has a pleasing amount of replayability thanks to random elements that make each playthrough a little different. The maps are different each time, for starters, but there are also more subtle changes like the technologies available to research. In the last game I played, for example, I had access to the “Knowledge is Power” turrets, which power themselves up significantly according to how much Science you’ve collected. I stockpiled an enormous amount of Science in the earlier levels, meaning that these relatively inexpensive turrets got me through a lot of the game thanks to their astronomical stopping power. (They didn’t help me finish the last level, however, in which you’re very short on power and other resources and powerful monsters just seem to keep coming.)

I haven’t yet tried the multiplayer mode, in which you each control a single hero, but it has the potential to be interesting in a slightly different way to the single-player. I’m interested to try it sometime soon; hopefully the opportunity will arise!

#oneaday Day 845: Endless SPAAAAAACE

As I believe has been well-documented on this very site a number of times, I am not very good at strategy games, be they of the board- or computer-based varieties. I have trouble prioritising what I want to do, and as soon as I do decide upon a course of action, some asshole other player comes along and beats the shit out of me before I have a chance to follow through on my master plan.

So it was with some trepidation that I decided I would give Endless Space a go. I’ve been playing a bit of Starbase Orion on iOS recently and, having recently won my first game (against one Easy-level opponent) I felt I wanted to investigate the space-based 4X genre a little further.

Aside: If you, like me, constantly forget what “4X” stands for, it means “explore, expand, exploit and exterminate” and is used to describe strategy games that involve a combination of building, expansion, collecting resources and military conflict. They’re typically (though not always) turn-based in execution due to the amount of micromanagement necessary to keep an empire running smoothly, and depending on the game, victory can generally be attained in several ways. Sid Meier’s popular Civilization series is one of the best-known examples.

With me? Good. Endless Space is an upcoming space-based 4X game from French indie developer Amplitude. You can preorder the game right now and jump into an impressively-complete alpha build and, in an interesting twist on the usual development cycle, participate in the decision-making process as the game gets closer to release. I shan’t go into detail on that side of things right now (though I may in the future as it’s a very cool idea to get the community involved in development) but I will talk a little about the game itself and how I’ve found it after a few hours of taking it for a spin earlier.

Endless Space, like many other games of its type, takes place in a randomly-generated galaxy. You’re given a starting colony and a meagre supply of ships to get yourself up and running, and from there it’s all about the empire-building. Scout out new systems, send colony ships to the richest-looking planets, then build, expand and conquer until you are the undisputed ruler of the Universe. Easy enough, right?

Unlike some similar titles, Endless Space’s map is based around specific routes between star systems. (In Starbase Orion, for example, ships can move between any systems that are in range via the most direct route.) Because of this, it’s much more straightforward to figure out how to defend yourself because attacks will only be coming from certain angles. Blockade your systems that are on the front line, then figure out a pathway through your opponent’s defences that will whittle them down piece by piece. In some ways it reminded me of the excellent board-game adaptation of Blizzard’s StarCraft, which is well worth a punt if you have a few hours (and a very big table) to spare.

The basic mechanics are similar to the classic Civilization titles. Each colony under the player’s control produces food, industry, science and “dust”, which is the currency used in the Endless Space universe. Food leads to population growth. Industry is used to build things — the more industry, the quicker things are built. Science is used to research new technologies. And dust is used for all sorts of purposes — hurrying production, upgrading ships and all manner of other things. Each colony in a star system adds to that system’s pool of food, industry, dust and science (referred to in-game as “FIDS”), and each system may then use said pools to upgrade its population, contribute to the empire’s overall research progress, build ships or build improvements to that specific system. It’s simple to understand in practice, particularly if you’ve played Civilization before.

An interesting twist on the usual formula comes in the form of “hero” units, who are generated every few turns and may be hired for a fee of dust up front, then paid a salary each turn. Heroes come in two main forms: system governors and admirals. The former provide various bonuses to FIDS and morale in the system they’re assigned to, while the latter may be used to take command of a fleet of ships and make them more powerful. As they do their jobs, they level up and may be customised with various abilities to specialise them or make them better generalists. They can be shuffled around the player’s empire at will, too.

Combat, too, takes an intriguingly unconventional approach. Rather than going outright real-time such as in Sins of a Solar Empire, or almost completely hands-off as in Starbase Orion, Endless Space’s combat takes a curious “cinematic” approach. A combat encounter unfolds over a set period of real time which is divided into several phases. There are a few seconds at the beginning of combat while both fleets approach each other, then the battle progresses between long, medium and short-range phases. The player may play a “card” on each of these three phases which provides numerous special effects. Cards have categories, too, and certain categories cancel out the other player’s abilities. This gives an element of uncertainty to the combat, though the “combat preview” window, which estimates the player’s chances of victory prior to the combat unfolding, is a pleasing addition, as are the Battlestar Galactica-style cinematic combat sequences (complete with ethnic instruments) and ability to completely skip the combat scene altogether if it looks like being a complete whitewash.

I haven’t played a game through to completion yet, but I’ve been enjoying what I’ve tried so far. I don’t feel overwhelmed with things to worry about and I don’t feel I’m being “left behind” by the computer players. (I may feel differently if I get stomped on by one of them — my closest neighbour declared war on me just because I forcibly removed one of his scout ships from my border system with a fleet of destroyers.) The “hero” mechanic adds a cool sense of progression and the way the game is presented is simple, clear and easy to understand while remaining aesthetically impressive, with smoothly-animated, attractive UI elements, excellent background music and atmospheric sound effects.

If this is an alpha version, I very much look forward to seeing how the game evolves over the coming months. If you have the slightest interest in the turn-based strategy genre, I’d strongly suggest you give it a shot — and thanks to my good buddy Alex for the recommendation.

Check out the game here and preorder on Steam to get access to the alpha build.