2037: I Killed a Volcano

Another Sword Art Online Re:Hollow Fragment post, I’m afraid, but, well, deal with it; it’s good, I’m enjoying it, and I want to talk more about it.

I was describing the game to a friend earlier and the thing that struck me is how utterly different from your typical JRPG it is. It’s extremely non-linear at heart — that is to say, there are a number of parallel linear objectives to follow at any given moment, but it’s always entirely up to you which one you pursue at any given moment, or even whether you pursue them at all or just decide to grind out a few levels fighting powerful enemies.

So far the “main” quests I’ve encountered include the ascent of Aincrad, which is the way you “beat” the game; the storyline that unfolds as you unlock access to each part of the Hollow Area; the “Grand Quest” which mysteriously appears on one trip to the Administration Area; and a line of waifu-specific objectives that demand you go into the Hollow Area with a specific companion and complete a particular kind of Hollow Mission, the exact details of which are usually given in fairly vague terms, so you have to figure out exactly which missions will fulfil their criteria for yourself.

In my relatively brief session on the game earlier, I chose to forego the waifu quests I had previously been working on (largely because I couldn’t find a Hollow Mission that involved fighting kobolds or goblins to progress Silica’s questline) and instead continue with the Grand Quest. This part of the game — which I believe was added in a free update post-release on the original Vita version — involves entering a mysterious new part of the already mysterious Hollow Area, known as the Abandoned Area, and promises the reward of powerful new Sword Skills that you can’t get anywhere else.

The Abandoned Area is introduced to you with a beautiful garden, one end of which is dominated by an enormous pair of doors — doors which are, of course, locked. However, since Sword Art Online is well and truly aware that it is a game, it very much follows the rules of a game, and consequently there are two obvious depressions in the door where “something” most certainly fits. And, wouldn’t you know it, there are two pathways out of the garden, each of which leads to a different “dungeon” area — one in some fiery caves, another in the mountains. And oh! It just so happens that your map indicates that there’s a powerful Area Boss waiting in the furthest reaches of each of these areas. Guess what you have to do to progress the Grand Quest?

It’s not just as simple as wandering in and smacking the boss about a bit, though, not least of which because the bosses are challenging encounters with plenty of mechanics to figure out. In order to even get at the boss of the fiery cave area, you need to complete a number of different Hollow Missions that reveal some interesting facts about the local fauna — most notably the explosive bugs that become petrified when they die, and which conveniently explode with sufficient force to knock down walls when triggered by the correct catalyst. Once you’ve discovered this useful piece of information, you then have to scour the area for other instances of these petrified bugs, blow them up and see if they reveal a convenient pathway through to the boss.

The mountain area is similar in execution, though it is set up in such a way as to prevent you from progressing too far without completing the fiery caves first — you need a key item to melt open a door that is frozen shut. In this area, however, you quickly encounter the Area Boss without too much difficulty, who promptly screeches at you with a noise so terrible you’re forced to retreat. The challenge here, then, is to uncover a means of protecting yourself against his powerful sonic attacks. I’m yet to discover exactly what that means is, but it will almost certainly involve a convenient Key Item somewhere, because that’s how games work and, as previously noted, Sword Art Online is very much aware that it is a game.

The fiery cave area boss — dramatically known as Gaiard the Volcano — is a great fight that is far more than simple hack and slash. It’s a fight where you’ll have to pay attention to what moves are coming up — they are telegraphed in various ways — move carefully to avoid them, order your companion around (assuming you brought one with you) and take every opportunity you have to get in your most powerful attacks. It’s an intense fight that really doesn’t let up for a moment; opportunities to attack are short and easy to miss if you’re not paying attention, and you need to keep a close eye on your partner’s condition, too; letting them die is as instant a Game Over as if you died yourself. It’s extremely satisfying when you finally clear it, however; it took me a good few attempts, but like the very best boss fights, it never felt like I was being smacked around by cheap, unfair moves — I learned something every time and progressed a little further, until eventually I was able to counter almost all his earth-shaking attacks and take full advantage of the openings that were presented throughout the battle.

If you’re the sort of person who enjoys setting their own objectives and pursuing things in whatever order they like, then, Sword Art Online Re:Hollow Fragment is something that will very much appeal. Plus I was delighted to see today that it appears to be a top-seller on PSN right now, which means that it’s a game that is getting noticed, played, enjoyed and promoted by people who like it. That makes me really happy; while it is far from the most technically proficient game in the world — the upscaled PSP graphics and somewhat inconsistent frame rate will be a culture shock for many — it’s a beautifully designed, enormously addictive and extremely playable game that I can see myself spending a very long time with before I move on to something else.

2034: The Hollow Area

Been playing some more Sword Art Online Re:Hollow Fragment for the past few days, and I’m thoroughly enamoured with it. It’s quite unlike any RPG I’ve played before, though I must say, it does a pretty good job with the whole “simulated MMO” deal, particularly as you can even play it in cooperative multiplayer.

I’ve mostly been exploring the “Hollow Area” part of the game, which is the vast new section originally added in the Vita version of the game; the original PSP version only covered the last 25 floors of Aincrad up to the final boss on Floor 100. Aincrad is a mostly linear experience; the Hollow Area, meanwhile, though gated by story progression in a few places, is much more non-linear in nature since you can freely move between regions, take on any “Hollow Missions” you choose or simply explore, fight monsters and seek treasure.

Interestingly, this aspect of the game is the one area where Re:Hollow Fragment differs from a real MMO: while the first time you enter a new zone in an MMO you’ll probably take some time to explore and map it fully, most MMOs design their areas in such a way as to be easily navigable by large groups of people, and once you’ve been everywhere, you’ve been everywhere; no further exploration needed. When it comes to dungeons, any kind of exploration is usually discouraged entirely in favour of a linear sequence of encounters culminating in one or more highly scripted boss fights. There’s nothing wrong with this; when it comes to herding a group of players towards their objective together — particularly when they might not be able to communicate with one another due to issues such as the language barrier, console players not having a keyboard to hand or people simply being unwilling to talk — it’s best to keep things as simple as possible so no-one gets lost, everyone can have a good time and work their way through efficiently.

Since Re:Hollow Fragment doesn’t have to worry about “real” players (for the most part — multiplayer assumes you’re already familiar with how the basic game works) it’s free to be a bit more interesting with its areas. So we have mazes, networks of caves, perilous clifftops (that you can fall off and die instantly) and dungeons with multiple routes and secret passages, many of which you’ll need to pay return visits to at a higher level to get the most out of. It’s an absolute pleasure to explore, and all the more rewarding when you come across a powerful monster to fight or a treasure chest containing an awesome treasure item.

The “powerful monster” aspect is worthy of some note. I’d heard a few people compare this game to Monster Hunter when it first came out; I haven’t played Monster Hunter myself so can’t comment with a huge amount of authority, but it never struck me as a particularly obvious comparison to make. That is, until I started ranking up some of the regions in the Hollow Area and coming across the “NM” (Named Monster) and “HNM” (Hyper Named Monster… I think?) encounters, which pit you against powerful, boss-tier enemies that demand a little more than just hack and slash. Now I kind of Get It… that moment when you think “That thing looks awesome… let’s kill it!”

That said, the game isn’t particularly hack and slash even with its trash mobs, anyway; it has an interesting combat system based around a combination of carefully timed button presses (Phantasy Star Online-style) and skills with cooldowns a la traditional MMOs. While Kirito starts a fair distance down the Dual Wielding path he’s depicted following in the anime, you’re free to change to any other weapon type whenever you like, and in fact if you want to farm Skill Points to learn new abilities, you’re going to need to do that, since Skill Points are earned most reliably by levelling up weapon proficiencies. What’s nice is that each weapon type has its own unique set of skills to learn along with its own unique animations and timings for “Exact Attacks”. Branching off each weapon type are support skills, too, ranging from healing and buffing to passive abilities that improve your overall position in battle.

Then there’s the Implementation system, which works alongside the skill system. While the skill system is presented as being part of the Sword Art Online game Kirito and his friends are trapped in, the Implementation system is the game’s equivalent of turning on Google Labs in GMail; it tasks you with “researching” various things during Hollow Missions (and only during Hollow Missions) and then rewards you with experimental game adjustments — anything from stat buffs to the ability to receive new item drops from NMs and HNMs — and even entire new game systems, such as the Original Sword Skill system, which essentially allows you to record a “macro” of your favourite skills and chain them together at will. The challenges you’ll be tasked with completing range from the simple (defeat 20 enemies) to the infuriating and time consuming (land 200 perfectly timed Exact Attacks) but the rewards are very much worth it, and this array of challenges — there are well over a hundred of them in total, I believe — give the game a great deal of variety as it becomes less about simply hacking your way through monsters as quickly as possible, and more about defeating them in specific ways in order to efficiently complete these research objectives.

Perhaps one of the most interesting things about Re:Hollow Fragment is the fact that all this stuff is technically optional. All you have to do to finish the game is climb to floor 100 of Aincrad, beat the last boss and hooray, you win. Any RPG player worth their salt knows that making a beeline straight for the final boss is rarely a good idea, though; sure, you might clear the game quickly, but you’ll also miss out on potentially some of its coolest aspects. As such, I’m unsurprised to have found myself well and truly captivated by exploring the Hollow Area, while my progress on Aincrad has stalled after just two floors. The Assault Team don’t seem to mind, though, and the game’s generous complement of waifus are more than happy to accompany me on my various adventures, so all’s well.

I can see myself spending a long time with this game, and I’m actually keen to play some more multiplayer (particularly as two trophies relate to multiplayer sessions — though you can play “solo multiplayer” in a party with your characters from single player) — it’s been a very pleasant, enjoyable surprise so far, and I’m looking forward to continuing to explore its hidden depths. And then jumping right into Lost Song when it comes out in a few months!

1693: Rieze Maxia-Elympios Relations

Even after spending a week writing in great detail about it over on MoeGamer, I’m still having an absolute blast with Bandai Namco’s (or is it Namco Bandai? I lose track) Tales of Xillia 2, the direct sequel to one of my favourite recent console role-playing games.

Direct sequels are quite rare in the Japanese role-playing game space; long running series like Tales of and Final Fantasy typically take each new installment as a completely new experience, with the only things each have in common being perhaps some story themes, some item and skill names, maybe a few character names or references, and little else.

There’s a fairly good reason that direct sequels are pretty rare in this particular genre, of course: they’re damned difficult to do well, and if you’re not altogether careful you’ll open yourself up to accusations of simply recycling old content. This is a criticism that has been levelled at Xillia 2 and not altogether unjustifiably — the majority of towns, field areas and dungeons you’ll visit in the early part of the game are lifted wholesale from the original Tales of Xillia with very few changes.

It’s what you do with that recycled content that counts, though, and in the relatively few examples of direct sequels in the JRPG space, it’s been handled pretty well. Final Fantasy X-2, for example, eschewed its predecessor’s very linear path around the world in favour of having everywhere open from the outset, and multiple things available for you to work on at any given time. Final Fantasy XIII-2, meanwhile, fragmented its experience into a slightly messy tale of time travel with a non-linear narrative, completely at odds with the much-maligned linearity of its predecessor. And Tales of Xillia 2 effectively starts you at the other end of the world from its predecessor, showing life in the games’ unusual setting from a pleasantly different perspective.

That’s not all, though. While Xillia 1’s world was relatively open to exploration, you still unlocked things in a fairly linear progression and tended not to go places until you were told to. In Xillia 2, meanwhile, you still unlock areas of the world according to your progression through the main story, but on regular occasions you are left to your own devices to explore, take on sidequests — many of which are repeatable or randomly generated — and simply do as you see fit in the world.

In this sense, Xillia 2 actually ends up feeling a lot more like a crossbreed between traditionally Eastern and Western approaches to role-playing games. You have the tight, linear, character-driven narrative of a Japanese role-playing game coupled with the freedom to go and see what’s over that hill, in that cave, through those wood as seen in Western titles like the Elder Scrolls series.

In fact, Xillia 2 also takes some heavy cues from Japanese role-playing games that do things a little differently, too — most notably the latter two Persona games. Like those two classics, Tales of Xillia 2’s protagonist is pretty much silent, though he does have plenty of personality despite not saying all that much. And like those games, your party members have their own unique individual storylines that are ascribed almost as much importance as the main narrative.

One of the strongest things about the original Xillia was the feeling that this was a real group of characters that had their own individual personalities, feelings and opinions on everything. Offhand comments in the field, frequently hilarious post-battle mini-scenes and the Tales series’ trademark Skits all helped contribute to an atmosphere of these characters feeling like real people that you were meant to care about rather than collections of stats. (Mechanically, they’re all very distinct, too, as it happens, but for me it’s the personality of them all that really shines.) Xillia 2 continues this with aplomb, this time giving you somewhat more freedom to make choices as to how the main character responds to things. Certain choices will affect your relationship values with your party members, while other choices will change the outcome of scenes. It’s an interesting change from Xillia 1’s very “hands-off” approach to story, and it works well, particularly in the context of making the sequel feel distinct from its predecessor despite reusing a lot of content.

I’m yet to beat the game — I’m juggling it with the ever-present Final Fantasy XIV at the moment — but I’m looking forward to seeing how it all concludes. If you enjoyed (and beat!) the previous one, I can strongly recommend Xillia 2; as a sequel, it hits all the right notes, and you absolutely will not be disappointed with the opportunity to spend more time with these wonderful characters.

If you never played Xillia 1? Well, get that sorted right now, soldier; you’re missing out.