2233: MegaNep’s True Ending: A Love Letter to the Dreamcast, and to the Player

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I cleared Megadimension Neptunia VII’s True Ending path this evening, after a horrible moment where I thought I hadn’t triggered it and would have to do the whole thing through again (which is actually not quite as monumental an undertaking as you might think) — and I was very impressed with one of the most satisfying finales I’ve seen in a story-based game for quite some time.

Mild spoilers ahead.

At the core of MegaNep’s overarching narrative is the story of Uzume Tennouboshi, a new character to the series who, like the series regulars, embodies a games console — in this case, Sega’s ahead-of-its-time Dreamcast. For those unfamiliar with their gaming hardware history, the Dreamcast was a 128-bit console that came out towards the tail end of the console generation that was primarily 32- and 64-bit: that of the original PlayStation and the Nintendo 64. It was astronomically powerful in comparison to its contemporaries and was home to some wonderful games, many of which are still fondly remembered today. But for one reason or another, it was regarded as a commercial failure, and both it and its games dropped out of mainstream distribution after just a couple of years, with the 128-bit era only starting in earnest once the PlayStation 2 shattered all expectations of what console gaming was all about following its launch in 2000.

Uzume’s identity and background is initially a mystery to Neptune and company, but over the source of MegaNep’s complete story, her past comes to light. Having once been a goddess to what is now Neptune’s domain of Planeptune, she was voluntarily sealed away due to the fact that she was unable to control her “illusion” power and largely forgotten about; an allegory for the Dreamcast being released onto the market too early and developers and publishers alike arguably not being sure how to make best use of this new power on offer.

The main villain of the piece is revealed very late in the story to be the darker side of Uzume, representing her irrational hatred and bitterness at feeling abandoned by her people. Through a complicated series of happenings too twisty-turny to describe in detail here, Neptune and her friends eventually manage to help Uzume come to terms with her past and realise that her memories have become tainted by hatred and regret; her people, in fact, loved her and cherished her, and it was with a heavy heart that they saw her sealed away for the protection of everyone.

There are two endings to MegaNep: one in which Uzume sacrifices herself to ensure her dark counterpart is not able to send a horde of monsters from her delusional “Heart Dimension” into Neptune’s Hyper Dimension, and another in which Neptune and her friends refuse to leave her to die, and ultimately help her to overcome her darkness. This latter one is the True ending, and it demonstrates beyond a shadow of a doubt that the team at Idea Factory and Compile Heart hold the Dreamcast in considerable esteem; the truth about Uzume’s past is described with such a wonderfully warm feeling of fondness that it’s hard not to feel extremely nostalgic if you happened to be there when it all happened in our world, and the Neptunia series’ biggest strength — characterisation and the feeling of bonds between these characters — really shines through as everyone expresses their love for Uzume and she, likewise, expresses her love for them.

What also made the ending satisfying, aside from this wonderfully genuine-feeling appreciation for the Dreamcast and its games, was the Neptunia series trademark “Thank You Corner”, where the cast completely break the fourth wall and address the player directly, thanking them for playing and showering them with praise for beating the game. This is always a lovely moment in every Neptunia game, but in the case of MegaNep it feels particularly heartfelt; it’s obvious that the words coming out of the mouths of the characters are actually those of the series’ creators, expressing their gratitude for the series having gone from strength to strength over the years, overcoming the adversity of its early installments’ poor reviews, widespread ignorance from the press and self-professed RPG “experts” that persists to this day, and ultimately becoming a genuinely rather wonderful franchise that I really don’t want to see the back of any time soon.

In many ways, it was like a “curtain call” for the game, and while previous Neptunia games have handled this in much the same way, there was something about this moment in MegaNep that made it more satisfying and touching than it’s ever been before. It’s a rare and wonderful feeling for a creative work to seem like it’s talking directly to you, but the Neptunia series has always felt that way, and never more so than with Megadimension Neptunia VII.

Onwards to the post-game, then; I have trophies to clean up and Colosseum battles to fight! (And in the meantime, I promise I’ll find something new to write about soon.)

2232: Pondering Postgame

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I feel like I’ve become much more conscious of a lot of single-player games incorporating an almost MMO-like “endgame” these days, though pondering the matter a little further I’m not sure it’s as new a concept as I initially thought it was.

My musings on this subject are inspired by my second playthrough of Megadimension Neptunia VII, which is going considerably quicker than my 62-hour first playthrough of it thanks to its myriad of rather lovely New Game Plus features — faster run speed, higher jump height, ability to turn off random encounters and a bunch of other things besides, including the ability to instantly skip story scenes you’ve seen before — and in which I’m taking aim for the “true” ending and the subsequent postgame, which allows you to continue playing after the credits have rolled to clean up whatever it is you still want to get out of the game.

In the case of Megadimension Neptunia and numerous other games like it — largely JRPGs, with a few exceptions — the postgame is often designed with trophy collecting in mind, with some of the most challenging trophies requiring dedicated effort well above and beyond what the main story of the game demanded. In most cases, you’re not actually missing out on any story by pursuing these additional objectives; you’re simply expressing a desire to see everything the game has to offer, and to push your knowledge of its mechanics to the limit.

This is where the MMO endgame comparison comes in. Take my particular brand of MMO poison as an example: Final Fantasy XIV has a linear main scenario that takes you from level 1 to level 60 naturally, telling an interesting tale while equipping you with the skills you’ll need for high-level play. Once you reach level 60 and beat the main story you have a few choices: you can put the game down, satisfied that you’ve “finished” it; you can keep playing it to see what the new episodes of the story added in each new content patch add to the overall narrative; or you can delve into the endgame proper, which often relies less on story and more on mechanics and grinding, with the promise of significant increases in your character’s power as a reward.

This is exactly the case with modern single-player games that offer postgame content, too. In the case of Megadimension Neptunia VII, there are hidden treasures to hunt down, additional monsters to fight, challenging dungeons to clear and collectibles to… you know. There’s no actual obligation for you to take these extra challenges on if you’re satisfied with how the main story concluded, but the option is there for those who want to spend a bit more time with the game without having to worry about whether they’ll lock themselves out of something by advancing the plot too far.

As I say, I’d got into my head that this was a somewhat recent concept; when I think back to titles that I spent a lot of time with in years gone by, in many cases you had to take care of any and all of your business before you beat the final boss and rolled the credits. Take something like Final Fantasy VII, for example; once you unlock the final dungeon, pretty much the whole world is open to you, and there are a bunch of optional sidequests you can go and complete for some fairly significant rewards if you see fit, though none of them are essential to the plot, and none of them are necessary to beat the final boss. Once you do beat that final boss, though, that’s the end of the game — in RPGs of that era, you often didn’t even get to save a “clear file” to start a New Game Plus and carry over some of your achievements to a new runthrough.

But when I consider things in a bit more depth, the idea of the postgame — of an ostensibly narrative-based game remaining relevant and interesting to play even after you’ve seen the story’s finale — has been around for quite some time. Konami’s PS1 and PS2-era games, for example, often featured a ranking/score screen at the end of the game, challenging you to try it again, but do it faster/better/taking fewer hits. Other games unlocked new difficulty settings, or unlocked alternative (sometimes joke) endings. Capcom’s Resident Evil 2 took the ambitious approach of having multiple ways to experience the narrative: you could play it once as Claire, then see what Leon was up to while Claire was doing her thing; then you could play it “for the first time” again as Leon, then see what Claire was up to while Leon was doing his thing. Each of these four playthroughs, while similar, had its own unique content, making the game worth replaying — and once you’d done all that, there were the super-secret paths such as Hunk and Tofu, which mostly acted as a reward for those who had put in enough time and effort to master the game.

MMO players often describe reaching the level cap of their game of choice as “just the beginning” of your experience. And it’s very much true; pre-Heavensward Final Fantasy XIV sat at level 50 for a good couple of years, but managed to feel like it was progressing at a regular, steady rate, both in terms of new content and character power levels — and it’s doubtless the same with other MMOs that keep adding new stuff to keep level-cap players interested and engaged.

What I find interesting is the idea that a game designed primarily to tell a story — to have a clear end — can have so much beyond that story content, even if it’s a single-player game that isn’t expanded over time with new content, DLC or the like. It’s one of the many things that sets games apart from non-interactive forms of entertainment, and it’s an opportunity to enjoy a different side of a game you’ve taken pleasure in engaging with: having worked your way through the narrative, you’re now focusing on mastering the mechanics until you’re satisfied you’ve got everything you’re going to out of the game in question.

I never used to do multiple playthroughs of games — except for Final Fantasy VII, which my friends and I were borderline obsessed with in our teens — but these days, I very much enjoy exploring the postgame, trophy hunting and seeing multiple endings. Once I’m done with Megadimension Neptunia VII, I’m particularly looking forward to Dungeon Travelers 2‘s postgame; from everything I’ve heard about it, it very much takes the MMO approach of “finishing the story is just the beginning… now prove you really know how to play this game. If, you know, you want to.” — and that is something that has come to appeal to me very much over the years, even as many of my peers are getting less and less patient with lengthy, time-consuming games. I wonder what made me go the other way?

Oh well. Time for bed now; tomorrow I will find out if I’ve actually done all the arbitrary triggers that ensure I will get Megadimension Neptunia VII’s “true” ending, or if I need to do the whole bloody thing through for a third time. (That’s not actually too bad; to put it in context, while my first playthrough took 62 hours, my second playthrough has probably been no more than 3 hours so far, and I’m just coming into the third and final story arc, which puts me maybe an hour away from the “ending”.)

2228: MegaNep: Thoughts After a First Playthrough

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Well, I finally finished Megadimension Neptunia VII for the first time. Took about 62 hours or so in the end; that was taking it fairly leisurely through the game and taking the time to unlock stuff here and there that I perhaps didn’t need to do on a first playthrough. Next up for me is a New Game Plus run in which I go for the “true” ending, which leads on to a post-game segment during which you can clean up any bits and pieces you didn’t finish off first time around. Or trophy hunt.

For now, though, I want to talk about my experiences with the game after a complete playthrough.

The first thing to say about the game is that, as I’ve mentioned before, this is Compile Heart’s finest work to date. There are no significant technical issues beyond a couple of very minor frame drops in a few places; the script and translation is excellent (although there are a few more typos than there should be); and the gameplay is satisfying, enjoyable and well-balanced.

The first and last points there address two of the biggest criticisms the Neptunia series has had since its inception. From the original PS3 game onwards, the series — and Compile Heart’s work in general — had been plagued with technical issues, most notably atrocious framerates that weren’t really justifiable given the relative simplicity of the graphics compared to bigger-budget titles that ran a whole lot better. And, again, from the original game onwards, game balance has been an off-and-on problem: the original game (and the total overhaul Re;Birth1) was inconsistent in its difficulty, erring on the side of “suddenly way too hard” without warning; sequel mk2 and its Re;Birth counterpart was much too easy (and rather short, although it does still have the widest variety of endings in the series); Victory and Re;Birth3, meanwhile, got the closest to nailing the formula, but still had a few elements that could be a bit of a pain, most notably the heavily RNG-based Scout system.

So how does MegaNep counter these original problems? Well, in the case of the technical issues, it seems that Compile Heart is significantly more comfortable developing for PS4 than PS3. MegaNep runs at a pretty consistent 60fps pretty much all of the time; the only time it drops is in particularly busy scenes such as the “sakura”-style dungeons with cherry blossoms everywhere. MegaNep is even an improvement over the company’s last game Omega Quintet, which ran very nicely in battle scenes, but which juddered a little bit in the (admirably large and sprawling) field areas. It’s not going to win any awards for looking amazing, of course, but the graphics are perfectly acceptable and, as is the norm for the series, the character models and animations are very nice indeed.

As for the gameplay balancing, Compile Heart really feel like they’ve nailed it this time around. At no point did I feel like the game was too easy or too difficult, and progression was paced well. It’s not a game that you need to grind to level 99 to be able to beat the last boss, either; my clear party consisted of characters between levels 40-60 (Nepgear being the highest at 60, not that I show her any favouritism, nosirree) and they dispatched the last boss without any difficulty. In other words, it’s a game that you can stumble your way through from start to finish without running into too much trouble, but if you go a little off the beaten track from the linear storyline, there are plenty of ways to challenge yourself — and plenty of things to do in New Game Plus, too.

The game systems, having been significantly revamped from the Victory/Re;Birth formula, work extremely well. Skills don’t feel over- or under-powered, and the basic combo attacks each character can perform are actually useful for things other than building up the EXE Drive meter now, too. Each character feels unique, too, with a variety of different skills, weapon types, combo arrangements and multi-person formation attacks to play with; there are a clearly number of “optimal” party setups that provide you with the most flexibility in terms of formation and partner moves in particular, but the systems are balanced well enough that you can take pretty much any combination you like into battle and have a good time. Oh, and while there are a few recycled dungeons from past games — it’s series tradition by this point — there’s also a ton of brand new, original content, including the wonderfully inventive (and infuriating) Neplunker dungeons as well as the mapless Senmuu Labyrinth.

Now, narrative and characterisation has never really been an issue for the Neptunia series, though my one criticism has been that it tends to have slightly weedy finales, particularly the final boss fights, which have previously been quite underwhelming at times. Pleasingly, MegaNep’s finale (at least in the ending I got) is spectacular, dramatic and even emotional; it really tugs on the heartstrings as you see what these characters — characters who many players have spent many hours with — are going through to resolve the latest crisis.

The story in general is very good; split into three distinct acts, each with their own focus and expanding scale, it’s interesting, enjoyable, varied and clever. It’s not a rehash of the previous games’ stories at all and it has worthwhile things to say, but it’s never forgotten the series’ roots in satire and parody. It’s laugh-out-loud funny in places, tearjerkingly emotional in others. It’s the best script the Neptunia characters have ever had to work with, and, like so much else about this game, feels like such a magnificent step up from the previous games that it’s a delight to see. I’ll talk more about this after I’ve seen the “true” ending and how it resolves things in an alternative manner.

In other words, it’s not just a great Neptunia game, it’s a great RPG, period. The only thing that saddens me is the fact that so many people will write it off without even giving it a shot for themselves; still, I guess that makes it all the more special for those of us in the know who can enjoy and appreciate it, both on its own merits and as, to date, the absolute pinnacle of the series.


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2224: Megadimension Neptunia: 50 Hour Report

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50 hours deep in Megadimension Neptunia VII and I’m just starting the third and final “episode”, Heart Dimension Neptunia H. So far I haven’t set foot in the titular Heart Dimension, but the plot has been set up; in the meantime I’ve been doing a little bit of questing and grinding with the CPU Candidates, who are the focus of the initial part of the arc.

The game continues to be the most enjoyable Neptunia game yet. Everything about it is honed and refined to round off the scrappy edges of the previous installments; while the Re;Birth remakes provided small, incremental improvements on the format set in place by Hyperdimension Neptunia VictoryMegaNep is, as I’ve previously noted, a complete overhaul of pretty much every system in the game, from the battle mechanics to the way “shares” work.

Perhaps one of the best changes is how unique each character now feels to play in battle. Rather than all essentially working in the same way outside of the SP-powered special skills and super-powerful EXE Drive attacks, now each character very much has their own distinctive feel and circumstances in which they are useful. This is achieved in several ways, largely to do with the weapons and combo attacks they are able to use.

Each weapon in MegaNep not only has the usual stats, but it also has a specific arrangement of combo slots, split into three categories: Rush, Power and Standard. (Break attacks have gone the way of the Guard Points bar that they were used to damage; I can’t say I miss the system, since it became largely irrelevant after a certain power level in the old games.) As in previous games, Rush attacks focus on a high hit count, with less power per individual hit, and also have a more significant impact on the EXE Drive meter, which now, incidentally, resets between every battle rather than carrying over as in the previous games. Power attacks, meanwhile, have fewer hits, hit harder and in many cases carry an elemental affinity, allowing you to exploit weaknesses. And Standard attacks are somewhere in between the two.

Where things get interesting is in trying to arrange these combos optimally. Characters learn new combo moves as they level up, but each can only be put in a single slot. Moreover, the first attack a weapon performs is fixed and not tied to the character’s unlocked skills; this comes into play when considering the individual combo moves’ Combo Traits, which, if fulfilled when you use them in battle, means that the combo move that triggered it will 1) be guaranteed to hit and 2) be guaranteed to crit with every hit, increasing overall damage considerably. Combo Traits vary from “All previous attacks did not use a Combo Trait” to “Haven’t used Power attacks” and numerous others besides. The challenge when customising a character is to give them as many workable combos with Traits as possible, enabling them to respond to different situations in an optimal manner. It seems to be impossible to build the “perfect” combo — every move triggering a Combo Trait — at my current level, but I wonder if it will be an option with later weapons and/or combo moves.

Anyway. Given that each character has their own set of combo skills and their own set of weapons (each of which has its own arrangement of combo slots as well as its own area of effect) there’s a considerable degree of flexibility in how you set up your party, particularly with the sheer number of playable characters on offer in the game. And you’ll want to rotate them around, too; back-line characters no longer gain experience points (with a couple of exceptions) and there are certain circumstances where you’re obliged to use one or more specific characters in a fight, so they better be suitably set up when that time comes! The series’ Lily Rank system is back, too, only this time Lily Ranks are gained by characters fighting together in the front row, making them somewhat easier to gain — at least it feels that way so far — and in order to max these out you’ll need to tweak your party arrangement every so often, particularly if you’re Trophy hunting.

Elsewhere in the combat, while there are a lot of disposable popcorn enemies — particularly on the world map, where after a certain point random battles become more of an inconvenience than an actual hazard in getting to your destination — the highlights of the game are the boss fights. The game knows this, too, presenting you with unique interface elements, including one thing that I oddly like very much and can’t quite explain why: the boss HP meter with multiple bars. Yes, rather than depleting one bar very slowly while battering down a boss-level enemy, MegaNep takes a Final Fantasy XII-esque approach of having a number of “lights” beneath the main HP bar for a boss, with a light dimming each time you empty the bar. Dim all the lights and you’ve won. It’s essentially a variation on the system that was used in titles like Shining Force and Senran Kagura, where different coloured HP bars represented how many “extra” bars a character or enemy had over the maximum possible to display on screen proportionally.

Outside of my rather specific, peculiar tastes in HP meters, though, back to the boss fights themselves: a lot of them are pretty good, and this is largely thanks to a couple of new mechanics introduced in MegaNep. One is the “Parts Break” system, whereby certain enemies have breakable sections with their own durability counts. In order to damage the part, your character needs to be standing in an appropriate place when they either unleash their combo or a special move. Break the part and you get extra XP, credits and a chance at some extra drops. In many cases, breaking the part also has an effect on the boss, either reducing an aspect of its defences or removing the capability for a particular attack. In one particularly memorable confrontation, a boss is completely immune to all damage except Parts damage until you break the cape on his back — to make matters more challenging, the cape can only be damaged by attacks with an elemental affinity. The fight quickly turns into an entertaining dance as you decide whether to try and break his gauntlets and the horn on his head to cripple his special attacks, or whether to focus on trying to get behind him to destroy his cape and be able to deal some real damage.

The new EXE Drive system works well, too; rather than encouraging you to get into a bunch of random fights in a dungeon just to charge it up before a boss fight, the fact it 1) resets at the start of combat and 2) fills much more quickly than in past games means that you’re much more likely to be using the spectacular, entertaining EXE Drive moves, which is good, because there are a lot more of them, including several multi-character ones that necessitate surrounding an enemy in appropriate formations. Transforming the CPUs and their sisters into their HDD (and, later, their Next Form) incarnations also costs a bar of EXE Drive rather than SP, meaning you can pretty much guarantee the ability to transform in every fight if you need it — to discourage spamming this, however, transforming now costs Shares, though getting KO’d costs significantly more Shares, so you’ll want to weigh up the pros and cons before doing anything rash. Shares work like their original intention in the first Hyperdimension Neptunia game: the more shares one of the nations has, the stronger their CPU (and her sister) is. They’re no longer a zero-sum game, however; increasing one nation’s shares no longer means taking them from someone else; it’s possible to have all four nations with maxed-out share bars, all enjoying the benefits of being Top Nep.

Anyway. I’ve waffled on for over 1,300 words on the systems in this game and not even mentioned the story and characters, which are still my favourite bit of the series. I’ll save that for another day, though, perhaps when I’ve finished my first playthrough: there’s a lot to talk about, with this being by far the most interesting Neptunia game story-wise as well as in terms of mechanics.

It’s pretty good, in other words. Very good, in fact. Buy it. Support it. I want to see more Neps. (At this point, I don’t think we have a lot to worry about there.)