#oneaday Day 775: Having a Corpse Party

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Looking for something terrifying? Own a PSP? Then quit whatever you're doing and go download Corpse Party from PSN for a very reasonable £11.99.

I've mentioned this briefly a couple of times over the last few days but it's worthy of some more in-depth enthusing, so here goes.

Corpse Party is a horror adventure game that uses a combination of Chrono Trigger-style top-down visuals and beautifully-drawn anime-style stills to tell its tale. And what a gruesome, horrifying tale it is.

Following a botched attempt to cast a friendship charm as one of a group of friends is set to leave her school, eight Japanese high schoolers and their teacher find themselves trapped in an unpleasant situation: a ruined, abandoned, creepy old school that is not their own, populated by malevolent ghosts and a wide variety of mutilated dead bodies — obviously previous victims of whatever curse brought them there. It's up to the player to get to the bottom of what's going on, and attempt to get the kids home. I haven't finished it yet, so I don't know if they're successful.

Corpse Party initially puts across the impression of being just another light-hearted anime adventure. But things quickly take a turn for the dark as the corpses start piling up and the numerous mysteries surrounding the ruined school start to reveal themselves. Gameplay is limited to wandering around, exploring and making occasional choices, so the game is perhaps best compared to a visual novel rather than an adventure game or survival horror, but it manages to be one of the most affecting, evocative games I've ever played using the bare minimum of tricks and gimmicks.

It achieves this in a variety of ways. First up is the excellent writing and localisation. Not only is the tale told one filled with unexpected twists and turns, but it's also one populated with believable, "human" characters who are far from being "video game heroic". They're kids. They talk like kids, they swear like kids, they make inappropriate comments like kids and they react like kids would in horrific situations like the ones in the game — by screaming, crying and running away.

The game doesn't hold back in its writing, preferring instead to depict its characters' behaviour in a realistic manner rather than the sanitised view of life we get in many other video games. For example, in one flashback scene depicting one of the characters' lives before the events of the game, we see a big sister (one of the main cast) and her little brother in the bathroom together. Both are nude. Big sister, who is somewhat outspoken and borderline brash at times, teases her little brother for being ashamed of his nakedness and hiding his penis from her, tackles him to the ground and tickles him, behaving as siblings do. There's no inappropriate eroticism in the scene despite the characters' nudity, just a believable depiction of two very "human" characters enjoying a mundane moment together.

A lot of the power of Corpse Party's writing comes from this clash between the mundane and the uncanny. Chapters will often open with a flashback of the "good old days" before the botched charm made everything go wrong for these kids, and it makes the anguish and terror they go through all the more profoundly affecting having seen what they're like in situations that they're comfortable with.

The writing is wonderfully descriptive without being overly explicit, either. Some of the most toe-curling, unpleasant scenes in the game come from a blank screen accompanied only by text and minimal sound effects. And yet somehow the manage to be far more horrific than anything I've seen on a next-gen console. The imagination is truly a powerful thing.

Imagination is all very well, but it can be helped along in a few ways. Firstly, there's the visual side of things, which is kept relatively simple for the most part — old-school pixel art RPG-style graphics punctuated with occasional hand-drawn closeups to emphasise particular scenes.

Star of the show is the game's sound design, though. Best experienced on headphones, Corpse Party's soundtrack combines a variety of atmospheric, dramatic and memorable musical themes with subtle use of sound effects and some truly fantastic Japanese-language voice acting. The delivery is packed with emotion, making the kids' screams of terror all the more harrowing as you find yourself really believing what's going on. And the use of stereo makes for an impressively unnerving experience.

While some may object to a game which features quite so much violence against children, I for one have so far found the mature treatment of the player to be refreshing. The game doesn't pull any punches at any point, meaning that you're just as likely to meet an agonising and drawn-out demise when playing as a little girl as you are when playing the "tough" guy. Far from feeling "wrong", however, the knowledge that the game's characters are in very real danger throughout provides a strong emotional impetus for the player to get to the bottom of what's going on and try to save them.

The only criticism of the game I have is the fact that if you find yourself down one of the "bad ending" paths and meeting a sticky end, you can sometimes lose a bit of progress if you haven't been saving fastidiously at the game's sparsely-scattered save points. With no means to quickly skip through scenes you've already seen once, this can be a little frustrating for the impatient (or those who can't work out what they're doing wrong — though it's usually obvious).

This little issue far from ruins the experience, however. In fact, those who want to "100%" the game will actually need to see all of these unpleasant endings as well as the "proper" ends to each of the game's five chapters, meaning that an unpleasant death for one of the cast isn't necessarily wasted play time.

Above all, Corpse Party is a rewarding, affecting, remarkable experience that treats the player as an adult throughout. It's refreshing to play through something which doesn't feel sanitised or dumbed down in the slightest, and I'm both surprised and delighted that a game like this made it on to the Western PSN store.

I'm certainly not complaining, though. In fact, I'd like to see a lot more titles like this in the future.

#oneaday Day 774: Non-Mainstream Games That You (And @starven) Should Play

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Following yesterday's post, I was asked by the fine @starven to recommend some specific titles outside of the mainstream that were worth trying. So rather than doing it half-heartedly, I thought I'd do it properly, with categories, links and all that nonsense. These are the titles which sprang (almost) immediately to mind, but they should provide plenty of entertainment to get you started with. This list covers titles I've played, not just games I've heard are good.

Here we go then. Bear in mind some of these games are a little older, but that's actually a good thing, as it usually means they're 1) cheaper and 2) likely to run on almost anything. All prices will be in GBP because I can't remember the thing you put on the end of the Steam URL to show prices in dollars.

For further discussion of "underappreciated" games, be sure to drop by the Squadron of Shame and check out our podcast.

Adventure

Classic adventure games aren't dead by any means — the ludicrous amount of money that Double Fine raised on Kickstarter should be evidence of this. Here are a few adventure games that are most definitely worth your time. I've also lumped a couple of visual novels into this category since the adventure genre is arguably its closest cousin.

Ben There, Dan That!/Time Gentlemen, Please!

Platform: PC
Where to get it: Steam
Price: £2.99

A double-pack of point and click adventure games from Size Five Games (formerly Zombie Cow Studios) that have a deliciously British sense of humour. While neither have plots that could particularly be called "thrilling", the best thing about these two games is the humorous banter between protagonists Ben and Dan. These games are strongly reminiscent of "golden age" LucasArts titles such as Day of the Tentacle and Sam & Max Hit the Road.

The Longest Journey

Platform: PC
Where to get it: Steam, Good Old Games
Price: £5.99

A lengthy point and click adventure that isn't afraid to swear when necessary. Features an interesting "parallel dimension" story, a strong, attractive female protagonist, some truly memorable characters and only one infuriatingly stupid puzzle. Its sequel Dreamfall is good, but not as good as the original.

Digital: A Love Story

Platform: PC, Mac, Linux
Where to get it: Official site
Price: Free

Technically a "visual novel" rather than an adventure game per se, Digital: A Love Story takes place entirely on the virtual desktop of an '80s computer. To reveal too much more would spoil it completely.

Analogue: A Hate Story

Platform: PC, Mac, Linux
Where to get it: Official site
Price: $15

Follow-up to the above from the same author, Analogue: A Hate Story once again sees you interacting with the game via a virtual computer system, though this one is much more futuristic. There's a lot of reading in this one and it's initially bewildering, but the way in which you have to piece together the story yourself is fascinating.

To The Moon

Platform: PC
Where to get it: Official site
Price: £7.99

Freebird Games' retro-styled story left me an emotional wreck by the end thanks to its beautiful soundtrack, emotionally engaging narrative and good balance between storytelling and interactivity. Again, to reveal too much would be to spoil it completely.

Corpse Party

Platform: PSP/Vita
Where to get it: PSN Store
Price: £11.99

Corpse Party is, like To The Moon, an adventure/visual novel which chooses to tell most of its tale through the use of 16-bit style top-down RPG sprites. Rather than To The Moon's emotional tale, however, Corpse Party tells a horrifyingly gruesome ghost story that doesn't pull any punches.

Ghost Trick

Platform: Nintendo DS, iOS
Where to get it: App Store (iOS)
Price: Free demo, £6.99 for full version (iOS)

An excellent puzzle adventure from the creators of the Ace Attorney series (which you should also play if you haven't already). Ghost Trick spins a convoluted but entertaining tale about death, time travel, fate and the consequences of your actions. Notable for making use of some very unconventional game mechanics for the adventure genre.

RPG

Recettear: An Item Shop's Tale

Platform: PC
Where to get it: Steam
Price: £12.99

Combining elements of Animal Crossing and Diablo while lampooning every JRPG you've ever played along the way, the utterly charming Recettear is a fine way to spend at least 40 hours of your time. The gameplay is simple but addictive, but the true star of the show is the excellent translation job by Carpe Fulgur.

Dungeons of Dredmor

Platform: PC, Mac
Where to get it: Steam
Price: £3.49

If you've never played a roguelike, this is a good place to start, since it has several levels of difficulty and the option to switch off permadeath if you're a big wuss. It also features a delightfully offbeat sense of humour and enjoys excellent continuous support from the developer.

Cthulhu Saves the World/Breath of Death VII

Platform: Xbox 360, PC
Where to get it: Xbox Live Indie Games, Steam
Price: £1.99

Two short, retro-themed JRPG spoofs that are immensely entertaining to play. The creator is currently working on the third episode of Penny Arcade Adventures.

Dungeon Defenders

Platform: PC, Mac (soon), XBLA, PSN
Where to get it: Steam, Xbox Live Arcade, PSN Store
Price: £9.99

Combine Diablo with Gears of War's Horde mode and give it a charming cel-shaded coat of paint and this is what you get. Up to four players take on incoming hordes of monsters in a frantic blend of action RPG and tower defense. Best played online, and the PC version is the best option due to its mod support and regular free DLC promotions.

The Witcher

Platform: PC
Where to get it: Steam, Good Old Games
Price: £12.99

Arguably one of the best RPGs ever made thanks to its excellent story, memorable protagonist and uncompromisingly adult nature. The Witcher is all the better for the fact it focuses on a small geographical area rather than providing a globetrotting adventure. It's also notable for being a game which doesn't treat you like an idiot, with the consequences of your choices not falling into neat "good" or "evil" categories, and repercussions not necessarily becoming apparent until considerably later in the game.

The Witcher 2

Platform: PC
Where to get it: Steam, Good Old Games
Price: £24.99

A visually-stunning RPG with challenging Dark Souls-style combat, a mature story and a ton of replayability thanks to the narrative diverging into two completely different paths halfway through. Has enjoyed a bunch of post-release support from the developer, and all of these additions will be incorporated into the upcoming Xbox version.

Xenoblade Chronicles

Platform: Wii
Where to get it: US customers will have to bite the bullet and get this from GameStop
Price: No idea, released in the US later this month.

An open-world JRPG on a grand scale, taking the best bits of MMORPGs and combining them with an excellent combat system, memorable characters, a great plot and at least 100 hours of Fun Things To Do. Also features gorgeous environments and a kick-ass soundtrack. If you enjoyed Final Fantasy XII, you'll definitely get a kick out of this.

The Last Story

Platform: Wii
Where to get it: Not yet available in the US, coming later this year
Price: TBA

An RPG set in a small locale featuring brilliant characterisation and an unusual setpiece-based action combat system that blends RTS, character action and third person shooter elements. Also noteworthy for being over in 25 hours, making it ideal for fans of RPGs who can't commit to the long haul.

Persona 3

Platform: PS2, PSP
Where to get it: Probably easiest to get the PSP version from PSN
Price: Check PSN or your local game store

Persona 3 combines elements of visual novel/dating sim games with dungeon-crawling and JRPG combat and manages to produce one a truly memorable video game with a great story, a bizarre but awesome soundtrack and a shitload of stuff to do. Arguably superceded by its successor Persona 4 in some respects.

Persona 4

Platform: PS2, Vita
Where to get it: Check your local game store or get the Vita remake when it launches
Price: Variable

Everything already said about Persona 3 applies here, though some say the combat isn't quite as good. Great story and a lovable cast that you'll be sorry to leave behind at the end.

Rusty Hearts

Platform: PC
Where to get it: Steam
Price: Free

Perfect World's free to play brawler-RPG is great fun and never feels like it's conning you out of money. You can enjoy an immensely satisfying multiplayer brawler without spending a cent, or you can drop the devs a few quid to speed up your levelling or apply some visual customization to your character. Nothing game-breaking, though, and certainly not "pay to win".

Aquaria

Platform: PC
Where to get it: Steam
Price: £6.99

Not technically an RPG as such, but its Zelda/Metroidvania-style progression means it can be sort of lumped into this category. A sprawling 2D underwater adventure with a great soundtrack, gorgeous artwork and an unusual, interesting story.

Games That Involve Shooting Things In Various Ways

I'm lumping anything that involves shooting things into this category, including FPS, shmups and other Games With Guns In Them.

Beat Hazard Ultra

Platform: Xbox 360, PS3, PC, iOS
Where to get it: Xbox Live Indie Games, PSN Store, Steam, App Store
Price: Variable

A brilliant twin-stick shooter that uses your own personal music collection (or Internet radio) to generate waves of enemies and psychedelic backdrops.

Gundemonium Recollection

Platform: PS3, PC
Where to get it: PSN Store, Steam
Price: £3.99

A simply marvellous bullet-hell shooter with an infectiously cheerful soundtrack and immensely challenging gameplay.

Jamestown

Platform: PC
Where to get it: Steam
Price: £6.99

A Western take on the bullet-hell shooter based on the concept of England being at war with Spain on Mars. Outstandingly epic soundtrack and gorgeous pixel-art visuals.

No More Room In Hell

Platform: PC
Where to get it: Desura
Price: Free (Half-Life 2 mod)

If Left 4 Dead is a little too silly for you, this realistic zombie survival mod for Half-Life 2 feels more like an old Resident Evil game in first-person. Limited ammo, panicked dashes away from zombie hordes and a real necessity to cooperate with other players to survive make this a unique and rewarding experience.

Privates

Platform: PC
Where to get it: Official site
Price: Free

A "sex-ed shooter" from the creator of Ben There, Dan That! that sees players invading willies, bums and fannies (the British meaning of the latter) in an effort to wipe out various forms of itchy scrot.

Frozen Synapse

Platform: PC, iPad (soon)
Where to get it: Steam
Price: £18.99

Technically a turn-based strategy game, this unusual title's game modes and structure actually have more in common with first-person shooters. Plan out your team's moves for the next five seconds while your opponent is doing the same, commit your plan, watch the carnage unfold. Very tense, very exciting — and offers asynchronous play for those with a busy lifestyle.

Racing

Blur

Platform: PC, Xbox 360, PS3
Where to get it: Steam, your friendly local game store
Price: £14.99

The last game from Project Gotham developer Bizarre Creations before they were shuttered by Activision, and a fine example of what happens if you combine Mario Kart-style powerups with real cars in real locations. The answer: enjoyable mayhem. Features a top-class multiplayer mode with Call of Duty-style progression.

Split/Second: Velocity

Platform: PC, Xbox 360, PS3
Where to get it: Gamesplanet (PC, possibly UK-only), your friendly local game store
Price: £9.99

Best described as a "cinematic racer", Split/Second combines ridiculous Burnout-style drift driving with the ability to detonate parts of the environment and bring them crashing down on your opponents' heads. It's an absolute spectacle to watch, and a thrilling rollercoaster ride to play, thanks in part to the amazing soundtrack.

#oneaday Day 773: Off the Beaten Path

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The astute among you who follow my gaming posts (which, yes, I'm aware constitute an overwhelming majority of these entries — I am a passionate gaming enthusiast and an occasionally-professional games writer, after all) will be well aware of the fact that over the last few years, I've been drifting further and further away from the "mainstream" in terms of the titles I've been playing. This initially wasn't a particularly conscious decision, but rather a reaction to the fact that I just wasn't enjoying myself with the supposedly "big" titles of the day. I haven't made it through any Halo games except the original and Reach, for example, and my few forays into Call of Duty have left me feeling by turns underwhelmed and insulted. Similarly, I've given up all hope of ever making it through the Assassin's Creed series since it seems as soon as I think about playing through the older titles, Ubisoft goes and announces another one. You know, like they did today. Bastards.

I can't quite pin down exactly when this shift in attitudes happened, but I do know that I've come across some truly remarkable games in the process. One of the most memorable of these is Recettear: An Item Shop's Tale, which I picked up as part of one of Steam's characteristically generous Indie packs during one of the service's many sales, and promptly played all the way through for 40 hours. This was something of a difference from my expectation, which was that the game would be a shallow, social game-style experience with little depth and no long-term appeal. How pleasantly surprised I was when it turned out to be quite the opposite — deep, fun, well-written (kudos to Carpe Fulgur's wonderful translation efforts — we're talking PS1-era Working Designs-quality work here) and immensely satisfying to play. And not an Achievement in sight, either.

The attitude that I've decided to take as a result of discovering brilliant titles like Recettear and numerous others like it a little way off the "beaten path" is to simply say "fuck it" to the mainstream, and explore the things that I'm interested in, rather than the titles which the media makes it seem you're "supposed" to be interested in. It's been a very long time since I consulted a review prior to purchasing a new game, instead relying on a combination of word-of-mouth, intuition and simple, immediate, visceral reactions to screenshots, descriptions and other media.

This philosophy has also been born from the original ideals of the Squadron of Shame way back in the 1up days. Our original remit as a group was as follows, and I quote directly from the original 1up club page, which still stands today:

Games of Shame. You know you have them. They sit in your closet, collecting dust: Little jewels that you always tell yourself you are going to play, but never get around to. Well, that's about to change, soldier. You've been drafted to join the Squadron of Shame. Here we, the elite members of the 1UP Radio boards, paratroop into the bargain bins and rescue the unappreciated games that deserve to be saved. From there we battle through the trenches as a squad. At the end of the day, we take a moment to break down what made the whole experience worth fighting for by sharing war stories, reflections, and cigars. But the fight isn't just on the front of retro games: Any game deemed "fit for duty" by command can be put on the pile. At the end of the day, the reason we fight isn't just to discover new experiences, it's to answer that simple and fundamental question: "Why do we play?" Now suit up. The pile awaits.

I've pretty much stuck by those ideals as the years have gone by, always preferring to check out things that are outside of the mainstream, far from the things that everyone is talking about. I can't help but feel you can have too much of a good thing in terms of game coverage, and this is a problem which is only compounded by the explosive growth social media has enjoyed over the last few years. By the time a big-name game comes out, there are very few surprises left due to the constant PR trickle of new screens, exclusive reveals, teaser trailers, live-action videos, behind-the-scenes developer diary videos, blog posts, interviews, features, podcasts, multiplayer betas and all manner of other things besides. And when the game does come out, everyone is talking about it on Twitter and Facebook, putting you at serious risk of spoilers — or at the very least, of a feeling of "saturation".

So rather than bitch and moan about the state of the mainstream, the iron-fist rule of unscrupulous PR agencies and publishers destroying interesting, outlet-unique coverage and games that I have little interest in playing, I'm simply going to ignore stuff that doesn't interest me and focus on things which sound intriguing. (I'm aware that this post may well constitute bitching and moaning about the state of the &c &c but… but… FUCK YOU, that's what. WAIT I DIDN'T MEAN IT, COME BACK, I STILL LOVE Y—)

And, subsequently, I'll cover them myself, right here. I may be late to the party on some titles, but in many cases, things don't stop being relevant just because of their age, particularly with the number of HD remasters, portable remakes and backward-compatible devices we've seen recently. Providing these games with a little exposure here — "little" being the operative word, since I'm well aware of the relatively miniscule amount of traffic this blog generates, and am perfectly happy with that fact — will make me feel better, because then I then know that there's someone out there (me) appreciating and giving some much-needed attention to titles which maybe don't have a massive marketing budget or an omnipotent PR organisation managing and coordinating all their coverage. And, as small as my audience here is, if I write something, then there will be people reading about these titles, too. And if just a few of those people think "hmm, that does sound interesting" then I can feel like I've done a good job somewhere along the line.

So if I blog about something which sounds interesting and you decide to check it out for yourself, be sure to let me know. I'd love to hear your reactions to titles such as Katawa Shoujo, To The Moon, Recettear, Xenoblade Chronicles, The Last Story and numerous others. Over the course of the next few days/weeks/months, I'm intending to catch up on a variety of PSP titles, starting with Corpse Party and following with the portable Persona remakes. So watch out for those entries soon, and be sure to let me know your thoughts on those games if you've also sampled their charms.

And if you're excited for Mass Effect 3, Assassin's Creed III or, God forbid, the rumoured Call of Duty: Black Ops 2, then don't let me stop you being excited — I'd actually love to hear about those games, from you, too. Just be aware I probably won't be joining you in playing them!

#oneaday Day 771: The Trouble With Kotaku Might Not Be Quite What You Think

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Yesterday, Internet Rage focused the full power of it's +5 Cannon of Ranting at Kotaku, and not for the first time. On this particular occasion, the problem was this article, by all accounts a rather obnoxious piece by comedian Kris Kail describing the fact that he supposedly managed to get laid several times in a room filled with Sonic the Hedgehog memorabilia.

The article drew heat for several reasons. Firstly, it was simply quite bad taste. Secondly, it was rather obnoxiously self-congratulatory, and a thinly-veiled attempt for Kail to sell more copies of his book Slacker's Paradise. Thirdly, and this is the thing that Kotaku has most commonly taken flak for in the last few years, it was really only tangentially related to video games.

Editor-in-chief Stephen Totilo took to Twitter shortly after it became very clear that reaction to the article's publication was almost universally negative. His response, though, was somewhat curious, as it seemed like he was apologising for something different to what everyone was upset about.

"The only person who has to apologize for stories on Kotaku is me," he tweeted. "It was my call to run the Sonic story. I had expected it to come off as funnier. That was an error of judgment. But, more significantly, I owe our readers an apology for okaying a story that implies all gamers are straight men. I should've caught that. It's no small thing. No article on Kotaku should make you feel that you don't count as a gamer. If one does, that is my fault and inconsistent with Kotaku values. I must also add that humor and writing about sex isn't off-limits at Kotaku. We just have to do it right and not forget our own standards."

While it's good that Totilo responded so quickly to criticism, certainly on my Twitter feed the fact that the article was supposedly assuming an all-straight male readership wasn't really the issue — rather, it was the poor taste and seemingly rather pointless nature of the article on a site which is supposedly about video games.

But that got me to thinking. What is Kotaku really trying to do?

Then a theory hit me. It became obvious what Kotaku seemingly wants to do, despite its half-hearted attempts to be "inclusive" to everyone. It wants to be a "men's magazine" a la FHM, Maxim et al, but one that focuses on games. Were the site to be branded as such and have the confidence in its content to say "yes, we are specifically aiming at a straight male demographic" then articles like the above actually wouldn't be all that out of place. Those who didn't fit into that core demographic might not enjoy that sort of content, sure — but if the site was obvious enough about its intentions, it wouldn't provoke nearly as much ire.

There's precedent for this sort of thing, too. A good few years back now, there was a short-lived magazine from PC Zone and Maxim UK publisher Dennis known as Escape. It focused on video games, Internet culture and the Web's formative years alongside the usual scantily-clad ladies found in more "general interest" men's mags like its stablemate Maxim. It's a real shame it's not around any more. There's actually arguably a place for a publication like that on newsstands today.

Because you know what? It was pretty good. It brought together Things That Men Like under one convenient header. Games. The Web. Girls. Sports. "Alternative" culture. It took a few risks with its content, too; most memorable for me was the occasion when they quasi-scientifically attempted to test the theory that video games were better than sex by wiring up my brother to a heart monitor and then making him have sex, wank, talk to a stranger, play a video game and bungee jump. Surely a high point in his career. (Bungee jumping "won", by the way.)

I can't help but feel that the "blog/news aggregator" format for gaming sites has had its day, and that the way forward is for outlets to specialise both in their content and their core demographic. Video game culture is all-encompassing nowadays, covering men, women, kids, adults, straight, gay, trans, nerd, enthusiast, casual, PC, console, any combination of identifying characteristics you might name. As awesome as that is for the cultural penetration and acceptance of gaming as a mainstream medium, it does mean that you start to get to a stage where you can't please everyone. So why not focus on a specific demographic? If you're up-front and honest about being, say, a "men's" site and focusing on content as such, those people who have no interest in straight male-focused content can move on to any of the bajillion other sites out there (it's not as if we have a shortage, after all) while those who enjoy that sort of thing can stick around without feeling "guilt".

Some sites are already wise to this. We have GayGamer.net specifically choosing to cater its audience towards (I quote) "boys who like boys who like joysticks and girls who like girls who like rumble pads". We have Gamers With Jobs specifically catering towards the older gamer who doesn't necessarily have the time to play everything but enjoys some mature discussion. We have Girl Gamer, specifically aimed at female players. And doubtless there are numerous others catering specifically to other markets, too.

So why doesn't Kotaku bite the bullet and make a bold shift in editorial direction, specifically stating that it is going to court the straight gamer market above all else?

The answer is sadly probably the most simple one. Hits. By attempting to be "universally appealing" (and, as we've seen, often failing) Kotaku aims to get the largest possible audience of people who are just interested in "video games" as a general, amorphous concept. More hits means more advertising revenue means the site can continue to grow and be a household name in gamer culture. At the same time, controversies such as that which occurred yesterday over this article attract people to the site, in much the same way as the Daily Mail posts deliberately contentious headlines in order to direct outraged traffic their way. Any publicity is good publicity, as they say.

It's a cynical view, perhaps, but it's also not an unreasonable assumption to make given Kotaku's recent history. Consider, however, something that Arthur Gies of Vox Games said on Twitter last night:

You know what brings people to content? Good writing. You know what else brings people to content? Outrage. Which would you rather support?

There is a place and a demographic for content such as the Sonic the Hedgehog piece we saw yesterday. But that place is not on a site which purports to be universally appealing to all gamers.

The solution to this is one of rebranding and targeting that specific audience without guilt or apology — but sadly, I can't help but feel it's a bit too late for Kotaku now.

#oneaday Day 770: February Blues

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It's a long-held tradition in my family that the month of February is the best time to get really depressed and despondent about nothing in particular. I say "tradition". It just seems to sort of happen sometimes, and as someone who struggles with depression at the best of times, I'm certainly not exempt from the February Blues.

I thought this year that I'd got away with it. It is, after all, almost the end of February and here I am having been feeling reasonably positive about things recently. I'm working, I'm enjoying it, I'm living in a place I like with a person I love and generally, things are pretty hunky-dory, whatever that means.

The last couple of days have seen a marked downturn in my mood, however. I'm not sure if it's the weather, the fact it's still getting dark quite early, the fact I'm tired, the fact I'm not sure if I'm ill or just have a bit more flatulence than usual — basically, though, something's got my goat and is jiggling it around furiously, refusing to let go. (Note: "goat" in this instance is not being used to refer to my penis. The grabbing of that, refusing to let go and jiggling around is normally quite pleasurable, but that's a topic best saved for another blog altogether.)

This is the frustrating thing about depression, particularly seasonally-affected depression, which is what I assume the "February Blues" are all about. There isn't always a reason for it. Sometimes you just wake up of a morning, consider getting out of bed and realise that no, there's not really anything exciting out there and it's actually quite warm under the duvet and wouldn't it be nice if you just closed your eyes again for a couple of minutes and relaxed and shit it's midday and so on.

The above-described is also laziness, lethargy or whatever you want to call it, but it can be brought on by an irrational black mood. Sometimes the world is just inherently unsatisfying, leaving you wondering if there's something better you could be doing, some greater purpose to your life.

Inevitably, the answer to those questions is "no", so after a while you settle back into a nice comfortable routine of doing what you do and finding the whole thing perfectly satisfactory.

Sometimes asking those questions spurs you on to do other things, though. It's from feeling bleak and wanting a convenient outlet that I started posting these daily blog entries after all, and now I feel they're a big part of "me". It's just habit now, but when I casually mention to someone that I've written a blog post of varying quality every day for the last 770 days, they usually seem quite impressed. Most of them, too, are kind enough not to mention that if I hadn't been wasting my time writing nonsense like this every day, I could have probably churned out a ton of novels by now. (I know this. Shush.)

Similarly, it's from feelings of bleakness and blackness that I have started on exercise journeys several times — though at the times of the bleakest blackness it's sometimes difficult to motivate oneself to proceed. (This is where a structured, scheduled programme like Couch to 5K comes into its own, as you then have feelings of guilt to contend with if you miss a session. Guilt is a powerful motivational factor, particularly if it doesn't hurt anyone but yourself.)

Will these feelings spur me on to do anything this time around? I don't know. I have a few irons that are not-quite-in-the-fire-but-at-least-somewhere-near-the-fire right now that I might give a poke from tomorrow. As previously mentioned, I'm running through Couch to 5K again. I'm still blogging. And I'm making sure to take the time to talk to friends both online and off.

February's nearly over. And when it departs, may the colour come back to the lives of any of those of you who have been afflicted with a surfeit of blue.

#oneaday Day 768: Two Weeks

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Two weeks of my second runthrough of the Couch to 5K running programme, that is, and it's going reasonably well so far.

Much as I discovered last time, building up stamina is actually a somewhat easier process than you might expect. I'm not sure if this is just because I've been doing semi-regular exercise for a while, a hangover from the last time I ran through this programme or something else entirely, but in the space of two weeks I've found that each time out there gets slightly, marginally easier than the last.

Of course, at this point in the programme I'm still only running for a minute and a half at a time, then walking for two minutes, then repeating the process. But still, every great journey starts with a single step and all that.

Running has, for me, always been one of the most challenging exercises there is to do, partly because there's nothing "helping you". Even when you're running downhill, your body still has to do stuff, whereas on a bike all you have to do on a downhill stretch is stay upright and occasionally steer. But when you're running, you're constantly active — moving your body, lifting your entire body weight off the ground, shifting your legs, pushing forwards, pumping your arms, working all those muscles. It's a pretty intense workout all round, so it's perhaps not surprising that it's pretty challenging.

As I found the last time I tried all this, though, it's infinitely more interesting than running/cycling/rowing/whatever it is you're doing on a crosstrainer on the spot, staring at a digital readout, trying desperately to ignore the terrible, terrible music the gym is pumping into your ears and also trying desperately not to look at the visible panty line of the woman with the nice arse in the yoga pants on the machine in front of you.

Sorry, momentarily distracted there.

But no. It is infinitely more interesting than working out in a gym simply because you have freedom, and that's important. Okay, it becomes harder to control your workout so precisely when you have to deal with the sometimes unpredictable undulations of the route you decide to take, and at times you find yourself dodging pedestrians, dogs, low-flying seagulls and various animals' poo. But that makes it interesting and exciting, even if you're running the same route every day. You can mix things up by running at different times — that loop round the estate and past Sainsbury's looks quite different when the sun has set to how it looks in the daytime. You can go the other way. You can take a random turning elsewhere and deliberately get lost in order to explore the area. You can run down darkened country lanes with a torch in the dead of night and pretend you're Alan Wake. You can run down mysterious forest paths in the hope you might find some magical kingdom or The Faraway Tree inside (hint: you probably won't, and all that is likely waiting for you at the other end is a large, muddy field that smells a bit like shit). In short, you can have a bit of fun with your exercising rather than enduring the businesslike approach of the gym.

That's not saying the gym's bad, of course — it's good to have a sense of structure and "formality" to your workouts at times. But it's also helpful to get out there and enjoy yourself with it, otherwise it simply becomes a chore, and chores are no fun whatsoever, and then they don't get done and they build up and you feel guilty and obliged to do them all at once and then you swear never to let them get to that stage ever again and then you do and you swear lots and then you die.

Or something. Perhaps not.

This is my experience, anyway. I still go to the gym and I still enjoy doing so, but getting out there and running through my thrice-weekly Couch to 5K sessions has reminded me that going outside and Doing Stuff can be fun too. I recommend you try it.

#oneaday Day 765: Social Overload

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It may be simply my "over 30s" grumpiness starting to show, but I'm starting to find "brands'" use of social media to be immensely irritating. And even more irritating is the fact that their techniques seem to work — which, of course, perpetuates the whole hideous cycle until someone snaps and goes on a mad katana rampage.

I'm talking primarily about that faux cheerfulness that pretty much every brand page out there shows when addressing its audience. "Hey [insert collective noun here that is tangentially related to being a fan of the product in question]! [exclamation mark is important to show enthusiasm] We thought it'd be a great idea to [adopt some out of date Internet meme/take goofy photos of our office/make a cringeworthy video] so we did! And here's the proof! [insert link to photo/video/blog post]".

Getting your audience to engage with you is one thing. Getting them to engage with you on a meaningful level is an altogether different thing. I genuinely once saw the The Sims 3 Facebook page ask the community what their favourite colour was. Nearly a thousand people replied. I "Unliked" them shortly after that.

As I'm writing this, I'm trying to pin down exactly what it is that riles me so about this sort of thing. After all, the very fact that nearly a thousand people wanted to tell the faceless Sims 3 page that their favourite colour was, in fact, blue shows that it's a system that seems to work. But does it have any value whatsoever? Does feeling like a brand is someone you can "talk to" help you feel any more fondness towards the product in question, or is it simply a novelty and a means of building community?

It depends on how you handle it, of course. If a question posed by a brand page is the start of a larger discussion which representatives of the brand then participate in, then it's a good thing, in my opinion. However, for the most part in my experience, these sort of posts tend to just be "post something that lots of people won't be able to resist replying to or Liking, light the blue touch paper and stand back". After the initial question is posted, the brand steps back and doesn't participate in the discussion any further, leaving the community to fight each other over whether or not the man who said pink was his favourite colour is gay or not.

The side-effect of all this relentless posturing by brands is that it leads to a feeling of saturation. By way of example, I've been so bombarded with teaser videos, images, exhortations to "celebrate FemShep Friday" and numerous other pieces of detritus that I've, ironically, lost any enthusiasm I may have had for Mass Effect 3 and probably won't be buying it.

"Ignore it," you may say. "Unlike it. Unfollow it."

Believe me, I have. But sometimes you need to venture on to those pages to find out useful pieces of information — like, say, release dates — and end up having to mine your way through pages and pages of completely, utterly worthless nonsense in order to find anything relevant. That, surely, isn't how it's supposed to work. Or perhaps it is, and that's why I don't work as a "social media guru" or whatever.

On the flipside to all this, companies seem to be a lot better at using Twitter in a manner which doesn't infuriate me. The very way in which Twitter works — you don't see replies from people/brands you are following that are directed to people you aren't following yourself — means that a lot of this unnecessary noise is filtered out. And the fact that tweets are, by their very nature, somewhat transient means that there's no means for a 1,000-post comment thread discussion on favourite colours to take place. This is a Good Thing.

The best brands on Twitter do one of two things: post relevant information at a steady pace for you to check out at your leisure (see: feeds from websites or companies that have regularly-updating news) or use Twitter for one of its primary functions — as a means of communication.

In the former case, what you essentially get is a bit like an RSS feed relating to the product or company you're interested in. In the latter case, you get some of the most helpful customer support I've ever had the pleasure to experience.

Take the poor souls over on the XboxSupport Twitter account, for example. These absolute saints have to deal with bombardments of questions every day, and somehow they still manage to remain polite, professional and — most importantly — get straight to the point. Ask them a question and they'll do their best to answer you in a single tweet, and often very quickly, too. What you don't get from them is vapid crowd-baiting questions or upselling suggestions to check out/buy additional products.

A lot of other companies have cottoned on to this in the last couple of years. I was particularly impressed with Orange's support Twitter account, which helpfully resolved an issue I had tried (and failed) on several occasions to sort out over the phone. Xbox Support, too, have been great, and I'm sure there's plenty of other examples out there.

I suppose there's a lesson in all this somewhere. I should probably resist that inviting-looking Like button at the top of Facebook pages I can see are filled with vapid nonsense, and stick to only following things that actually provide useful information. Otherwise all that ends up happening is you feel completely burned out by the multisensory marketing bombardment you experience on a daily basis — and you end up hating things that you formerly liked. (Sorry, Mass Effect. It's not you, it's me.)

#oneaday Day 764: Sports Day

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Sports and me have never really got on. There are a variety of reasons for this but the long and the short of it is that said antipathy towards each other meant that 1) I was usually picked last for the teams in PE (when I wasn't, it was usually Steven Finnegan instead) and 2) my body isn't exactly a rippling temple of man-beef.

That doesn't mean I haven't tried to get involved with sports over the years. I was in my Cub Scout football team, for example, a team so terrible we were sponsored by a junkyard. Our best result ever was 1-0 to us. Our worst result was 20-0 to them. No, that's not a typo. Twenty-nil.

Despite my ambivalence towards sport, I do also have some fond memories of various school sports days, particularly if it happened to be a nice day out at the time. I can't remember a lot about primary school sports days, but secondary school sports days tended to be a pretty big deal, bringing most of the school to a standstill for a wide variety of track and field events.

My tutor group (the erstwhile 7FMQ, later 8QU, 9QU, 10QU and 11QU) were the very souls of apathy for the most part. There were certain events that people just plain didn't want to enter, which would have put us at a significant disadvantage on the leaderboards (yes, this was in the day when it was still acceptable for school sports days to have "winners" and "losers") had I not stepped in.

I'm not sure why I stepped in, given that I knew full well I was crap at sports, was not very good at running and wasn't particularly agile. Therefore, you may be thinking, it would be somewhat foolhardy for me to enter both the 800m race and the high jump, but enter them I did, and I learned a number of things. Firstly, that I was surprisingly quite good at high jump, and secondly, that I was very poor at pacing myself when running — something which I still struggle somewhat with today.

The problem stemmed from the fact that I had never even considered running a long(ish)-distance race before, so I didn't really know how they worked. As such, I was off the starting blocks like a fucking rocket and exhausted by the end of the first lap. This gave the rest of the pack, who had been pacing themselves somewhat more modestly, ample opportunity to catch up. I don't think I finished last, to my credit, but it certainly wasn't very far off. After the race ended, I went back to my tutor group's area of the field, lay on the floor and didn't move for a very long time.

The thing that sticks in my memory about that race, though, is not the fact that I ballsed it up so spectacularly. It's the fact that for once, the rest of my tutor group was rooting for me. I spent a lot of my school days feeling like something of an outsider thanks to my awkward social skills, my weird accent, my crap hair and my forehead and nose's tendencies to flare up with greasy zits. I was a geek and someone who did well, too, which made me pretty much the polar opposite of "cool". Thankfully, barring a few exceptions, I was mostly left to my own devices to hang out with my equally geeky friends (most of whom had better hair than me) but this meant I didn't feel a particularly strong sense of camaraderie with the rest of my tutor group.

Until that day. I heard them cheering for me as I ran past them on the first lap, and staggered past them on the second. And when I finished, far from being admonished for my poor pacing, I was congratulated and praised for getting out there and giving it a shot. It was a surprisingly special moment that's stuck with me over the years. And while in short order things went back to being the way they had always been, for those few short minutes when I was on that track, I meant something. I was cool.

#oneaday Day 763: A Question That No-One Seems To Have Asked Regarding RPGs

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Here's a stumper for all you RPG fans: exactly how much does taking one hit point of damage hurt?

It's not a particularly straightforward thing to work out, given that hit points are a representative abstraction of physical condition rather than a measurable, uh, measurement. But let's assume for a moment that it is indeed possible to measure one's own hit points. How much, then, would taking one hit point of damage hurt?

The answer to that question would largely depend on what model of hit points you are using. If you're talking Dungeons and Dragons hit points, taking one damage would fucking hurt if you're not in tip-top physical condition. The average "man in the street" sort of person (i.e. not a warrior, rogue, wizard, cleric or what have you) is regarded as a "level 0 human" and generally has something in the region of 2 or 3 hit points, if that. Level 1 wizards often only have in the region of 4 or so. As such, taking one hit point of damage as an average person following the Dungeons and Dragons model would hurt a great deal, putting you potentially up to halfway towards death (or rather, being knocked out, since people don't officially die until bleeding out to -10 hit points in D&D).

Compare and contrast with the JRPG approach to hit points, however, where totals frequently extend into the thousands and, in some cases, the tens of thousands. As a beginning character in a JRPG, you'll often have a low three-figure hit point total to start with, which will progress towards that elusive 9999 (or 99999) as you level up. Assuming that your average person hasn't really levelled up a great deal thanks to a notable lack of monsters (big spiders battled with Hoovers notwithstanding) we can work on the assumption that a single hit point's worth of damage doesn't really hurt a great deal. 'Tis but a scratch and all that.

So, since it's late and my brain is starting to shut down a little bit, let's take this to the next logical extension and consider a variety of horrific injuries to determine exactly how many HP damage they'd do following the two approaches outlined above. We're assuming that the person being injured here is not a Destiny-chosen hero who has been infused by the power of the Goddess/branded by the fal'Cie/chosen by Fate/revealed to be the wielder of the legendary blade Monado but rather, say, that man who works behind the fish counter in Sainsbury's. As such, we'll say he has 4HP in D&D and 150HP in a JRPG.

  • Getting an electric shock off an escalator handrail — D&D: 0HP, interrupt current action in surprise; JRPG: 1HP electric damage.
  • Falling out of bed while asleep — D&D: 0HP, lose "Sleep" condition; JRPG: 1HP physical damage, lose "Sleep" condition, afflict with "Embarrassment" (special moves charge slower)
  • Walking into a coffee table — D&D: 0 HP, maybe stun for a turn, staggering randomly around the room going "OUCH"; JRPG: 1HP physical damage.
  • Paper cut — D&D: 0 HP, afflict with "very mild bleeding" status, lose 1HP every 500 turns unless the cut heals (use a bandage or roll a D20 every turn, on a number between 3 and 20, it heals naturally); JRPG: 2HP physical damage.
  • Accidentally grating your fingers while attempting to grate cheese — D&D: 0HP, afflict with "very mild bleeding status" as with "paper cut" above; JRPG: 1HP physical damage.
  • Stubbing your toe — D&D: 0HP, incapacitate for a turn, remove ability to use vocal components of spells and stealth due to yelling "FAAAAAAAHHHHK!"; JRPG: 3HP physical damage.
  • Having a cat that is standing on you decide that it needs to hold on tightly with its claws — D&D: 0HP, 50% possibility of affliction with "very mild bleeding" status as with "paper cut" above, movement forbidden (you've got a cat on you); JRPG: 3HP physical damage, afflict with Rooted (you've got a cat on you).
  • Inadvertently ripping off a toenail by catching it on something — D&D: 0HP, afflict with "bleeding" status, lose 1HP every 50 turns unless the cut heals (use a bandage or roll a D20 every turn, on a number between 8 and 20, it heals naturally); JRPG: 10HP physical damage, afflict with Slow.
  • Burning your hand on the handle of a poorly-insulated saucepan — D&D: 0HP, interrupt current action, forced shouting of obscenity breaks any Stealth-related effects; JRPG: 10HP Fire damage.
  • Standing on an upturned three-prong plug — D&D: 0HP, movement forbidden for 5 turns, remove ability to use vocal components of spells and stealth due to yelling "FUCK. Cunt! ARSE! SHIT that fucking hurts. AAAAARGH."; JRPG: 15HP physical damage, afflict with Rooted.
  • Banging your head on a low ceiling even after seeing a "mind your head" sign — D&D: 0HP, dazed for one turn. temporary reduction to Wisdom and Intelligence; JRPG:10HP physical damage, 10MP magic damage for a blow to the head.
  • Getting punched in the face by some drunk dude at a bar who thought you were eyeing up his missus but in fact you were trying to read the scrawled sign on the front of that fridge that said that the cheap drinks might actually be a bit out of date — D&D: 1HP; JRPG: 25HP physical damage.
  • Suffering any sort of trauma to the testicular area — D&D: 2HP (probably won't kill you unless you've just been punched twice by a drunk dude at a bar who thought you were eyeing up his missus, but it bloody hurts), stunned for 5 turns, temporary reduction to Constitution; JRPG: 50HP physical damage, afflicted with "Stop" status as you wheeze and cough in an attempt to recover your dignity.
  • Getting stabbed in the leg, whether accidentally or deliberately — D&D: 2HP, movement rate halved; JRPG: 50HP physical damage, afflicted with "Slow".
  • Failing to escape the unwanted affections of an amorous gorilla — D&D: Your adventure is over. You have been adopted by an amorous gorilla as its mate. Any attempt to escape will result in death. JRPG: Perform a badly-executed stealth/platforming sequence to escape.
  • Getting stabbed in the face — D&D: 5HP (you will likely bleed to an unhappy -10HP death), permanent reduction to Charisma; JRPG: 100-150HP physical damage.
  • Suffering an apparently successful attempt to behead you — D&D: 14HP; JRPG: 150HP
  • Getting the smackdown from an angry God/being hit with a planet by the final boss — D&D: 50HP; JRPG: 5000HP
  • Standing quite close to the epicentre of a nuclear explosion, you know, enough to get a good view and think "ooh, that's a bit hot, I wish I'd stood back a bit more" — D&D: 998HP; JRPG: 9998HP.
  • Standing in the epicentre of a nuclear explosion — D&D: 999HP; JRPG: 9999HP.

Should you find yourself suffering any of these injuries, though, fear not; for a good night's sleep cures all ills, as everyone knows. Unless you're already dead, in which case you'd better get on good terms with your local Cleric or purchase some Phoenix Down.

#oneaday Day 762: So, Should You Play Final Fantasy XIII-2?

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I've been playing Final Fantasy XIII-2 for most of today and am almost at the end. I have reached the final boss, in fact, though haven't beaten it as yet.

You are doubtless wondering whether or not it is worth playing this game, as you may have heard mixed reviews from around the Internet. I therefore present a list of bullet points which you may wish to take into consideration when deciding whether or not you actually want to pick up a copy and try it for yourself. I am going to present each point as neutrally as possible, as some people may react strongly one way or the other to each factor, and those reactions may not coincide with my own feelings!

I'm assuming at least passing familiarity with Final Fantasy XIII here.

  • The main story can be completed in approximately 25-30 hours, making it significantly shorter than a lot of other RPGs in this generation.
  • Following completion of the main story, there is a veritable shitload of stuff to do. Progress in the game is measured through your collection of 160 fragments. At my current point (final boss) I have 62. There is plenty more I can go back and do after the credits have rolled.
  • The main story is somewhat confusing, and all the more so thanks to its non-linear structure. The antagonist's motivations are not made entirely clear until the very end of the game.
  • You play the same two characters all the way through the game. Neither of them have particularly "personal" stories to follow, though there is an underdeveloped narrative thread regarding Noel's memories.
  • There is a squeaky-voiced companion character present throughout the entire game. It is a Moogle, true in every way to past incarnations in the series, right down to ending almost every sentence with "kupo".
  • Final Fantasy XIII's characters all put in at least one guest appearance throughout the course of the game, but only one plays a major role in the story.
  • When you meet Hope, he is older than he was in Final Fantasy XIII and seems to have got over his "issues".
  • The time travel mechanic is more of a location menu. There aren't any particularly clever time manipulation puzzles throughout the course of the game, though there are a few sections where you revisit the same areas in different eras.
  • There are puzzles in certain areas. These take the form of "anomalies" in which you have to complete one of three different types of puzzle — finding a route over a board of tiles which disappear when you step on them while collecting crystals; joining like-coloured crystals with lines to form pictures; and a complex clock-themed puzzle that requires either forward planning or a lot of patience.
  • The game does not hold your hand as much as Final Fantasy XIII-2. This is most apparent around about 15 hours in when you are given a quest to go and find five items throughout time out of a possible seven, and given only vague clues and a picture to help you locate them. Said items are almost invisible in the field, but the Moogle reacts to them when you are close.
  • There is a quest system, where certain characters will exchange a Fragment for completing a small task, which usually takes the form of either a fetch or kill quest. There is no means of visually distinguishing questgivers from just people you can normally talk to, though once you have accepted their quest they get a marker above their head and on the map.
  • Collecting set numbers of fragments rewards you with extra special abilities.
  • Gameplay has a much stronger focus on exploration and observation than Final Fantasy XIII's straight-line corridors.
  • The automap is good and tells you how much of an area you have successfully explored. There is a quest late in the game to 100% as many maps as possible. Areas which you visit in different time periods share map completion percentage.
  • The weapon upgrade system from Final Fantasy XIII is no longer present. Instead, certain new weapons which you purchase require certain components acquired from monsters.
  • The Crystarium level-up system is a little different to Final Fantasy XIII. Both Serah and Noel do "laps" of a single crystal formation rather than having a longer "map" per role. On a lap, they can distribute their levels across any of their available roles. On completion of a lap, they can either unlock another role, enhance the bonus of one of their existing roles or extend their Active Time Battle bar, allowing them to complete more actions in succession.
  • After 25 or so hours, I have maxed out 3 of the 6 possible roles for both Noel and Serah. Progress slows with each lap around the Crystarium, requiring more Crystogenesis Points (acquired by defeating monsters and recovering Fragments) for each level gained.
  • There's a monster collection and training aspect. You can equip up to three monsters at once, each one specialising in a single role. These can then be incorporated into the Paradigm system to create custom party lineups.
  • Monsters are levelled up by feeding them special items rather than spending CP. When a monster completes a lap of its own Crystarium, it starts requiring rarer and/or more expensive items to level up further.
  • Monsters can be renamed by choosing from a large list of preset names, and adorned with decorative items found throughout the game.
  • Content has been withheld for DLC. This is most apparent in the "casino" area, where asking an attendant to explain the card games pops up a window that simply says "reserved for future DLC."
  • The music is very good and features a mix of both brand new tracks and recognisable ones from Final Fantasy XIII.

So there you go. A series of facts about Final Fantasy XIII-2 which may assist you in the decision of whether or not you want to give it a go. For what it's worth, I've been enjoying it more than I thought I would at the bewildering outset, but it's not the strongest Final Fantasy there's ever been, not by a long shot. It is significantly better than Final Fantasy XIII in most respects, however, so those who disliked that may wish to give this one another chance.

I've got a few days to finish this off, and then a copy of The Last Story is on its way to me. Given that that game is made by many members of the old Final Fantasy team (notably Hironobu Sakaguchi and Nobuo Uematsu), I am very interested to see what it offers.