2514: Ghost Train

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A short while ago, Pac-Man Championship Edition 2 was considerably reduced in price on the PlayStation Store, so I grabbed a copy. I’m a big fan of the previous Pac-Man Championship Edition games — particularly Pac-Man Championship Edition DX, which is one of the finest arcade games ever created — but had heard mixed reviews about Championship Edition 2. Still, I was willing to give it the benefit of the doubt.

The first thing I’ll say about Championship Edition 2 is that its big new structural addition — a so-called “adventure mode” — is total garbage. It consists entirely of time attack phases in which you have to eat sufficient dots to make a piece of fruit appear — very rarely is this the entire maze worth of dots — and repeat until you have eaten sufficient fruit to clear the stage. At the end of every block of near-identical levels is a supposed “boss fight” in which you do exactly the same thing, only with a giant ghost bashing into the background every so often.

“Total garbage” may be an exaggeration in retrospect, as these challenges are mildly diverting, but they miss the entire point of Pac-Man Championship Edition, which is to score as many points as possible against a strict time limit.

Fortunately, the Score Attack mode is a lot of fun, and Championship Edition 2 is a different beast from its predecessors in a number of ways.

Firstly and most significantly, bumping into a ghost no longer immediately kills Pac-Man, unlike all the previous incarnations of the game including the previous Championship Edition installments. Instead, Pac-Man bounces off the ghost, though bumping into one several times (or once on Expert mode) causes the ghost to become “angry”, which makes it speed up, chase Pac-Man and become fatal to the touch. However, sometimes it is desirable to do this, since making a ghost angry causes it to fly up in the air and out of the way for a couple of seconds, so you can deliberately provoke a ghost in order to clear a path for yourself.

Secondly, the “ghost trains” introduced in Championship Edition DX work a little differently. There are several modes of play — the first has four ghosts wandering around, but only one of them forms a train when Pac-Man passes by a sleeping minion ghost, while the other two form up to four trains in total, one for each ghost. Unlike Championship Edition DX, minion ghosts don’t join a train by a ghost passing them; they immediately wake up when Pac-Man passes by them and automatically attach themselves to one of the trains, even if it’s nowhere near where the minion was. This allows you to create huge ghost trains by planning your route carefully rather than having to manipulate the ghosts AI.

Eating a power pill works a little differently, too. Power pills only spawn on certain mazes after you’ve eaten a certain number of dots, and consuming one causes the ghosts and their trains to turn blue in the traditional manner. However, in Championship Edition 2 they move on set routes that are specifically marked on the maze, allowing you to predict where they are likely to go and head them off easily. Said routes tend to branch in several places in the harder mazes, so it’s not as easy as it sounds, but by learning the routes and the way the ghost trains attempt to avoid Pac-Man, you can become more and more efficient.

Oh, and ghost trains have to be consumed from their head now rather than from any point. This can be surprisingly challenging, though chomping your way through all four ghost trains in the maze, which causes both the train and Pac-Man to go flying through the air in a ridiculously overblown display of acrobatics, is immensely satisfying.

Bombs work differently, too. Rather than blasting the ghosts up in the air for a moment as in the previous installment, bombs now send Pac-Man back to the starting point of the maze, which can be a quick means of retrieving the fruit if it’s spawned and you’re a long way from it. However, bombs are worth quite a few points at the end of your allotted time, so it’s worth holding on to them as much as possible; more can be acquired by consuming every dot in a maze rather than just the amount required to spawn the fruit needed to progress.

Extra lives also show up at predictable moments — every 1 million points — as collectible items in the maze, and these are worth huge points at the end of a game, so it’s in your interest to collect them before progressing to the next maze. They’re easily missed, so the mark of a true pro Championship Edition 2 player is going to be planning their scoring effectively so that they hit a multiple of a million points at a suitable moment to grab the extra life without inconveniencing them — and not, say, crossing the million boundary on the changeover between levels, which causes you to miss out on the opportunity to collect the extra life altogether.

There’s quite a lot to Championship Edition 2, then. Fundamentally, it’s still based around Pac-Man, but it’s pleasingly distinct from its predecessors and fun in its own right. It has a couple of irritating factors — most notably a lengthy, non-skippable and rather unnecessary tutorial sequence before you can play Score Attack or Adventure mode, and, of course, Adventure mode itself, which is a waste of time — but on the whole, once you get stuck in to chasing the high scores, it’s a lot of fun. And, like its predecessors, it’s a game you can easily spend several hours enjoying when you really have more important and interesting things to do with your life.

2078: Two FFXIV Ideas That Will Never Get Implemented (Probably)

I haven’t been playing Final Fantasy XIV all that much recently. This is partly down to the fact that I’ve been really enjoying the other stuff I’ve been playing, and also due to the fact that the current content is feeling a bit stale and stagnant; Heavensward came out quite a long time ago now, and aside from the introduction of raid dungeon Alexander (which proved to be a little underwhelming after the dramatic insanity of The Binding Coil of Bahamut) there hasn’t been much new stuff introduced. Consequently, the grind to get other classes to level 60 — or to gear up my main class, for that matter — isn’t feeling all that appealing right now, particularly as there really isn’t a huge amount to do at level 60 at the moment: two dungeons, two Extreme boss fights, and Alexander in its Normal and Savage incarnations.

This, along with some of the other stuff I’ve been playing recently, got me thinking about ways the formula could be shaken up a little — partly to make the grind a bit more bearable, partly to make replays of old content a more attractive option, and partly to address some common complaints of certain aspects of the player base, specifically the lack of challenge in dungeons and the desire to show off your skills a bit more outside of the tippest-toppest highest-level content.

Final Fantasy XIV is heavily based on instanced content such as dungeons and boss fights, so I had an idle thought that the addition of two optional ways of playing this content would make the game interesting: specifically a Time Attack mode, which would reward those who can slice through a dungeon at high speed, and a Score Attack mode, which will encourage “full clears” of dungeons as well as skilful play.

I’m no game designer and I am under no illusions that these ideas would ever be implemented into the game, but I’ll share my thinking for each mode, anyway.

Queueing

Added to the existing Duty Finder options — Undersized/Unsynced Party and Minimum Item Level — would be the options for Score Attack and Time Attack. You would only be able to challenge one or the other at a time, but there could potentially be some additional options such as difficulties, whether to run it with level/item level sync or not and so forth. (There could also perhaps be an additional option for a “Story” run, for those who want to enjoy dungeons for the first time as originally intended, which could perhaps make cutscenes unskippable, bosses untargetable until everyone is out of cutscenes and perhaps even force a minimum iLevel sync. Alternatively, not selecting Score or Time Attack could simply assume that the run is for “story” purposes, without the restrictions suggested above.)

Time Attack

There are a few ways this could work. The simplest means would be for the party’s clear time to be recorded, starting from when the barrier comes down at the outset of the dungeon and stopping when the dungeon’s final boss is defeated. The final time would give the party as a whole a letter grade between, say, D and S — D being the worst, S being the best — and the rewards for the dungeon would be adjusted accordingly based on the grade attained.

Each player’s best time is recorded, and this could provide additional incentives: perhaps a small extra reward if you beat your previous best, or leaderboards showing which players/parties/Free Companies/servers have cleared content most efficiently.

A second means of approaching this could be to give the party a fairly strict time limit countdown from when the dungeon starts, with time being extended by reaching checkpoints or defeating particular enemies. This provides the opportunity for failure — something which the game as a whole is lacking a bit, particularly in dungeons, where you can just respawn until the currently implemented and overly generous total time limit expires — as well as the chance to reward efficient play; again, the run should be concluded with some sort of rating system or bonus based on time remaining to encourage speedy runs.

My thinking behind this system is that there are already people who like to rush through dungeons as quickly as possible, and this often leads to conflict with people who aren’t as confident or simply prefer to take things slowly. Providing a separate “mode” for those who like to speedrun — as well as incentives for everyone in the party to be on board with speedrunning the dungeon — would, I feel, alleviate at least a certain amount of this tension. Plus trying to beat your best times makes for an inherently satisfying means of rewarding replays of old content.

Score Attack

This would be a little more complex, but the basic principle is the same as outlined above: clear a dungeon, get a grade, adjust the rewards according to how good the grade was.

In this case, the grade would come from the total score the party attains in the dungeon. The score could change via any or all of the following possible events:

Dealing damage/overall DPS
Defeating an enemy
Overkilling an enemy (dealing more damage than necessary to knock its HP to 0)
Landing hits in rapid succession (skillchains)
Hitting multiple enemies at once with AoE skills
Tanks maintaining aggro
Losing points for non-tanks taking aggro
Clutch healing (i.e. the same circumstances where a well-timed heal increases the Limit gauge)
Using limit breaks
Finding treasures
Defeating bosses quickly

There could then be a number of point bonuses awarded, either at the end of the dungeon or at checkpoints (likely the bosses):

Time bonus according to how quickly the section/dungeon was cleared
Bonus according to the percentage of all enemies in the section/dungeon defeated (encouraging full clears)
Penalties for party KO’s or failing to deal with boss mechanics properly
Bonuses for achieving specific goals such as overkills, enemies simultaneously defeated and the like

At the conclusion of the dungeon, the party receives a letter grade between D and S, with rewards increasing for better grades.

My thinking behind this mode is that it would force players to play in a slightly different way; it would require cooperation, players playing their job well and being more willing to be thorough about clearing a dungeon. Because well-geared players are less inclined to do full clears of dungeons, the rewards for performing well in Score Attack should provide sufficient incentive for them to play in this mode, since better gear will inevitably allow for the attainment of higher scores.

Someone out there doubtless has a compelling argument as to why both of these are stupid ideas — off the top of my head, perhaps the strongest argument against would be making something so “gamey” fit into the overall lore, though FFXIV isn’t above a transparently shoehorned explanation or two here and there. (See: anything PvP; the Crystal Tower weekly quest; anything involving the Wandering Minstrel; the recent seasonal event in which you could meet the developers) To be clear, these are not by any means serious suggestions in the slightest. I do think they’d both be pretty fun, though — and they’d certainly get me pumped up to chase some high scores and best times.

2062: By Request: 100 Reasons You Should Play Metal Gear Solid V

Continuing with my exercise from the last few days in which I take “requests” from my Twitter followers, today I follow the suggestion of Josh “Musubi Azeyma” Major, a friend whom I originally met through Final Fantasy XIV. Josh requested that I present a hundred reasons why people should play Metal Gear Solid V, because he’s obsessed with it right now and thinks everyone else should be too. So, who am I to argue with that logic?

DISCLAIMER: The only real potential issue with this task is that I haven’t actually played Metal Gear Solid V, nor do I own a copy. Since we have, however, established that it is acceptable for professional journalists to comment negatively about things without putting in a substantial amount of time with them — or in some cases, without even playing them at all — it’s surely fine for some nobody blogger in the wilds of the Internet (albeit one who used to be a professional games journalist) to speak positively about something he has absolutely no experience with whatsoever. So, without further ado, let’s begin.

It’s part of the Metal Gear Solid series, which people have heard of.
Hideo Kojima is a cool dude who posts pictures of Eggs Benedict on Twitter and makes jokes about them jiggling like boobs.
Konami fucked Hideo Kojima up the ass pretty royally towards the end of Metal Gear Solid V’s development, so while buying a copy and enjoying it may support Konami to a certain degree, it also shows your support for Hideo Kojima’s creation.
The graphics are quite pretty.
It’s available on Xbox 360, Xbox One, PlayStation 3 and PlayStation 4, so unless you’re a weirdo who only has a Wii U in the house, you can almost certainly play it.
Quiet has nice tits.
Quiet is pretty badass.
Appreciating Quiet’s feminine wiles pisses off the outrage brigade.
There are guns in this game.
And dogs.
And a horse that you can command to shit whenever you want.
You can attach balloons to bears and send them flying off into the sky.
You can do the same with enemy guards.
There’s apparently some sort of story that’s pretty good.
Something interesting happens in the medical bay or something, everyone keeps yammering on about it without actually saying what it is because spoilers.
Something about cassette tapes.
METAL GEAR?!
It is, I am assured, open world without being directionless.
It does that thing I like where it presents each mission as its own self-contained “episode”, complete with intro and outro credits sequences.
Each mission is apparently pretty tightly focused rather than making use of the open world unnecessarily.
It’s not Splinter Cell.
Revolver Ocelot.
Metal Gear is a Japanese series that it’s apparently still acceptable to like without people calling you a paedophile.
There are achievements and trophies in the game.
If you’re really good at a mission, you get an S-rank and feel all happy.
You can tranquilise people.
You can kill people.
You can sneak up on people.
You can charge in the front door of an enemy base brandishing an assortment of improbable military hardware, then blow everything up with reckless disregard for the “Tactical Espionage” part of the game’s subtitle.
Something about tanks.
Anita Sarkeesian’s puppetmaster Jonathan McIntosh doesn’t like Hideo Kojima for the jokes he makes on Twitter (see #2).
Posting things about Metal Gear Solid online at the time of writing is a sure-fire means of getting those sweet-ass clicks.
There’s a Mother Base that you manage or something.
You can get soldiers and dogs and stuff for your base or something.
Some of it’s a bit like Peace Walker, which I also haven’t played but people seemed to like.
Kojima has dialled back the “I’M MAKING A MOVIE!!” chaos. A bit.
Kiefer Sutherland is like a proper famous actor, innit.
The probably-vain hope that David Hayter will show up at some point in the same, growl “SURPRISE”, snap the neck of KieferSnake, forcing you to play the rest of the game as Snake with his proper voice.
Lid from Hyperdevotion Noire was pretty fit.
You can hide in cardboard boxes.
You can play as people who aren’t Snake if you so desire.
Including women. SHOCK
But Snake has a robot arm or something, so he’s clearly the best.
If you’re playing this game, you are contractually obliged to put the word “Punished” in front of your Twitter name, because it makes you at least 20% cooler to do so.
This coolness quotient increases to 30% if you also scrawl an eyepatch on your avatar using Microsoft Paint.
Hurt me more, Snake
There’s a sweet-ass limited edition PlayStation 4 to tie in with the game’s release, because we all know Metal Gear is a series that belongs on PlayStation.
There’s some sort of online feature, I think.
You’re banned from soliciting relationships with other people through Metal Gear Solid V’s online features, which means you can protect yourself against people who are on the pull through Metal Gear Solid V’s online features.
Who does that?
I anticipate it will be less than a week before someone recreates a scene from this using nothing but Super Mario Maker.
Someone already did the microwave tunnel scene from Metal Gear Solid IV.
This game is longer than Ground Zeroes.
It is also a lot longer than previous Metal Gear games.
My friend Josh claims to have spent over a hundred hours on this game so far.
A lot of stuff is optional, so you can probably whizz through it a bit quicker if you want to.
Something about vagina bombs. (I didn’t play Ground Zeroes either.)
You like Castlevania, don’t you?
There are no navel-gazing codec conversations between Raiden and Rose.
There are, instead, navel-gazing cassette tapes, but you can listen to these while you’re attaching helium balloons to bears.
Metal Gear games usually have good villains. (I have absolutely no idea who the villains are in this.)
Ditto boss fights. (Likewise.)
The old games had good music. This one probably maybe does too.
Ditto voice acting.
You can level up Snake or something.
I think you can possibly maybe level up the other soldiers you collect too.
If Quiet’s boobylicious outfit bothers you that much, she has numerous other costumes, including being completely covered in blood and Sniper Wolf’s somewhat more conservative but still boobylicious outfit.
Apparently there’s some explanation for why Quiet dresses the way she does.
Something about photosynthesis.
Or possibly nanomachines. Son.
That big speech at the end of Metal Gear Solid 2 was kind of cool in how eerily prescient it was.
That means that in roughly ten years’ time, something in Metal Gear Solid V will probably be looked back on and numerous chins stroked thoughtfully.
This installment uses a Roman numeral V instead of the Arabic digit 5, because Roman numerals are, as everyone knows, inherently classier.
The Phantom Pain sounds kind of cool as a subtitle.
Although it’s a bit close to The Phantom Menace for my liking.
Although it looks as if Metal Gear Solid V may well be reclaiming the subtitle structure The Phantom [x] from the damage that Star Wars did to it.
George Lucas had nothing to do with this game.
This game does not feature, at any point, in Disney Infinity.
If you play this game, you can talk about it with your friends rather than just nodding and smiling and pretending to know what they’re blathering on about.
The Steam version might have trading cards or something, I don’t know because the Steam store isn’t working for me right now.
The PC port has to be better than that dogshit effort with the last Batman game.
Hey, it’s a Metal Gear Solid game that you can actually play on PC without dicking around with emulators!
You should still probably play it on PlayStation, preferably on that sweet-ass limited edition console.
If you buy one of those sweet-ass limited edition consoles from me when I’m working, do me a solid and also buy the extended warranty coverage and preorder some other stuff.
The person who hired me for my part-time seasonal retail job is a huuuuge fan of Metal Gear Solid.
I was hired for said job partly because I included the words “nanomachines, son” under the “Skills” section on my CV.
I’m running out of things to write here.
I’m honestly impressed that I’ve made it to 88 without much padding.
If you buy a physical copy of the game you can put it on your shelf alongside all the previous Metal Gear Solid games for a cool display of the series over time.
The uneven sizes of the boxes for Metal Gear Solid over the years — CD-sized PSone cases, DVD-sized PS2 cases, slightly-smaller-than-DVD-sized PS3, PS4 and Xbox One cases — makes for an attractively wibbly-wobbly effect on your shelf.
The hardback strategy guide for Metal Gear Solid V is very pretty indeed, and if you can still find a copy anywhere you often get a free poster with it.
The softback one is still pretty meaty and can probably do some damage to an assailant if you have it to hand when you come under attack.
Even if you have no intention of playing Metal Gear Solid V, tossing the disc case out in front of a passing guard will distract them long enough for you to sneak up behind them and snap their neck.
You probably shouldn’t do that.
Instead, you can indulge such fantasies in the new video game from Hideo Kojima, Metal Gear Solid V: The Phantom Pain.
There’s some sort of kawaii idol girl posters scattered around the place in the game.
Have you considered trying Mad Max as well, which came out the same day? Polygon hated it, which is reason enough to try it.
You should probably also give Until Dawn a go if you have a PlayStation 4, because Sony idiotically released it last week and not at, I don’t know, Halloween.
You can probably edit together some entertaining and silly videos using the next-gen consoles’ video capture facilities and software such as the PS4’s ShareFactory.
If you bugger off and play Metal Gear Solid V, I don’t have to keep writing this, and I can get on with playing Super Mario Maker instead.

2055: Adventures at Seal Rock

I’ve been playing some of Final Fantasy XIV’s player vs player mode recently, and I’ve been pleasantly surprised how much fun it is.

I’ve tried PvP in various other MMOs and never really got along with it. I never got far enough through Guild Wars for the PvP to be relevant outside of the single match you’re forced to play in the introductory chapter; Star Wars: The Old Republic’s PvP was unbalanced garbage; and The Secret World’s PvP just seemed too chaotic to be manageable.

The trouble with PvP in a game with RPG mechanics is that it often becomes nothing more than a numbers game rather than a test of skill. In other words, whoever has the best gear will almost definitely win every time. This is particularly apparent in games that make seemingly no effort whatsoever to balance things out for a fair competition, the most egregious example of this I can think of being Blizzard’s Diablo II. (To be far, PvP wasn’t really the point of that game at all, but the fact it was in there at all in such a gleefully unbalanced state was just baffling.)

One of the nice things about Final Fantasy XIV’s PvP is that it puts everyone on a pretty level playing field by syncing gear levels to a relatively low standard — iLevel 80 for level 50 PvP and iLevel 150 for level 60 PvP. This means that even if you haven’t spent months farming content for the very best gear, you can still be both competitive and an asset to your team, making PvP as a whole a lot more accessible to a wider bunch of people. Which is good, because it’s pretty large-scale, with 72 participants across three teams fighting it out all together in most cases.

Seal Rock is the newest addition to Final Fantasy XIV’s PvP lineup. The previous PvP matches on the Carteneau Flats saw you either capturing and defending points from enemy assault, or simply attempting to defeat as many of the enemy teams as possible. The “Seize” mode you play on Seal Rock, meanwhile, is a slightly more involved, dynamic affair that requires coordination and teamwork, challenging your team to activate and hold Allagan Tomeliths that activate at random at various points across the battlefield, with the ultimate goal being to score 800 points before the other teams.

Points are scored by holding onto the Tomeliths; when one is in your team’s possession, your Mammets gradually download data from it until it runs dry, at which point new Tomeliths will activate after a short period, and the process continues. The twist is that not all Tomeliths are created equal; there are B-, A- and S-rank varieties, with B-rank Tomeliths being worth the least potential number of points and S-rank Tomeliths being worth the most.

It’s not as simple as just charging for the most valuable Tomelith, though. At times, it can be more advantageous to watch the other two teams scrap over an S-rank while you sneak around behind their backs and capture all the other ones for a greater total number of points than the S-rank by itself is worth. Add to that the fact that every time one of your team members is knocked out, your team loses a few points, and you have a mode where confrontation is something you want to avoid as much as you can unless you have a significant numbers advantage, at which point it’s enormously satisfying to steamroller members of the enemy team.

What I think I like most about playing PvP is how different it feels from the PvE content. PvE can often feel quite “by rote” after a while, particularly in the more scripted encounters, and while this is satisfying in its own way at times — I’ve described the more intricate boss fights as being delightfully dance-like — PvP keeps you on your toes, challenging you to respond to new and unexpected situations as they crop up, and no two matches are ever quite alike. This makes it fun and enjoyable even if you’re on the losing side, particularly as matches are wrapped up within 20 minutes at the very most, usually less.

I haven’t quite figured out what the best strategies are quite yet, but I’ve been enjoying the experience a great deal so far, and I’m looking forward to battling those scoundrels of the Maelstrom and the Adders again soon.

2038: Vacation from Eorzea

Astute long-term readers will notice that I haven’t been talking much about Final Fantasy XIV recently. And the reason for that is simple: I just haven’t been playing it that much.

It’s not that I’ve gone off the game per se — I still see myself playing it for many years to come — it’s more that I’ve got out of it what I wanted to get out of it so far. The Heavensward storyline was exciting and dramatic — and, for my money, better than A Realm Reborn’s main quest — and the Alexander raid dungeon was an enjoyable challenge, though we’re still yet to clear its Savage incarnation.

Trouble is, outside of levelling alternate classes there’s not a huge amount to do at level cap right now.

This is the exact situation A Realm Reborn (and, I imagine, most MMOs) found itself in at launch, of course; the difference here, however, is that whereas it took me a good few weeks to make it to 50 in A Realm Reborn — I reached the level cap a while after the more dedicated players in my Free Company — I got through Heavensward pretty quickly. This was deliberate, of course; I binged on the new story content because it was enjoyable and interesting, and also because I wanted to see everything that the expansion pack had to offer. I also wanted to avoid inadvertently being spoiled on the storyline, since Final Fantasy XIV is that rare example of an MMO where the story is actually worth paying attention to and even told pretty well.

Consequently, I got to the “end” a lot more quickly than I did with A Realm Reborn, and consequently I’ve found myself with a lot more “dead time” with stagnant content. Sure, I could run Alexander over and over again to try and get some more gear sets. Sure, I could level other classes — I probably will do this at some point. Sure, I could run the current two level 60 dungeons over and over to get as many Tomestones of Esoterics as possible to gear up one or more classes.

Trouble is, I simply don’t have a lot of motivation to do so right now. And that’s sort of fine by me, really; whenever I play an MMO I always find myself in a weird place where I’m really enjoying the experience of playing the game and getting good at it — I maintain that Final Fantasy XIV is one of the few games I genuinely consider myself to actually be pretty good at — but also feeling a strange sense of “guilt” that I’m not playing any of the other million and one games that have been staring at me from my shelves for the last few years. Conversely, I play a game that isn’t Final Fantasy XIV and I feel a similar sense of “guilt” that I’m not playing Final Fantasy XIV more. I can’t win. Stupid brain.

On balance, though, this “dead time” is actually proving to be rather welcome, as since I have little inclination to log in right now for anything other than my weekly raiding commitments — and the group as a whole is pretty half-hearted about the whole thing at the moment, to be honest — I am having plenty of time to delve into other experiences. I managed to get the Platinum trophy on Omega Quintet. I’m working on the Platinum trophy for Hyperdevotion Noire. I am loving the shit out of Sword Art Online on PS4. And I’m also really enjoying Splatoon, Heroes of the Storm and any number of other games right now.

The trouble with any hobby that has a lot of different elements to it — be it gaming, music, reading, movies or whatever — is finding that perfect balance where you can enjoy all those different elements at different times and not feel like you’re neglecting any of them. Right now, even though I know that I don’t have much motivation to play Final Fantasy XIV, I still feel like I’m neglecting it because I’m not logging in to talk to my friends. So perhaps I still haven’t quite found the right balance there. But eh. I’m not going to worry about it for the moment — a new content patch for the game might rekindle my interest for a while, but in the meantime I’m going to cut right back and enjoy the other experiences I have on the go right now.

1998: Fist of the Father

Final Fantasy XIV’s new raid dungeon Alexander launched earlier this week, and our regular raid group (with a few tweaks) took our first steps in there this evening.

I’d heard Alexander was significantly easier than The Binding Coil of Bahamut and was mildly concerned about this, but there are two things that set my mind at rest, having run through the first area now: 1) it’s not easy, though it’s straightforward enough once you know what to do, and 2) “Savage” mode is coming in a couple of weeks for the truly hardcore. (And it has different loot from the sound of things, too, unlike the Savage mode of Second Coil of Bahamut, which was largely a “bragging rights” sort of situation.)

I wasn’t quite sure what to expect from Alexander. The concept itself is pretty weird: an iron giant raises itself out of the water in the Dravanian Hinterlands, but stops moving just as its hand grasps the bank. Through a convoluted series of interactions with the local goblins, you manage to find a way through the portal that is in its hand, and start working your way through in an attempt to find and destroy the core; the giant, it seems, is a Primal, and while it’s active, even if it’s not moving, it threatens to suck the very life out of the land.

Once inside you’re in a cool, mechanical and metal environment. It’s a big contrast from the previous raid dungeon, which made heavy use of the neon-glowing Allagan aesthetic, but since Heavensward as a whole has a lot of neon-glowing Allagan stuff just in its normal content, it seems the devs made the wise decision to not continue down this road with the new raid. Fine by me.

The bosses so far are appropriately steampunky in nature, and unlike Coil, which tends to be a short run to a single boss, the first level of Alexander features two bosses. The first is pretty much a pushover, but it’s fun that it’s more than just a single thing to fight. The main boss of the level, meanwhile, is a fairly involved fight that demands everyone knows what to do and performs their role appropriately. It’s a little more forgiving than Coil was — mistakes are less likely to immediately wipe the whole group, though they will put you all at a disadvantage — but still challenging. We managed to clear it within a couple of hours, though, and even went back in to go get some more loot for those who lost the rolls after we’d finished.

We’re hopefully going to jump in and see some more of it over in the weekend; I’m curious to see what mechanical mysteries the later levels have in store, and excited to be running with my regular group again.

1988: The End of Ascalon

Finished the Heavensward main story quest today. WOW.

Spoilers ahead!

I was pleased that the team went all-out and gave us a full-on Final Fantasy finale. The final dungeon, the Aetherochemical Research Facility, gradually gets weirder and weirder as you progress through it, until you eventually reach what is clearly The Final Boss Room, in which you’re set upon by not one but two Ascians, the dark-robed ne’er-do-wells whose evil machinations have been behind most of the Bad Things happening in Eorzea throughout the Final Fantasy XIV narrative.

Delightfully, this battle against the Ascians even does the typical Final Fantasy thing of unfolding across multiple forms, with the “merged” form of the two Ascians creating “Ascian Prime” and battering you with some of the most spectacular attacks in the entire game. Lest you thought that Final Fantasy XIV would lose some of the series’ trademark spectacle owing to the fact that its multiplayer nature makes cinematic camera angles and lengthy spell sequences impractical, this confrontation very much dispels that notion.

That’s not the end, though. The battle against Ascian Prime — the conclusion of which finally sees recurring villain Lahabrea apparently dealt with once and for all — is followed up by an eight-player Trial in the research facility’s Singularity Reactor, in which you face off against Ishgard’s Archibishop, Heavensward’s main villain.

This being Final Fantasy, however, you don’t just fight a doddering old man with an obscene amount of hit points. No; shortly before your battle with him, he draws upon the power of the Eyes of Nidhogg to channel the spirit of Ishgard’s legendary king Thorden — he who, with his knights twelve, originally laid Nidhogg low and took the great wyrm’s eyes — and become a Primal incarnation of the ancient king. Naturally, this involves him growing to approximately ten storeys in height in the process, and his bodyguards, the twelve knights of the Heaven’s Ward (do you see what they did there) undergo similar transformations prior to your final battle against the whole sorry lot of them.

The actual battle against Thorden and the knights is amazing. Final Fantasy veterans will doubtless recognise this setup as an excuse to bring in the notorious summon “Knights of the Round”, and indeed the final boss battle is effectively you fighting Knights of the Round, complete with ridiculously overblown attack animations — including, at one point, the reactor in which you’re fighting seemingly floating up into space, then your entire screen shattering to bring you back to reality. (This animation is pretty much a direct reference to Knights of the Round’s appearance in Final Fantasy VII, whose attack animation “Ultimate End” was the most powerful ability you could equip your characters with in the whole game.)

It’s a fitting end for Heavensward’s story, which has overall been a great addition to the ranks of Final Fantasy narratives throughout history. And it leaves some nice open teaser threads at the end ready for future content patches and the continuation of the story — most notably the character Estinien’s possession by the spirit of Nidhogg, the latter of whom is understandably pissed off at the world for numerous reasons, not least of which being the fact that he had his eyes scooped out, and some thousand years later, was killed by some young upstart claiming to represent the spirit of the planet itself.

Anyway. It was good stuff, and sets the scene nicely for the launch of the new raid dungeon Alexander, which must be due pretty soon now. (Indeed, the ending cutscene shows Alexander rising out of the water in the Dravanian Hinterlands, though it is as yet impossible to enter the great iron giant.)

I’m glad I beat the story (and the two “post-ending” dungeons Neverreap and The Fractal Continuum, both of which are a lot of fun — and pleasingly challenging) and am looking forward to seeing what’s next. In the meantime, I have an official full-on review of the expansion to write for Gamespot, so watch out for that soon.

1987: At the Gates of Heaven

Back to “reality” for Andie and I now, and we’re both closing in on the finale of the main story quest in Heavensward. It’s been a pretty spectacular journey up until this point, which I shall endeavour not to spoil to a significant degree in this post, largely because I don’t yet know how it all ends.

Heavensward has achieved that which I wasn’t sure it would be able to do: it’s surpassed A Realm Reborn in almost every possible way, but particularly when it comes to the main story. While A Realm Reborn had a solid narrative that chronicled your character’s humble beginnings up to their awakening as the Warrior of Light and beyond, taking in their victories over the fierce Primals of Eorzea and the Empire’s ultimate weapon in the process, I found the Final Fantasy XII-style political manoeuvring that made up a significant part of the plot to be less interesting than something a bit more, for want of a better word, “JRPG”.

Heavensward, meanwhile, feels more like a “Final Fantasy“. This isn’t to say that A Realm Reborn didn’t feel like Final Fantasy at all — I described it as one of the best new Final Fantasies in recent years back when I reviewed it for USgamer, after all — but Heavensward feels more like a traditional Final Fantasy.

It achieves this in a number of different ways. For one, it tones down the political machinations that gradually built up over the course of A Realm Reborn, and which came to a rather shocking climax at the end of patch 2.55, Before the Fall, which acted as a prelude to Heavensward. These narrative threads are picked up and explored further — though some look as if they’re going to remain unresolved until a later content patch — but for the most part Heavensward is an all-original story.

For another, the narrative feels more like an epic journey. In A Realm Reborn, you spent a lot of your time going back and forth between the three main areas, and, aside from the initial quest where you leave your starting city to go and visit the other two, it didn’t really feel like the typical JRPG journey of gradually getting further and further away from your starting point, with more and more outlandish things happening as you go. Heavensward, meanwhile, does adopt this style of journey, beginning in the familiar snowy wastes of Coerthas, some of which we had the opportunity to explore in A Realm Reborn, but before long giving way to the lush forests and rocky mountains of the Dravanian Forelands, the otherworldly floating islands of the Churning Mists and the Sea of Clouds, the mysterious abandoned city of the Dravanian Hinterlands — an important location to Final Fantasy XIV lore as a whole, as it turns out — and, ultimately, a final region which doesn’t feel at all like a typical MMO field, instead very much feeling like an authentic JRPG The Very Definitely Final Dungeon.

The journey you undertake throughout the narrative is emphasised by some lovely narration from David Warner upon your first entry to each area. A Realm Reborn had plenty of florid prose, but Heavensward refines this with some almost poetic writing that gives the game a very distinctive voice and tone throughout. It feels strange to compliment the writing in an MMO, a type of game not particularly known for stellar storytelling (Hi, World of Warcraft!) but Heavensward really doesn’t skimp on this front, and it’s all the stronger for it.

I’m really looking forward to seeing how the story ends — and, of course, getting involved with what comes after that. It can’t be long now until the launch of the new raid dungeon Alexander, and I’m very intrigued to see how all that fits in with the overall lore. Previous raid The Binding Coil of Bahamut turned out to be extremely relevant to the original game’s lore — and even more relevant to Heavensward, as it happens — so I’m looking forward to experiencing Alexander’s encounters and story to see what happens.

For now, though, I’m still flagging a bit after all the excitement of the weekend, so I think it’s time to get some sleep.

1979: One More Post Where I Gush About Heavensward, Then I’ll Find Something Different To Talk About Tomorrow (Probably)

Level 56 now, and I’m starting to really get a feel for the new skills that have been added to Paladin.

Paladin often drew some criticism — or, rather, accusations of being “boring” — for the fact that it was a relatively straightforward class to play, with only two real combos of abilities to use in different circumstances compared to a much wider array of things to do if you’re playing a Warrior. Its main perk over its raging counterpart, however, was its survivability; Warriors have a ton more HP than Paladins, but they also take more damage, while Paladins have fewer HP but a lot more in the way of defensive abilities to mitigate or even nullify damage.

Still, though, I understand the criticisms; once you unlocked all the abilities to form your basic combos, it very much became a case of pressing ability 1, 2, 3 and occasionally stepping out of enemy ability telegraphs. Post-50, though, things get a lot more interesting.

The oddly-named Sheltron, for example, is an ability whose usefulness doesn’t become immediately apparent. What it does is guarantee that you will block the next physical attack you take. Blocking an attack is usually determined by random chance, influenced by the stats on the shield you’re wielding alongside your sword. Sheltron guarantees a block, and while blocking doesn’t nullify damage altogether, it does reduce the damage by a significant amount. It also has the handy side-effect of restoring some of your magic points when the block goes off, meaning that the Riot Blade combo is no longer the only way to regenerate MP.

Blocking also allows you to counterattack with a move called Shield Swipe, which is actually one of the Paladin’s more potent offensive moves, and also inflicts a status that prevents the enemy from using abilities of the “weaponskill” type. It’s not quite as good as a Stun or Silence, but it can be helpful and give a moment’s grace. The damage is very nice, though — particularly as it’s been buffed since its original incarnation — and it also now generates aggro, meaning you’re not losing out by weaving in a Shield Swipe when it’s up.

The other ability I’ve had the opportunity to play with now is Goring Blade, which follows on from the Riot Blade combo, previously used just for regenerating magic points to allow you to keep casting Flash, your main means of controlling larger groups of enemies at once. Goring Blade, meanwhile, has a solid initial hit followed by a damage-over-time effect. Paladins don’t do a lot of damage generally — it’s not their role, after all — but adding the ticks of damage to what you’re doing anyway — particularly if combined with other DoT effects like Circle of Scorn and Fracture — you can actually put out some fairly respectable numbers. Plus Goring Blade has like the coolest visual effect of all Paladin’s moves that I’ve unlocked so far.

I just reached level 56 this evening, which is a level at which I unlock another new ability. I’m not sure what it is yet, but I’m very much looking forward to finding out and experimenting with it — one of the most exciting things about the new expansion is the fact that everyone is getting these new abilities at the same time, so there isn’t yet an established “right way” to do things. As such, experimentation is key, and it’s really rewarding to work out an efficient use of abilities for yourself.

But anyway. That’s three days in a row I’ve talked about Heavensward. (It’s really, really, really good.) I promise I will attempt to talk about something else tomorrow. Probably. Maybe.

1978: Some More Heavensward Thoughts

Spent some more time playing Heavensward today and am having an absolute blast with it.

It’s been an odd adjustment to move from the rather freeform, “pursue your own goals” gameplay of a level cap character back into the routine of doing quests, exploring and all manner of other things. But I’m enjoying it a lot, particularly as so far Heavensward is proving itself to have a wide variety of things to do and ways to earn those all-important experience points.

The main story quests have been very good so far. They always were mostly quite interesting (though in the post-50 ones there was quite a lot of lugging boxes around and other menial tasks in between the more dramatic moments — not exactly the Warrior of Light’s finest hour) but Heavensward has raised the bar somewhat.

One way in which it’s done this is through the use of instanced quest battles — scripted encounters that take you out of the main multiplayer world and put you in your own private little area to complete objectives. In A Realm Reborn, these were usually fairly small scale but fun; in Heavensward they’re much more ambitious affairs with their own unique mechanics. One particular highlight relatively early on sees you running through one of the earlier dungeons by yourself in the attempt to rescue a prisoner — while you do so, their captors start filling the place with poison gas, so you have to deal with that as well as finding a way to release them.

The main story itself is interesting and feels more focused than A Realm Reborn, too. Taking a somewhat darker overall tone, the plot thus far has seen the Warrior of Light (you!), one of your erstwhile companions and two other characters who each played roles in A Realm Reborn exploring the lands beyond Ishgard in an attempt to stop a war between the Dravanian dragons and Ishgard that will doubtless end with much death and destruction on both sides.

A Realm Reborn set up dragons mostly as fearsome, dehumanised foes to be treated with respect but defeated nonetheless. They played a relatively minor role in the overarching storyline until the latter hours and the Binding Coil of Bahamut storyline, but they were there nonetheless — and as you progressed, particularly through the Bahamut narrative, it became very apparent that they weren’t quite the simple foes you might have expected them to be based on their appearances in other fantasy media.

Heavensward runs with this theme, with both the main story and sidequests going some distance to help us understand the dragons a little better. One questline in particular sees you helping out an Ishgardian who is essentially a “racist” of sorts against dragons — he refuses to believe they are anything more than monsters, but as you complete his quests, both you and he come to see that the dragons apparently have feelings and society just like the humanoids of the world.

The sidequests are kind of interesting in that they further your understanding of the game world much like in A Realm Reborn, but unlike the base game, the darker tone seeps in quite often, with many quests ending in less than perfect circumstances. In some regards it feels like some cues have been taken from Nier — also published by Square Enix — by demonstrating that sometimes, even with your best intentions and god-felling skills and abilities, you simply can’t bring about a happy ending for everyone. It’s sobering, but very much in keeping with the overall tone.

Then you have boss fights in which you and seven friends take on a giant insect god with a penchant for swinging four gigantic swords around at once, and you remember that this is still very much a Final Fantasy game at heart — and oh, do I love it for it.