2024: Galak-Zed

0025_001Been playing some Galak-Z on PS4 today. This is a game I’ve had my eye on for a while, and it’s finally been released.

Galak-Z, for the uninitiated, is a “roguelite” — that is, it incorporates some aspects of roguelikes (most notably permadeath and randomly generated elements) while adding some persistent elements and making the overall experience a bit more friendly and accessible to the average person who gets frightened by ASCII.

It’s actually got quite a bit in common with the indie darling Rogue Legacy from a while back, in that there’s a constant sense of “progression” even when you’re fucking things up repeatedly, because even when you mess up, you’ll be unlocking stuff that might make future playthroughs a bit easier. Make no mistake, though, Galak-Z is a challenging game that is not afraid to kick your arse.

At heart, it’s a top-down space shooter in which you complete various missions that usually boil down to “find dungeon, find thing in dungeon, destroy/collect thing, escape”. This simple structure works in the game’s favour, as it keeps missions short and snappy with the possibility of variations along the way according to map layouts and the enemies you’ll encounter. And treasure, of course; one of the most fun aspects of Galak-Z is gradually outfitting your ship with all manner of death-dealing machinery and hoping it will save your life when one of those bastard Hammerhead ships starts chasing you.

Rather than simply tasking you with surviving as long as possible, Galak-Z is mission-based. To be specific, it’s split into five “seasons”, each of which requires you to complete five episodes in a row without dying in order to progress to the next. In a charming nod to ’80s era Saturday morning cartoons — which the game’s whole aesthetic is based on — each episode has a randomly generated title and writer, plus some enjoyable banter between the playable protagonist A-Tak and the heroine Beam.

I’m not sure what the game’s longevity will be like as, having not yet finished the first season, I can’t say with confidence whether the later missions are more adventurous and complex. It’s certainly holding my interest right now, but I feel it may need a bit more to keep me playing in the long term. It remains to be seen whether it will provide that for me, I guess — count on a situation report when the time comes!

In the meantime, I made another video with ShareFactory detailing the game, how it works and what it’s all about. Take a look!

2022: Video Star

0023_001Been experimenting a bit more with video today. Specifically, I had a play with the PlayStation 4’s app ShareFactory, which allows you to take video clips and screenshots you’ve saved while playing PS4 games, then edit them together with commentary, music, transitions and effects into something that can then be rendered and uploaded (almost) directly to YouTube, Facebook or DailyMotion.

ShareFactory is a decent bit of software, it turns out, and works quite nicely with the DualShock 4 controller. Its interface is initially a little difficult to parse, since it’s largely icon-based and not immediately apparent what all of said icons are actually for, but once you get your head around it it mostly works well.

ShareFactory is no Final Cut, obviously, but then it doesn’t need to be. To make an effective gameplay video, all you need at most is the game footage along with perhaps some still images, some music and some commentary. There’s no real need for multiple tracks of video or anything like that — though I believe ShareFactory  does support picture-in-picture if you have a PlayStation camera — because you’re not making a multi-angle extravaganza of a movie; you’re making a video about a game.

I learned something else while making my ShareFactory project, too; I much prefer making videos that are “pre-scripted” rather than improvised Let’s Play-style videos. This is probably due to the fact that I also prefer watching videos that are pre-scripted rather than improvised Let’s Play-style videos. I grew up on traditional media, remember; I’m not really interested in watching Kids React To Something Pretty Mundane, nor am I interested in listening to someone’s reactions in real time as they play something for the first time. I am, however, interested in seeing video used in the “documentary” style; footage of something relevant, with explanatory commentary over the top. This sort of thing doesn’t have to be dry and boring, either; more importantly, though, it tends to be a lot more concise, with pre-scripted videos more often than not clocking in at considerably lower durations than Let’s Plays.

More to the point, though, it means that I can write something in a “traditional” manner, then just read it out (with feeling!) when it comes to time to record the video. The only real difference is that in the script I found it was a good idea to mark where different video clips/sections should begin. That really helped with editing later, particularly with the way ShareFactory’s workflow goes. I could take a clip at a time, record the commentary, then trim/split the clips down to fit the commentary afterwards. After that it was a simple matter to upload it to YouTube and share it with the world.

What’s that? You want to see it for yourself? Okay then!

2018: How to Win at Omega Quintet

0019_001I finally finished getting the Platinum trophy in Omega Quintet this evening, and feel I’ve had a thoroughly satisfying time with that delightful game. It remained fun for all of the 170 hours I played it for — excluding the Order Break-happy bosses in the DLC dungeons, which can fuck right off — and I’m pleased that Compile Heart has got off to a running start in the PS4 era.

One thing I noticed, though, is that there aren’t many guides out there for Omega Quintet. GameFAQs doesn’t even have an FAQ page for it, though the discussion boards are quite active. As such, it’s fairly likely that there are people out there who want some hints and tips about how to get good, particularly as in its later hours (and particularly post-game) Omega Quintet can get quite challenging.

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Here are some helpful tips, then. These all assume that you have progressed at least far enough in the game to have the full party of five.

  • Arrange your party either in a straight line formation, an “M” or a “W” shape. Whoever is in the middle slot (I recommend someone like Otoha or Kanadeko, since they have high Stamina) should have Takt paired up with them. The reason for this is that this means Takt can cover the maximum number of party members with Group Defense if the party is hit by an area-effect attack.
  • Speaking of Takt’s defense abilities, always use them. Not only do they reduce damage, they also cause status ailments to be resisted by all party members being hit by the attack, even if you accidentally hit Pair Defense instead of Group Defense on an area-effect attack. Neither Pair nor Group Defense will block stat drains, however.
  • In the early game, stick with the girls’ default weapons — spear for Kyouka, fists for Kanadeko, hammer for Otoha, gun for Nene and fans for Aria. In Disc Analysis concentrate on unlocking and upgrading the relevant weapon skills; you can always branch out later.
  • Also in the early game, consider specialising each girl. Kyouka’s high Vitality (speed) makes her ideal as a “buffer” since she usually goes first in the turn order, so equip her with skills like Scorch Choir, Chorale, Bastion and Charge to allow her to buff up the entire party’s stats. Aria, meanwhile, makes a good healer due to her high Divinity, while Nene makes a good “mage” with her high Knowledge stat. Otoha and Kanadeko are your de facto physical attackers, so concentrate on getting their weapon skills up to scratch as soon as possible, then choose elemental skills that complement and support the others.
  • Go for big bonuses when you can. You earn bigger bonuses the bigger the number of hits in a single combo (i.e. before an enemy gets a turn), the more enemies you defeat simultaneously (on a single turn; doesn’t have to be in a single action), the more HP you Overkill an enemy by, the more Links you get (more on those in a sec), the higher your Voltage is (more on that in a sec, too) and the more Requests you complete if you trigger Live Concert Mode.
  • Links are your way to earning lots of experience, EP (money) and Approval (which unlocks quests). Pay attention to the type of attack the interface says a skill “links” to, and use them in this order whenever possible. The more links you chain without a break, the bigger your bonus at the end of a fight.

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  • Links also help with earning Voltage, but the most reliable means of bumping up the Voltage meter is to get lots of critical hits. To do this, use area-effect attacks and reduce the enemy stats as much as possible. If the damage numbers that pop up when you hit something are red, that’s a critical hit and will earn you Voltage. Note that only physical (Mic) skills will critical; E Skills will not, so even though some E Skills hit lots of times over a wide area, they’re not good for earning Voltage. They are, however, good for earning bonus actions through the hit count.
  • Consider Chain Skills when picking discs to set on each girl. Some are more useful than others. By far the most useful of all is Cosmic Fan, which you obtain late in the game. This requires four different girls to cast Cremation, Legato, Aubade Crush and Absolution. It hits for a bunch of times, but its main benefit is that it reduces all the stats of everything it hits — and it covers a wide area. If you have the slots for it, give all five girls Cremation, Legato, Aubade Crush and Absolution, because this way you can case Cosmic Fan five times in succession if turn order lines up correctly and you use Harmonics.
  • Speaking of Harmonics, use it whenever you can, but don’t waste it. Manipulate the turn order by using abilities or items with low wait times, and don’t forget to use Takt’s Pursuit to knock enemies back in the turn order. Ideally, you want each Harmonics to have all five girls ready for action, preferably to hurl out some Cosmic Fans and debuff the enemy into oblivion.
  • Order Break is the most annoying thing in this game, and it’s not immediately apparent what triggers it if you’re not paying attention. The specific conditions vary according to the party of enemies you’re fighting — certain enemy lineups in the post-game will even cause an immediate Order Break at the start of a battle, even if you got a Surprise Attack in on them. The most common conditions for triggering Order Break are reducing an enemy below 50% of its HP, Guard Breaking an enemy and defeating an enemy. Consequently, you want to try and avoid meeting any of these conditions until you’re in a situation where you can unleash the Harmonics combo from hell to obliterate everything in a single turn.

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  • Speaking of the Harmonics combo from hell, here’s how to kill pretty much everything in the late game with ease:
    • Level up all five girls’ hammer or fan skills to at least proficiency level 7. The quickest way to do this is on the lower levels of the Training Facility dungeon, which are also good for earning a lot of experience. Hammers are recommended in preference to fans, but it will depend what equipment you have available.
    • Learn Takt’s Special Fanfare skill if you have the skill points for it, and assign this to Level 2 Live Concert. Special Fanfare significantly increases damage from Special Skills, so it’s important for finishing battles quickly.
    • Make sure all five girls have all four Cosmic Fan spells. (Cremation, Legato, Aubade Crush and Absolution).
    • If you’ve kept developing Nene as a mage-like character (Knowledge-focused equipment), also give her Flame Typhoon and Raging Vortex.
    • Give all the girls Earth Assault.
    • Make sure all the girls have the main area-effect skills for the weapon whose proficiency you’ve levelled. Important ones are Ultimate Crush and Howling Earth for hammer, Light Crescent and Herd of Artemis for fan. If you have the skill points to spare, upgrade these and the Cosmic Fan spells as much as you can.
    • Fight a weak enemy somewhere and end the fight with Voltage level 5. Note that if you return to the Office, your Voltage will be reset, so if the tough enemy you want to kill is out in the world, you’ll need to defeat a weak enemy in a world dungeon (Verdant Greenbelt is a good bet), while if you’re in the Training Facility, you’ll need to defeat a weak enemy on an early floor, then move directly to the floor the fight you’re struggling with is on without returning to the Office first.
    • Surprise Attack the enemy you want to beat if possible. This should see all five girls’ turns lined up at the start of the battle. If there’s a gap in the turn order, escape if possible and either reduce the Vitality of the speediest characters by removing Vitality-boosting equipment, or boost the vitality of the slowest characters (Nene is usually the problem here) with amps or equipment.
    • If you’re fighting a boss or quest mob, Surprise Attacks may not be possible. In this case, you’ll need to manipulate the turn order using Takt’s Pursuit and defending. Try to line up all five girls without triggering Order Break, so take care you don’t do too much damage to the enemies in the process.
    • Assuming you got the turn order lined up (preferably with a Surprise Attack) immediately trigger Harmonics and cast two Cosmic Fans. Do not cast Cosmic Fan through the Chain Skill menu, however; cast each individual component one at a time on the same target, which should be somewhere in the middle of the enemy party. The reason for this is that Cosmic Fan’s Chain Skill menu option does not input the commands in the right order to maximise your Link bonus. The order you should choose is: (Girl 1) Cremation, (Girl 2) Legato, (Girl 3) Aubade Crush, (Girl 4) Absolution, (Girl 4 again) Cremation, (Girl 5) Legato, (Girl 1), Aubade Crush, (Girl 2) Absolution. After this, Defend with everyone. This will have several important effects: it will lower the enemy’s stats enough to let you get critical hits more easily, it will boost everyone’s action count to at least 6 or 7, possibly the maximum of 8, it shouldn’t do enough damage to trigger Order Break, and the Vitality debuffs it applies will hopefully allow you to get another immediate turn with all five girls lined up.
    • If you do get this second turn — which most of the time you should, assuming you don’t trigger Order Break — trigger a Level 2 Live Concert Mode (which should have Special Fanfare attached to it if you have it) and then immediately trigger Harmonics again.
    • Now follow this sequence, which assumes everyone is equipped with a hammer. Make sure all the E Skills target the same enemy in the middle of the formation in order to trigger Cosmic Fan:
      Kyouka: Cremation
      Otoha: Legato
      Kanadeko: Aubade Crush
      Aria: Absolution, Cremation
      Nene: Legato
      Kyouka: Aubade Crush
      Otoha: Absolution, Cremation
      Kanadeko: Legato
      Aria: Aubade Crush
      Nene: Absolution, Cremation
      Kyouka: Legato
      Otoha: Aubade Crush
      Kanadeko: Absolution, Cremation
      Aria: Legato
      Nene: Aubade Crush
      Kyouka: Absolution
      Nene: Flame Typhoon, Raging Vortex, Earth Assault (for extra Link bonuses and to increase the hit count)
      All other girls in succession: Earth Assault (to bump up the hit count)
      If you’re at Voltage level 2 or higher: Aria: Solitary Rhapsody (otherwise ignore this step)
      All other girls in succession except Otoha: Ultimate Crush, Howling Earth, if enough action points left use Break Prototype on the strongest enemy to maximise hit count.
      Otoha: Ultimate Crush, Howling Earth, if enough action points drop in a Break Prototype on the strongest enemy, then finish with Shrine of Hope on an enemy that has Guard Break (which will probably be all of them after that mauling, but prioritise moth- or plant-type trash enemies, since these have the weakest Magnetic Fields) and which also allows the area of effect to hit everything. (Shrine of Hope gets significantly more powerful the higher the hit count is, hence the overblown combo leading up to it.)
    • Everything will probably be dead after that. If you left a boss-level enemy standing but killed all the trash, you’ll probably suffer an Order Break, so defend through it as much as possible and cleanse any debuffs or stat reductions as soon as you can afterwards. From here try to keep the boss debuffed with a combination of Cosmic Fan in Harmonics when possible, and Aria’s Solitary Rhapsody and appropriate E Skill. It’s also a good idea to Paralyze and Seal the boss using water and earth skills respectively, and any skills that have SP Break are useful too; if you can actually make the boss run out of SP, it will only use basic attacks on you, which can still hit hard without stat debuffs, but which won’t inflict ailments on your party.

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The last bit in particular, although complicated and requiring some preparation, will make the difference between fights that drag on for half an hour and fights that are over in two turns. If you’re stupid enough to go for the Platinum trophy like I did, you’ll need to master it for efficient Approval Rating farming in the post-game!

Well, now I’ve written 2,000 words that have probably baffled most regular readers of this blog — sorry! — I hope, if you stumbled across this blog while Googling things about Omega Quintet, that my tips have proven at least a little helpful, and I hope you continue to enjoy this great game!

2017: Quest for the Crown

0018_001It’s weird to see a new King’s Quest game on sale. I haven’t tried it myself yet — I’m probably going to — but the early buzz surrounding it is very positive indeed, even sans involvement from series creators Roberta and Ken Williams.

For those not quite as old and jaded a gamer as me, King’s Quest was one of the very first graphical adventure games. I hesitate to call it a “point and click” adventure, because although it supported mouse control, you actually had to type things in to a text parser in order to actually do anything. As the series progressed, it gradually and noticeably improved; by the fifth installment, it had made the full transition to a more conventional point-and-click interface as well as offering a “talkie” CD-ROM version; the seventh installment abandoned traditional pixel art in favour of some distinctly Disney-esque animation, and the eighth… well, most people don’t talk about that one.

For me, King’s Quest as a whole is an important series to me. It represents one of the earliest game series I played, and also some of the earliest games I actually played to completion. They also represent an early form of using the video games medium as a means of telling a story — albeit a very simple one in the case of the first couple of games; from the third game onwards it started to get quite ambitious — as well as a wonderfully vivid realisation of the world of fairy tales.

Back in the days when King’s Quest first appeared, it wasn’t at all unusual for games to take heavy inspiration from existing works of art. Numerous games made use of famous classical tunes for their “themes”, for example, and others drew liberally from popular mythology for inspiration. The original King’s Quest games were no exception, as they saw you running into everyone from Rumplestiltskin to the Big Bad Wolf — and, in many cases, dying horribly at the hands of fairy tale monsters.

Despite the fact that it drew heavily on popular mythology, though, King’s Quest had a feel and an atmosphere all of its own. Like the best fairy tales, it presented a world that appeared colourful, happy and vibrant on the surface, but which was mean, horrible and out to get you underneath. The King’s Quest games were notorious for having a wide variety of means for the protagonists to die throughout them, ranging from being eaten by a giant to tripping over your wizard master’s cat while being too far up the stairs, and subsequently breaking your neck when you hit the ground. So frequent (and frustrating) were the death scenes in King’s Quest and other adventures from the same stable Sierra that main rival LucasArts made a specific marketing point of the fact that it was impossible to die or get stuck in most of their games — with the Indiana Jones games being the only real exceptions, and even there it was pretty difficult to die.

But as frustrating and irritating and, at times, downright illogical as the old-school King’s Quest games could be, they represent one of my formative experiences. They’re something that helped me understand a medium that, as you’ll know, is very important to me. They’re something I shared with my family, since many of us used to play them together and try to solve them. And they’re something that I will always have fond memories of.

It’s for this reason that I’m really happy to see King’s Quest making a comeback — and, moreover, to see that it’s being received very well so far. I’m excited to give it a try for myself very soon, and I look forward to seeing how the subsequent episodes develop over the course of the series.

2015: Ziggurat Vertigo

0016_001One of the best — or worst, depending on your perspective — things about PlayStation Plus is that there are regular deals on a wide variety of games, seemingly almost at random. During these sale periods, games drop to Steam sale-tier prices (i.e. £2-3 for a typical indie game) and consequently make trying some new things out a rather more appealing prospect than it might be under other circumstances.

So it was that I came across a PS4 game called Ziggurat the other day. I didn’t know much about it, but it sounded like it might be fun, so I grabbed it for £3 and gave it a shot. Turns out it is a lot of fun — and nothing to do with a not-particularly-good iOS game by the same name that I played a while back. (Thankfully.)

bannerZiggurat is the latest in the interminable line of “roguelites” out there; that offshoot of the roguelike genre that keeps the “permadeath” and “procedurally generated” parts and ditches the heavy-duty stat crunching and turn-based exploration in favour of something a bit more immediate, accessible and, in many cases, action-packed. Sometimes it works better than others; procedural generation is something that is very impressive on paper, but in practice it can often lead to levels that are chaotic messes with no real sense of “design” about them, just some tiles splattered around the map at random. This sort of thing is fine in an ASCII roguelike, but less fine in a game with actual visuals.

Thankfully, Ziggurat eschews the totally random approach and instead constructs its levels in a modular manner, somewhat similar to how board games like Advanced Heroquest and Descent construct their dungeons. Rooms are linked together by corridors to make an enclosed map; you start in one place, have to find a “portal key” somewhere in the level, then take it to the boss room, fight the boss and continue to the next level. It’s a simple, tried but true structure and fits well in the context of the game.

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There is a sort of plot to Ziggurat, but it’s of the “back of a napkin” tier from old-school arcadey games from the 8- and 16-bit era. You’re some sort of wizard, and every so often the opportunity arises to fight your way through the eponymous Ziggurat to become a super-awesome elite wizard. It’s more likely that you will die, though, which is okay, because the “sacrifices” of unworthy novices pay tribute to the old gods, or something like that. It doesn’t really matter.

What you do need to know is that Ziggurat is pretty much a spiritual successor to Heretic and Hexen, two games that came out back in the golden age of 2.5D sprite-based first-person shooters. Heretic and Hexen were noteworthy in that they were first-person shooters that opted for a fantasy setting rather than the (then) more common space marine situation. (Military shooters were still somewhat niche interest at this point, and multiplayer was something that was only really played by people who had IPX networks at their workplace.) Despite the fantasy setting, though, neither Heretic nor Hexen were role-playing games; they were action games through and through, with most of the weaponry on offer having clear analogues in more conventional modern and futuristic weaponry.

Ziggurat follows this pattern nicely. You start with a basic magic wand that is a rough analogue to the peashooter pistol that was the default weapon in games like Doom and its ilk. As you progress, you’ll acquire spellbooks (shotguns), magic staves (machine guns) and alchemical weapons (rocket/grenade launchers). Each of these weapons requires a different colour mana (ammo type) to power, with the exception of the pistol… sorry, wand, which recharges its mana over time if you stop firing.

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The interesting addition to the Heretic/Hexen formula — and something that Hexen II touched on — is a progression system. As you defeat enemies, they drop “knowledge crystals” which provide experience points. Filling your experience bar causes you to level up and be able to pick from cards that depict “perks” of various descriptions. These are randomly drawn each game and range from immediate benefit (heal life, regain mana) to ongoing buffs (recover health when you enter a new room, increase the amount of mana you can hold for a particular weapon) to temporary buffs (magic wand does double damage in your next combat). Once you’ve picked one, on subsequent level ups you generally get the option to buff up a perk you’ve already taken or add a new one to your collection. There are even some perks that allow you to choose from a wider selection of perks on subsequent level ups, so there’s a fair bit of variety.

Structurally, Ziggurat isn’t quite as freeform as Heretic and Hexen. Rather than fighting your way through a linear-ish level, you freely explore the level, uncovering rooms one at a time. Rooms will generally be either a “special” room of some description — perhaps with traps, treasure or the portal key — or a standard room with a swarm of enemies to defeat. If you encounter enemies, you’re deemed to have started “a battle” and are locked in the room until you defeat all of them. There’s a decent mix of enemies, ranging from carrots that charge at you screaming to ghostly maidens that fling some description of otherworldly shit at you. Like the classic first-person shooters of yore, different weapons are more or less practical against different enemy types, though a generous auto-aim facility makes aiming and shooting with the controller less of a chore than it is in some games.

A pleasantly old-school throwback in Ziggurat’s overall structure is the fact that you have a score, though you don’t find out what it is until the end of a level or the end of your game. You score points for all sorts of things, ranging from collecting items to clearing rooms — and, obviously, the longer you survive, the higher your score will be. There’s even an “Endless” mode to challenge for those who are gluttons for punishment — though I’m yet to make it past the second level on normal mode!

Ziggurat is a lot of fun, then, and if you’re looking for something relatively quick and throwaway to play — and you miss the ’90s era of first-person shooters — then you could do far worse than give it a shot, if you’ll pardon the pun.

2002: Arcade Games are Alive and Well

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We live in an age where the default assumption about video games is that they will be big-budget affairs with star-studded voice casts, more pyrotechnics than a Michael Bay movie and, indeed, a budget to match. The reason for this is that many of the games that become household names — Call of Duty, Assassin’s Creed, Grand Theft Auto — very much fall into this category, at least partly due to their marketing budget, but also due to their perceived “quality”. Games have moved on since their roots in the ’70s and ’80s, or so the popular theory seems to go, and we should be looking to our interactive entertainment for challenging creative works that offer interesting new spins on social themes; deep emotional narratives; and innovative play mechanics.

As someone who grew up roughly alongside the birth of gaming (give or take a few years; I wasn’t quite around for Pong) I think I speak for many other members of my cohort when I say that the above is all very well and good and should be celebrated when it’s done well, but sometimes all you want to do is shoot or punch the shit out of some things without having to think about anything too complicated.

Astebreed is a great shooter with a ton of immediacy but a rewarding amount of depth for those willing to learn its intricacies.
Astebreed is a great shooter with a ton of immediacy but a rewarding amount of depth for those willing to learn its intricacies.

One of the things I’ve been gratified to discover about the PlayStation 4 as a gaming platform is that it appears to be becoming an excellent home to a wide variety of arcade-style experiences as well as the big-budget, big-name games of today. The PC has been happily championing this sort of thing for a while thanks to its well-established digital distribution systems, and the Xbox 360 looked for a while like it might be assisting in the revitalisation of the “arcade-style” experience thanks to Xbox Live Arcade (which started to disappear up its own arse once things stopped costing 400 or 800 Microsoft Spacebux and instead took 1200 as the “default”) but I feel like this is a field where the PlayStation 4 in particular is really starting to come into its own.

While I’m still ploughing through Omega Quintet on PlayStation 4 (I’m approaching the Platinum trophy now, at last!), the last few games that I’ve bought and really enjoyed on the platform are all short, arcade-style, score attack-type titles that are just plain fun. None of them are trying to say anything particularly deep and meaningful (with the possible exception of Astebreed, which has one of the densest half-hour narratives I think you’ll ever find in a video game) and are instead focused on the simple joy of play: the thrill of taking on seemingly insurmountable odds, the fun of seeing scores climb into the millions, the satisfaction of beating your friends.

Blue Estate is pretty much a PS1/Dreamcast-era lightgun shooter, making good use of motion controls to approximate the arcade experience.
Blue Estate is pretty much a PS1/Dreamcast-era lightgun shooter, making good use of motion controls to approximate the arcade experience.

The games in question — and doubtless there are more, but these are the ones I’ve been particularly enjoying — include cinematic Japanese shoot ’em up Astebreed, Western bullet-hell shooter Jamestown+, the Defender-inspired Resogun, the inordinately satisfying rock-bursting shmup Super Stardust and lightgun-style rail shooter (a genre I thought was dead) Blue Estate. If you’re looking for a quick fix of gaming and don’t have the time or inclination to sit down and start chipping away at something more substantial like an RPG, I can happily and confidently recommend all of the above; they’re fun, they have a ton of immediate appeal but a lot of hidden depth, they’re easy to understand and teach to others (and, in most cases, have some form of multiplayer mode) and, for those concerned about such things, they’re cheap.

Smoky, beer-scented arcades may well be fast becoming a thing of the past, but the arcade-style experience still very much lives on at home on PS4… and on Vita too, for that matter, but that’s probably a whole other day’s post, so we’ll leave that for another day!

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.

1996: Daylight

I gave the PS4 horror game Daylight a go this evening. It was super-cheap thanks to a hefty discount on PlayStation Plus, and I’d always found the concept to be interesting, so I felt like giving it a shot, even though its reviews hadn’t been all that positive. (But when have I, a proud Hyperdimension Neptunia fan, ever cared what reviews thought of a game?)

Daylight’s unique selling point is that it’s a procedurally generated horror game. What this means in practice is that the various environments you wander through as you piece together the fragmented story are chopped and changed around a bit with each playthrough. I’ve only done a single playthrough so far — it’s pretty short — so I can’t say with confidence quite how much it’s different each time around, but I can see how it would make changes without altering the fundamental structure and “journey” that the protagonist goes through.

Daylight casts you in the first-person role of Sarah. We don’t know much about Sarah upon starting the game, save for the fact that she’s woken up in what appears to be a ruined hospital, and some random dude with a frankly villainous voice is talking to her through her cellphone, which she has the good sense to use as a torch to light the darkness. (It’s also a handy minimap.)

Gameplay is, I am assured, somewhat of the Slenderman mould, in that the vast majority of what you are doing throughout the game is picking up notes with various bits of Plot on them while attempting to fend off the unwanted attentions of various lurking horrors and ultimately unlocking the way to the next area. In Daylight’s, case, you achieve this by collecting a particular number of “remnants” — notes and memos scattered around the area — until a “sigil” unlocks in a creepy room covered in strange symbols, and you must then take the sigil to a locked door to open it and proceed to the next area. The game alternates between these “scavenger hunt” sequences and calmer puzzle areas until you eventually reach the game’s conclusion.

There’s no combat in the game; this is a horror game in the Amnesia mould, in which just being near an enemy is enough to hurt you. However, there are several means of dealing with them rather than just running away screaming: simply making sure you’re not looking at them keeps you safe, for one, but if you do happen to find yourself face to face with one of these bloody horrors, lighting a flare will cause them to combust in a satisfying fwoof of supernatural smoke and fire. These flares are, naturally, in rather limited supply — you can only carry four at once — so on occasion, it’s better to try and avoid trouble rather than defeat your foes. You also can’t use flares while you’re carrying the sigil for an area, so it’s a good idea to find the exit before you pick up the sigil just so you can make a break for it.

Like a lot of horror games, Daylight’s story is piecemeal and leaves a lot up to interpretation — perhaps a little too much. It’s not especially clever like the stories of its genremates in the Silent Hill series, and it’s riddled with cliches, but it was enjoyable enough to pick through and come up with a few theories about, and it had a nicely creepy atmosphere to the whole thing.

Not the best horror game I’ve ever played, then, but an interesting one, nonetheless, and worth giving a shot to while it’s cheap on PSN.

1993: The Joy of Smaller Games

You know me by now; I enjoy a good 100+ hour RPG that I can sink my teeth into over a long period of time, but I’m often reminded quite how much a short, simple, straightforward game can hit the spot on occasion.

There’s a lot of different places you can get this sort of experience, but I’ve been finding it particularly pleasant on the PlayStation 4 recently — thanks in part to freebies delivered through PlayStation Plus, and partly simply due to the selection of excellent, low-cost indie titles available on the platform.

Triple-A junkies are quick to whinge about the number of indie titles on PS4, particularly when they show up as PlayStation Plus freebies — they’re seen as “less valuable” somehow — but, in actual fact, the PS4 is a good home to them. Not only is the Dual Shock 4 eminently suitable for fast-paced arcade games — which a lot of these titles, which tend to channel retro sensibilities somewhat, err on the side of — but social features like the screenshot sharing, online leaderboards and live video broadcasting make otherwise solo experiences into much more compelling prospects that can be shared with others.

Most recently, I’ve been particularly enjoying a couple of games, and in many ways they are polar opposites of one another.

woahdave

The first is a title called Woah Dave, an Atari 2600-style platformer from the people who created the Bit Trip series a while back. Woah Dave is a deceptively simple but enormously addictive take on the Mario Bros/Bubble Bobble formula in that all you have to do is survive for as long as possible while fending off never-ending waves of enemies. You can jump, you can pick up things, you can throw them. That’s it. It gets more frantic as you progress, and the only reason to play is to try and get a high score. And that is reason enough.

Woah Dave is testament to the fact that strong gameplay will always be compelling and enjoyable, regardless of technical proficiency. That said, while the game looks like a mess of gigantic pixels in about 8 colours, it runs at a silky smooth framerate, with extremely responsive controls and a very enjoyable overall “feel” to the whole experience. It’s dumb and it’s silly and it’s shallow, but it’s a lot of fun.

Astebreed3

The other game I’ve been playing a bit recently is a shoot ’em up called Astebreed. I was a big fan of this when it originally released on PC, so I decided to “double dip” on the PlayStation 4 version, and haven’t been disappointed.

Astebreed is a beautiful-looking, 1080p, 60 frames per second cinematic shoot ’em up in which you pilot a giant mecha with some unconventional weapons systems as you attempt to fend off the unwanted advances of alien race the Filune. Along the way you learn more about their human experimentation and the true fate of your adoptive father and his two daughters, who have been made into living parts of a Filune reality alteration system that has the potential to be used as a deadly weapon.

The plot is pure anime — and, frankly, a little difficult to follow, given that a lot of it unfolds while the action is coming thick and fast on screen, leaving little time to read subtitles — but it’s snappy, pacy, dramatic and even a little emotional. Unlockable documents that you can read after clearing the game once show that the game world, setting and backstory have been very comprehensively fleshed out, too, and the whole experience is wonderfully polished until it shines.

I’m still rubbish at it, though.

1990: Idols’ Journey

Having finished the main story of Heavensward, I returned to Omega Quintet this evening in the hopes that I would be able to polish off the “true ending”. I succeeded, though this isn’t the end of my time with the game just yet: there’s the optional “training facility” dungeon, which features some of the toughest monsters in the game, and there’s a bunch of sidequests that open up even after the “final” boss. I’m undecided as to whether or not I’m going to pursue the Platinum trophy, as a few of the trophies are a bit grindy, but I probably will end up going for it.

As for the true ending — oh, spoilers ahead, by the way — it was a satisfying conclusion.

For context, the “normal” ending was surprisingly downbeat, even bleak, leaving the story with a somewhat bittersweet ending that didn’t really leave any of the characters in a situation that could really be called “happily ever after”. Aria was revealed to have become a Blare when she was attacked prior to the events of the game, with the Blare in question effectively devouring her emotions and turning her into the seemingly morose individual she is depicted as throughout the main narrative. Said Blare is revealed to be the cat-like creature that had been following her around for the whole game, and this obnoxious little creature “awakens” Aria to her true Blare self.

This sets up the final confrontation of the normal ending, where the depleted ranks of the Verse Maidens, now a quartet rather than the quintet they had been for the majority of the game, have to strike down their former friend, who is, it becomes clear, utterly beyond help. But even after she’s defeated, the people of the city no longer trust the Verse Maidens thanks to Aria having tricked them for so long, and as such they’re doomed to a life of unappreciated toil, fighting back the Blare for a populace that hates them.

The true ending takes this as a starting point but makes a few changes. When the time comes to fight Aria, she doesn’t completely lose herself and transform into the “Avatar of Destruction” she becomes in the normal ending. Instead, the Verse Maidens strike her down but refuse to eliminate her, instead dragging her back to their headquarters despite her protestations — but not before “Pet” has revealed its true nature and threatened to bring even greater chaos to a world that is already practically in ruin.

It’s a slow route to healing for the populace, but eventually they come to accept and support Aria once again, as her mysterious nature had always meant she was one of the more popular members of the quintet. Ultimately, the girls discover that Pet’s plan is to gather as many Blare as possible in one place and attempt to control them in the name of “fun”; Pet, having consumed Aria’s original cheerful personality but lacking the emotional maturity to know how to handle it correctly or appropriately, is more concerned with entertaining herself than any great master plan, and it eventually transpires that she neither knows what to do with all the Blare once she gathers them in the city’s Central Tower, nor is she really able to control them effectively.

Thus begins the true final battle, first against Pet, who eventually admits defeat and volunteers to try and get rid of the trouble she caused following an epiphany brought on by having the shit kicked out of her, and subsequently against a gigantic, horrible monster that appears as Pet allows herself to be completely consumed by the Blare she summoned. The Verse Maidens are ultimately triumphant over this fearsome foe, and a convenient side-effect of the fact that it was made up of so many Blare concentrated in one place means that their conflict all but frees the city itself from the oppression of the Blare.

The world still has some healing to do, however; the story ends with protagonist Takt and one of the five girls (you get to choose) setting out on a grand journey into the wider world, clearing out the Blare as they go and discovering a new-found appreciation for one another. The post-final boss gameplay, meanwhile, unfolds before this happens, and sees Takt and the Verse Maidens — plus their predecessor Momoka, who manages to come out of retirement thanks to a useful bit of experimental technology — attempting to clear up the last few stragglers around the area of the city and continuing their work as Verse Maidens, bringing hope to the people.

It was an enjoyable ending and the final boss battles were pretty great; the last one in particular had some superb music. I’m interested to see what the post-game has to offer now; the Training Facility dungeon promises to be a stiff challenge, and there’s proficiencies to level up, affection to increase, archives to find and quests to complete, so I think even though I’ve technically “finished” the game there’s still probably a fair amount left to do!

To cut a long story short, Omega Quintet is an excellent RPG that I’m very glad I took the time to play. It’s another in a long line of titles from Compile Heart that has helped cement this quirky Japanese developer’s position in my mind as one of my absolute favourite game makers out there, and I have to feel a little sorry for those people who can’t find joy in their colourful, humorous, witty games that are absolutely bursting with character and soul.