#really the best image of it may be the animated cutscene

[aquamarineglow]

Things I'd love to see in the Future of the Layton Series:

Some of these are unlikely, borderline impossible. But here's hoping Apollo may grant me the gift of prophesy on just one thing:

1. The rest of the Layton Games get a HD release on mobile.

This just makes sense! The original trilogy got a HD release, time for the prequels! And what if we get new cutscenes and content like Curious Village did? That would be amazing!

2. The entire series gets released on Switch.

This also makes sense. Since NWOS is releasing on the Switch, it makes sense to add the original games so new fans can play all of them! Especially since the Nintendo DS is dead. Rest in Peace. 💕

3. London Life gets a sequel/reboot and is available for all regions.

I've been playing London Life on an Emulator and it is so fun! It's a shame my region never got it!

My hope for the future is that if Spectre's Call gets a HD release, it will include London Life for everyone! But this version will include characters from Miracle Mask and Azran Legacy!

And here's a fun idea: what if befriending Dimitri Allen unlocks the ability to use his time machine! Unfortunately, it doesn't work perfectly; it can only take you twenty years into the future. So you can meet and befriend characters from Mystery Journey and Mystery Room!

4. Layton Brothers Mystery Room Sequel

It's been ten years since the mobile game was released and it's been largely ignored by Level 5. Until recently, with Alfendi's cameo in the anime, and then the manga series. It's clear that there's still love for this game. I think it's perfect time for Alfendi and Lucy to get the sequel they deserve! I'd love to see how they are doing!

5. Layton's Mystery Room Sequel/ Layton Mystery Detective Agency Season 2

I know Katrielle's game and anime wasn't the best received, but I think the series has a lot to offer! With the return of Layton and possibly an appearance from Alfendi, I believe the best is yet to come! Also, we still don't know the backstory of Sherl.

6. Lost Media gets found:

What is Professor Layton and the Phantom Thieves? What is Professor Layton Battle Royale? What is Professor Layton and the Deathly Mirror? I have no idea. But I'd like to know.

7. Roid Artwork

I don't know much about it, but I believe Level 5 had some kind of mobile app where, amongst other things, you received really cute artwork of various characters. Most of if the ones I've seen are poor quality, so I think it would be great if the Level 5 Twitter said, "check these out" and released HD images, including ones we've never seen before.

8. More Games

So, the original series was a trilogy. And the prequels were a trilogy. So what if NWOS is the first entry in a new trilogy, starring Luke in America! The Detective Triton Trilogy!

Also, it's been a while since Professor Layton's first and only crossover game. What about another? I don't know much about the Phoenix Wright series, but a crossover between Apollo Justice and Alfendi/Katrielle could be fun?

9. Rook and Bishop

This message is for Akihiro Hino's eyes only. If you are not Akihiro Hino, please skip.

Hey, Akihiro Hino. I know you read my blog. I will give you £29 and my ham sandwich if you put Rook and Bishop in the new game. They don't even have to do anything, just stand awkwardly in the background. It would be hilarious because nobody would care. Everyone wants to see characters like Flora, Emmy and Descole. You put Benny in LMJ and nobody cared about him. Do this for me.🥺

10. Flora

Just.... Acknowledge her existence in some way. Let her appear in NWOS. Give her something to do.

11. Mangas Series

I was so happy when it was revealed that Level 5 was making a manga series about Mystery Room. I can't read Japanese, but I just love the artwork. So expressive and fun! Completely different from the original 2d sprites.

So I was thinking, what if they made a manga about each of the original games? I don't mean like the Cheerful Mystery Manga, but with beautiful artwork that followed the original stories, maybe with new scenes? I'd like that.

Feel free to add what you'd love to see for the Layton Series! No matter how impossible it sounds! If the list is long enough, at least one thing has to come true, right?

#my theory is #if i write it down its more likely to come true #lets see if any of this ages well #professor layton #Layton series

[anewp0tat0]

AAAAHHHHH!! CONSIDER MY SHIT FLIPPED!! THE BLACK BUTLER LIVES! What are your thoughts on the new art style?

BRO I'm with you, flipped like that pancake I managed to throw half out the pan😩 I still can't believe. best Monday every fr.

and ooo thanks for the question, I wanna hear your thoughts after this👀 I've already said a little bit about this in the tags of some other posts, as well as touched on it in my master post of the crew, but I suppose I may give a big final answer(for now, from this teaser).

judging the art alone, not the fact that we get a new anime or anything exciting like that, just the art alone... it's very pretty!

yea this is very pretty. the kid looks great, small and good, and his hair looks feathery and neat, so I approve. I think they nailed his general proportions, I think they'll do a great job at keeping them consistent during episodes! the image to the right does looks a tiny bit like a 3d asset, which is a bit jarring compared to the previous anime style, but I'm flexible towards this change. even if he looks like a video game cutscene character, I usually love cutscenes!!

but here's the drama I'm sure you're here for. yes, unfortunately, there are some wee things that I don't love as much🤏

the first thing, it really doesn't matter and I should shut up about it now... but YOU asked so ajdjfksksk why did they have to shrink sebs jaw cmon my favorite art of him ever was during the Greenwitch arc so don't tell me I'll NEVER be able to see that style of him animated😫 I just like prominent features man. I know he's meant to be pretty but but but....

ah okay. heres the main thing that I think most people may agree with.

these are two screenies of sebster from the teaser. honestly, as ☆luxurious☆ as his lashes are, I'm not a fan of the left image. the airbrush on his hair feels a tad overdone. I love the attention to detail, especially in the one on the right, it shows a lot of love! but there's just something about it that's a bit off for me.

and I think after 24 hours I've finally figured it out: it's the colors.

the realization started to hit me when I saw my favorite edit so far here by @ashxketchum. the colors have been edited to be much more saturated and warm. and I think this is exactly what is missing here.

I even tried my own hand at it, and yea personally, I think slapping a saturation, tint, and just a BIT of contrast on the whole thing can do numbers on it.

already I like it(no I'm not just praising my own work, it's not the best edit out there I did it in 30 secs). I think the reason for this is because the background is very rich in contrast and warm tones, so the characters(particularly sebastian who is all black) stand out when they are muddy and low contrast. I love stylistically when contrast is high, but that's just a personal thing, and I shouldn't hold a studio to those standards.

I tried it for the poster too though, which again I felt was a bit off. official art has never been the most top tear, and the poster is GOOD, the background is awesome and the two peeps looks amazing. but my problem with it was clear once I did another color edit.

(edit on the right)

again, I feel like everything was very muted in the left original, not to mention a tad monochromatic. I really think a kick of contrast and hue could do wonders.

BUT. I know that at the end of the day, it's not a big deal. I don't really care. would it make my day or whole year if they slapped a color filter on it, or continued to work on the color grading of the scenes? probably yea! but my opinion isn't obsolete, and most of all, I look forward to and respect the artists decisions.

so no I'm not "fixing" the art😅😒.

and finally, I think this is awesome:

(I had forgotten but this gif is edited by @kilruas from this post)

GORGEOUS. could it turn some people off cause it's mostly cg? maybe. idc though. gorgeous. gimme some of that beverage.

sorry for the rant, hope it's what you wanted! I think that's everything... I like it 85%!

#my asks #thanks for the ask bud! #kuroshitsuji #black butler #kuroshitsuji 2024 #2024 anime #my text posts

[altocat]

I think them saying Seph is “pure and unsullied” and constantly calling him a young hero is a hopeful sign. Also, the cutscene we saw where he’s trying to call Genesis feels like another sympathy pull.

“We still don’t know Sephiroth” is also something I see as hopeful, because far more people know him as this icy and cruel villain…I think that’s his whole image and far moreso than the brief glimpse of his good, kinder self in Crisis Core.

To show him young and just add some stupid plotline where they show “see he was always crazy” wouldn’t be much of a twist for the broader fanbase that already thinks he’s just unhinged in general. (And afraid of him).

I’m actually really thinking they’re gonna do something in the middle of the two extremes—they won’t make him some evil kid, but they won’t make him some happy-go-lucky hero either. I’m 90% sure it’s actually gonna be a snapshot of something tragic and then they’ll give insight into one of his “lapses.”

He may very well go through something terrible and freak out a bit. I actually would like that too. It would show that he doesn’t lash out for no reason, but when he does lose control, it’s because of something horrible. It’ll give the fanbase insight into how awful his Nibelheim revelation actually was for him.

Idk, that’s my theory.

This would be the best possible outcome.

I definitely don't want to see young Sephiroth as a sadistic monster. But I also don't want to see him as a generic anime protagonist either.

I'm really hoping it's in the middle. The "pure and unsullied" comment could just be Nomura Nomura-ing. It could also just be a reference to him being pretty, idk. But I'd like to hope that it's a sign that Sephiroth will be suitably humanized for the player, while also recognizing that he's doing terrible things for Shinra.

I think we'll have a better idea after the Q&A next week. Dreading it but maybe it will clear my anxieties.

#asks #ff7 #ffvii #crisis core #final fantasy 7 #sephiroth #sephcanons #ever crisis #ffvii ever crisis

[magpies4nights]

huh (Dev log # I'M ON 4?!!?!?!)

Hi guys! It’s me, @magpies4days on a different blog! That’s really the only promise I kept. Whoops. That’s why I don’t do promises. Anyways, since the last time I updated y'all, I passed all my finals and everything that was important. Yep, I passed my finals, which seems miraculous, because I accidentally studied the wrong study guide for my history exam and didn't really sleep enough the night before, and I got a 90 on it, which I'll be honest, that was the lowest grade I've ever gotten on a test in that class, but it's still an A so I won't cry about it. I turned in a really shitty essay too for one of my classes, but it seems that my professor didn’t actually read it because she gave me a 100 (ain’t gonna complain about that). I also procrastinated so hard on my graphic design final that I did it in like 3 hours and finished it 2 minutes before it was late. I still turned it in 5 minutes late because my computer decided it was funny to start acting up. Oh well, I passed that class, even for honor's standards. Normally I would be happy getting a B because I'd get a C and still celebrate but unfortunately I slayed too hard that my GPA was the minimum requirement for the Honor's organization to notice me. That's the Thinker in my Myers Briggs type showing baybee (JK JK I'm an INFP (unfortunately.)). Anyways, I’m on my winter break, and as much as I love getting breaks, god I forgot how much I hate summer and winter breaks. Summer breaks make me depressed because I have nothing to do, and winter breaks make me depressed because it’s literally the worst season of the year (cold weather (I have cold urticaria), dry air, less sun, the position of the sun is weird, and d3 barely does anything).

Anyways, onto the actual dev stuff. I probably should’ve figured this out the moment I started my idea, but I found out that to export my game to Mac, I’d have to have a developer id and pay for it. Which now I understand why most indie devs never upload to Mac. Oh well. (Fun fact: Mac actually has a feature called BootCamp which lets you portion your hard drive to allow you to have a Windows driver (Be wise on your portioning though because it’s permanent). I found this out when I was 16 and trying to download Pizza Tower demos. Totally not saying that so you could play it on your “Mac,” *wink wink*).

I had to switch my dialog stuff from a script I found on the internet, to an add-on that most Godot devs use ( Dialogic). I know. I am awful. However, there is a reason to this, and it’s entirely because I am an idiot. I have experimented with how Godot exports JSONs, and as it turns out, the images nor the audio would load! The text would, but it’s just not the same, especially when the dialog box is supposed to change with the character speaking. While it could be something in my code that is causing this to happen, or I'm forgetting to export something else while checking off all the boxes, it still gives me a headache and I decided it was for the best to switch. I may not be able to code for now, but there may be a day when I can. Hopefully. I had to change the layout of the dialog stuff because Dialogic kinda makes it like a visual novel kinda thing. I decided to torture myself and make everyone have different heights. Don't worry, everyone has relatively normal heights. Except for mayyybe Sleepy Weepy. They're like 6'2 (which may mean there's some cutoff for their sprites).

Aaaaanyways, enough about me suffering about dialog again. I’ve been working on the beginning and ending cutscene so that I can first torture everyone with 5 minutes of dialog in the beginning and then at the end music with text that may give people a hard time reading the lyrics. The animation isn’t done, but the text kinda is??? I’ll have to revise it like I have the past 56 times because my future self is hard to please, and I think everyone is out of character except Xandra.

Yeahhh, that’s about it so far. I made new music while I was being harassed with finals. Take a gander, but with your ears. Or don't, forcing you is unethical.

Top 10 Sleepy Weepy of all time!!!!! (This is doesn't even make it in the honorable mentions)

#gasa4 #fan game #fan made music #gasa4sc #gasa4 snackcore #gasa4 sleepy weepy #Scaperat

[muzzleroars]

So I actually managed to find the entire Persona 5 concept art book online! Which is really interesting and I'm gonna look through it all later, but Yaldabaoth! The words on Yaldabaoth's wings are in the concept art, specifically the page including all his weapons where the patterns on his wings are more detailed (also all the pages of the artbook I downloaded are individual images labeled are just numbered so I'm gonna have to manually sort them if I want to find anything quick so some meta smh)

Unfortunately the quality is too low on any image of this page I managed to find online to actually read the words. Maybe there's a more detailed version in the concept art found in the Thieves Den for Royal? Or if someone has a physical print copy of the art book?

(also Yaldabaoth's book has a David's star and what seems to be a graph of the sine function in it which is interesting, a mix of the mathematical and religious)

SO i checked out the thieves den and unfortunately, the yaldabaoth art available there is the one with the less-detailed wings. i then tried to mess with his model in the den to see if i could get the right angle on it, but of course i couldn’t!! i also have texture rips from the game, but they’re actually not high-res enough for me to read (so it might not be legible actually in game??) it seems like the text is all composed of the same words (which throws out my short-lived theory that each node, which would number eight in total counting both wings, had anything to do with the eight deadly sins p5 covers lol), but still it remains elusive!! i even went to check out the anime to see if there were any better angles there, but nothing!! all i managed to see was this:

i will say it looks slightly different from what i can see in game, but i imagine it’s the same words. all i know at this point is that it will continue to make me lose my mind not knowing exactly what it says!!

BUT i so agree that the book is interesting in the concept art here!! the pages of the book are much simpler in game (as i can see those on the texture rips), but the combination of religious symbols and mathematical ones very much plays into my idea of him as a computer god. it’s also so indicative of him as the architect, that he may work and derive his power by the divine and esoteric meaning of numbers - everything in his universe can be conceived of mathematically, the religious defined by specific parameters and able to be worked out through perfect, mysterious equations too demanding for human minds. AT LEAST it’s a fav headcanon for me so i like seeing it here dkfghdfg

#he's the only gay that can do math #sorry i disappeared for a shower too lol #but this game seems hellbent on not giving it up!! #really the best image of it may be the animated cutscene #i should pull it up on the thieves den #bc the original shot i got was from a lower-res recording i made #and maybe seeing it on my tv will do it? #I WILL INVESTIGATE bc i forgot to do that when i checked the den lol #be back...soon.... #p5 #yaldabaoth #sorry i'm clogging his tag u_u #cake answers #long post #in-fair-verona-we-set-our-scene

[stray-tori]

Did Orpheus help with the manor attack?

I already kinda mentioned this in my last post, about the "little girl" timeline / confusion, but... with this new info from the essence trailer, assuming this at least somewhat ties into the main story symbolically, I think it's actually feasible now.

.

So new essence trailer:

[IDs: a wrecked ship, with people in the water. A young Orpheus stretches out his hand to help a man out of the water. The little girl is beside him. Later that man is seen leading an attack against their home land.]

(he's also still a kid here, which would add up with the main story.)

.

Main story:

Burke (in Guard 26's deductions, #4) mentions the following:

Test Record 4: Since he got back from his "real" parents, that brat lost various valuable items again... He tried to take full responsibility for it, but such tolerance and protection will only feed their greed.

So, assuming the one meant here is the brat who came with the staff and also that that brat IS Orpheus.

We also know Orpheus knows of and had the piccolo at some point from Novelist's BG story video:

[ID: young Orpheus playing the piccolo, this later opens the manor gate in front of him]

.

the live action trailer posted on twitter has a few animated short segments (at 1:18) that reveal that the intruders also used the piccolo to enter the manor's estate:

And went on to murder someone, which the little girl witnessed (which may be the reason why she has entered the asylum later, assuming she did so based on her response to the asylum keyword during ACT 2...)

.

Combined with the new essence trailer, I think this means that Orpheus was the one leading to his paradise being destroyed (which he has called the manor before).

My guess is that Orpheus found the manor couple dead and as he said, he "escaped reality" -- he forgot he ever had a part in it and potentially also his best friend, who ended up traumatized.

In the essence trailer, he claims that he will "rebuild paradise". I'm not certain what this means in the context of our main story. If the manor games are supposedly in favor of that goal, how does inviting people to death games and experimenting with drugs help him restore it? Is the goal to bring his parents back?

We do have a Dream Witch easter egg in Dark Woods Map, and her sacrifices are usually burnt. And the newspaper snippet from ACT 3 state that it looked like a sacrifice ritual may have taken place. Is Nightmare a DW follower? But then why go through all the effort to create the drugs/pit people against each other? To not have blood on his own hands?

Or maybe, since he experiments a lot with memory loss and reconstruction, he knows that he forgot what happened around the incident and wants to find a way to remember.

Though that doesn't answer that it seems like the manor has been well connected and doing SOMETHING for at least 100 years, assuming Joseph went to the manor as well. And that the manor couple, when they moved in, had Burke reconstruct and repair it - meaning it had been destroyed before. Along with "da capo" (= loop) and the image of an actual loop in the cutscene for the little girl's diary in ACT 2, I think there may have been things like this happening at the manor for longer...? I'm not sure at all though and that's not really what this post is about.

.

Problems with this theory of Orpheus helping them:

if Novelist and Little girl reunited later in life (as we see them together in Novelist's and Little Girl's BG story video), I wonder how this never came up in any capacity and like, led to some clarity regarding his memory.

the little girl's skin name is still "source of evil" - which confuses me.

I am growing kind of tired of this story having the same twist twice, i.e. Orpheus be like "hm whats going on in this manor? oh, it was me" and also Novelist being like "Who killed 'my' parents? >:( oh, it was me"

#identity v #idv theory #identity v theory #idv time of reunion #idv orpheus #idv little girl #tori talks #tori has opinions

[scottymcgeesterwrites]

Final Fantasy VII Review

 Year: 1997

Original Platform: PlayStation One

Also available on: PC, PlayStation Store

Version I Played: PlayStation One

Synopsis:

The Shinra Electric Power Company rules over the city of Midgar, and the eco-terrorists AVALANCHE stop at nothing to try and prevent the life essence of the planet from being used as energy. Barrett, leader of AVALANCHE, hires a mercenary named Cloud Strife for their bombing mission on a Shinra Mako Reactor. Cloud doesn’t care much for the greater cause and only wants his pay. But then, after a mission goes awry, he meets Aerith, a flower girl who is the descendant of the Ancients. He quickly finds himself wrapped up in the greater conflict against Shinra.

 Gameplay:

Final Fanatasy VII utilizes magic spells via Materia – little orbs that come in a variety of colors pertaining to the natural elements. You can mix and match them on your weapons and equipment, which gives you access to different spells and stats. All your equipment varies with the number of slots for how many Materia orbs you can put in. Leveling up not only upgrades the character but the equipped Materia as well.

 Final Fantasy VII also uses an ATB system but is known for introducing Limit Breaks – finishing moves that build up after the character gets hit over time. Final Fantasy VI had a prototype called Desperation Attack – but it was very rare as it only appeared when your character had 1/8 of their total HP, and there was a 1 in 6 chance of performing the Desperation Attack after selecting Attack. I actually had no idea that was a thing until long after I finished the game, and never experienced it when I played Final Fantasy VI.

Graphics:

Out of all the Final Fantasy games, I have to say that this one has not aged well. It has the worst graphics of the entire series. The battle and cinematic graphics are passable.

(Most of the graphics power seemed to be put in Tifa’s, uh, bosom.)

But the characters in towns, the overworld, and in-game cutscenes are incredibly blocky. PC versions are supposedly sharper, but the PlayStation One version makes it nigh impossible to see any facial expressions. 

The graphics are definitely a product of its time. I always say that the beginning of 3D gaming was essentially like puberty – awkward and full of zits. It wasn’t yet at that stage where it could be aesthetically pleasing. We marveled about it when it was first released, yes, but then we cringed in retrospect.

The environment backdrops however are probably the strongest points, where they capture the industrial nature of Midgar, the reactors and other such buildings.

Story:

Final Fantasy VII became legendary the minute Square released it. Every aspect was memorable. Part of it could be due to the fact that it was the first Final Fantasy game to enter the 3D realm. Another part was Tetsuya Nomura’s character designs, which hit the cool meter to the point of sub-zero.

 The cinematics blew our minds. The opening action scene with Cloud, Barrett, and the rest of AVALANCHE attacking Shinra’s mako reactor is the most memorable opening to a Final Fantasy game. Period. Final Fantasy games really do know how to start at the right spot, no matter how good or bad the overall game is. The opening is always the best part.

Then there was the motorcycle chase. Cid’s airship. The gun fights. Battles with Sephiroth. The extra stuff to find, like summons and extra bosses. So much was jam-packed into the game.

 But the story was the primary factor in making VII famous. It’s definitely one of the better ones. Man, the story became so famous that even gamers who haven’t touched a Final Fantasy game knew the major spoilers. It is the equivalent to knowing Darth Vader’s line, “I am your father” without having actually watched Star Wars.

Aerith (Aeris in the English releases) Gainsborough – the innocent flower girl who holds the secrets of the Ancients – develops a romance with Cloud and fucking dies at the end of Disc 1 by the main villain – Sephiroth. The scene shocked everyone and practically made headlines. Everybody has seen the horrible image in one way or another.

It seems to me that since Final Fantasy V, the stories have gotten more and more used to main character deaths, ultimately transforming into a heavy-hitting TV series rather than simply a video game series. In other words – it matured. Looking back, Final Fantasy IV appears to be child’s play and a prototype of later dramatic storylines with fully realized worlds.

 Final Fantasy VII was also the first Final Fantasy game to create a world much like ours – one with cars and trains and airplanes and machine guns and even cellphones. The main city of Midgar reflects industrialization at its worst, with miles of slums and claustrophobic cities. Shinra Electric Power Company is a reflection of capitalism at its worst - a single entity in charge of so much that it’s pretty much the government. For the first time in a Final Fantasy game, you play as characters who dance between the morally ambiguous line of terrorism and activism. Funny enough, the theme of neglecting the planet resonates with us now more than ever. This game ended up being rather prophetic about the uncontrollable growth of corporations.

While the story is memorable with many intriguing elements, the plot itself is a tangled web. In my opinion, they really hashed in so many things that it’s easy to forget crucial details. It’s not straightforward, but at the same time everything does connect by the end. While Shinra is the driving force as a whole as the villain, Sephiroth takes over, then you learn about his backstory and then with the evil scientist Hojo and the extra-terrestrial Jenova and then “Weapon” and then the planet’s history and this and that and the other thing.

If I were to put Final Fantasy VI and Final Fantasy VII together and contrast them, as many gamers do, I would find that Final Fantasy VII is the summer blockbuster and Final Fantasy VI is the Oscar winner. Final Fantasy VII started introducing the sappy romance subplot to the series. A love triangle forms among Aerith, Cloud, and Cloud’s childhood friend Tifa. While there’s nothing inherently wrong with having a love triangle, the writing is like watching middle schoolers trying to express their feelings. Final Fantasy VI and Final Fantasy IV treated any romance with dignity and realism.

But maybe I’m being a bit harsh. After all, Cloud Strife did go through some suffering as an adolescent. His backstory clearly drives his antisocial behavior, so that becomes a good arc. 

The goofiest but memorable part of the story deals with Don Corneo and Wall Market and running around store to store doing tasks in order to free Tifa from Don Corneo. It ends with Cloud needing to cross-dress as a woman to get inside Don’s mansion. Because, you know, it’s not like Cloud can just break in with his sword and Aerith’s magic or anything like that. But whatever. It’s anime.

The recent Final Fantasy VII Remake for the PS4 seems to streamline the story, and actually enhances the emotions they were trying to deliver in the original. I will be talking about the remake in a separate post altogether since I’m almost done with it at the time of this writing. But there’s a lot that I want to say about comparing and contrasting the remake and the original.

The latter half of the plot takes a couple weird turns. At one point, Cloud became catatonic and confined to a wheelchair.

That part of the game became the sluggish part for me. Sephiroth also tries to confuse Cloud, which confused me. Cloud apparently suffers from some alternate subconscious mumbo-jumbo and like. . .ungh. I get an aneurysm thinking about it sometimes.

Complicated plotlines like Final Fantasy VII start showing up from here on out in the Final Fantasy series. The trend of bishonen characters also begin here, bishonen being the Japanese term for “beautiful boy.” Cloud and Sephiroth have that look. The series starts hashing in sappier romances and much more of an anime feel.

Final Fantasy VII ultimately marked the start of a new era for the series – introducing both cool and overused tropes.

Music:

Hands down the best Final Fantasy soundtrack of all.

The entire soundtrack of this game is memorable. The opening tune, with its light twinkle when the stars show up, is enough to make any gamer know exactly what that’s from.

With a story set in a more modern world, we have music that is more modern. After Final Fantasy VI had a more serious and operatic score, Uematsu displayed his love of progressive rock here. The motorcycle chase incorporates a lot of synth, which was fitting for zipping through the streets of Midgar. However, Final Fantasy VII is the first Final Fantasy game without that familiar starting bassline for the battle them. The battle theme is instantly recognizable but also radically different from its predecessors. It’s dramatic and displays danger.

Meanwhile, the boss theme is one of the best boss themes in the series, or any video game really. It’s an electrifying progressive rock piece, and it’s my personal favorite boss theme.

 The more instrumental pieces are somber, given the dreary atmosphere of the planet. The world map music is very different from its predecessors. It’s romantic one moment, soaring the next, and then dips into foreboding terror. I guess that sums up the story of Final Fantasy VII.

And we cannot leave out One-Winged Angel, which I will talk about below.

Notable Theme:

Without a doubt, One-Winged Angel – played during the terrifying final battle against Sephiroth – is the most memorable piece of music in Final Fantasy VII.

It may very well be the most popular song of the entire series. Nobuo Uematsu was inspired by Stravinsky’s Rite of Spring. It’s a whopping 30 something minute classical piece. If you look it up on YouTube and browse through it, you can definitely note the similarities. However, Uematsu didn’t want some boring classical introduction to the piece. He wanted to add the destructive impact of rock. The theme has a very distinct stamping-your-foot-down quality to it.

I had noticed a certain piece-by-piece feel of the song and that’s exactly how Uematsu composed it. This is the only song that Uematsu has composed where he created several tunes in his head and then rearranged them to make a single comprehensive song.

If you want to get technical, One-Winged Angel is the first Final Fantasy song with lyrics. The chorus sings in Latin about Sephiroth’s burning anger, with some lyrics actually taken from the medieval poem Carmina Burana. It sounds fantastic when fully orchestrated.

In Advent Children, the animated sequel to Final Fantasy VII, the music is accompanied by hardcore metal. This new rendition really illustrates the destructive power of Sephiroth. Uematsu changed the lyrics for Advent Children. They are more original now. I specifically noticed the lyrics “Veni, veni, mi fili”, which translates to “Come, come, my son.” Sephiroth is inviting you so he can kill you.

 Uematsu has stated that the original orchestration didn’t sit well with him. As I suspected, Advent Children’s hardcore metal version is the one he preferred, the one he would have composed had he the technology at the time of Final Fantasy VII.

Verdict:

Another must-play for any RPG fan, even if you think it’s overrated. It’s a must-play because of its popularity, in the same way that people are wide-eyed when you say you haven’t seen Star Wars or such-and-such other popular movie. It’s a whole lot of fun, especially in the scenes that involve other forms of gameplay, such as the motorcycle chase and even a battlefield strategy game in protecting Fort Condor. 

Direct Sequel?

Yes – first there was the CGI movie Final Fantasy VII: Advent Children.

I actually watched Advent Children before playing Final Fantasy VII. I had already known most of what happened in the game and Advent Children became a monumental craze when it first came out. Everybody was talking about it. Watching the sequel before playing the game skewers your interpretation of things. My first impression of Cloud was that he was always whiny and angsty, and meanwhile Tifa kept nagging him to move on. I felt really bad for Cloud losing Aerith.

Then when I actually played Final Fantasy VII, I saw that Cloud starts as this badass mercenary. Tifa is spunky and clearly is the better choice (IMO) but Cloud is enamored by Aerith after only meeting her briefly. WHAT? Cloud. Bro. Make a move on Tifa, you nitwit. Tifa is AMAZING.

 Square Enix then continued the story with Dirge of Cerberus – Final Fantasy VII. This video game sequel focuses on Vincent Valentine, a fan favorite of the original game.

Let me remind you about something – the original game revealed Shinra’s inner deep secret experiments, namely with Sephiroth and Jenova. Dirge of Cerberus introduces an even deeper research team within Shinra called Deepground. I don’t know about you, but it already sounds like the start of a terribly redundant string of sequels, like how the Jason Bourne movies keep revealing an even deeper level of conspiracy theories. Vincent’s mysterious background is now fully revealed. He is defined by – guess what? – another angsty lost lover story, this time with a woman named Lucrecia. Now, okay, look, maybe I’m just being a dick about these types of love stories. But when it keeps popping up within the same series in the same manner, I start asking if you have anything else to offer on your menu.

Lastly, there is the prequel for the PSP – Crisis Core: Final Fantasy VII. Of all the games in the Compilation of Final Fantasy VII, Crisis Core has received the most positive reception. If anything, play that after playing Final Fantasy VII before bothering with anything else.

 Oh, and of course there is the Final Fantasy VII Remake, which we thought wasn’t going to happen for the longest time but they finally released it in April 2020. More on that later after I finish it, and after I post my entire series of Final Fantasy reviews!

#final fantasy #final fantasy vii #final fantasy vii remake #aerith #tifa #tifa lockhart #cloud #cloud strife #cloud x tifa #cloud x aerith #aerith gainsborough #sephiroth #nobuo uematsu #square enix #fantasy rpg #video game rpg #rpg #midgar #video games #onvideogames

[rpgmgames]

May’s Featured Game: Verloren

DEVELOPER(S): Choko ENGINE: RPG Maker VX Ace GENRE: Horror, Adventure WARNINGS: Flashing images, loud sounds, sudden sounds/images, full list (contains spoilers). SUMMARY: Chris Winter, find himself alone and lost in a black void filled with nothing but coldness. The only warmth you feel comes from your breath. In this void the young boy sees a door filled with light, trying to reach the door only leads to the boy to fall deep into a world filled with nothing but nonsense. Only when you find the key, then you’ll be able to leave.

Download the demo here! Our Interview With The Dev Team Below The Cut!

Introduce yourself! *Choko: Hello, I'm Choko! I'm the developer, artist, and writer for Verloren. I've been messing around with rpg maker since 2013 but finished my first finished game in 2016 which is Desolate Village. I've also made other games since then. Those being Demon Tea, Friend Hunt, and Star Detective. So Verloren isn't my first rodeo in the whole game development stuff, but it is the biggest project I've ever work on so far. Besides game dev stuff, I'm a huge rpg maker games, horror games, rhythm games, and just games with a interesting style to them.

What is your project about? What inspired you to create this game initially? *Choko: Verloren is a horror adventure game that focuses on Chris Winter, a young boy who finds himself alone and far away from home because of this he won't stop for anything to find a way home and learn why did he arrive here. During the course of the game Chris would meet others who have their own goals. What inspired me to make Verloren is a bit hard to say from what I first started to work on it back in 2017, I was mostly trying to work on another project after finishing Desolate Village. It could have been something else but I really forgot. But since I took a huge hiatus year break during 2018, I would personally say the time I actually initially started to work on Verloren was in February of 2019. Since everything was rework with a fresh outlook on everything, so the whole head space with Verloren is totally different from 2017-2018. What inspired me when I went back to rebuild/fix the game was friends, since their support made me feel I could go back to work on the game. During 2018 I would say I wasn't in the best mood while working on the game, so the support my friends gave me really helped a lot and encouraged me.

How long did you work on your project? *Choko: I've been working on Verloren for three years now. But will say 2019 to now is when actually development started/actually got going. 2018 I took the whole year off to cool down/chill. So the Verloren of 2017-2018 is very different from the Verloren of 2019 to now. If that makes sense....

Did any other games or media influence aspects of your project? *Choko: Oh boy, this section might be very long since there's a lot of games and media which inspired/ influences Verloren, though for many different reasons. Will say the two rpg maker games that inspire me a whole lot when it comes to everything they do is Mare and Akademia (I know it's just a demo still at the time writing but it's very good. Good demo, like the characters are great!! Everything is very nice!) Other rpg maker games do inspire me, mainly friend stuff but Mare and Akademia are two games I really love and wish I can make Verloren a game which has characters which feel realistic in a way they do. Like please go play them. Besides rpg maker games will say that NieR Automata, Okage: Shadow King, RE 1/RE 0, Deemo, Rule of Rose, Smile For Me, and the Kirby series are games that just really inspire me with Verloren, there's just certain aspects of them which I hope I can capture in Verloren. Other than video games, I do get a bunch of inspiration from artist I follow, comics/manga, and anime though if I mention all of them it would just lead me to ramble away, but will say Pandora Hearts and Death Parade are two series I really love and both. I just enjoy series that shows character interaction and bonds, because that's a main part in Verloren. I really just get inspire by character development if you couldn't tell..... ^^;

Have you come across any challenges during development? How did you overcome or work around them? *Choko: Besides the 2018 thing I mention earlier. There has been tiny bits of challenges, like with creating maps, since it takes me a while to get into the mood to make them, but wouldn't really call it a challenge. Since all the time I just have to take time away from the map to gain motivation to make them. Another challenge I guess would be writing cut scenes which I love, though it's a whole process of making sure the characters aren't just rambling or going off-topic since when I write I tend to get in character, as in voice act the lines or try to think how they would. Though the process isn't really a bad challenge since it just takes a while until I get it right.

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Choko: There's been soooooo many changes to this game. The biggest change I would say is the characters, they had a lot of design changes and personality/motivation changes. But other than that, I would say the mood of the game change a lot, also how scenes play it, originally it just felt like stuff happen to happen. Now it makes a lot more sense and isn't just some random thing I added. Sadly I can't list everything that change because that's spoilers but trust me everything change for the better.

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *Choko: At the beginning there wasn't a team, since I wanted to do everything solo. I mostly enjoy doing art, writing, and eventing the game. Though currently now there is a team, mostly with people I know, it's more so just a critique/feedback team + voice actors. Currently there are only two VAs since I didn't want to focus on voice acting before I had most of the game done, in the far future I may make a post about it. But so far the whole team is more so just a chilling area then anything else and I enjoy all the fun talk that happen there.

What is the best part of developing a game? *Choko: The best part of creating a game is to see the characters you created come to life. I just really enjoy seeing everything come together. Idk I just find it cool that when making a game all starts out as concepts/ ideas and then after days/weeks/months of work it becomes a actually thing you can look at and show others. Most cutscenes in Verloren I get super happy when I finish them up, because I can see them as a real thing rather than a bunch of ideas of "this is what I'm going to do". Also the joke/shitpost memes....they are also the best part of making a game.

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *Choko: Yep!!! I play a lot of rpg maker games, I really enjoy seeing what other people do. I just find it cool that anyone can pick up the engine and learn how to use it. Also it's a fun way to find inspiration, just seeing other rpg maker games and being like ">:O I didn't know you can do that!!!".

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *Choko: This question is very hard, mainly because I relate to because a lot of characters in the game I relate to in tiny levels. For my favorite character it's Vladimir....I do like every other character in game. Chris is my second favorite I have to say (kinda a lie since ties with another character) but Vladimir number one, he's just soo much fun to write. He's maybe the one character who has a lot of scenes which gets a huge smile from me.

Looking back now, is there anything that regret/wish you had done differently? *Choko: Not really, mainly since I was lucky to be able to take a huge hiatus which help me in 2019 to rework everything. So every problem I had with the game I fixed.

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *Choko: I would just leave the game alone after I finish Verloren, it's a game that doesn't need any follow ups because I feel it would just take away from the impact when you get to the end. There really isn't anything I would need to explore, since Verloren is meant to be a single game and that's it.

What do you most look forward to upon finishing the game? *Choko: I look forward seeing how people react to the full game, I am low key shock on how people are reacting towards the demo and all the tiny predictions/speculations. Also the warm positive feedback towards Vladimir is shocking, since I thought no one would like him because of all those jokes/puns. I hope the final game has the same positive reaction, also that other characters get a warm positive feedback towards them.

Was there something you were afraid of concerning the development or the release of your game? *Choko: The only thing that worries me is that if I mess up and people can't understand reasons why x character did that. Since one of the main things with Verloren is that characters have their own way if viewing stuff. Like morality is pretty gray because I don't want to write a black and white story.

Do you have any advice for upcoming devs? *Choko: Main advice I'll give out is placeholders are your friend. Don't spend time making assets for a system you didn't test and you test it and it doesn't work. Just have a placeholder graphic which helps you test it and when it's done you can always slap on the asset. Following up with this, create a debug room. It would come in handy to test systems/ events than having to play through your game to test it and learn you need to fix it.

Question from last month's featured dev @cheesesteak-horror: Do you have creative processes you practice before starting development? *Choko: No, not really. I often just jump right into development and go from there. Most of my practice come from when I work on small stuff or just when I'm bored I often just mess around with things.

We mods would like to thank Choko for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Verloren if you haven’t already! See you next month! 

- Mods Gold & Platinum

#rpg maker #verloren (game) #rpgmaker #indie games #pixel games #demo #game demo #verloren #choko-flan #choko #gotm #game of the month #gotm 2020 #2020 #may #may 2020

[chaosstar290]

Reasons try out Tokyo Mirage Sessions #FE Encore.

Nintendo's been pretty casual with porting Wii U games over to the Switch, and for good reasons. Normally, I'm not all into porting games that I've already played, but my personal favorite games on the system that lack good marketing and advertising are now getting the attention and love they deserve.

Take Donkey Kong Country: Tropical Freeze for example, one of my favorite 2D platfomers. The game originally sold 1.72 million copies worldwide on the Wii U. Not very good numbers, huh? However, the Switch port managed to beat those sales numbers with 2.25 million units sold worldwide by the end of March 2019.

So while this could be seen as a way for Big N to earn more $$$, this is also a way for those who never owned a Wii U and missed out on some of the system's best titles to give these games a shot. Now we just need a port of Xenoblade Chronicles X and The Wonderful 101...and Star Fox Zero, I guess.

But that's a topic for another time. This post is specifically for my favorite JRPG on the Wii U only to be tied with Xenoblade Chronicles X....Tokyo Mirage Sessions #FE.

This'll be a long one, so here's hoping you'll stick with it until the end.

Development

Before I get into the reasons, lemme educate you guys a bit. Back in January 2013, both Atlus and Intelligent Systems made a teaser trailer for a potential Shin Megami Tensei x Fire Emblem crossover for the Wii U.

The trailer was mostly just a slideshow with various character artwork. Despite this, there was a decent amount of hype surrounding it. But development around the game was pretty silent. That is, until we fast forward to the Nintendo Direct in April 1, 2015. We got a trailer of the ambitious SMT x FE crossover that fans were waiting for...but this was the final product.

Needless to say...neither SMT nor FE fans were happy about this. The fandoms were incredibly salty and foaming at the mouths, basically calling it a Person 4 Lite with a hint of FE. Heck, they're probably still posts on this site from 5 years ago that'll show that.

Fast forward to the games initial release, and you'll see quite a few positive reviews and thoughts about TMS. Unfortunately, the sale numbers were not all that great for the game. Obvious reasons being that it was a Wii U game, and many fans of both SMT x FE were not happy with how it turned out.

And to be honest, I wasn't feeling the game myself at first. It seemed too lighthearted and upbeat, and the J-Pop, anime-ish aesthetics were very off-putting. However, the more I saw about the game, the more I was drawn into it. Somehow all that disappointment I had about TMS originally just washed away. And considering it was a new IP, I decided to give it a chance. And hoo boy...I was generally pleased.

With that outta the way, let's get into why I'm excited for the Switch port of game, and hoping people will give it a fairer chance.

The Setting

The plot of Tokyo Mirage Sessions #FE is mostly simple. You start out as high schooler Itsuki Aoi, the main character of the game encountering his childhood friend Tsubasa Oribe at an audition event to become a idol. It isn't until moments later in the game that the area gets overruned by shadowy creatures known as Mirages that suck out the creative energy known as Perso-- ah I mean Performa from the other idols and audience.

Poor girl doesn't know what's gonna happen next.

Despite our main characters seeming unharmed by the effect, the Mirages drag Tsubasa into their world known as the Idolsphere. And of course, courageous Itsuki takes action to follow and rescue her.

After trying to make a daring rescue, Itsuki gets bombarded by a Mirage, but somehow manages to awaken it. Taking the form of Fire Emblem Awakening's protagonist Chrom. Itsuki does the same with the Mirage that captured Tsubasa that takes the form of Cedea from Fire Emblem Shadow Dragon. The two awakaned Mirages, however, suffer from a bit of amnesia and can't quite remember who and what they are.

From there on, Itsuki and Tsubasa form a partnership with Chrom and Cedea, encountering various characters trying to reach their way to stardom while trying to draw back the opposing forces from taking over Tokyo and the world. Typical RPG stuff, am I right?

It's a fairly standard and slightly cliche plot with some common anime tropes, but for this game...it works. It's a plot that's incredibly silly, upbeat, and over-the-top, but again...it works for this game. And I love it. It may not be original, deep, or complex, but the story does its best to not take itself too seriously, and it doesn't fail to keep a smile in my face.

Aside from the vanilla cookie-cutter MC Itsuki, the various casts that you meet are incredibly charming, and go through their own personal growth as celebrities. Though you mileage may vary on this.

The Gameplay

The combat is the real star of Tokyo Mirage Sessions. Basically, it's your standard turn-based combat system...but with a few twists. If you've ever played a SMT or Persona game, then don't be surprised that elemental weaknesses make an appearance here. Along with that, the Triangle Weapon system from Fire Emblem also makes an appearance in the game.

But if you're not familiar with either franchise then give you a basic example how this works. Say that you've encountered an armored Mirage wielding an axe. The weaknesses on that enemy are both lightning and swords, and Itsuki just so happens to have both the necessary element and weapon equipped.

In case you're wondering...how the Triangle Weapon mechanic works in FE is that Swords beat Axes, Axes beat Lances, and Lances beat Swords.

The interesting thing about this is that once you exploit an enemy's weakness, other characters will jump in and combo extra attacks. These are called Sessions, and their not only powerful...but also flashy as all hell and it's glorious. Not only that, but there's also Duo Arts where two certain characters will sometimes perform a song that unleashes a powerful attack...which also strings up more Sessions. As broken as this sounds, it actually is pretty strategic for taking down harder enemies, and they can also form Sessions...so be careful.

There's more to the gameplay like roaming Tokyo, exploring dungeons, and upgrading your characters and Mirages by Tiki from Fire Emblem Shadow Dragon as well.

There's mixed opinions on the dungeon aspects of Tokyo Mirage Sessions, but...I personally enjoyed them. Aside from the first one. Once you get past the first dungeon, they get better as the game progresses. From exploring a darker version of Shibuya where you have to avoid giant cameras from sending you back to the entrance of the of the room you currently entered, to venturing through a maze-like TV studio.

There's also side-missions that you can do with your main cast that'll help them grow and develop even further. You'll be rewarded with either a special cutscene or a special attack. Or maybe both.

The Visuals

Go go...Persona Rangers?

If it wasn't obvious from the amount of images I'm posting, Tokyo Mirage Sessions is a very colorful game. Fitting with it's lighthearted theme, the amount of colors the game throws at you makes visuals aesthetically pleasing. Heck, you could make these your personal wallpaper on your phone or something.

Sure, Tokyo Mirage Sessions isn't nearly as strong as Persona 5 graphically or even artistically, but like most Nintendo games...what their games lack in terms of detailed ultra-hyper graphics, they make up for it with giving their games gorgeous artstyles.

Also, this game has some reeeeeally good artwork.

The Music

J-Pop plays a pretty big role in Tokyo Mirage Sessions, so expect a lot of vocal tracks. If you're not into this kind of genre of music, then you might wanna stray away from this game. If you are (or if it doesn't bother you), then you're in for a treat. As someone who really isn't into J-Pop myself, the songs in this game are incredible and catchy followed by some beautiful cutscenes. Reincarnation from Kiria Kurono and Feel from Tsubasa Oribe are some of my personal favorites.

The music from outside the vocal tracks are pretty good too. The normal battle theme and the Illusion Shibuya dungeon theme are just to name a couple.

What's New?

Like I said before, Tokyo Mirage Sessions #FE Encore is a port of the Wii U version, but with added content. Any DLC that was added in the original game will part of the base game in the Switch version. But let's talk about the new stuff.

EX Story and Songs

The EX Story is basically a dungeon that you explore in short bursts. Here you'll find new costumes such as a Joker outfit from Persona 5 for Itsuki, or an Annette outfit from Fire Emblem Three Houses for Mamori Minamoto. Or you can have a much easier time grinding for EXP. Also, much like the side-stories, this dungeon will also explore the main casts' issues and help them grow.

New songs will also be added in this port. A duo song called "She is..." sung by Tsubasa and Kiria is one of them.

Sessions

By making Sessions even more powerful and ridiculous, unplayable characters like Tiki, Maiko Shimazaki, and Barry Goodman will also join in Sessions.

In addition, a Quick Session option will be added. Which is a major upgrade in my book. One of the big issues the Wii U version had was while the Sessions were fun to watch, they took forever to get through with the more characters that joined your party. There are also smaller improvements like the Switch version having faster loading times.

Conclusion

Hopefully, this long as hell post will spark some interest into those who'll give the game a shot. I know there's small nitpicks like the lack of English voice acting and censorship, but the latter is a topic I'd rather not delve deep into.

Regardless, these small cons are greatly outweighed by the large pros this charming game has. If you're an Atlus fan, a lover of JRPGs, or wanting to play something that'll ease the wait for Persona 5 Royal, I highly recommend you give Tokyo Mirage Sessions #FE encore a shot.

If you're also waiting for Persona 5 to actually come to the Switch like me, this game is next best thing we've got for the time being.

This is one of the most stylish menu screens ever.

#tokyo mirage sessions fe #tokyo mirage sessions fe encore #atlus #intelligent systems #nintendo switch #wii u #persona #persona 5 #fire emblem #shin megami tensei

[the-trickster-of-hearts]

Kasumi’s Design and How it Compares to Joker

In honor of Persona 5: The Royal coming out in 1 day, I decided to dedicate my first post to this topic since I’ve seen people talk about it. I also wanted to share my speculation about her design along with how and why her design is possibly connected with the protagonist/Joker by using given information about the game and the designs themselves. I’ve been working on this for a while and it might kind of messy since this is the first time I made a post of this nature (plus, I want to post it before the game’s Japanese official release).

Before I discuss about Kasumi’s design and its connection to the protagonist/Joker, it’s best to look at the reason why she was created in the first place. Weekly Famitsu magazine #1588 had an interview with producer Kazuhisa Wada, director Daiki Ito, and character designer Shigenori Soejima about P5R. When Ito talked about Kasumi, he mentioned the following:

“Kasumi Yoshizawa is a new student at Shujin Academy, who has been a high achiever in rhythmic gymnastics since middle school. Since she goes to the same school as the protagonist and his friends, there’ll naturally be many points of contact between them. Introducing a new character adds a new perspective and meaning to the story, while also letting [the team] dig deeper into the characters we already know and love. Kasumi was created after much discussion about what kind of character would allow us to realize that”.

Kasumi was always meant to represent another perspective towards the story and themes of the game. Also going by this, she was most likely never meant to be a FeMC in the way people were expecting when the second P5R teaser was dropped. With that out of the way, let’s talk about her design and how it possibly relates to the protagonist’s design (for the sake of this post, he’ll be referred to as the protagonist when talking about his civilian self and Joker as his Phantom Thief self). 

In the November 2019 issue of Game Informer magazine that was released digitally on the 1st, there was an interview with Soejima and he states the following about Kasumi’s design and how he came up with it:

“With Kasumi, [he] really wanted to create just a straight-forward heroine type of character. This might be a little bit different in the West, but in Japan, the manga [he] grew up reading, the main [female] characters always had a ponytail, and their club activity was gymnastics. [He] really wanted to just shoot for that female protagonist archetype. Maybe in the States or in the West, it’d be [comparable to] a cheerleader type of girl. With most of the characters in Persona 5, we really design them to have kind of a twist, kind of make them unique and different from what the standard character archetypes might be like, but with Kasumi, we wanted to just go straight for that heroine type of girl”.

Based on this, the reason why Kasumi wears the standard Shujin uniform is because she embodies the classic heroine. Soejima even points that while most of the main cast have a twist to their designs and how it relates to their archetypes (remember that the rest of Phantom Thieves, including Akechi, are meant to be deconstructions of their given archetype), he decided to be straightforward for Kasumi’s design and how she’s supposed to reflect her given archetype. The only other character to not have a twist on their design is the protagonist. Actually, that’s not completely true. The protagonist and Kasumi actually have a twist in their design (this isn’t counting the protagonist’s glasses or Kasumi’s ribbon as they don’t take away from the uniform). Compare the concept art for the protagonist to the concept art for the Shujin uniforms. 

It’s hard to tell here, but the protagonist doesn’t wear the standardized shoes. Instead, he switches them out for some dress boots. Now let’s compare the protagonist and Kasumi.

Like the protagonist, Kasumi switches out the standardized shoes (in her case, she trades them out for some red loafers). This may not seem like much, but it’s rather strange that the one thing they change to their uniforms is the shoes. If anything, it seems like an intentional design choice to make them more similar. 

Now that I talked about her winter uniform, I can move onto her Phantom Thief attire and its relation to Joker’s outfit. 

Back to Weekly Famitsu magazine #1588, Soejima says the following when discussing about her Phantom Thief design: 

“Kasumi doesn’t form a pair with the protagonist, but since [Soejima] was drawing her as an icon of P5R, [he] designed her phantom thief appearance to feel like it goes alongside the protagonist’s. The idea of ‘phantom thieves’ in itself has manga-like elements, right? Like with the protagonist, [he] wanted this new character to have that ‘coolness’ that everyone normally expects from a phantom thief. A female phantom thief that has a different stance from the protagonist… What kind of character is she? [He hopes] you’ll be excited to find out.”

When he mentions that she doesn’t form a pair with Joker, I’m assuming that he means that the two aren’t completely direct counterparts or mirror images like how P3MC and FeMC are. While their outfits do have differences (that are better seen in the new prologue), their outfits parallel each other and have the same color scheme (more on that later). Soejima confirms that Kasumi’s Phantom Thief design resembles Joker’s design is because he intentionally made her design to feel like it goes along with him. 

Despite the almost uncanny resemblance of their Phantom Thief outfits, I get the impression that the overall intention of the designs are different. I believe the reason why their designs are so similar but different is because they’re supposed to reflect two different versions of the hero and heroine archetype that reflects their ideologies. At this point, I might sound like I’m crazy, but let’s quickly go over their designs and compare them. 

Joker wears a black and white domino mask. Kasumi also wears a mask, but her mask is black and white/silver. Joker only has small gold buttons on his waistcoat, the rest of the buttons are silver as seen on his in-game model (they are sometimes depicted as black or gold depending on the artist). Kasumi, on the other hand, has large gold buttons on her coat and smaller gold buttons on her thigh-length hose. Kasumi also has a silver chain belt with roses on it (basically, Joker and Kasumi have their placement of the silver and gold reversed). He has a white handkerchief in the pocket of his jacket while she wears a black choker. Joker wears brown winklepickers, but Kasumi wears black stiletto-heels, which resemble ballet shoes. Lastly, he wields a knife as his melee weapon while she wields an estoc. Joker’s attire can be described as classy but able to blend in the shadows. His design the embodiment of the gentleman thief, a classical type of anti-hero. Meanwhile, Kasumi’s design is very graceful and more traditionally heroic compared to Joker’s gentleman thief-esque design. Soejima points out how the Phantom Thief concept has manga-like elements (which the characters also bring up in PQ2). Combine this with Kasumi’s transformation sequence in PV #02, Kasumi’s Phantom Thief design seems to have taken some inspiration from magical girls. Despite the numbers of differences, their designs still complement each other because of the shared color schemes, red gloves, and number of coattails. Basically, their designs are different yet still go along with each other (kind of like yin and yang in a sense).

In both their Shujin uniforms and their Phantom Thief attire, they share a black-red color scheme (which are also the main colors of Persona 5). An interesting thing to note is that the two have more of a certain color in their designs.The protagonist has a bigger emphasis on black as his hair, rim of the glasses, and dress boots are black. His eyes are technically gray, but they’re a much darker shade compared to P3MC or Yu Narukami. Meanwhile, Kasumi has a bigger emphasis on red as her hair, eyes, and shoes are red. It’s possible that the reason for the protagonist greater emphasis on black relates to how he’s the leader of the Phantom Thieves of Hearts, who steal the distorted desires of individuals by morally grey means and sneak around Palaces within the shadows. In this school life, the protagonist keeps his head down and doesn’t really stand out from the crowd. Meanwhile, Kasumi rejects the Phantom Thieves because she believes that their methods don’t actually help anyone and that people should solve their own problems (this seems to stem from her own issues based on translations of her character introduction, PV #02, and PV #03). Despite this, she later joins them for her own reasons. Her appearance also helps her stand out.

This last part before moving on is speculation, but I’m going with the idea that there’s an in-universe for why her Phantom Thief outfit is similar to Joker’s. I’m kind of going on a tangent here, but it will connect back to Kasumi’s design. It’s known that Kasumi dislikes the Phantom Thieves, yet she’s seen helping Joker fight off a group of shadows while at the Casino Palace (at this point, she doesn’t consider herself a Phantom Thief but has awakened to her Persona) in the updated prologue and telling him that she isn’t going to stop him when she brings up that he still has something to do as a Phantom Thief. In PV #01, there’s a new animated cutscene involving the protagonist, Morgana, and Kasumi (note that both the protagonist and Kasumi are wearing their regular winter uniforms, not the ones for the third semester). 

PV #02 elaborates on this by showing new shots of it, and reveals that the new Palace is feature in that cutscene. 

In Kasumi’s introduction trailer, we see Joker and Morgana watching Kasumi awakening to her Persona in what appears to be in the new Palace. There’s also a gameplay section where the trio are seen fighting together, just them. 

Based on all of this info, I can conclude that the protagonist, Morgana, and Kasumi first enter the palace some time in between Spaceport of Greed arc and Casino of Envy arc (possibly even during one of those arcs or even before). Not only that, but the animated cutscene leads to the trio exploring the new palace for the first time and Kasumi awakening her Persona. After this point, Joker and Kasumi would meet again at Sae’s Palace when she has already awakened to her Persona. Based on all of the evidence presented, her in-universe reason for her Phantom Thief design looking like Joker is because her view of rebellion is him. Again, this is only speculation. It can only be confirmed when the game released on the 31st of this month in Japan. 

Lastly, I want to talk about the designs of their Personas briefly and how they compare/contrast. 

Arsene of the Fool Arcana and Cendrillon of the Faith Arcana are the only P5 Personas to not have golden eyes in any shape or form (as of now anyway). Instead, Arsene has red eyes while Cendrillon has blue. Their legs have a similar shape and they’re both seen to use physical skills by using their heels. Arsene’s horns and Cendrillon’s bow both point forwards. Arsene has a mask-like face that has been described to be glass-like while Cendrillon’s legs and chest are composed from glass. Both of them feature feathers in their design (Arsene has wings while Cendrillon’s cape and bow have a feathery appearance). Both of them have hearts patterns somewhere on their designs (Arsene has heart patterns on his shoulders while golden decor holding up Cendrillon’s cape resembles hearts). Another thing they have in common is that Arsene and Cendrillon both have French origins (Arsene Lupin is the creation of French novelist Maurice Leblanc while Cendrillon is based off of French author Charles Perrault’s interpretation of the Cinderella story). As for how they’re different, the first thing to mention is the color schemes. While both have black, white, and gold, Arsene has red, but Cendrillon has blue instead. Arsene has black wings while Cendrillon has a white feathery cape. Arsene has black claws resembling talons of a bird while Cendrillon has blue nails. Arsene has an overall demonic appearance while Cendrillon has a somewhat angelic appearance. Lastly, Arsene uses Curse skills while Cendrillon uses Bless skills. 

In conclusion, Kasumi’s design is intentionally meant to resemble the protagonist’s design to go alongside him and highlight their difference stances. They represent the hero and heroine archetypes on different scales, with the protagonist representing the anti-hero and Kasumi representing the traditional heroine. The in-universe reason for their similar Phantom Thief designs possibly has to do with how Kasumi’s view of rebellion is Joker mixed with gymnastics. Or maybe I’m looking too much into Kasumi’s design and how that design compares to the protagonist/Joker. 

#persona #persona 5 #persona 5: the royal #persona 5 royal #p5 #p5r #analysis #or really me just rambling on #I've been working on this like forever #and I just wanted to be done with it #plus this game already broke street date #better late than never #btw I like Kasumi's design and I look forward to seeing how the game handles her #Cendrillon also has a cool design #anyway sorry if this analysis is shit #it was just something I had fun working on #also how do you resize images so they can be next to each other? #I swear that it looked better on my Google Drive #my post #almost forgot to add that

[dumb-american]

The Rebuild of Final Fantasy VII: Your Expectations Will (Not) Be Met

I apologize for the stupid title and I promise I’m going to talk about the Final Fantasy VII Remake, but I have to get this out of the way first. Sometime in the mid 2000s, acclaimed artist and director Hideaki Anno announced that he was going to remake his beloved anime series Neon Genesis Evangelion the way it should have been the first time, free from technical and budgetary restraints. Evangelion had a notoriously strange ending when the original anime aired, consisting of character talking over still images, abstract art, and simple animations. It was highly polarizing and controversial. Anno, for his part, received death threats and the headquarters of the studio that produced the anime was vandalized. Soon after the initial uproar Anno would direct The End of Evangelion, a retelling of the final two episodes of the anime, and that seemed to mostly satisfy the fanbase. Looking back now, The End of Evangelion wasn’t “fixing” something that was “broken,” no, it was a premonition: a vision of things to come. Why remake the ending when you can just remake the whole damn thing?

The mid 2000s also saw the birth of the Compilation of Final Fantasy VII: a sub-series of projects expanding the universe and world of the video game that had “quite possibly the greatest game ever made” proudly printed on the back of its CD case. The Compilation consisted of three games, all on different platforms, and a film. First was Advent Children, a sequel to Final Fantasy VII, where three dudes that look like discarded Sephiroth concept art all have anime fights with our beloved protagonists, culminating in a ridiculous gravity defying sword fight between Cloud and Sephiroth. Before Crisis and Crisis Core are prequels that expand the story of the Turks and Zack Fair, respectively. Then there’s Dirge of Cerberus, an action shooter staring secret party member and former Turk Vincent. Were these projects good? I’d say they were largely forgettable. Crisis Core stood out as the obvious best of the bunch and I think may be worth revisiting.

As a business model, the practice pioneered by the Compilation would continue on and eventually brings us FFXIII (and sequels), FF Versus XIII (which would later become FFXV), and FF Agito XIII (which would later become FF Type-0). If that’s all incredibly confusing to you, I’m sorry, I promise I will begin talking about the Final Fantasy VII Remake soon. Suffice it to say, both Final Fantasy VII and Neon Genesis Evangelion have a certain gravity. They punch above their weight. They are both regarded as absolute classics, flaws and all. And yet, in both cases, the people responsible for their creation decided that their first at bat wasn’t good enough and it was time to recreate them as they were meant to be all along. I think this way of thinking about art is flawed, limitations are as much a part of the creative process as vision and intent. Yet, we find ourselves in a world with a remake of Final Fantasy VII, so I guess we should talk about it.

From this point forward, there’s going to be major spoilers for every Final Fantasy VII related media. So, be warned.

So, is the Final Fantasy VII Remake any good? To me, that’s the least interesting question, but we can get into it. FFVIIR is audacious, that’s for sure. Where Anno condenses and remixes a 26 episode anime series into four feature length films, the FFVIIR team expands an around 5 hour prologue chapter into a 30+ hour entire game. Naturally, there will be some growing pains. The worst example of this is the sewers. The game forces you to slog through an awful sewer level twice, fighting the same boss each time. This expanded sewer level is based on a part of the original game that was only two screens and was never revisited.

Besides the walk from point A to point B, watch a cutscene, fight a boss, repeat that you’d expect from a JRPG, there’s also three chapters where the player can explore and do sidequests. The sidequests are mostly filler, but a select few do accomplish the goal of fleshing out some of the minor characters. You spend way more time with the Avalanche crew, for example. Out of them, only Jesse has something approaching a complete personality or character arc that matters. The main playable cast is practically unchanged which was a bit surprising to me. I figured Square-Enix would tone down Barret’s characterization as Mr. T with a gun for an arm, but they decided, maybe correctly, that Barret is an immutable part of the Final Fantasy VII experience. Also, it’s practically unforgivable that Red XIII was not playable in the remake considering how much time you spend with him. I don’t understand that decision in the slightest.

The game’s general systems and mechanics, materia, combat, weapon upgrades, etc. are all engaging and fun and not much else really needs to be said about it. I found it to be great blend of action/strategy. Materia really was the peak of JPRG creativity in the original FFVII and its recreation here is just as good. The novelty of seeing weird monsters like the Hell House and the “Swordipede” (called the Corvette in the original) make appearances as full on boss fights with mechanics is just weaponized nostalgia. In general, the remake has far more hits than misses, but those misses, like the sewers and some of the tedious sidequests, are big misses. It is a flawed game, but a good one. If I were to pick a favorite part of the game, I’d have to pick updated Train Graveyard section which takes lore from the original game and creates a mini-storyline out of it.

If that was all, however, then honestly writing about Final Fantasy VII Remake wouldn’t be worth my time or yours. The game’s ambition goes way further than just reimagining Midgar as a living, real city. There’s a joke in the JRPG community about the genre that goes something like this: at the start of the game, you kill rats in the sewer and by the end you’re killing God. Well, when all is said and done, the Final Fantasy VII Remake essentially does just that. Narratively, the entire final act of the game is a gigantic mess, but if you know anything about me then you know I’d much rather a work of fiction blast off into orbit and get a little wild than be safe and boring.

In the original games, the Lifestream is a physical substance that contains spirits and memories of every living being. Hence, when a person dies, they “return to the planet”. It flows beneath the surface of the planet like blood flows in a living person’s veins and can gather to heal “wounds” in the planet. In the original game, the antagonist, Sephiroth, seeks to deeply wound the planet with Meteor and then collect all the “spirit energy” the planet musters to heal the wound. The remake builds on this concept by introducing shadowy, hooded beings called Whispers. The Whispers are a physical manifestation of the concept of destiny and they can be found when someone seeks to change their fate, correcting course to the pre-destined outcome. Whispers appear at multiple points throughout the game’s storyline both impeding and aiding the party. The ending focuses heavily on them and the idea that fate and destiny can be changed. We receive visions throughout the game which some will recognize as major story beats and images from the original game. After dealing with Shinra and rescuing Aerith, the game immediately switches over to this battle against destiny and fate that you’re either going to love or hate. The transition is abrupt and jarring. While Cloud has shown flashes of supernatural physical abilities throughout the game, suddenly he has gone full Advent Children mode and is flying around cleaving 15 ton sections of steel in half with his sword. The party previously took on giant mutated monsters, elite soldiers, and horrific science experiments, but now the gloves are off and they’re squaring up against an impossibly huge manifestation of the Planet’s will. Keep in mind, in the narrative of the original FFVII, the Midgar section was rougly 10%, if that, of the game’s full storyline. This is, frankly, insane, but I’d be lying if I didn’t love it.

The Final Fantasy VII Remake, with its goofy JRPG concluding chapter, is forcing the player to participate in the original game’s un-making. We see premonitions of an orb of materia falling to the ground, we see an older Red XIII gallop across the plains, we see a SOLDIER with black hair and Cloud’s Buster Sword make his final stand, we see Cloud waist deep in water holding something or someone. We all know what these images represent, they’ve been part of imaginations for decades. But the Final Fantasy VII Remake allows us (or forces us, depending on perspective, I guess) to kill fate, kill God, and set aside all we thought we knew about how the game would play out post-Midgar. The most obvious effect of our actions is the reveal that Zack survived his final stand against Shinra and instead of leaving Cloud his sword and legacy, helped him get to Midgar safely. I have my doubts and my worries about the future of this series. I’m not sure when the next part of the game will be released or what form it will come in, but I can’t believe I’m as excited as I am to see it.

Of course, part of me wishes they’d just left well enough alone. Remakes are generally complete wastes of time and effort. Not all, but most. Maybe I’m, to borrow a term from pro wrestling lingo, a complete mark here and I just love JRPGs and Final Fantasy VII so much that I’ll countenance close to anything bearing its name. I’ve tried my best to be as critical and fair as possible to the game and I hope that if you’re on the fence and reading this I’ve maybe helped you decide if it’s for you or not. I think the Final Fantasy VII Remake is worth your time if you’re looking for a good, meaty JRPG. It’s not perfect and it’s final act is insane, but that just makes me love it more.

Have you ever wondered what it would be like for Zack, Cloud, and Aerith to face Sephiroth in the Planet’s core? I know 15 year old me did. And he may get his wish.

#final fantasy #ffvii #ffvii remake #review #jrpg

[meannacamargo]

Player 01 - Lily's Garden: A great story for a boring puzzle

Hi! It's 2020 and new series are about to come: Player One. Once a month I'll be analysing a game (mobile, Pc or console). The first one will be Lily's Garden.

Lily's Garden is a puzzle game (match-3 ish) where the player follows the dramas of Lily to restore a mansion in 30 days while ver personal life is falling apart.

Recently I was asked to analyse this game as a test. What you will read here is my (almost) one week impression. At the end, you will find my notes for my one month experience.

Let's talk about 6 important elements of every game:

1- Progression

2- Monetization

3- Mechanics

4- Visuals

5- Narrative

6- Marketing

1- Progression

I'm a match-3 heavy player, and this game clearly is not made for players like me. In 2 and a half days, playing 3 sessions a day, I'm in the level 122 (as you can see). That's not too much, but it's more than I've reached in others M3 recently (almost 100 in Wild Scapes and Candy Crush Friends).

What bothered me, though, is the difficulty progression. I've been playing M3 for a long time, I've worked on one, and you don't need to be genius to realize the difficulty needs to increase slowly. After a super hard level, comes an easy level to please the player. That's not what happens here. The first 18 levels are so easy that's kinda dumb. From that, it starts a level challenge, but its goal is bigger than it should be for the initial levels. The problem is, for some levels the game stays too easy, then comes a super hard level and then more easy levels. As a player, I don't feel like evolving. Progression needs to be like climbing stairs: one step at a time.

Narrative Progression

It's good. But not really.

The story itself is good and has a lot of cliff hangers to keep the player interested. But the game has not a good economy balance (I gain few coins to the enormous cost of everything). It applies to coins (I mean, there are 60-90 coins per level for 900 to refill lives and 3600 to buy a power-up. Come on!) and stars (I gain 1 star per level and some simples tasks take me 2-3 stars, interrupting my narrative flow). To solve this, the game throws the player into 3 events at the same time (really, I'm in four events) to solve economy problems.

Those purposeful differences between gain x cost may work with its audience but don't feel right to the player and for me as a game designer.

2- Monetization

Not as good as it could be. The monetization is made entirely by IAPs, which is great for most of the players. But as I've said before, the game has economy issues, which affects its revenue. I mean, it's good but not as great as it could be. If you look with attention, the item most sold is the cheaper one. It's not a good sign, because it means the player doesn't want to create a long term relationship with the game or doesn't see value on it. This data can be found at the Apple Store and Sensor Tower.

(this data is from December -2019)

3- Mechanics

Nothing new under the sun. It's not a match-3, the pieces don't match themselves until the player tap them, they don't even switch places. Even though the power-ups and obstacles function is the same, the strategy is a bit different, once in match-3 you need to think 5 steps ahead to make combos and beat a level. There are thousands of F2P games with Lily's type of puzzle.

If one day, you have played Garden Scapes or Home Scapes, you will notice the real resemblance. All mechanics aspects (even progression) are based on Playrix games. So, if you are good at them, you know how everything in Lily's Garden works and it will be sweet as candy.

4- Visuals

The visuals are great! Especially the characters, you can see their personality just looking at them. They are diverse (there're no black characters in every game) and the protagonist looks like a real woman, not as a Victoria Secret's angel. Cutscene animation is on point, it functions even not being the Hearthstone level. The animation of pieces explosion could be improved, but it works.  

The UI looks MUCH like the Scape series from Playrix (and Playrix looks much alike the UI from Gamehouse's games). And it's on purpose, I'm sure! All those games are narrative-driven ("real life" based), are successful games (in downloads and revenue) and they share part of their audience. People like the comfort of something they already know.

5- It's all about NARRATIVE!

So, I've been saying so far the economy balance, progression and level design need improvements, UI looks like another gigantic game (which have reached 1 billion dollar revenue weeks ago). Why does Lily's Garden make such success? 

Well, the secret is Narrative.

The storyline is catching, that's a fact. This is one between thousands of reviews praising the storyline. Who complains, says about how progression blocks the storyline.  Immersion is everything in a casual game.

That's not a perfect story, not even an original one (I mean, Garden Scapes did it first). But so are romantic comedies. The game is very well written, and as I've said earlier, characters have charisma and personality. Based on soap operas (just like every successful narrative-driven game), the story of every character is something the player can relate to. They are not perfect, they seem like regular people.

Lily, the protagonist, is the major hit of this game. Really. She seems like a real woman, she's corky, kind of innocent but not too much. She's funny and, even though there're some holes in her plot structure, the audience buys her deep traumas. The initial cutscene is genius, it's what makes the player give to the game a chance. This happens because her struggles are so relatable that the player not only feels empathy for her, he/her projects himself/herself in Lily's shoes. That's a strong feeling, not easy to create.

On purpose or not, Tactile game reached a loyal public and everything on it is made for them: 25+ women. They are casual gamers, they consume and prefer meaningful content, not really worried about strategy and speed. By the way, it is the same public of companies like GameHouse, Firecraft Studios and Playrix. We can infer those companies are switching audiences by the related apps from Sensor Tower (which imagem Will not be here because of the limite of images. You can check there, It's free.)

But just it does not prove the target audience, right? 

Well, it isolated really doesn't.

But then we can take a look at Lily's Garden social media. What kind of players is interacting there? The answer is 30+ women. Most of them with families photos in their profile. 

So: Lily's life disappointments, the fact she leaves the big city to find her inner child again, divorces, child custody, forbidden love stories, marriage, family. Those are all subjects this target audience is interested in because they live it. And that is where the success comes from, the story speaks with its public.

PS: Kudos for the amazing localization work, at least in Portuguese. There are some grammar mistakes, but great job!

6- Marketing

Because Tactile knows its public, they know how to sell its game. The secret of every successful game is marketing. The best part is: Tactile is doing that in a very interesting/ different way to call attention. Watch the video.

Also, in its ads, Lily looks more mature than she looks in the game. Last, but not least, the family concept is used to help to sell the story (a universal subject which its public seems to care about).

Conclusion

With some problems and 30 days later, the narrative was the only think that keeps me playing. I'd never spent in this game (and If you know How to manage your coins and time, you don't need It either). At the end of the day Lily's Garden is a great novel to read, but a boring puzzle to play.

That's the end of my first analysis of this series. If you liked It, please let me know!

Check my website

See you guys soon!

[zdbztumble]

“Chain of Memories” revisited

(NOTE: My only experience playing this game is with the remake for the PS2, and so all my comments, and all my memories, derive from that, not the GBA original.)

It’s been interesting, going through the Kingdom Hearts series again this year, to see lines of praise and criticism I wasn’t aware of before. In the case of Chain of Memories, I wasn’t aware of some of the objections made to this game’s story and gameplay. Apparently, it’s been faulted for abandoning the set-up at the end of KH I in favor of a completely new story, it established the series’ penchant for nonsensical mystery and needlessly convoluted plotting, and the gameplay is too divorced from the rest of the series.

I can’t say that I find the first and the third to be justified critiques. To begin with the third point, I really enjoy the card-based mechanic. It took me longer to get the hang of it this time than I remembered from my teenage years, but once I did, it was a lot of fun to play around with. If I have any complaints about the mechanic, it’s that the game becomes a little too easy once you unlock enough sleights and grow your deck to a certain size. By the time I reached the end of the second set of world cards, it was only boss battles that offered any real challenge. But I still enjoyed building decks and watching the sleight animation. 

As for the idea that the game abandoned the set-up from KH I - I just can’t see that at all. It’s stated more than once that Sora and friends came to Castle Oblivion on the trail of Riku and King Mickey, and until Repliku is revealed as such, he feeds into their feelings about that search. This game was also produced when KH II was already announced, and was conceived of as an intermediary title; even if it had deviated wildly from the set-up at the end of KH I, this would have been the place to do it.

And that is something worth remembering when assessing CoM - the state of things at the time it was made. It’s easy to look over the entire series, with all its strange naming conventions, egregious retcons, and neglected and abandoned character lines, but when CoM was made, there was only the one game, and an upcoming sequel. To think of CoM as a side game, was appropriate at the time, even with the impact it would have on KH II’s story.

However - with that said, hindsight has not always been kind to CoM, because the game did set trends that would end up metastasizing and bringing the whole series down. It did indeed establish the precedent of teasing future titles and stories with vague allusions, set-up without a pay-off. In this case, with KH II on the way - and the fact that KH II did pay off the teasing in CoM - the mystery made for an effective element in the larger series. But efforts to replicate the success of that mystery in later titles were often abysmal. A very similar story goes for this game’s attempt to have its cake and eat it too with the question on whether Sora would ever remember Namine - KH II found a way to pull that off in a satisfying manner that preserved a bittersweet and sacrificial element, but other games could never duplicate that feat.

This game also started to demonstrate the pacing issues that later games would make far worse. One aspect of the pacing was out of the developers’ hands - the loss of the rights to Tarzan cost them a world, and by moving Halloweentown up to fill the empty slot in the first set of world cards and sticking the 100 Acre Wood into the second, that set of world cards feels light and rushed compared to the first. But there are other pacing problems within this game. The ratio of cutscenes to gameplay is often awkward, especially with the need to pass through two sets of scenes every time you move up one floor. The repetitive nature of these cutscenes, with stilted dialogue covering things the player already knows, also emerged here, in a more pronounced way than in KH I that would only grow and fester.

I also found some of the leaps of logic more of a strain on credulity here than in the first game. To complain about logic in Kingdom Hearts is always going to be a little ridiculous, I know, but the first game did manage a better internal logic, at least up until the very end. It was a fantasy world’s logic, well freed from many normal constraints, but it held up. Some of the moves here, from Goofy’s deductions about memories early in the game, to when Donald and Goofy do or don’t appear in cutscenes, to Sora’s assumptions when he offers to let Namine wipe his memories, just didn’t hold water even internally, and that’s another trend that would worsen with time.

And then...there’s the villains.

Organization XIII has always been better as a concept and a collective than broken down into its individual components IMO. In this game - where it was still just “the Organization” - that collective is never truly dealt with. Its plans and its threat are the tease, the shadowy image on the horizon that will ultimately be addressed in KH II, its only representation within the game being Axel and Vexen. The villains here are a renegade faction within the Organization, and that faction is essentially only two members, Marluxia and Larxene. And I have to be honest - they just don’t work for me.

Playing through KH I again this year led me to finally love and appreciate Riku as a character, but no such change of heart happened with these characters. Axel and Larxene remain utterly repellent to me. I get that Axel is meant to be smug, and Larxene’s meant to be a sadistic bitch, but such characters tread a very thin line between being effective and compelling antagonists that enhance a story, or being insufferable black holes that derail a story. Both fall firmly in the latter category IMO, and the only reason they don’t do more damage is because of their limited screen time. As for Marluxia - I was shocked, playing through this game again, how little screen time he has, and how limited the build-up to him is. Couple that with his non-existent personality, and I really can’t believe that this guy was brought back in KH III, let alone the greater lore. This, of course, marks another trend began in this title - underwhelming and/or detrimental antagonists in black cloaks given one too many monologues.

There are also issues unique to this game, and in some cases to the remake of it that I’ve played. Summons are much more hit and miss than in the first game (Donald and Genie are essentially worthless in my experience), and not having some of them available for most of the story in a given world can get frustrating when you want to play with them but the game moves so quickly due to the ease of combat. Line readings in cutscenes are often awkward, and Sora’s teenage voice, while unavoidable, is incredibly distracting.

And there is one criticism I’ve seen of this game’s story that I have to agree with: the lack of a role for the Disney worlds in the story. I don’t always agree with the way this criticism is put. The fact that none of those worlds and characters are really there, and are constructed from fragments of memory, put some limits on what agency they could have in the larger plot. And I don’t object out of hand to the fact that this turns a good chunk of the game into covering old territory; the level design, world-plot tweaks, and battle mechanic all make it a unique enough experience from KH I. But while some of the Disney worlds tie in thematically to the larger story (Halloweentown and Neverland in particular stood out on that point), there was a huge missed opportunity to tie them into the actual narrative.

Consider this possibility: in each Disney world, there is a fragment of Sora’s memory - his memories of his past, before the first game - that is unlocked by completing the world. These could give us some backstory on his life on Destiny Islands, show more of his friendships, and give more detail on Riku and Kairi’s character - for example, Alice tricking the Red Queen (an excellent scene and character beat, BTW) could trigger a memory of a time when Kairi displayed similar quick thinking, early in her friendship with Sora. As the game goes on, these unlocked memories would become more distorted, with Namine gradually worming into them - first as a figure on the periphery, then co-existing with Riku and Kairi in their childhood, then ultimately replacing Kairi. This idea already exists in the game through dialogue - some of it quite well-written - but this would have been far more impactful IMO, and expanded the lore of the series in the areas that actually deserve it.

Now - that’s a lot of negatives, and you may be thinking right now that I became disenchanted with CoM after this play-through. But in fact, I didn’t. As I said, the flaws it has that became trends aren’t nearly as ugly here as they would become, and the flaws it has unique to itself aren’t deal breakers. And this game has elements that are executed so well, that they make up for nearly all of these flaws, and turn this game into what I feel - at least at this point, with more games to revisit - is the best character piece in the series. And the character in question is none other than our hero, Sora.

To begin with - even more than replaying KH I, replaying CoM demonstrates how far Sora’s IQ has fallen in recent titles. The Sora of DDD and KH III would have been slack-jawed and buggy-eyed, constantly baffled by the nature of Castle Oblivion, throughout the game. This Sora catches on quickly to how these projections of memory and people work, which is quite welcome. As in KH I, he is still clearly a childlike teen with a lot of zest and optimism, but he isn’t incapable of getting down to business, and he’s realistically triggered by setbacks and trauma.

And boy, does he come in for trauma on this game. If other aspects of this game suffer in their pacing, the slow build to Sora’s disoriented, lost, and broken state of mind when the truth about Namine comes out is fantastic in this game. The way Namine is revealed over time plays a big role in that, even if the player can see it coming, but the timing on when Sora shifts gears is wonderfully placed, the dual memory moment being a highlight. When he breaks with Donald and Goofy, it feels truly earned, and that dovetails nicely into the Destiny Islands story material. Prior to this playthrough, I actually remembered Sora going even darker - for some reason, I thought he was the one to kill Vexen. But the grim, even ruthless, look on his face when he defeats Axel and finishes Marluxia are enough to sell that having his mind scrambled leaves Sora in a dark place. I daresay that the angry and fragmented person he becomes over the course of the game should have been the model for Roxas’s personality...but my unpopular thoughts on Roxas are best saved for after I replay KH II.

It’s the breaking of Sora’s mind, more than any scheme of Marluxia’s, that really drive the conflict in this story, and Namine’s role in that as the reluctant breaker turned savior is quite effective. I can’t say she’s at the top of my list of favorite characters from this series, but she is a unique and engaging presence, who I’ll have more to say about after replaying KH II. The role Repliku plays in the story is even better IMO, even if clustering all his material in the back half of the game seems a poor pacing decision. I don’t know whether this was intentional or not, but the sheer level of vindictiveness and hatred that Repliku expresses towards Sora, and the reactions that draws out of him, were a great way to indirectly express any lingering fears or doubts Sora might have developed about his friend after the events of KH I. (Though one must ask why the real Riku didn’t appear in Sora’s memories of Monstro or Neverland.)

Lastly, we come to Kairi, who plays a significant role in this game without ever actually appearing in it before a clip during the credits. That Kairi, and Namine, serve almost entirely as objects for the hero to save is unfortunate, as is the fact that Kairi is more intrinsically tied to the heart of this game’s story than she is KH III’s.  But that said - at least she is relevant. I’ll also credit this game for, intentionally or not, showing how unhealthy a single-minded obsession on protecting and saving the “princess” can become.

Where Kairi’s role really comes home to roost is in this game introducing the phrase that Kairi is the most important person to Sora. That they were more than friends, and that they were bound together, was well-established in KH I, but the point is really driven home here, largely through Namine’s machinations but also in smaller details, such as the dialogue given over to the three friends on Destiny Islands. This side to their relationship is so stressed, and so central to this game, that I really can’t understand all the comments about KH III “finally” making it canon - Sora’s side of it, at least, has been so from Day 1 of this series.

The one missed note in this aspect of the plot is in the dialogue right before the final floor begins, discussing the fake memories. Just a word from Namine about how her fake memories held the power they did because they were built on truth, with herself grafted over Kairi, would have been nice. But even without that beat, it’s a wonderfully handled story element. I really can’t put into words how satisfying I find Sora’s arc in this game, or the fact that it actually is central to the game, the primary thread in its narrative, something that shouldn’t have to be remarked upon in a series with one central protagonist. For the strength of that arc, and the joy of the gameplay, I still give Chain of Memories high marks. It can’t compare to its predecessor for overall quality, but what strengths it has overpower so much else about it.

I suppose now I should revisit Reverse/Rebirth...the tax one has to pay in a proper re-visit before getting to KH II...bleh. 

#z's crits #kingdom hearts #chain of memories #sora #critique #commentary #disney #square enix #kairi #riku

[game-meak]

A Proper Postmortem

Maybe?!  Heck if I know how to actually format a good post but let’s try.  As game development went on for almost four years, this is probably gonna be long... and also give away basically the whole game oops!  Read on with caution.

Sometime around July 2014, a month after the initial release of my first game, my room was being remodeled and I was stuck with nothing for free time but a garbage laptop I could do anything on, an old flip phone, my sketchbook, and my 3DS.  So beyond playing an obscene amount of Animal Crossing and Tomodachi Life, I at some point went “hey, what if I made a second game starring the kids.”  So I started trying to plan it out!  And it went

absolutely nowhere that I intended it to go!!!

For instance, this is the very first page of sketches.  This squirrel was supposed to be really important.  It’s not.  I don’t even KNOW what’s up with that duck.

A thing I like to think about before I set off making any of the story, assets, or scripts for my games tend to be themes and motifs.  And I kept circling back to a very important, very personal “theme.”  Without using the internet at large as my therapy couch, I was emotionally abused and taken advantage of multiple times in my life and it greatly impacts how I interact with people to this very day, as you’d expect events of such a degree would.  Particularly, I kept thinking that the RPG Maker fan crowd tends to skew young and be in the teenage range and at ages 14-16, I could’ve used something to help.

Of course, my entire thought process isn’t necessarily one of charity and selflessness.  It was also a way of me expressing what I’d dealt with in ways I’ve only ever communicated with my friends who were also victims of the same circumstances, the closest I would let myself come to personal stories and retellings with a cover of plastic children and wild adventures.  It was also in some ways a way of me verifying to myself that something ongoing was, in fact, bananas and should not have been happening, but that might be another story for another time.

As you can probably guess, Haze and Seal came into the picture since I needed to make two characters who would have this struggle.  A lot of decisions came about because of my personal experience.  They’re 15/16 because I was at the time of the incidents that primarily inspired me to make this game.  They’re both nonbinary because I am.  They love anime because I did (and do...?!)  One of their friends is even directly modeled off how one of my friends looked in high school.  To that degree, I guess someone, somewhere can call them self inserts.  But they’re also not, since I didn’t want to just do a personal retelling with fictional characters.  I’d just write a memoir or something at that point.

Haze’s design came first, and then Seal’s was sort of made as a foil to them.  Haze’s “colors” are pink, black, grey, and red.  Seal’s are teal and light purple... and also black.  Haze had a rabbit motif (which got toned down as I went on), Seal had an owl motif (which is now just a single mention in their list of likes...), etc.

Though in the beginning, the story was entirely different.  Initially, everything took place in the neon-ish areas with black sky and reflective, celestial water (that I, very eloquently, call “spacewater”).  The idea was that Haze and Seal were beings from another dimension and that their “fighting” was causing a rip in the universe that the kids stumbled into and therefore got wrapped up in this mess.  I had an entire script written and started making assets and when I went to sum up the game’s plot in a neat paragraph, I realized... I hated it!!!

So I chucked all I had done by that point writing-wise and started again.

In fact, I rewrote a lot.  After the first it was mostly small tweaks and adjustments, but the biggest ones (and the ones that still present a challenge to me!) usually involved trying to make Seal feel like a believable character.  I had shown an early draft to someone who said that Seal felt too much like trying to get back at someone, so I scrapped a ton of their lines and tried again.  I still worry whether or not they come across too Strawman-y, but I’ve done the best I can and whatever criticism people have can apply to my next writing attempts.  It’s very hard to separate yourself from subject matter you feel really personally attached to.  I don’t want to write them in a way that you immediately hate them, or hate me for writing such a blatant “villain” character, but in a way that you can formulate your own thoughts.  That said, though, I am violently allergic to people who call Seal a “tsundere,” even in jest.  So I guess I want people to have their own thoughts as long as it’s not that specific one...! (;;;;)

You may be thinking “heck, this is a lot of paragraphs in and you haven’t even brought up gameplay thoughts” and yes... that’s very true.  Shamefully, for a game where I thought “I should definitely, absolutely focus more on making it a Fun Game than a walking visual novel” I might’ve actually dropped the ball in that area.  I’d like to think I was more adventurous than I had been with my first game.  Some parts do kind of fall into the “walk to the next cutscene, find a key to unlock the next cutscene” pit, but I did put effort into figuring out what I could do with RMXP.  My obligatory “please don’t use this engine here, people thinking of using RPG Maker” statements here.  In the final product, though they’re very simple, I’m most proud of the chalkboard puzzle and the paint sorting puzzle.

Even if, y’know... I somehow neglected to include the letter “k”

Speaking of, I’m not sure if this is a general RPG Maker thing, a “man I hate RMXP” thing, or a “meaka cannot gamemake” thing, but I had several event/puzzles just up and quit on me a few times.  Like they would work fine for months and months, but one day I’d go to them and just nope, suddenly they’re not working, sorry.  Copy+pasting the event to a new map wouldn’t work, so I’d have to manually redo the event.  One of them was the chalkboard puzzle.  The other was the sliding puzzle when Tony is by herself.  Which I’m also aware slows the game down a ton, but I have legitimately no idea how to fix that... I tried and I could never get to to not lag like crazy.

Like I said, I started in July 2014.  I’d shipped the game off to my beta testers in March 2018.  A vast majority of that time was spent creating the visual assets since everything you see in the game is custom.  All the sprites, all the tilesets, every little pixel of it.  All me!  Needless to say... it was very exhausting and very time consuming. I grossly underestimated how much time I thought it’d take.  I never accounted for the very real possibility of burnout, which is incredibly silly considering I was making something entirely by myself that was also an occasionally difficult subject matter...!  There were quite a few weeks where I touched nothing because I couldn’t bring myself to and even a few times where I just considered deleting everything and cancelling the project.  I knew I’d be mad at myself if I quit, especially as I got later into production, so I just tried my best to make sure I didn’t turn it into a huge chore.  Obviously, there were parts that were more tedious than others, but this game really is a very large labor of love that I put a lot of my heart into.

Part of that time is also a little bit of indecision.  Did you know I went through 3 possible title screens?  I sure did!  I’ve also publicly posted about redoing both Haze and Seal’s bust sprites before.  I almost redid all of the kids’, too, but I didn’t wanna get caught in the loop of remaking everything, so I opted to just leave them as they are.  Most of them don’t bug me as much.  M...most of them!

I’m hopping back on the Story train since obviously that was my main focus, but the decision to have Seal sort of “reveal” their true nature (or at least have a jealousy-related anger burst) to Octavio as an animated cutscene was one I’d decided pretty early.  Which is also why, unsurprisingly, I was debating getting voice actors for a hot minute.  But I wouldn’t have used it anywhere else in the game, so I opted not to.  I also wanted to keep the file size low, but that wound up not happening so much, h-haha...   For someone who uses the only engine without native support for videos, I sure do like making animated cutscenes, huh.

Anyway.  This scene originally bridged Octavio’s section of the game to Pablo’s, which would’ve been (for some reason) in an abandoned hospital.  But that didn’t pan out because it didn’t fit what I wanted the game to be and also by switching the order of the two, it builds up more tension(?) on the kind of character you expect Seal to be.  I hope their very first “fuck off, maybe” took someone out there by surprise!

This also was the point when I decided I wanted to commission an original soundtrack, since nothing quite got across what I wanted at the time.  Which is when I put out my silly ad post and somehow managed to get the amazing ProjectTrinity to compose for me...!  I’m still amazed by the sheer quality of music he made for my little RPGMaker game.

Having the teen characters curse was also something I waffled on for a bit.  Clearly, I dwell on the important things as a writer.  I wanted it to contrast the cutesy, kidlike way the siblings talk and also the sort of squeaky-clean image the witches (particularly Seal) present to the kids by contrasting how they talk to each other, most importantly how Seal talks to Haze and their other friends.  I did have the same issue with the Mother in my first game, but I opted to not have her curse at all either since she’s childish in her own way, too.  But that’s not for THIS game’s postmortem, get otta here!!!

I also very much was set on a “battle” with words being the final event of the game.  Though I had a hard time imagining what that would be initially, but eventually arrived at a sort of fake battle system that was introduced in the mine.  The setting for this battle changed with time (everywhere from the park to the academy and in between) was considered...!  The dirty secret is that while I did like the decision to make it take place in the voids between worlds, I also sort of did not want to draw the staircase in the witch academy.  Originally, the kids would’ve also helped Haze “reach” Seal (who was putting actual obstacles in the way), but I guess in my own way, I wanted to give Haze the ability to confront Seal on their own, one-on-one.  Or something like that...!  I also didn’t want to add too much needless backtracking.

I’m... unsure what other point I really want to make, so I guess I’ll end this here unless anyone has anything in particular that interests them they’d want me to answer!

All in all, this game means a lot to me and took a chunk of my life to make and I really hope it’s able to reach at least one person who might need it, even if it’s only a little. 

To all of you who gave it a try, thank you, truly, from the bottom of my heart.

A shameless link to the game:  [itch.io] & [RMN]

#living playground #the witch's puppets #rpg maker #postmortem

[violethowler]

What the Kingdom Hearts Series Means to Me

Holding the physical copy of Kingdom Hearts III that I pre-ordered and paid extra to have delivered on release day is a surreal experience. It feels like a dream in all honesty. Kingdom Hearts III used to be a formless thing. A cryptid that fans hoped to catch a glimpse of but didn’t really believe existed. To put it into perspective, Kingdom Hearts II first released when I was in third grade, and I’m currently approaching my graduation from college. Six games have been released in the last decade and a half to expand on the series’ lore and set up the major pieces for the next “main” installment, but only now are we getting Kingdom Hearts III. This franchise has been with me through middle school, high school, and college. It’s a big freaking deal.

I had never been passionately into video games as a kid. My first game system was the Nintendo GameBoy Advance, and the only games I was interested in playing were movie tie-in games that adapted the plot of a specific movie. The Incredibles. The Polar Express. Ice Age: The Meltdown, Madagascar. The only other game I can remember that wasn’t an adaptation of an existing film was a weird 3D Pacman game, but I don’t remember ever playing it as fervently as I did those old movie games.

Even after receiving a PlayStation 2 for either my birthday or Christmas in 2006, the only games I would play that weren’t movie adaptations were the NickToons crossover games like Battle for Volcano Island or Attack of the Toybots. But I only played them because they featured my favorite TV character. I was never interested in the storyline. That would change one day in late-summer/early autumn 2007, when, after seeing an advertisement for it in my old Disney Adventures magazines, I rented a PlayStation title I’d never heard of called Kingdom Hearts II.  

In the beginning, I didn’t pay attention to the story. I just skipped through the cutscenes and focused exclusively on the gameplay. But as I got to the more difficult portions of the game, I started to watch the cutscenes and pay attention to the story. And the more I did, the more I fell in love with it. Once I had fully digested the story of Kingdom Hearts II, I wanted more. I went back and played the original Kingdom Hearts, then I bought Chain of Memories for my GBA. I was hooked. I started buying and reading the manga adaptations of the games. I bought a couple of collectible figurines. I. Was. Obsessed.

I spent much of my computer time in those days scouring the internet for every scrap of information I could find on the next games in the franchise. Kingdom Hearts III wasn’t in the cards yet, so I focused my attention on the three titles that I vaguely recall being collectively referred to at the time as “the handheld trilogy”: 358/2 Days, Birth by Sleep, and Coded. I searched with a fine-tooth comb on websites dedicated to gaming news in general and Kingdom Hearts specifically, hoping to find out more about these next three games.

In many ways, Kingdom Hearts helped me take my first tentative steps into the wider community of fandom. My search for news on the next games in the series unearthed funny fan-made comic strips about my favorite characters. Even though Kingdom Hearts III was still a fantasy by that point, I found people using Photoshop, or whatever image-editing software was popular around 2008 or so, to create ideas for what the cover art would look like. I found detailed fan art of potential new outfits for all the major characters. I found theories and ideas and the ever-raging bonfire of speculation that grows larger with each new game released. I found fan-made music videos and fanfiction to sate my hunger for more content between games. I wasn’t as involved in fandom to the extent that I am today, but my experience with Kingdom Hearts helped me dip my toes in the water, so to speak, as I started to engage more with my favorite media beyond simply consuming it once and then going back to watch/play it again when I needed something to do.

And what makes this day so much sweeter is how much effort Disney is clearly putting into promoting this game. Almost a decade ago, and the most advertising any Kingdom Hearts title got outside of dedicated gaming magazines or events was maybe a single tv commercial per game. The only way to know a new game was coming otherwise was if you were actively following the development of each title before they even locked in when it would come out. In the last six months of waiting for Kingdom Hearts III, there’s been a concert tour, multiple commercials and advertisements on both TV and social media, and even ads playing before the previews at movie theaters. After years of trying to share my love for this series, only for a handful of people to have ever heard of it, it’s a tremendous thrill to see the games I love finally getting mainstream recognition.

It’s because of this series that I even consider myself a gamer in the first place. Before Kingdom Hearts, I just plowed through every game I had, treating each level as just another puzzle or challenge to complete. But Kingdom Hearts II exposed me to the possibility of video games as a medium for storytelling, and it was through my engagement with the Kingdom Hearts storyline that I found myself seeking out other games with their own compelling stories. Final Fantasy, The World Ends with You, Horizon: Zero Dawn… These are some of the many games with stories and worlds that have enthralled me as someone who loves to both experience stories and create them. And without Kingdom Hearts, I would probably never been enough of a gamer to know or care that they existed.

When I was younger, I was only interested in games if they were available on the systems I had. But Kingdom Hearts wasn’t limited to only one console. In the early years of the franchise, the series was spread across the GameBoy Advance, PlayStation 2, Nintendo DS, PlayStation Portable, Nintendo 3DS, PlayStation 3, PlayStation 4, and smartphones. So, whenever my research uncovered that the next title would be on a console I didn’t own, I would go out of my way to get it, either by putting it on my holiday wish list, or by saving up the money for it myself. And usually, I would buy these platforms years in advance of the Kingdom Hearts game I’d got it for came out, so I would search for interesting games to play on it while I waited. And unlike before, now I was actively looking for things to play.

When it was just my GameBoy, PlayStation, and a handful of movie/TV show tie-ins, I didn’t go out of my way to look for new games. I relied on advertisements in my trusty Disney Adventures magazine to tell me what games that were out that might interest me. Nowadays, I annually watch live coverage of E3, the entertainment expo where game developers show off the status of their current projects or unveil their next main title. And I keep my eyes out for every title that looks entertaining from both a gameplay and story perspective, whether I see ads in a magainze, footage at E3, a trailer on YouTube, or fanart online.  

Before I realized that animation was what I wanted to do as a career, my first dream job was to be a game designer. And if your first guess as to why I wanted to pursue that career path isn’t Kingdom Hearts, then in the words of one of the franchise’s original villains, “You have come this far, and still, you understand nothing.” While I ultimately realized that animation was my true passion as an artist, it was Kingdom Hearts that set me on the idea of turning my art skills into a career. Without Kingdom Hearts, I might not have ended up where I am today. 

Most of the fandom knows that Kingdom Hearts III isn’t the end of the road for the franchise. Even aside from its immense popularity, series director Tetsuya Nomura has spoken about the fact that the series will continue beyond III, but that this represents the conclusion of the current story arc that has been going on since the original Kingdom Hearts game back in 2002. It’s fitting that this arc of the series is ending the same year that I graduate from college. This series has seen me through multiple chapters of my life. Middle school. High School. College. And in May, I’ll be a college graduate looking for a job. Each time I moved from one stage of life to the next, it always felt like the end. But it never is. But life goes on. The story will go on, but this chapter of it is over.

You can imagine, then, why today is such a big deal. This series has been with me for more than half my life. These games, and other media I obsess over to a similar degree, mean so much to be precisely because the story and characters connect with me on such a deep emotional level. My opinion on storytelling in any medium is that the ones that put your emotions in a blender and take you from screaming in anguish to crying tears of joy in the span of a few hours or less are the ones that deserve to be remembered. The best stories should leave you wanting to know more, not just out of curiosity over what happens next, but also for the satisfaction of knowing that the characters you’ve grown to love will be alright.

Kingdom Hearts has consistently checked every single one of those boxes for me for as long as I’ve been playing it. Even the prequels and midquels that ended in tragedy and heartbreak still had a note of assurance that there was still hope. Even if the games that inevitably come out post-KHIII hypothetically don’t have the same emotional impact on me that the pre-III ones did, I will never be able to stop loving the series I grew up with. I’ve been invested in it for so long that it feels like it’s woven into my DNA. This series has grown over the last eleven years just as I have, and whatever the future holds for the franchise, good or bad, I will never regret the time I’ve spent with this incredible saga.

#long post #kh fandom #kingdom hearts 3 #personal anecdote

[bestfungames1]

New Post has been published on https://bestfungames.com/marvels-avengers-review/

MARVEL'S AVENGERS REVIEW

69

MARVEL’S AVENGERS REVIEW

Marvel’s finest have never looked or sounded this good, but their best efforts feel in vain.

By Robert Zak September 07, 2020

As the Marvel’s Avengers campaign ends, to be replaced by samey missions, it reminds me of the dual identity of so many superheroes. Avengers straps on its tightest, glossiest spandex for the campaign and dazzles with its moves, but once that adventure ends and it returns to the daily grind of a multiplayer-oriented endgame, it blurs into the crowd. Inoffensive, yet indistinguishable but for its famous superhero superstars.

The frustrating thing about Marvel’s Avengers is that for the first few hours, you see hints of what it could have been—a visually spectacular and satisfying adventure—but then a functional, unoriginal loop of missions takes over, and you realise that that’s the actual game you’ll be spending most of your time with.

The campaign offers a simple story, following future Ms. Marvel Kamala Khan as she seeks to reassemble the Avengers following a disaster that creates a wave of new superheroes labelled as ‘Inhumans’. You’re pitted against floating-head-with-tiny-limbs, MODOK, who’s intent on wiping out all Inhumans with the help of AIM’s Scientist Supreme Monica Rappaccini and her army of robots.

A pretty regular Marvel setup then, and beautifully written, animated, and voice-acted throughout. I found myself actively looking forward to the cutscenes and snippets of in-game banter.

R relationship between Bruce Banner and Kamala Khan unfolds beautifully. Banner’s unsure body language and mix of irritation and avuncular care he shows towards Khan—whose chirpy teenage optimism is just what 2020 needs—is a masterclass of voicework and mocap. It also elegantly addresses the fact that, to a 30-plus curmudgeon like me, the fresh-faced Khan can be kind of annoying, but her convincing character arc soon gets me completely onboard.

(Image credit: Marvel’s Avengers)

Given the amount of big names the campaign has to introduce, it’s understandable that not all the relationships get the same level of attention, but each character still entertains as you bring the Avengers’ floating command centre back to life. The villain MODOK, with his pustulent, hypertrophic head that seems to swell up with every scene, is brilliantly brought to life. The performance turns one of Marvel’s goofiest-looking heroes into a memorable, eerily soft-spoken villain.

However, once you’re aboard the Avengers’ Chimera ship, it becomes a little too obvious that you’re being roped into the publisher’s long game. You walk around on deck as your Avenger of choice, picking up time-limited challenges from vendors, buying gear using real or in-game currency, and using a map to freely drop into missions set across several biomes around the world. Some you do solo, others you do alongside up to three other Avengers, who can be controlled by AI or online players. I’d play with others where possible, and it speaks to the simplicity of the missions and combat that there’s not too much need for communication or a balanced squad.

I did get to play online alongside Hulk wearing a Hawaiian shirt and fedora though.

(Image credit: Marvel’s Avengers)

PERFORMANCE

I’ve been reading a a little bit about performance problems on PC, but can say that my experience has been mostly stable. There were a couple of odd bugs during the campaign that forced me to restart the game, and multiplayer matchmaking has been very slow from my experience, forcing me to give up after minutes of waiting multiple times.

The combat is a curious mix of classic brawler moves like juggling, suspended aerial attacks and light-heavy combos with the counter-and-dodge-based style of the Arkham games (there’s even a move where you jump over a shielded enemy’s head to break their shield). Little icons on the edges of the screen tell you how close a missile or laser is to blasting you away, while enemy melee attacks are telegraphed by coloured circles, which let you know whether to dodge or parry them. Get enough attacks together, and your rage meter fills, letting you unlock spectacular special moves like Iron Man summoning his Hulkbuster mech, or Ms. Marvel turning into a long-limbed giantess resembling a wacky waving inflatable tube girl.

The icons give you a lot to think about while filling your screen with a confetti of mechanised enemies and special moves executed by your fellow Avengers, and it doesn’t always feel like you—or even the game itself—can keep up. A couple of dozen hours in, I’ll still often dodge instead of parrying when the enemy attack circle is white (dodge for red, dammit!), and that all-important telegraphing of enemy moves isn’t entirely consistent, and the camera’s a little too close for comfort – great for ogling Hulk’s slabs of back muscle, not so great for managing space in a scuffle.

Playing as the speedsters of the group, Ms. Marvel and Black Widow, feels much better than Hulk, whose lumbering style doesn’t sync well with the already slowish animations and floaty jumping physics. High-flyers Iron Man and Thor, meanwhile, definitely offer a buzz as you can freely swoop into battle from way overhead of your buddies. Unfortunately finer aerial maneuvering and attacks are fiddly and much weaker than melee. It may be fun to fly, but the action’s really on the ground.

But in a game so much about fan service, there’s something to be said for making each superhero feel unique, even if that is at the expense of balance. The characters move and attack just like you remember from the movies or imagine from the comics, right down to the disinterested way Hulk toe-pokes chests open. During these little moments, and amidst the on-screen muddle when you string together a bunch of counters and executions before letting rip with a hero’s special move, the superhero fantasy successfully shines.

(Image credit: Marvel’s Avengers)

The bigger problems come later. Missions may be set all over the world, but levels themselves are sparse expanses of snow/forests/city where you hunt for crates hidden in metal bunkers guarded by faceless robots, before proceeding to complete a main objective—destroying a few structures, or holding onto some control points, Battlefield-style.

The game tries to spruce things up with awkward platforming segments and hunts for SHIELD stashes (essentially a slightly better stash among endless stashes), but they’re visually ugly and unvaried, in stark contrast to the elegantly animated and designed superheroes that run around them.

Also, for some reason the ‘Power’ level required for various missions is all over the place, greatly restricting the amount of missions you can tackle. I was quite up for a boss-fight mission that SHIELD offered for their daily challenge (which improves your faction rank with SHIELD, which lets you buy locked-off gear yada-yada), only to find that I was dozens of levels below being able to do it. These are the kinds of things that can be smoothed out over the coming months, but as things stand a good chunk of the endgame remains level-gated.

(Image credit: Marvel’s Avengers)

Back aboard the Chimera, the metagame of daily challenges, endless gear upgrades (with daily ‘specialty’ items) and missions becomes particularly noticeable post-campaign. Without the more bespoke campaign-specific missions and story to break them up, the monotony begins to set in, and while there is an obsessive feedback loop to repeating missions, upgrading your gear, and improving your character in perpetuity, you don’t even get to see these gear upgrades. The only aesthetic changes are different costumes, which are a hard to find, and otherwise locked behind higher levels and real-world currency.

There’s nothing too egregious about the microtransactions, which are purely cosmetic and also include emotes, nameplates and execution animations, but there’s nothing particularly satisfying to work towards in the endgame either.

Perhaps a fleshed-out single-player campaign will never be enough to satisfy Avenger’s marketing aims. The story is worthy of Marvel’s movie canon, but it’s too short and ends up being a shiny wrapper for what’s currently a rudimentary game-as-service.

(Image credit: Marvel’s Avengers)

This comes with the caveat that it’s just getting started, and there have been plenty of online-oriented games that started slowly. There’s enough button-mashy mileage in the combat system, especially as new heroes get introduced as DLC, but it’s the mission design and loot loop that let it down. It’s just not strong or varied enough to justify the long-term investment the game wants from you.

Not that justification beyond a 14-hour campaign and ‘it’s your favourite superheroes and they look amazing’ is needed for a day one purchase, based on the game’s early sales. But if Marvel’s Avengers wants to keep loyalists sweet and expand its player-base, it needs a lot more flesh on its vibranium skeletal armature. If only the game could carry some of its narrative prowess from the campaign over into the endgame.

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