Ah, here were are again with another edition of Brentunes! I think it’s time we get right to the truth of the matter: I LOVE video games. I love them so much that I own some of their music on CD. Yeah – game soundtracks. Let’s roll.

Final Fantasy VIII – The Extreme (Black Mages Ver.) [PS1]

This is the one that instigated this particular post. I was looking up tour dates for Video Games Live, then YouTubing some of their past performances when I came across some live Black Mages stuff. Man, they rock it out. I own their first two CDs, so I hadn’t heard any other tracks of theirs. Until this one! I’m actually replaying FF VIII now, so it made this even better!

Final Fantasy X – Via Purifico (Piano Ver.) [PS2]

Okay, so technically this is NOT the original song, but from the FFX Piano Collection CD. It’s so beautiful! I listen to this track quite a bit at work to just generally keep calm around a bunch of idiots.

Final Fantasy Legend 2  – Save the World [Game Boy]

Final boss music doesn’t “work” for me unless it has a certain feel. I can’t describe it any better than “no second chances, if we fail now everyone we know will die.” That particular emotional connect with me happens in the first 10 seconds of this track. It’s from a friggin’ Game Boy, too! I mean, damn.

Lost Odyssey – Dark Saint [Xbox 360]

Dear Mistwalker – Please make another game that isn’t Blue Dragon-related. See how amazing Odyssey turned out? WANT MOAR!

Let’s end on an emotional note. If you’ve never played MGS4, you may want to play the ENTIRE DAMN SERIES so it’ll make sense. This song is the culmination of 20 years of suspense and cliffhangers for me. Literally – 20 years. Metal Gear came out when I was wee lil’ gamer.

Metal Gear Solid 4: Guns of the Patriots – Love Theme [PS3]

There’s got to be a word for this punch-in-the-gut feeling this song gives me. It’s sad, but on a level I can’t really describe. This might be – and probably is – because I’m directly connecting it with the moment in the game where the song is played (arguably one of the greatest gaming moments ever). This track makes me think “we’re going to fail, things are going to get bad for those left behind, now they’re on their own.” It’s strange how I can’t connect music to emotions – I have to connect them to fictional events that I make in my head. Perhaps that’s due to how emotionally and structurally complex music can be. It can’t be easily simplified.

I just realized that Nobuo Uematsu was three of my choices. Must be good, right?

- Brent

Wednesday 11 Nov, Mikayla and I were in Target searching for a sleeping bag for Mikayla. She has been wrapped in a Kiddopotamus swaddles all this while and with the hot weather settling in comfortably, I thought it was about time she stopped being swaddled. She however does not sleep if not wrapped in anything at all.

So here we were in sizes 1 – 3 section when I saw a woman pushing a 3 wheel pram with a toddler in it. She went by some pretty colored clothes and immediately started scolding her son, “you are not a girl. Stop touching those”. The boy was touching some clothes on the hanger.

I noticed with Mikayla that she will reach out to touch anything. This boy was a toddler, still not able to talk properly and being pushed around in a pram. In my opinion, if you are still pushing your child in a pram, he/she is not old enough to realize which clothes are for girls and which ones are for boys.

I believe in today’s society some parents have become obsessed with boys not being feminine and girls being proper miss.

Mikayla most probably will not be a Barbie doll kind of girl. Her favourite toys are her coat hangers, empty tissue boxes and her huggies wipes container. Can’t expect much. The day the embryo that became Mikayla was transferred at the clinic, I was told to go home and just take it easy. I came home, sat down on my comfy recliner and spent the day playing Lost Odyssey.

It’s been a while since I’ve written a review. It may yet be again. I mainly stopped since I realized I was successfully liking games I bought and if I just talk about how awesome everything is then it either makes me a lousy reviewer or a poor entertainer.

Well, I want a break, so screw all that. Today I’m going to talk about Batman: Arkham Asylum and how $%&^ing awesome I think it is. I will likely proceed to reference this game in assorted articles sporadically for the next month or two, and any handful of irregular readers that stumble into this site will think I either only ever played three games in my life or that I have some sort of bat-fetish.

Which I don’t. Honest.

So, in case you haven’t guessed, I think Batman: Arkham Asylum is $%&^ing awesome. It’s probably the best super-hero game ever made. Why is this?

Well, once upon a time, super hero games sucked. Or so I heard. I hadn’t actually played any of them back when they were 2D, since they tended to suck, apparently. The X-Men arcade game was pretty cool, but no one will put that on a home console, so it hardly counts.

Then technology kicked in and Neversoft took a break from skateboarding games to make a Spider-man game which was fun (and I actually still think their original is on the list of some of the best superhero games out there).

Building from that, the more socially accepted superhero games today seem to fall into two categories: the free roaming, Grand Theft Auto inspired affair that the fourth 3D Spider-man game, sinisterly entitled Spider-man 2, helped launch. Alternately, we seem to have beat-em up RPGs of some sort, started by X-Men Legends and branching out to lesser effect to other games that weren’t X-Men Legends.

And now we have BAA, and it’s none of those things. Yes, BAA. Like a sheep. This is my abbreviation hereon, all others on the internet will follow it in time. Like a sheep.

Batman: Arkham Asylum is a 3D adventure with a hint of free-roaming but in a confined and therefore actually detailed environment space. You level up. You get new gear. You kick the crap out of a whole lot of henchmen.

I spent about a hundred dollars to do this. I don’t know if I recommend you do it as well, but the special edition sounded cool at the time. The batarang it comes with was the big thing, and it is indeed the big thing… physically. Unfortunately, it looks cheap and plasticky  up close and you can’t throw it since it’s mounted for display. There’s a second disc with some making-off stuff and a nifty leather booklet about the criminals.

Actually, I think the booklet’s the best part. I don’t know if the regular edition’s is the same, but the booklet I had looked like it was constructed by the Joker, a pair of scissors, a stack of magazines and a magic marker, all eager to teach me how I to play the game.

Other than that, regular’s probably fine.

The game sets you in the Arkham Asylum so commonly seen in the Batman series. If you don’t know what this place is, like my present employer, you might just think the title sounds really stupid and think the game will never sell (not that this should be taken against my boss- he’s just not a Batman fan).

The inmates have broken out. You, as Batman (although Batman as you would be much funnier) must sneak about, do detective work and beat up some bad guys in order to set things straight.

So it’s like all the other Batman games. Except better, ‘cause all those things I crossed out? It turns out they’re actually there because the developers knew who the hell Batman is.

Is the game too hard? No, not especially. On normal, it’s the right kind of hard. Regular thugs can beat you up, but only if you don’t pay attention and fight smart. There’s only one actual attack button, the counterattack button is your best friend and the other button is useful against guys with knives but if you’re like me you’ll just ignore it and jump over them and punch them in the back.

One thing I particularly like about this (and I’ll be talking about this more in a week or two) is that the game uses one of my favorite little conventions for dealing with enemies: the killing blow.

Not literal killing, since Batman doesn’t do that, but killing in the sense that in order to knock a thug out, you actually have to knock a thug out. Seems easy enough with one guy, but when you’re dealing with four or six guys surrounding you, it’s time to stop and ask yourself if it’s worth exposing yourself long enough to club a guy in the skull or should you let him wake up, keep dancing around and biding your time.

And I like that.

You know what else I like? The no-falling damage/death principle. BAA lets you save yourself from bottomless pits if you make a mistake (or like to experiment… non-sexually!). BAA makes sure Batman will catch himself just near the end of a long drop. If you’re looking to enact funny deaths by swan-diving from high points like I made Lara Croft do a couple of times last week… look further. You won’t find them here.

The boss fights are good, if not brilliant. Since half the game’s plot revolves around a new variation of muscle-man Bane’s Venom steroid, you can imagine a few of the bigger enemies you fight are somehow sooped up on the stuff (and I don’t think there’s a correct spelling for that term ‘sooped’; spellcheck keeps shooting me down).

But you know what really helps the game? It’s fun to look for stuff.

Firstly, the Riddler has scattered oodles of secrets all over Arkham Asylum, no doubt the combination of boredom and foresight regarding the events at hand. These include Riddler icons, audio files and environments keypoints that must be identified. One of the cooler types involves matching up segments of a question mark from completely different angles and locations- it’s a little tricky on the camera, but the use of perspective is downright clever.

But the best part? You can find maps for all this stuff. And since all these varying secrets all fall under the Riddler’s banner, all the odds and ends hidden in the corners of Arkham Island are fair game. This means, unlike Grand Theft Auto, Lost Odyssey and any other game I bitched about back when I talked about games with a hundred collectables, you can actually find everything scattered around in this game.

It’s hard to imagine how happy this made me. I naturally proceeded to collect everything, getting most of it before the final boss and the last few bits after the final boss. The game made me want to make the extra effort.

The music is good. It’s Batman-ny. The graphics are good too, though the Unreal engine which the game is built on doesn’t seem to allow much for hair. I will say Batman’s character model seems a tad closed in or stubby (the arms felt a bit short), but this isn’t really a problem since you mostly see him from the back and his cape looks totally awesome doing anything at all.

The writing and acting also wins points. The story feels a little like it was set up for a game (which, okay, I can run with) but the good stuff comes from Paul Dini of the animated series of the 90s, and he brought a few of the best actors with to voice Batman, Joker, and Harley Quinn. Except with more swearing and innuendo and all the stuff that would’ve rounded off the 90s series if it wasn’t for kids.

I mostly wanted to mention that in the off-chance that someone didn’t know. It made me happy, it made my wife happy and when my wife’s happy I get something more than a crust of bread and a glass of water for dinner.

I could list out a million little things I like about this game (aside from the better eating it provided!): Batman’s suit takes damage as the story progresses. Gliding from a high point halfway across the island and getting an Achievement for it. The Scarecrow sequences, which make me pine for Eternal Darkness (this can’t be happening?).

In case I’m geeking over this a bit- I’m geeking over this a bit. I’ll try to find something that sucks to write about one day, promise. Then I can bitch and scathing comments are fun.

I will close by saying play this game if you like good stuff and have nothing against Batman. I will also say that I was initially looking forward to playing this game back in June before it got delayed. Ghostbusters was there to keep me entertained- and it did and it was good, but it’s better Batman got delayed. It would have been a disservice to Ghostbusters (which was good but almost certainly would’ve been overshadowed) and it helped fix whatever needed fixing in Batman.

So get this game. Play it. Beat people up.

Monkey Island gets more of Xander’s playtime while LorD yelled from afar… Lost Odyssey has Hooty playing til the early hours, LorD wars in Guild..um..Wars and Saber shows us his sparkly phallus. Remember listeners, we have the amazing competition with LorD’s mum sounding all posh like.

Listen now! (mature content)

/!!!dobpergés!!!/

Új bejegyzés a blogomban!!! Hell, yeah. De régen írtam ide. Sajnos a gépem még mindig nincsen 100%-os állapotban (valószínűleg már soha nem is lesz), de azért nagyjából elmendegél Linux-szal. Idén nyáron úgy hozta a sors, hogy szinte egyáltalán nem néztem animét, mangát se olvastam, viszont kegyetlen sokat játszottam. Az alábbi kis bejegyzésben megpróbálom nagyjából összefoglalni, hogy mikkel ütöttem agyon a szabad óráimat.

Call of Duty 2-3-4.

Éljen a változatosság. A dolog egzotikuma, hogy a szériával tökéletesen visszafelé ismerkedtem meg, hiszen az ötödikkel játszottam először, utána kb. egyszerre a néggyel és a hárommal, legutoljára pedig az első résszel. A 2-3. túl sok magyarázatot igazán nem igényel, két II. VH.-ús FPS, korrekt grafikával, heroikus hangulattal, erős multiplayer tartalommal. Mindkét játékról tudni illik, hogy párját ritkítóan nehezek, sajnos a harmadik rész főleg azért mert tele van bugokkal, rossz pályatervezéssel és szerencsétlenül elhelyezett checkpointokkal. Ezen okok miatt nem is sokat nyúztuk a sima hadjáratot, főleg multiztunk öcsémmel a CoD3-ban. A CoD2-ben pedig pont fordítva, azt szinte csak single player-ben toltuk, ugyanis on-line már nagyon kevesen játsszák. Én imádtam, nagyon jó pályák vannak bennek (a tankos küldetések mindent visznek). Sajnos csak kb. a pályák felét sikerült letolnom veterán fokozaton, de majd meg akarom csinálni mindet. Csak legyen hozzá türelmem, ugyanis valami tragikusan nehéz a game, néha komolyan inkább lettem volna egy lövészárokban, annyira félelmetesen szopatós. Kb. úgy képzeljétek el, hogy géppisztolyból 2-3 lövés azonnali halál, puskákból egy lövés azonnali halál, a gránát meg gondolom egyértelmű… Nos, amikor 5-6 Wehrmacht katona, 2-3 SS mesterlövész és mondjuk egy Párduc vadászik az emberre… az nehéz. Tragikusan nehéz.
A CoD4: Modern Warfare szakított a hagyományokkal és a modern hadviselés a témája. A brit SAS és államokbeli tengerészgyalogság katonáit irányíthatjuk szovjet ultranacionalisták és arab önkényurak ellenében. A grafika áll-leejtős, az irányítás tökéletes, a hangulat szintén; aki bírja a Sólyom végveszélyben, GI Jane, stb. filmek hangulatát annak főnyeremény a játék. Sőt másnak is, mert én különösebben nem kedvelem az efféle filmeket, a CoD4 mégis azonnal kedvenccé vált, ugyanis tökéletes háborús/FPS élmény. A single player hadjárat kellően hosszú (és veteránon nehéz is), a multiplayer pedig mind a mai napig az egyik legjobb.

HALO3

Gondolom a HALO-t senkinek sem kell bemutatni (nemsokára még anime is lesz belőle, LOL), napjaink egyik legnépszerűbb FPS sorozata, egész pontosan a második legnépszerűbb, a CoD után. Hát… lenyomtam a sima hadjáratot (epikus, grandiózus, változatos, meghökkentő, lebilincselő, intuitív, forradalmi), kipróbáltam a multit (kb. 20 meccs után ráuntam), de nem lett a kedvencem. Jó játék meg minden, érzem én, hogy valami fantasztikus dolog ez a HALO univerzum, de valahogy mégsem jött be. Nem kívánom ezt tovább részletezni, nekem ennyi elég volt a HALO szériából (mondom most).

Fable 2.

Na ez kivételesen nem FPS, hanem RPG. Izé, valami RPG szerű. Peter Molyneux a sok ötlet mellé (megint) elfelejtett játékot csinálni. Nálam a Fable 2. konkrétan az év csalódása, de tudom én, hogy bennem van a hiba. Én egy rendes RPG-t vártam, nem egy elbaszott Zelda klónt. Amúgy mint játék, ha nem próbáljuk meg kategorizálni és túlanalizálni, akkor egy teljesen jó anyag. A benne lévő ötletek nagyon jók (a teljesség igénye nélkül: emóciórendszer; korrupt-nemes-jó-gonosz személyiség kivetülése a megjelenésre; hízás-fogyás; maradandó sérülések; IGAZÁN lehet gonoszkodni; stb-stb.), de mindezek mellé a harcrendszer puritán, a dungeon-ök nevetségesen bénák, ellenfélből kevés van, a világtérkép nagyon pici. A hangulat az rendben van, a humora pedig talán a legjobb amit eddig videójátékban láttam (igazi angol humor, szerencsére nagyon jó magyar felirat készült hozzá). Szóval aranyos egy játék a Fable 2, de nem a magamfajta szőrösszívű sokat látott kalandornak készült. Amúgy a játék végére egy kétméteres, dagadt, sunyiképű, démonszerű valamivé vált a „hősöm”. >:D

Elder Scrolls IV.: Oblivion

Ez nem igényel nagyon magyarázatot. MINDEN IDŐK EGYIK LEGJOBB SZEREPJÁTÉKA. Talán majd egyszer írok róla egy hosszabb bejegyzést. Megérdemli.

Lost: Via Domus

Igen, a Lost c. TV sorozat alapján készült játék. Decens kalandjáték, néhány elég idegesítő hibával. Akinek bejön a stílus, az nyugodtan rászánhat egy délutánt az életéből.

King Kong

Peter Jackson filmje alapján készült előző generációs videójáték, amit portoltak xbox 360-ra. Bár ne tették volna. Aki szeretne szenvedni egy kiadósat, az bátran vegye meg ezt az FPS-t.

Lost Odyssey

Erről sem szeretnék most nagyon írni, valószínűleg lesz belőle cikk az AS-ben, röviden annyit, hogy amíg nincs FF13, addig jó eséllyel ez a generáció legjobb JRPG-je. Messze nem tökéletes, de a hangulat, a sztori, a játékmenet és a grafika nagyon egyben van, ráadásul elég hosszan le is tudja kötni az embert. Akinek van xbox 360-ja és szereti a stílust, annak KÖTELEZŐ.

Left 4 Dead

Újabb FPS, de abszolúte nem a megszokott fajtából. A Valve sosem szokott átlagos játékokat kiadni, ez se lett az. Négy túlélő, 4×5 pálya, több száz zombi. Egyetlen cél van csak: az életben maradás. A L4D tökéletesen más, mint amit az ember megszokott az FPS-s műfajtól. Nincs sztori, az ellenfelek végtelen mennyiségben özönlenek, csak co-op van, a pályákon a felszedhető tárgyak és az ellenfelek helye minden egyes újrajátszásnál változik. A L4D multiplayerre termett, egyedül nem is nagyon érdemes játszani vele, bár egy kis agyatlan lövöldének mindig elmegy, egy stresszes nap után. De igazán legalább ketten (maximum négyen) játszva mutatja meg, hogy miért is annyira jó móka. Izgalmas és nehéz zombi apokalipszis. Kár, hogy on-line főleg suttyó amerikaiak játsszák, akiknek a legfőbb örömöt az életben az jelenti, hogy hátbalövik shotgunnal a csapattársukat (sajnos az elmúlt hónapokban temérdek negatív élményt sikerült szereznem az online játékokban, ezeket 95%-ban idióta, sötét, primitív jenkik okozták, nincs még egy ennyire gyökér népség az internet tengerén – főleg a dalolászó, ötmásodpercenként „fákkoló” 11 éves vonyítóhangú dzsonikák a „kedvenceim”); úgyhogy aki igazán jót akar játszani az előbb keressen pár normális embert.

Ezek mellett persze játszottam egy csomó Gears of War 1-2-őt, jó pár arcade játékot is leszedtem live-ról (Worms, Ikaruga, Brain Challenge, Prince of Persia Classic, etc), amikkel szintén jókat szórakoztam. Amit a közeljövőben mindenképp ki szeretnék próbálni az természetesen az új Wolfenstein, meg talán a Batman: Arkham Asylum. Idén ősszel elmarad az igazán nagy játékdömping (minden átcsúszik jövő tavaszra-nyárra?-őszre??!!), de azért lesz egy Call of Duty: Modern Warfare 2, Borderlands, Left 4 Dead trió + a tavaly Force Unleashed-nek az Ultimate Sith Edition-je, ezekkel elleszek.

P.S.: képek azért nincsenek mert Linux alól a Firefox annyira lassú nálam, hogy elérném a nyugdíjkorhatárt, mire beszúrnék minden játékhoz párat – akit érdekelnek a címek, azok csekkolják le őket youtube-on vagy a GT-en

Lost Odyssey is many things to many people. To those who are desperate for a worthy JRPG on the Xbox 360, LO is a triumph equalling the greats. For others either more realistic or just cynical at Microsofts approach to acquire such a game – throw money at the original Final Fantasy talent of Hironobu Sakaguchi and Nobuo Uematsu – its a poor attempt to remake said RPG. I would say I’m somewhere in between and comfortable with that. The bonus I have is that by not being a fan of JRPGs until later in life (not that I am in fact all that old…) the possibilty of LO being a rip off of Final Fantasy won’t be as offensive.

I’ve only just started playing LO and was immediately taken with the visuals. They’re gorgeous. In-game graphics may not be as good but are still very nice to look at. The game begins on a battle field with butts being kicked in all directions and soon enough the lead and main playable character, Kaim Argonar, slashes his way to the centre of the fight. A quick transition of graphics (from gorgeous to very good) means the game is now out of cut scene and ready for my control. The first task is to rid the area around Kaim of what I pressume is the enemy. I say pressume because all I’ve seen so far it a cut scene of a war. No description no explaination just death. This secretive and slowly unfolding way of storytelling is what keeps the interest high – for now. So here I am, menu around my character with an arrow pointing at ‘attack’ above the usual spell, item, guard etc and not really knowing why I am to attack these soldiers. But I do and after a while win as well as destroying one of their mechanical killing machines. However some bizarre object seems to lower through the clouds and begin raining down lava and giant boulders onto everyone on the battlefield. Lucky that Kaim is immortal eh? All but Kaim are now dead and I’m left wandering around the newly formed terrain still without a clue as to why. After a few random battles I meet with a few survivors and am sent on my way to the council to explain what’s going on. The graphics maybe very good with a nice gritty look and feel to the textures but the animations are a little odd. Kaim walks with highly femanine swagger and the movements of non-playable characters seem to be a tad robotic. Not hugely mind you but enough to be noticed every now and again. The voice acting is believable though even if Kaim sounds a bit like an emo kid. Upon the transport I meet Seth Balmore who will soon become one of my party. Her delivery of lines is decent and makes up for Kaim’s moody mumblings. Its unfortunate that all character interactions are not voiced as this always spoils the immersion for me but I can see why they didn’t – localisation would have been much longer than it must have already been. I’m not a great deal further into the game with a few more cut scenes under my belt and a couple of save points passed too. I am sitting here though, wanting to continue playing but unable to due to other commitments. That in itself is a good sign that the games secretive revealing of it’s story is working. As I journey through the game I will continue to update my progress here with varying degrees of detail. There may be some spoilers along the way but if you don’t mind those and, like me, want to know where this game leads then stay tuned for part 2.

{Thanks no-frame.com for the image}

Not that I’m quitting this site. To be clear.

Rather, I’m talking about quitting games. A game. Any game, really. Playing through for any amount of time and hitting, for one reason or another, that breaking point where you decide it just isn’t fun enough to be worth your time.

I don’t like quitting stuff myself, admittedly. I want to stick through it, get it done and say I’ve been there and evaluate it properly.

But last night, I quit Mass Effect. It’s not that I fundamentally disliked the game as a whole- in fact, when the whole thing started I was enjoying it well enough. But the fact is, Bioware’s done better work, at least from a design standpoint, and the further in I got, the more frustrating the experience was.

The game has its good traits, don’t misunderstand me. Bioware’s cinematography has really taken the next step, and the cutscenes look good for it. I like the design of the battle system, from a fundamental standpoint. Graphics are very nice.

So what hurt?

Well, my initial human characters weren’t that interesting (maybe they get better later), though I got some aliens that were better which helped. The concept of Spectres- the game’s almighty CIA/Gestapo/whatever group- was so utterly ridiculous, with its holes made apparent in the first hour or so of gameplay, that I couldn’t grasp how galactic civilization got this far without having some sort of internal affairs group to watch over them.

But the clincher was the game itself- I could have roughed it through the story, but the stat structure (and to be clear, I was playing on Normal) was asinine. I was playing a hybrid fighter/magic user, and I quickly learned that magic sucked and I’d taken a hit on my stats for nothing.

The stats themselves were horribly imbalanced- not only would I often die in one hit, but my allies could get mowed down without warning. Factor in that my death automatically meant game over (even though my allies could get back up if they died) and the experience became increasingly frustrating.

On top of all this, the healing items can only be carried in extremely limited capacity, and have a long cool-down time after you use one, meaning even if it healed approximately jack, you can really just sit around with your thumb up your ass for a few minutes while you hope the next one will be more useful.

I finally hit one battle that I kept getting cheesed by my invincible enemies telekinesis, and it came to the point where I had to ask myself, that while I could eventually overcome this battle, did I really care to?

I may one die be willing to start through and go through all the tedious quest-stuffs again to regain my progress, praying that the better class will compensate for all the other shortcomings- but for the time being, I’ve put Mass Effect down.

This has actually been a rare case for me- I don’t normally throw something down so quickly. Usually I have to get plain stuck in order to give a game a rest- and not the kind of stuck I think I can just bash my way through with a little effort.

Phantasy Star II is a great example of this. The game literally took me years to beat. And it wasn’t an on-again, off-again relationship, where I’d pick it up and progress a little further every time.

No, this was a case where I literally hit the end of the game and hit a wall. I reached the conclusion, met Dark Force, and just could not beat him. And sporadically, for years, I would try again, until I finally did it.

Then I met Mother Brain. Technically, not as hard, but my healing items were exhausted and I kept trying to take her on with the whole team. Finally, I just let everyone except Rudo die, and just kept hitting her with regular attacks over and over again. Strangely, it worked much better than a team effort.

I had a commitment issue with Xenosaga II as well. Not nearly as long, mind you- roughly a year and a half or so. Much of this was less to me specifically getting stuck, and more that the game simply sucked.

Despite not enjoying the experience, for some reason I played through the entire game, neared the end of the last dungeon, and went to sleep as it was very late and I was very tired, and I’d just died after saving in a battle against some giant robots (and I’ve never liked the giant robots much).

The next day, I awoke refreshed, energized… and with absolutely no drive to pick up the game and finish it. I just didn’t like it. As a Xeno fan, who loved Gears and enjoyed the first Saga, I hated most everything about this game.

In retrospect, I’m amazed I got as far as I did.

Fact is, I probably never would’ve finished Xenosaga II if the third one didn’t come out. But for some reason, number three just looked better, and I decided to man up, try to finish Xenosaga II, and give the last installment a shot. And thankfully, the sequel was worlds better- but since then, I always recommend people play the first, skip the second, and hop to the third.

It’s just a better experience that way.

One case I had where I didn’t finish the game was Izuna: Legend of the Unemployed Ninja for the DS. I actually really liked the game, challenging as it was. But when I hit the final dungeon, the “Oh, it looks like you’re done- but you’re not!” final dungeon, I hit level cap, got the best weapons, and made my way to the top.

To the top of a 99-floor, randomly generated dungeon.

I then proceeded to narrowly lose the boss fight, lose all my weapons (as the game is wont to do to losers), and be returned to the village with my high levels and nothing else.

I just couldn’t bring myself to try again. It was a tremendous amount of work, and without any way to improve my chances of victory, I just couldn’t commit myself to a 99-floor trek.

So, while I liked the game, I abandoned it. Maybe one day I’ll play the sequel. It’s sitting on my shelf.

Alternately, side content is much easier for me to skip out on. While I try to beat as many games as I can, I’m not a completionist. It’s just a factor of time and whether or not I liked the game enough. Games like Shadow Hearts II and Kingdom Hearts II I did everything on. I got most of Valkyrie Profile 2 done (I got all the characters in Seraphic Gate, but didn’t have the patience left for the extra boss I had to refight at the beginning).

In contrast, Lost Odyssey is a game I tried to be a completionist on and then gave up in apathy. Too many subquests and scavenger hunts to make the little things worth my time.

The clincher to me, though, was the bonus downloadable dungeon, with the annoying boss from Hell.

The bonus dungeon is 30 floors deep, with tough enemies and no save points. But the rewards are good, and if you get to the bottom there’s an elevator to the top and a bonus boss.

So I clear the 30 floors. I even get tough enough that the enemies are manageable. And then I reach the bottom, and I figure I can take the boss, and I won’t get another chance at him anyway.

And, yeah, I get flattened like a pancake.

At this point, I come to ask myself if I want to brave thirty floors again, fight all the same enemies again, get all the same items again and gain all the same levels again.

I chose not to. Realizing that this, coupled with the minor item scavenger hunts that were just too tedious for me to care, I decided to beat the game, enjoy the ending and move on in life.

One more instance that comes to mind of game-quittery is Wild Arms 2 (sequel to Wild Arms 1!). This was a particular case where the events of the game couples with the utterly lackluster translation spurred me to quit the game entirely, and never look back again.

I swear, the writing in Wild Arms 2 was some of the worst I’d ever seen. It wasn’t merely bland (like, say, Lunar: Dragon Song) but rather I could swear that none of the characters were even talking to each other. I played for a while, have no clue how far in I actually was, but genuinely felt like the plot just wasn’t ever coming together.

What this brings me to is a number of instances that have spurred me, personally, to quit games I attempted to take up. What this means for the gamer in general is money wasted- and I’ve seen my fair share of people return games, often claiming to have played for a very short amount of time after doing so.

In another case, I recall eagerly receiving Viewtiful Joe 2 from a friend for X-Mas, only to find myself giving up in the second stage or so, due to a heavy change in design from the first game (a shifted focus on puzzles) and a complete drop in difficulty to the point that game wasn’t particularly fun.

Fortunately, said friend also got me Metroid Prime 2, which treated me much better. She was good to me back then.

Quitting seems to be inspired by a number of different forms.

Mass Effect represented a recent sensation of frustration with the experience; not necessarily an inability to beat the game, but a frustration with the experience to the point that it didn’t seem with the effort. This was represented as well to a lesser degree in Lost Odyssey, where my motivation to complete the side material was sapped by the frustration I felt with the side quests.

Izuna and Phantasy Star II both represent instances of frustration through challenge, particularly of a stat-based variety. The former is coupled with a tedious dungeon and the fact that I’d maxed out, leaving my unable to levy any further advantage in the long walk to the boss fight. Phantasy Star II is indicative more of the tedium involved in strengthening my team, especially in the classic RPG setting where things tended to be tougher. Of course, if I’d stuck with it, I could have beaten it in a few days (at worst); my lack of drive could likely be attributed to the experience dragging out for as long as it did.

Wild Arms 2 represents more of a case with apathy of the story at hand. A compelling story can make a tedious game worth trudging through; similarly, a tedious story can be forgiven if the game is at least fun. Disinterest all around was the case with Wild Arms 2- I simply couldn’t be brought to care either way. Xenosaga II was almost as bad, and was largely saved by my familiarity with the cast more than anything else; the game suffered from a number of repetitious elements.

There may be other factors I’m not considering as to reasons to quit a game (and saying the graphics suck doesn’t count- it just means you’re shallow), but as I identify it, shortcomings in the experience, excess challenge and disinterest are the key components.

Frustration from challenge can often by fixed by adjustments in the design- but whether or not the designs need to be fixed is subjective. Mass Effect provides a good example of this: it was a popular game, a lot of people liked it. I happened to have not, and I while the game does have good merits (I certainly wouldn’t say it’s crap), I felt its shortcomings hurt the experience. Of course, the majority feels otherwise. Or they’ve been bullied into silence.

Alternately, frustration through challenge is a different case. In the case of Izuna, much of my problem (the 99 floor dungeon notwithstanding) was that I couldn’t level up any further. I was stuck, and had to beat the game on my own skills… or go through a hundred floors worth of high-level monsters again. Phantasy Star II, alternately, I could have managed with enough level grinding (and I think I did do a little), but really didn’t have the patience for it.

Of course, both of these cases represent examples of the difficulty being measured by, in part, numerical problems. Puzzles could represent an alternative of challenge related frustration, though these can at least by readily alleviated by looking up a solution (which I admittedly am loathe to do unless I’m just really stuck).

Otherwise though, these technically represent shortcomings on the part of the player (in this case, me). Admittedly, I could have worked around these problems one way or another (in the case of Izuna, trying to take the time and secure better weapons), so I suppose the blame falls on me.

Of course, what can be done about the last grouping, apathy? As I said, one aspect of good design can help lift up the other that’s lacking, but what if a game has neither? I was able to enjoy Lord of the Rings: The Third Age not because the story was good (Ah, ha-ha-ha!) but because it was fun to play even if the scenario was largely passable at best.

Ultimately, if a game sucks though, a game sucks. When part of a game sucks, you can blame the person responsible for that part. When the whole experience sucks, there ends up being a lot more people to blame.

But, ultimately, if the game sucks, one has to ask whether or not they want to rough it out to see the gold at the end of the rainbow. Personally, I usually try. Sometimes I’m rewarded; other times, not.

If it honestly sucks though, on some sad, basic level, then that’s why I’ll quit.

As you can see, last night was a pretty good time. After my class got out I made a couple calls and ended up on a boat with bryce and will. We went to go check out Chautauqua Idol for a bit, then went over to the Casino for some drinks. I hadn’t really eaten anything for most of the day before we went, so I was a bit of a lightweight needless to say. Whateva though it just meant a funner (YA I SAID IT) time. We definitely accomplished Will’s goal of having a couple drinks, seeing old friends, and meeting new people. Very fun times. And Will, you are a player and I am truly jealous of your skills with a certain kind of woman lol.

Went to the doctor today, not fun. Everything was good until the check for hernia time. NOT FUN. I’m all good, but I still feel violated … Haha. Went to the Mall afterwards and who do I run into, MARSH!!!! SHOUT OUT!!!!!! Jake was about 5 seconds from making a wrong move and getting Last Remnant, but I quickly stepped in and made him buy Lost Odyssey instead, because LO is 20 times the game Last Remnant is. You will be bowing down to me once you finish the game because of it’s awesomeness.

Tonight is Trivia Night. We’re gonna be missing some smart people tonight (Liz and Dan), but I still think we might be able to do good. I’ll let ya know how things go tomorrow.

That’s it for today. So BYE!

PS – I have posted every day for an entire month. I was reading somewhere I while back about how a blog’s average life is 1 month and then the person quits caring. Well, here’s me kicking that average a little higher. SUCK IT AVERAGE BLOG!

RPG’s are always seen as being really big in Japan but not so big over here. To an extent that is true because you will rarely see a Japanese RPG sell well anywhere outside of Japan. However the same can be said about Western RPGs which rarely sell well in Japan. It’s reasonable enough to treat them as two different genres though. The basic ideas in the games may be similar but when you take into account everything else they are completely different games.

From this point on JRPG = Japanese RPG and WRPG = Western RPG

The first thing I’m going to discuss is the battle system or the way you fight enemies. JRPGs have a tendency, or at least they used to, to stick to a turn based battle system. Most games had slight variations of it but generally they stuck to the same idea of taking turns to attack, defend, heal etc. I love Turn Based battle systems and think it was perfected in Final Fantasy X but some people argue that it’s dated and shouldn’t be used. However that doesn’t stop games like Lost Odyssey from using it. Random battles are also a feature that often pops up in JRPGs. More often than not you will not see your enemy and the fights will always be random encounters which you have no control in. A lot of games do seem to be changing this now such as Final Fantasy with the 12^th instalment and the more recent Tales of Vesperia. Some games seem to be sticking to it though, mainly Pokémon which still proves to be massively popular in both Japan and the west. This is one of the few exceptions of the rule. Now onto Western RPGs which favour real time combat over turn based. Off the top of my head the only Western turn based game I can think of is Fallout. Fallout 3 also had a real time option along with VATS (Kind of turn based) but the original was turn based. WRPGs don’t have random encounters either, or at least I have never found one that does. Most of them have enemies around the area which you can attack at your own will using whatever weapon you may have.

My next point is the style of the games. JRPGs are nearly always Fantasy. There is the odd sci-fi (e.g. Star Ocean) but apart from that they are all fantasy. A lot of them do it differently though so it’s not much of a problem but it would be interesting to see a different take on a JRPG. Since most of them are fantasy, you will generally be using swords, spears, magic etc but a lot of the time there are some really quirky weapons in them, such as a Blitzball from Final Fantasy X. Even the few that are sci-fi will use swords and magic, both Rogue Galaxy and Star Ocean does this (Both are still great though). I also want tom mention that a lot of JPRGs have anime style graphics/cell shaded. I love anime style graphics. My personal favourite is Okami but it’s not really an RPG so I’ll say Dragon Quest VIII which looks beautiful.  It really adds to the fantasy feeling of the game when you are surrounding by monsters beyond your imagination and environments which you would never have thought of but when it’s cell shaded it just adds that extra layer of fantasy. WRPGs don’t have much more variation than JRPGs. There is Fantasy ones such as The Elder Scrolls and Fable but there are also sci-fi ones such as Mass Effect. The only other type of WRPG I can think of is Nuclear Fallout (Surprisingly Fallout) which could come under sci-fi anyway. This lack of variation in setting can easily be forgiven though because most of the time they are done differently enough to keep you playing. The Western fantasy RPGs will contain similar weapons but none of the quirky ones so you’re looking at bows, swords, axes etc, they may also contain basic guns (Fable 2 done this). The sci-fi games however normally allow you to use guns which can add a lot to the game making an even more different experience than before. You won’t see any WRPGs with anime visuals either. The graphics are often portrayed as realistically as possible to make the game look amazing which Mass Effect pulled off really well while Fallout 3 fell flat on its arse.

The style of the character and story is also worth mentioning. Japanese culture is a lot different from Western culture so there will obviously be big differences in how the characters behave and appear. Most JPRG characters you see will look about fourteen and have blonde hair. The typical JPRG will have the heroic male lead character, who has blonde hair and his love interest will tag along. The love interest will probably also have blonde hair and she will also look a lot younger than she is supposed to be. Generally though the characters in JRPGs are good and well fleshed out so no complaints go there. When it comes to story there is normally a difference between JPRGs but they will just contain similar characters. There is normally a really evil villain in it that will have about 8 different forms when you fight him at the end, Kingdom Hearts being very guilty of this. The main thing about the style in JRPGs is that they are normally quite camp. This is a hard word to describe but I’ll just say they aren’t very macho. WRPGs aren’t very camp and often have a macho character or two in the games. This character is always the cool, badass one of the group, think Wrex from Mass Effect. It’s a lot harder to describe the character in WRPGs than JRPGs. This is because you normally customize the character yourself, then you will normally progress your personality onto your character. A lot of WRPGs focus on you choosing what to do and this greatly affects your character and the rest of the story (Well most of the time). Both Fable 2 and Fallout 3 do this fantastically. The world around you changes in both of them depending what you do and it adds a lot to the game. There is normally a good/evil metre to go along with this which will change the way people behave around your character and then add to what you think of your character. This can add a lot of depth to the game and made replaying it worth it.

On the topic of worlds, JRPGs and WRPGs also differ here. Like I said before they both normally stick to Sci-fi and Fantasy (They both do these differently though) but I want to talk about the way the world is designed. WRPG normally have a big open map which allows a lot of freedom and immersion. It allows multiple paths to be taken and a lot of exploration to be achieved since there is never a certain path you have to follow, you will need to find this yourself. The Elder Scrolls series is famous for having huge, open worlds.  Morrorwind had an amazing world which was huge. It was filled loads of different towns, cities, forests, cave etc. It was almost too big. Oblivion also had a good world but it wasn’t as big as Morrowind. It was just as immersive however and it was easier to navigate. JRPGs rarely have open worlds to the same extent as WRPGs. They normally have big worlds but they are usually a lot more linear than the likes of Elder Scrolls. They will often have multiple paths to take but they are normally just paths rather than open worlds. The old Final Fantasy games had the world map which was really open but the only way to progress was to go to the specific point. This isn’t necessary a bad thing though as it allows a good story to be told and it was also keep a good pace. Final Fantasy XII had a fairly open world for a JRPG but it was still split into separate areas.

Another thing I want to mention, mainly towards WRPGs, is making RPG the sub genre in the game. This rarely happens in Japan and more traditional RPGs are released but there a few, such as Okami which has a few RPG elements. The West does it a lot more though. Games like Bioshock and Dues Ex are the ones most known for doing it. Both are excellent games that become more than just standard shooters because of these RPG elements. It would be interesting to see a Japanese game (not an RPG) to have an RPG sun genre and see how they handle it.

It’s fair to say that there are huge differences between Western and Japanese RPGs. They both take the same basic idea of filling a role, going up levels, getting experience etc but the other factors are really different. In style, design, setting, ideas, graphics, story, character and more they differ greatly. To show the differences more I’ve made a few comparisons with different games to show this.

Mass Effect and Rogue Galaxy

Mass Effect is an amazing WRPG that came out in 2007 and Rogue Galaxy is an amazing JRPG that also came out in 2007 (2005 in Japan though). Mass Effect sold pretty well and managed to top 1 million copies sold. This was only in the West as the game wasn’t even released in Japan. Rogue Galaxy however, sold a lot better in Japan than in the West and though I can’t find an exact amount, the difference was quite big. Both of them have similar ideas though. First of all they are both Sci-fi RPGs. They both let you take a squad a three with you to battle (The main character and two team mates), they both give you control of an airship and they both let you go to multiple planets. On paper they sound similar and they are but in execution they are a lot more different than they sound. Mass Effect is more traditional Sci-fi and has traditional looking aliens and the majority of planets and species are very advanced in terms of technology. Rogue Galaxy, however has a completely different interpretation of Sci-fi and has many planets which are weak in terms of technology. The planets vary more in Rogue Galaxy too with sandy deserts, tropical forests and underwater caverns. The planets in Mass Effect stick to a more realistic approach, examples of this is Noveria, an ice planet with blizzards and Feros, a planet covered with dust and ruins. I know that we can’t find out if this is realistic or not but it is shown in a more realistic way than Rogue Galaxy which adds more fantasy to the universe.  Mass Effect focuses on using guns and biotics (Sci-fi stuff) while Rogue Galaxy mainly has swords and other melee weapons as the main focus, though guns and magic can be used. Both of these games take similar ideas but execute them in very different ways, both are fantastic though and I recommend playing both if you get the chance.

Fable II and Dragon Quest VIII

For those who have played both of these you may be asking why I am comparing both of these games. Well it’s all down to charm. JRPGs always have loads of charm, something that WRPGs often lack. Dragon Quest VIII has the most charm out of all JRPGs I’ve played so I’m comparing it to Fable II which is stacked brim with charm which is unusual for most WRPGs. Part of Fable II’s charm comes from the extremely well designed world and fantastic voice acting, Dragon Quest VIII also deserves credit for the voice acting and world. However Fable II gives you your own companion in the form of a loyal dog who will help you and stick by your side. It really adds to the charm and experience as a whole. In basically every other aspect though, they are really different. They both are based around Fantasy and have a British vibe around them (More so on Fable II’s part). Dragon Quest VIII is turn based and Fable II is real time but both are still great games. Dragon Quest is definitely a typical JRPG and is one of the best due to everything being so refined and polished. Fable II on the other hand is so unique. It is completely different from every other RPG out there (Well maybe not the first game) and manages to over an experience like no other. Sales wise though they were very different. Fable II had pretty good success here in the West but wasn’t even released in Japan like so many WRPGs. Dragon Quest VIII however managed to have tremendous success in Japan and had fairly good sales in the West. We can see that WRPGs haven’t penetrated the Japanese market yet while the bigger JRPGs had had good success in the West.

Elder Scrolls and Final Fantasy

These are arguably the biggest JPRG and WRPG which both have had tremendous success in their areas of origin. Final Fantasy has managed to achieve success not only in Japan, but also in the West too and is normally what people consider to be the biggest RPG ever. The Elder Scrolls series though hasn’t even been released in Japan which most WRPGs seem to do. Japanese gamers seem to stick to Japanese games so any WRPG that get’s released rarely has any decent success. There are similarities between the games though. Both of them are Fantasy games but they both take it on in completely different ways. Elder Scrolls takes it on in a more traditional way while Final Fantasy makes it a lot more unique and adds its own creatures and worlds to it that have never been seen before. It is worth pointing out that some Final Fantasy games also have Sci-fi elements so that allows a bit more of a mix up than the Elder Scrolls which provides a traditional fantasy adventure. With the newer Elder Scroll games they have moved onto open worlds. Morrowind and Oblivion had huge, massive worlds which were really open while Final Fantasy is still a more linear experience (Though FFXII opened it up a bit). The combat is hugely different in both too. Elder Scrolls is a completely real time experience (Well the new ones are) that will have enemies scattered about the world. Final Fantasy on the other hand has been turn based for a long time and has just starting to move towards a mixture of real time and turn based with FFXII. Though Final Fantasy XIII could change this. Random battles are a favourite of Final Fantasy but again FFXII changed this. Both of these games have similarities but the execution is really different. They both have different style and atmosphere which makes the experiences very different compared to each other.

By now you must have realised that JRPGs and WRPGs are not very alike, especially with my repeated use of the word “different”. Now onto the topic of which is better. Well I couldn’t really tell you to be honest. Both are (sigh) very different and even though they have similar basics they don’t offer the same things. It all depends on which you like better but we can all agree that there have been amazing RPGs from both the West and Japan.

Tales of a long, desperate wait

by Darkmurder

© 2009 Noel Schneider

Better late – than never

Tales of Vesperia was released back in the middle of 2008 for all regions apart from Australia and Europe. Yet after constant delays, it has finally made it to our shores to a quiet reception.

So it’s with great relief to say that Tales of Vesperia (the tenth title in the series and first to appear on the Xbox 360 console) is an impressive game and a long time coming for JRPG fans around Australia.

• Tales Of Vesperia trailer

Starting from the game’s opening cut scene, the first thing you will notice about the game is its ultra impressive art direction. The game obviously takes ideas from popular anime and manga material from Japan and expands upon it to produce a living, breathing 3D world.

The results are breathtaking to say the least and the developers within Namco need to be commended on choosing to go with something different from a design perspective.

Landing on Terca Lumireis

The game takes place on Terca Lumireis, a fictional planet which is infested with a large range of monsters all of which aren’t particularly of the friendly kind. Each town within the world requires ancient blastias which provide necessities such as power, protection in the form of barriers and water to the people.

Long story short, an aque blastia core is stolen from the hometown of our main protagonist, Yuri, which then leads him to a chase across the game world to find this thief and return the blastia core to its rightful place, along with other nasty situations on the way.

A lot of the dialogue is told in “Brady Bunch” sequences which require you to press ‘back’ at times, similar to what’s seen in Prince of Persia. I was not a big fan of this and I think it would’ve been better to dynamically blend this in during walking around.

Originality . . what’s that?

Whilst the story is not the worst around, it really lacks originality and seemingly just serves the player an excuse to travel around the world and pick up new friends (and create new foes). Regrettably, unoriginality has plagued the JRPG genre for a few years and Tales does not change that in the story point of view.

Fortunately for JRPG fans, story is not the be all and end all of Tales of Vesperia and its gameplay mechanics more than make up for it. Tales boasts a real time battle system which lets you play the way you want to play.

You can choose to control as many characters as you want to in battle. For example, if you aren’t very coordinated, you can set one character to semi-auto and the rest to automatic which lets you control just that character in battle.

This is the default battle technique and it’s the way I used to play the game (well so far anyway).

For the more hardcore player, you can choose to play as many characters as you wish. Manual or semi-auto, the choice is yours. This feature is a fantastic way so as not to branch out and isolate people who are not as skilled in management and organisation (like myself LOL).

Namco Tales Studio have also added in the option for local multiplayer within the battles, so you can take arms alongside your friends given they’re in the same room as you.

This is perhaps an opportunity missed as they really could have done something special here in the form of online co-op, but alas not to be. Maybe next time round hey Namco?

The art of Artes

As you become accustomed to the system which suits you, you’ll learn about the use of artes and basic attacks. Artes, which require the use of magic and vary between characters, are the strongest attacks. The ultimate strategy and determinant of the battle system is to use tactics to make sure you use the best artes in the best given situations.

The more you level up, the more artes you unlock and the better your character becomes. There are also other skills to master such as the limit gauge and the new battle techniques blast artes and fatal attacks.

As you can see, the scope of the battle system is quite simple, but it’s deep enough to feel fresh and exciting in what many would consider to have become a stagnant genre.

These battles are coupled in between exploration elements whether in a new area or in the field map. The field map is something to behold, from the colour of the sky over the horizon, to the vibrance of the forests. There is always something to see or something to do.

You’re in total control

The lack of random encounters inside these plains mean that you as the player feels totally in control, rather than the often aggravating style seen within Lost Odyssey or Enchanted Arms of forcing the player into engaging battles.

It doesn’t , however, excuse you from having to grind through some levels, often in order to gain an important arte. Whether that’s a good or bad thing is up to you and your patience levels.

I know many may take this for granted but it seems like such a breath of fresh air to finally have an Xbox 360 JRPG which runs to perfection. Tales of Vesperia runs like a dream. The load times are slim, there are no slowdown issues whatsoever, no incidences of texture popping and all the while running on a measly solitary disc.

You want data, you’ve got data by the bucket load

Not to mention the game includes pages upon pages of your game data, leaderboards for some of your game statistics, a comprehensively large game world and a chock-a-block-full 40+ hour story.

It seems a lot of Japanese game developers need to take a leaf out of Namco’s book and start producing such impeccable technical quality.

It is clear that Namco Tales studio knew what they wanted to achieve with Tales of Vesperia and the results are first-class, launching it into the upper echelons of JRPGs on the 360.

It’s not a game which is going to win many major awards from a Western gaming audience. It’s not a game which is going to bring you to your knees begging for buttermilk because of its story. It’s not a game which is going to have you crying with laughter at its sometimes quirky sense of humour.

Where the game does really shine is in its gameplay and exploration. These are at a level which are almost perfect at what they attempt to do, and that’s the ultimate compliment you can pay Tales of Vesperia.

© 2009 Noel Schneider

“8.6/10

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[BEWARE, SPOILERS AHEAD]

Today, most role-playing games deal with heavy themes and main characters who have more problems than Windows Vista had on release (Zing!). Let’s look at a few examples.

Lost Odyssey:

Look at me brood

The main character, Kaim, is an immortal. He is cursed to wander the earth forever, unable to die. Everyone he ever becomes attached to he loses. At one point he is reunited with his daughter, who he thought had died. Shortly thereafter, she proceeds to die in his arms. Depressing! Lost Odyssey also deals with the theme of identity because, surprise, surprise, the main character has amnesia and slowly pieces together the memories of his incredibly long life. Hint: They’re not happy memories.

Fianl Fantasy VII:

Amnesia is cool

This is Cloud Strife. He’s another depressing hero with amnesia. He joins the army, but instead of becoming a super commando like he always dreamed, he fails and becomes an anonymous grunt. On a mission to his home town, his hero, Sephiroth, goes crazy and burns the town to the ground and kills everyone, including Cloud’s mother. On top of all this an evil corporation is sucking the very life out of the planet, slowly killing it. The worst part is that Sephiroth also straight up murders one of Cloud’s best friends/love interests.  Good times, right?

Eternal Sonata:

He's not taking a nap

Meet Frédéric Chopin (yes, the Polish composer). He’s dying. This entire game takes place inside his head. The game world is some fever dream he is having on his death bed. It gets mad points for having an original set up, but it’s still depressing. None of the characters exist. They’re all figments of Chopin’s imagination. When he fianlly passes away in the real world at the end of the game, they cease to exist. Starting to see what I’m getting at?

The Wticher:

Bad ass

Hey, look, another brooding hero with amnesia. I wonder if he has a tortured past. You bet he does! Kidnapped as a child, and raised to slay monsters, Geralt doesn’t lead a happy life. People hate him because he’s different. Everything in his world is a shade of gray, with no clear cut right or wrong choice. “Hmmm should I murder the witch, or the corrupt towns people who hired me to murder the witch.” Keep on truckin Geralt. I’m sure things will turn out ok eventually (That’s a lie. I’m lying).

Don’t even get me started on Dragon Age: Origins and it’s “new shit” (Seriously, look at their advertising campaign). No one is happy when an evil army called the Blight rises up and starts stabbing every thing that moves right in the face. While I have only seen videos of it, the dark fantasy setting does not lead me to believe the main group of characters will be walking around in bright sunny fields while laughing about how care free they are.

So what’s up with all these games being so serious and depressing? Where are all the bright and hopeful RPGs? You know, the ones where the main character smiles at least once.

For one thing, most role-playing games are epic in scope and story. To be epic, there needs to be bad stuff going down. This bad stuff usually threatens the world in one way or another, and the end of the world is a pretty serious topic. As  a result adult themes are injected into the game to help make it more believable, and the main characters usually suffer as a result. If saving the world were fun, everyone would do it, right? Surprisingly, saving the world can be a good time.

Peace yo

Ness is the hero in Earthbound. He fights off an alien invasion while going on a crazy adventure with his friends. His weapons include baseball bats and yo-yos. Best of all, he hasn’t forgotten about everything that has happened in his life before the game began. He’s just a kid having fun.

While I think Earthbound is one of the best examples of a “happy” RPG, it certainly isn’t the only one. Shiren the Wander is all about Shiren and his ferret questing to get to the top of Table Mountain. The game is hard as hell, but that doesn’t mean it isn’t just a fun adventure. The Disgaea series are a bunch of silly strategy RPGs filled to the brim with humor and murderous  exploding penguins.

Then there’s Pokemon, another game about being a kid and going on adventures. It also happens to be one of the best selling RPG series of all time. And lets not foget how adorable some of these things are.

Look how freakin adorable I am

Role-playing games don’t need to be super serious and dark to be good. Unfortunately, most games in the industry tend to be grim and gritty, and RPGs are following that trend. Lets try not to forget that a bright and fun adventure can be just as good as its more “maturely themed” brethren.

]]> http://nowloading.biz/2009/07/08/sugestoes-para-um-verao-digital/ Wed, 08 Jul 2009 20:57:52 +0000 DannyCosta http://nowloading.biz/2009/07/08/sugestoes-para-um-verao-digital/

Sou uma criatura do frio. Numa outra encarnação, daquelas publicitadas por cavalheiros de crenças sensacionalistas, terei vivido enterrado em gelo e neve. Por essa razão, não louvo as maravilhas do Verão a cada oportunidade. Contudo, por viver num canto solarengo da Europa, lá tenho de suportar a euforia inexplicável, típica da época. As boas notícias? Nesta altura, meio mundo está de férias. Melhor, a probabilidade do fiel leitor ser um dos felizardos, sem afazeres, a caminho do descanso tão merecido, é bastante alta. Ora, por essa razão, invoco o meu lado de servente público, apresentando uma lista de títulos apetecíveis para este período. São cinco obras mais que competentes, disponíveis para as máquinas mais relevantes da nossa praça. Democracia digital em acção, portanto. Por isso, pegue num refresco e considere as sugestões em baixo… enquanto tento arrefecer a pele. Hmm…

PlayStation 3 – Dead Space (EA, EA Redwood Shores, 2008)

Site oficial

Mais uma noite estrelada a bordo da Ishimura...

Quando pensa em Verão, imagina a época de todos os luxos; praia, sol e festa suficientes para saldar a dívida com o descanso. Nesse cenário paradísico e descontraído, a mente rejeita qualquer sentimento mais desagradável; medo, terror e claustrofobia não entram na lista de prioridades. Mas até os dias de calor e alegria cutânea têm fim. À noite, quando a temperatura baixa, a escuridão convida o entretenimento mais negro e assustador em montra – Dead Space apresenta-se como um disco de eleição. Este survival horror da EA Redwood Shores obrigou muitos fieis a renovarem o respectivo cadastro no género; a obra revitalizou ideias e estimulou a imaginação de muitos. O enredo estende a premissa de sustos de ocasião e pulso rápido, sugerindo uma aventura espacial sem paralelo na indústria. Depois de receber um sinal de socorro, Isaac Clarke, engenheiro técnico e protagonista da trama, é convidado a embarcar na USG Ishimura, uma nave que explora minerais e outros artefactos de valor na superfície de planetas. Aquando a chegada de Isaac à nave, começa a corrida dantesca. Dead Space é um verdadeiro teste de sobrevivência, polvilhado com as mais cruas e primitivas emoções humanas. Enquanto a mecânica sorve inspiração e apreço pelos mestres orientais, a estrutura técnica de Dead Space suspende o jogador numa rede de medo e ansiedade. Graças uma extraordinária (e surpreendentemente discreta) composição musical, cada aparição dum monstro, ou momento chave do enredo, é hiperbolizado ao limite. O ambiente, claustrofóbico mas pintado de forma genial, empresta um sentimento ímpar de desolação e terror. As maravilhas da gravidade são aproveitadas com engenho e criatividade – verá rios de sangue constringidos por regras da física, no espaço. O enredo, com contradições cíclicas baseadas em ideais religiosos e comerciais, é desenvolvido em tempo real, com recurso a poucos planos cinematográficos. Durante 10 horas, garanto diversão e sustos na dose certa, mesmo admitindo problemas a Dead Space. O título da EA sofre pela estrutura linear e algo previsível, pouca variedade no design dos inimigos e alguma insensibilidade no guião. Por exemplo, a face de Isaac só é visível em dois momentos da demanda. Esta artimanha, embora misteriosa, castra outra vertente fundamental da trama – a relação amorosa entre Clarke e Nicole, uma funcionária da Ishimura. Mas Dead Space é mais que uma colecção de méritos e defeitos; a obra cumpre a premissa inicial, apresentando uma experiência com personalidade própria (ainda que familiar) num cenário dantesco e interessante. Fica a sugestão, para os adeptos do sangue digital que voltem da praia a tempo…

Xbox 360 – Lost Odyssey (Microsoft Game Studios, Mistwalker, 2008)

Site oficial

Kaim desafia as consequências da imortalidade.

Hironobu Sakaguchi é um dos maiores criativos da nossa era. O génio japonês ofereceu mundos ao mundo, conquistou milhões de fieis e projectou sonhos digitais de incalculável valor e mérito. Sakaguchi realizou, produziu e conceptualizou grande parte dos sucessos da Square-Enix, incluindo a jóia maior da propriedade intelectual da empresa – Final Fantasy. Hoje, o homem que imaginou um mito digital, que moldou o coração de tantos adeptos, dedica-se ao seu próprio estúdio, laborando ideias livres e personalizadas. O acordo entre a Mistwalker e a Microsoft já havia brotado Blue Dragon, um RPG simpático com trabalho de arte de Akira Toriyama (Dragon Ball, Chrono Trigger, Dragon Quest), mas a obra maior da equipa de Sakaguchi-sama só chegaria ao velho continente em 2008. Recorrendo a um exército de notáveis, com talento e alma de sobra, a Mistwalker sonhou Lost Odyssey. A obra conta a lenda de Kaim Argonar, um guerreiro imortal que viveu um milénio. Kaim, preso num estado de amnésia, é envolvido numa trama política, numa guerra entre países vizinhos. Lost Odyssey apresenta um cenário neo-industrial; um mundo onde a magia e a mecânica são o suporte civilizacional dos seus habitantes. Este oásis conceptual da Mistwalker sugere um ambiente mágico e credível, sempre inspirado pelo trabalho dos mestres nipónicos do passado. Mesmo sem quebrar barreiras de originalidade e frescura, a equipa de Sakaguchi desenhou um esboço belíssimo, com pintura própria e alma maior, onde a narrativa é o coração da odisseia. O aventureiro de sofá estabelece uma forte ligação emocional com Kaim, através de textos evocativos da memória do imortal. Ao longo da demanda, a história do guerreiro Argonar é narrada em pequenas prosas, reminiscentes dos mil anos de vida da personagem. Estes textos, ou Thousand Years of Dreams, foram elaborados por Kiyoshi Shigematsu, um afamado escritor japonês. A a emoção e arte de Shigematsu transparecem pelas palavras, cuidadas e tocantes, embutindo valor e significado em cada cena do enredo. A escrita mágica de Sakaguchi serve a premissa inicial de Lost Odyssey; o jogador explora um Universo de sentimentos, onde temas como imortalidade, guerra, política, devoção e sacrifício são escrutinados no ecrã. Qual baile de gala, a Mistwalker potencializou o talento de Nobuo Uematsu, lendário compositor de inúmeros projectos da Square. Caro leitor, saiba que, enquanto escrevo este relatório, também ouço a banda sonora de Lost Odyssey. Arisco afirmar que a trilha que dá som à odisseia de Kaim estará nos lugares cimeiros da minha preferência. Mais uma vez, o tributo à composição de Uematsu pode ser resumido numa palavra – emoção. Para além da competência artística embutida no disco, Lost Odyssey oferece uma mecânica interessante e bem desenvolvida. Esta carta de amor aos adeptos do antigamente, que louvam cada RPG japonês, apresenta um sistema de batalha por turnos, conservador mas atraente. Para o leitor mais caseiro, forçado a desfrutar de passeios de ocasião, Lost Odyssey pode ser o melhor refresco visual e narrativo para este período. A obra maior da Mistwalker serve um verdadeiro festim visual, apresentando cenários verdes e banhados pelo melhor mar digital. Registe-se a crítica positiva, mas algo me diz que voltarei a contar a vida de Kaim…

Wii – Punch-Out!! (Next Level Games, Nintendo, 2009)

Site oficial

Nostalgia, a quanto obrigas!

Punch-Out!! dispensa palavras de incentivo ou crítica. A mítica série da Nintendo, que nasceu nas Arcadas e brotou qualidade nas consolas domésticas, surge na Wii com uma proposta sólida, fresca e extremamente divertida. A mecânica competente e aditiva, que emana nostalgia e simplicidade, é a alma criativa de Punch-Out!!. Ainda bem. Infelizmente, para quem planeou passar o Verão ligado à Nintendo Wi-Fi Connection, o disco não oferece qualquer funcionalidade online. Mais, Punch-Out!! não foi concebido com a ideologia da Wii em mente; as sessões para dois atletas de sofá são banais e sem inspiração. Contudo, a obra da Next Level Games sugere uma excelente taxa de divertimento por minuto, enquanto Little Mac (candidato a campeão) derrota cada adversário icónico. A estrutura linear do modo carreira, aliada ao bom humor e disposição, contribuem para um ambiente convidativo. Punch-Out!! é a melhor proposta, para quem prefere um sessão digital rápida e descontraída; para jogar enquanto limpa a areia dos pés. O leitor mais atento à palavra do escriba de serviço terá corrido a vista pela análise a Punch-Out!!. Se está alheio à competência da obra, convido-o a descobrir a competição mais saudável da Nintendo; sempre aluga mais uma gargalhada ao comando da Wii.

Nintendo DS – Rhythm Paradise (Nintendo, 2009)

Site oficial

Um dia típico na Ilha de Páscoa... Hum...

Quando toquei na edição japonesa de Rhythm Paradise pela primeira vez, ganhei um sorriso rasgado. Esta pequena pérola ilumina os ecrãs da Nintendo DS com uma faísca criativa ímpar; nunca me diverti tanto com uma colectânea de pequenos episódios digitais. A ideologia minimalista da Nintendo atinge o pico conceptual na DS. Aliás, sempre que viajo com o cartucho de Rhythm Paradise, lembro-me do potencial quase infinito desta plataforma. Nunca recuso uma obra com mecânica complexa e supra desenvolvida, mas sempre entendi o Universo portátil como o melhor ninho para criações alternativas – aquelas que dispensam filtros monocromáticos pintados a vermelho sangue ou castanho despido. São títulos como Rhythm Paradise, simples, coloridos e extremamente divertidos, que valorizam cada cêntimo nos cofres da Nintendo. A premissa de Paradise é tão rudimentar como aditiva; o jogador recorre ao ecrã táctil da Nintendo DS (disposta na horizontal) para emular determinada função ou habilidade. Só isso. Por exemplo, o adepto de ocasião será convidado a tocar no ecrã, de forma pautada e sequencial, para comandar um (tímido) membro duma orquestra vocal. Se falhar o tempo de toque correcto, a personagem será repreendida pelos companheiros. Noutro nível, ou episódio, o objectivo é carregar robôs com óleo, numa fábrica de produção. Para o efeito, o jogador terá de pautar os toques com o estilete da Nintendo DS. A dinâmica em montra é, de facto, rudimentar. Ironicamente, as funcionalidades únicas da consola, como o microfone e o ecrã táctil, potencializam cada mini-jogo; está tudo  muito divertido e intuitivo. Mas o charme de Rhythm Paradise está no design inspirado das personagens e ambiente. A obra da Nintendo apresenta um largo espectro de cores, espelhadas nesta época do ano, que anima até o consumidor mais tristonho. Com pitadas de música ritmada e contagiante, Rhythm Paradise é a melhor salada digital para este Verão – um conjunto de sequências animadas e extravagantes com baixo teor de arrogância e complexidade desnecessária.

PSP – Phantasy Star Portable (SEGA, Sonic Team, 2009)

Site oficial

Ecos de Phantasy Star Online?

Phantasy Star Online (PSO) foi uma das melhores experiências que ganhei ao comando da saudosa Dreamcast. Passei horas no enorme Universo da Sonic Team, o primeiro a oferecer sessões em rede à escala global nas consolas domésticas. O projecto hegemónico da SEGA, que pretendia unir milhões com a componente online da Dreamcast, foi um fiasco comercial; mais um passo lento até ao estado agridoce em que a empresa se encontra. Contudo, PSO espalhou magia pelos consumidores da SEGA, louvando o empenho e talento da equipa da Sonic Team – uma das jóias mais brilhantes no catálogo da pequena caixa branca. Ora, depois de algumas aventuras pela série, a Sonic Team apresenta Phantasy Star Portable, exclusivamente para a PSP. A premissa conceptual supõe uma oferta semelhante a PSO (ou Phantasy Star Universe) – o adepto explorará cenários, entupidos de cor, enquanto combate criaturas antipáticas. A festa continua muito democrática, convidando todos os utilizadores da portátil da Sony, com o UMD do jogo em punho, a recorrer à funcionalidade wireless da PSP. Infelizmente, depois da explosão universal dos MMORPG, a SEGA prefere ignorar as vozes dos consumidores, privando Phantasy Star Portable de qualquer componente online. Uma atitude castradora, é certo, mas, ainda assim, a obra tributa o passado glorioso da série, com qualidade e alma própria. Caro leitor, se tem um fraquinho especial pelo trabalho da Sonic Team, Phantasy Star Portable é uma oferta perfeita. Só espero que encontre um Rappy… malvado bicho!

For this battle we take the hero of the west and pit him against the immortal of the far east. Who would win in a battle to the death? A noble hero or an apparent immortal? You decide !

The Hero

Close Range Weapon: Rising Sun
Strong but short cleaver used by a legendary hero of legend
Mid Range Weapon: The Daichi 
Long and agile eastern sword once owned by a legendary monk
Long Range Weapon: The Rammer
Powerful crossbow that was guarded by gargoyles
Heavy Weapon: Enforcer
Devastating blunderbuss used by a former bandit

The Immortal

Close Range Weapon: The Durandal
A legendary sword made from rare materials by a skilled blacksmith
Mid Range Weapon: Black Magic Paralyze
Secret art that temporarily paralyzes an enemy
Long Range Weapon: Black Magic Flarus
Large fire damage on its chosen target
Heavy Weapon: Black Magic Forceus
Massive physical damage done upon any one target

So will the long range physical hero be able to stop the magical immortal? You make the call !

by Aaron Bertinetti

©2009 Aaron Bertinetti

Some would lead you to believe that Microsoft has announced its full line up, whilst others would simply tell you that its competitors are very good at announcing… but not so good on delivering within a year.

But it was leading up to E3 last year when Microsoft made a somewhat public change of policy in regards to announcing their exclusive holiday lineups.

The promise for this year has always been to focus their firepower on E3 and then deliver the majority of those titles between October 2009 and March 2010.

Even for journalists, who know that at least some of the titles below exist, it’s been somewhat shocking to see Microsoft hold themselves to that promise so determinedly.

Thankfully it’s only a matter of time until their lips are loose…

Slip down to the bottom after you’ve read the list of course, and let us know in our Poll What you think will be THE 360 Exclusive at E3.

10. Silicon Knights

Yep that’s right, we want Too Human 2. Why? Because for all of Too Human’s faults, there was a solid premise, interesting mechanics and a unique gameplay experience to be found underneath an exterior of poorly tested gameplay, underwhelming narrative, a poorly explained control scheme and an inconsistent level of polish and presentation.

But more so than Too Human 2, we’d love a sequel to the Gamecube masterwork Eternal Darkness. We know we might be dreaming, but for as long as Silicon Knights is standing we’ll always hold hope that they revisit their best piece of work to date.

9. MMOs

For all the promises of MMO’s on the 360, three years in and we’re still scraping at the bottom of a very big library to find one. The 360 is made for MMO’s. Or more specifically Xbox Live.

It has a gaming base of 20 million subscribers who consider playing online as standard practice and who’ve shown a rapidly increasing enthusiasm for purchasing and consuming online content. If there’s a missing link in Microsoft’s online cash cow, it’s the MMO.

But times are starting to change. Developers have thrown almost everything via the PC at Blizzard’s behemoth World of Warcraft and nothing has come close. What is needed is a new approach, and 20 million Xbox Live subscribers that don’t have access to World of Warcraft offers a massive opportunity to an MMO developer who can get their serious attention.

King amongst these is All Points Bulletin (APB). A game from the creators of Lemmings, Grand Theft Auto and much loved 360 exclusive Crackdown. Currently slated for PC but possibly consoles, rumours have been swirling that APB may well be console exclusive and Microsoft will include it in its E3 press conference.

Huxley, Champions Online, Age of Conan, and Lord of the Rings are all being developed or rumoured to being developed for consoles, but its APB with its persistent, cel-shaded, GTA inspired design that’s really got our eye.

8. Bungie Project

Ever since Bungie and Microsoft amicably parted ways soon after the release of the ridiculously successful Halo 3 in September 2007, there’s been one question on the very substantial and loyal Bungie community… What’s next?

And with the delivery of Halo ODST imminent, that question is getting louder as we wonder what exactly the game was that Microsoft was (perhaps) unwilling to support internally.

It could conceivably be another Halo in some form or another, with recent rumour mongering centred on Halo: Reach, an apparent title leak on Bungie’s online forum. But we’d love to see Bungie live a little more dangerously and invest the studio’s immense talent into a new IP and a new genre.

And yet amongst all that uncertainty, there is one certainty… If Bungie unveils something on tonight we have no doubt it’ll blow us away like every other time they’ve stepped on stage.

No more sleeps left, here comes Santa?

7. Halo 4

It’s getting around that time again, and whilst a new fully fledged sequel to Halo 3 isn’t likely to drop until next year, we’ve learnt over the years that Microsoft has a habit of pulling giant rabbits out of tiny hats (see Final Fantasy XIII). In the case of the Halo franchise, Microsoft has generally stuck to the rule of announcing one year in advance of a hands-on showing at E3.

And whilst may gamers would love to see Bungie at the helm, we think Microsoft has been recruiting for a little too long for their own studio to not want to flex its newly constructed in-house muscle led by blockbuster experts Ryan Payton and Frank O’Connor.

We know it’s an off chance, but you can’t fault the dream!

6. Motion Controls

It’s been rumoured for some years now, but when Microsoft buys a company highly specialised in 3D motion control and the Wall Street Journal reports on its imminent use with the Xbox 360, it’s probably worth an even bet at least.

Based on numerous business reports, Microsoft purchased 3DV last year and now owns its proprietary infrared and vision camera technology, which is far more advanced than the 2D motion control seen in Sony’s EyeToy, Microsoft’s Vision Camera, and infinitely more advanced than the industry leading motion controls of the Nintendo Wii.

Fingertip controls, playing in the dark, 3D mapping of your face onto your Avatar and HD versions of every third party title on the Wii immediately become possibilities upon an announcement. If true it also signals that Microsoft believes they have Sony’s measure and are moving directly into competition with the higher priced Nintendo Wii.

We’re cautious on motion controls, but if done right Microsoft could truly turn the console world upside down… if it’s true that is.

5. Crackdown 2

The original Crackdown was originally regarded as a mere vessel for access to the Halo 3 beta, but with time it’s quickly become recognised as one of Microsoft’s strongest new IPs this generation and a staple in many hardcore sandboxing gamers.

With a developer pedigree from GTA and Lemmings, it really shouldn’t have been a surprise. But the technically accomplished, cel-shaded mayhem in a vast urban world was for its time unmatched and still to this day provides plenty of guffaws with its comic art design and living, breathing world. And the multiplayer was an absolute blast!

Rumours have been circling for a while now and with the curious release of a premium theme a week out from E3 and for a game almost three years old, we’ve got a pretty good feeling about this. Prototype and Infamous have worn their Crackdown influences on their sleeves, but it’s time for the kingpin to return. And frankly Microsoft would be mad to not make it happen.

4. Mistwalker

One of the best long term gaming investments Microsoft has made is the financial backing and creative freedom it has extended to Final Fantasy creator Hironbobu Sakaguchi and his Mistwalker studio. Whilst Blue Dragon was moderately successful, it was last year’s Lost Odyssey with its stunning production values, subtle gameplay tweaks and far more mature themes compared to more traditional Final Fantasy games that really hailed the studio as one to watch.

Strangely absent from last year’s E3 conference, we’re expecting big things from this blossoming studio come E3 2009. Lost Odyssey is for many the best JRPG of this generation, but 2010 will be different with the arrival of the next instalment in Sakaguchi’s best known creation, Final Fantasy, arriving for the Xbox 360 and PS3 simultaneously. And whilst Sakaguchi is no longer at the helm of the Final Fantasy franchise, he may well have a point to prove and more importantly, the commercial incentive to avoid the Final Fantasy behemoth.

Sakaguchi has said he’s working on something and given the cancellation of the quietly ambitious Cry On, we suspect that room had to be made for something very special indeed.

Perhaps their publisher Microsoft has an internal release date for them to meet? And whilst we’d probably play anything Sakaguchi makes, we really hope it lets us get “lost” all over again.

3. Rare

Forget the cynics, because Rare has gone from strength to strength. They’ve provided five exclusives to the 360 library in just three years at an average of 81 on Metacritic.

There’s not another developer worldwide that can make those sort of claims and then have time to develop and expand Avatars on the dashboard, ship a Nintendo DS title and still find time to oversee the polishing of some of their great classics being re-released on XBLA including Jetpac Refuelled, Banjo Kazooie and Banjo Tooie.

In OXCGN’s opinion every game Rare’s made has been better than the last with their most recent, Banjo Kazooie: Nuts & Bolts, a game well ahead of its time but showing a developer rich in confidence, ambition and style. Yet that was only the beginning…

Rare has at least three projects in the works that our spies know of. So being the betting types we’re hedging our bets that one is a sequel, one is a new or re-imagined IP and one is online and Avatar related.

But given Rare are such workhorses, we also expect some announcements regarding an increasingly aggressive schedule of HD releases their almost unparalleled back catalogue, which is full of rich pickings such as Killer Instinct, Conker, Blast Corps, Battletoads, Jet Force Gemini, and Perfect Dark.

2. Lionhead Studios

Some call it Dimitri, some call it Project X and even some call it Richter. It’s that elusive idea that Lionhead has been working on longer than the Fable franchise. And somehow they’ve, or more specifically Peter Molyneux, has kept a lid on it.

If Microsoft wants to throw a spanner in the works and really take the games press by the balls then Molyneux’s‘ most ambitious work will be revealed.

Based initially around a singular idea and the evolving of artificial intelligence, the experiments at Lionhead have since become something far greater, gaining a supposed scientific significance and in the process becoming, well, “controversial”.

To be honest, apart from some long distance whispers (England’s a long way from Australia!), the only thing we can measure its potential by is the internal buzz at Microsoft. Their confidence in remaining silent on this one, including the usually bombastic Molyneux, is unnerving even for us. It seems that Microsoft thinks it’s sitting on a royal flush, biding its time to go all in.

We just hope that when the cards are laid out come June 1, Molyneux goes home a winner.

1. Forza 3

Turn 10’s third spin at the wheel is quite possibly the worst kept secret in the games industry. And whilst arcade racers are a dime a dozen and the hybrid racer is having a comeback with the outstanding and gorgeous GRID, the reality is that a lot of us are still playing Turn 10’s unparalleled simulation masterwork.

OXCGN has dedicated itself to Forza 3 with a community that continues to produce one of the longest and most popular wish lists we’ve ever seen! (Ed: Check out our Team OXCGN Racing page)

The rumours of 400 cars; 100 tracks; new race types including drift, drag, oval and point to point; even more customisation and user creation; a completely refined graphics and damage engine; and an enhanced online feature set, have had us salivating for months.

Turn 10 had us sold right there, but then Forza’s community manager, Che Chou, decided to drop a tiny bombshell of over-excitement last year by stating “(we) have figured out ways to push the 360 in ways I didn’t think were possible in terms of both visuals and performance…You’ll pardon me if I sound a little excited, because, frankly, I’m frickin’ psyched.”

SOLD! It’s time to kick the tires and light the fires Microsoft. Just confirm the bloody thing!

Agree? Disagree? Vote on the poll and comment below.

©2009 Aaron Bertinetti

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Schon immer sind starke Winde über diese weite Grasebene geweht. Die Windrichtung bleibt immer die gleiche, unabhängig von Tages- oder Jahreszeit: von Osten nach Westen, vom Horizont, wo die Sonne aufgeht, zum Horizont, wo die Sonne untergeht. Vielleicht hat die Topografie der Gegend etwas damit zu tun.

Die unförmigen Stämme und Zweige der Büsche, über die der unaufhörliche Wind hinwegfegt, neigen sich alle nach Westen. Hier wachsen keine hohen Gräser, und die existierenden Gräser liegen flach auf dem Boden, nach Westen gebeugt. Karawanen und Hirtenvolk ziehen auf der einzigen Straße entlang, die die Ebene durchschneidet. Es ist kein ‘Kommen und Gehen’, sonder nur ein Gehen, von Osten nach Westen, mit dem Wind im Rücken, Reisende auf dem Weg von Westen nach Osten nehmen immer den Umweg, der sich um die südlichen Berge schlängelt. Dieser Weg ist viel weiter, aber es geht wesentlich schneller, als die Ebene gegen den Wind zu überqueren. Die Straße über die Ebene wird Windstrom genannt. So wie sich die Richtung eines großen Flusses niemals ändert, so haben die Schritte derer, die die Straße benutzen, seit ewigen Zeiten nie ihre Richtung geändert und werden das auch in der fernsten Zukunft nicht tun: von Osten nach Westen. Schatten von Menschen, die am Horizont auftauchen, wo die Sonne aufgeht, verschwinden hinter dem Horizont, wo die Sonne untergeht. Niemals begegnen sie entgegenkommenden Reisenenden – abgesehen von höchst seltenen Ausnahmen.

Als es Kaim zum ersten Mal auf dem Windstrom begegnete, war das Mädchen noch klein. “Hat meine Großmutter denn damals noch gelebt?” Auf diese unbeschwerte Frage des Mädchens antwortet Kaim lächelnd: “Oh ja. Und ich weiß noch, was für eine nette alte Dame sie war.” Das Mädchen schaut die Straße hinunter und zeigt auf die Hügelkette, die sich in der Ferne verliert. “Meine Großmutter hat auf ihrer Reise sieben Hügel überquert.” “Ist sieben viel?” “Mhm, Großmutter hat lange gelebt. Die meisten Leute beenden ihre Reise nach fünf Hügeln. Die Menschen, die sie zurücklassen, errichten ein kleines Grabmal, wo sie ihre Reise beendet haben, und ziehen dann weiter…” Das Mädchen deutet auf den Boden, auf dem sie steht. “So weit bin ich gekommen”, sagt sie mit einem stolzen, glücklichen Lächeln. Die Religion des Mädchens und ihre Familie bekennt sich zu dem frommen Glauben, dass sie an der östlichen Quelle des Stroms ankommen werden, wenn sie ihr Leben dem Wandern nach Osten widmen, gegen den Fluss des Windstroms.

Die Leute nennen die Anhänger dieser Religion ‘Die Stromaufwanderer’. In dem Wort liegt ein Anklang von Furcht und Traurigkeit, aber es enthält auch eine Spur Verachtung und Hohn. Die Stromaufwanderer haben den weltlichen Gelüsten entsagt. Sie leben ihr Leben zu keinem größerem Zweck, als zu Fuß nach Osten zu ziehen. Sie haben keine Zweifel. Sie bringen ihre Kinder unterwegs zur Welt, und sie setzen ihre Reise fort, während sie ihre Kinder aufziehen. Wenn sie alt werden und ihre Kraft nachlässt, endet ihre Reise. Doch die Reise ihrer Familie geht weiter. Ihr Glaube wird weitergegeben, von Kind zu Enkel zu Urenkel. Die Reise der Familie dieses Mädchens begann mit ihrer verstorbenen Großmutter, die zumindest mit ihrem Sohn, der damals so alt war wie das Mädchen heute, vom Westrand des Winstroms aufbrach. Natürlich wandern die Stromaufwanderer nicht das ganze Jahr hindurch. In der Jahreszeit, wenn der Wind besonders kräftig wird – vom Spätherbst bis zum Frühling-, lassen sie sich in den Städten nieder, die entlang der Straße verstreut liegen, und verdienen sich als Tegelöhner mit Arbeiten ihren Lebensunterhalt, die die Stadtbewohner selbst verweigern. Manche Stromaufwanderer entscheiden sich, in den Städten zu bleiben, während andere sogar Statbewohner mitnehmen, wenn sie ihren Weg im Frühling fortsetzen. Menschen, die sie sich während des langen Winters verliebt haben, oder Jungen, die von Reisen träumen, oder Erwachsene, die des Stadtlebens müde sind.

Aus all diesen Gründen sehen die Stadtbewohner die Stromaufwanderer mit gemischten Gefühlen an. Die Mutter des kleinen Mädchens war eine von jenen, die sich unterwegs der Reise anschlossen, und das Mädchen selbst verliebt sich vielleicht in einigen Jahren in Jemanden in irgendeiner Stadt. Vielleicht bleibt sie dann dort, oder sie bittet ihren Geliebten, mit ihr zu ziehen. Noch weiß sie nicht, was das Leben für sie bereithält. Der Vater des Mädchens ruft ihr zu: “Wir müssen weiter!”. Ihre kurze Rast ist vorrüber. Sie scheint nur widerwillig gehen zu wollen, “Schade”, sagt sie. “Ich hätte mich gerne noch länger mit dir unterhalten. Aber wir müssen die nächste Stadt erreichen, bevor es anfängt zu schneien.” Durch den ständigen Gegenwind sind ihre Wangen rot und rissig, ihre Lippen aufgesprungen, aber ihr Lächeln, mit dem sie Kaim eine sichere Reise wünscht, ist wunderschön. Es ist das heitere Lächeln eines Menschen, der ganz und gar an den Sinn seines Lebens glaubt, ohne den geringsten Zweifel.

“Werde ich dich irgendwo einmal wiedersehen?”, fragt sie. “Bestimmt”, antwortet Kaim lächelnd, doch sein Lächeln kann es nicht mit ihrem aufnehmen. Er befindet sich mitten auf einer Reise, die ihn zum westlichen Ende des Winstroms und darüber hinaus führen wird. Er zieht als Söldner zum Schlachtfeld, und wenn der Krieg im Westen vorbei ist, wird im Osten ein neuer begonnen haben. Es wird eine lange, grausame Reise werden, ohne etwas, an das er glauben kann Wenn er das Mädchen erneut auf dem Weg trifft, werden noch mehr Schatten in Kaims Lächeln liegen. Vielleicht als eine Art Abschiedsgeschenk singt das Mädchen einige kurze Zeilen für ihn:
Wo beginnt er seine Reise hierher?
Kommt er von dort, wo das Leben beginnt?
Oder beginnt er dort, wo das Leben endet?
“Auf Wiedersehen!”, sagt das Mädchen und setzt mühsam einen Fuß vor den anderen, ihre Haare wehen im Gegenwind.

Zehn lange Jahre sind verflossen, als Kaim das Mädchen das nächste Mal sieht. Es ist Frühling und das Grasland ist mit hübschen weißen Blumen übersät. Sie hat einen jungen Mann gehreiratet, der in einer der Städte als Schneider arbeitete und Schuhe ausbesserte. “Das ist mein dritter Frühling hier”, sagt sie und streichelt ihren runden Bauch. In wenigen Tagen wird sie ein Kind zur Welt bringen. Sie wird Mutter werden. “Und deine Eltern…?”, fragt Kaim. Achselzuckend blickt sie nach Osten. “Sie setzten ihre Reise fort. Nur ich bin hiergeblieben.” Kaim fragt nicht, warum sie das getan hat. Die Reise fortzusetzen, ist eine Lebensweise, und in einer Stadt zu bleiben eine andere. Keine kann als richtiger als die andere gelten. Die einzig richtige Antwort für das Mädchen zeigt sich in ihrem Lächeln. “Aber genug über mich geredet”, sagt sie und sieht ihn argwöhnisch an. “Du hast dich kein bisschen verändert, seit wir uns vor so langer Zeit trafen.” Für den tausend Jahre alten Kaim sind zehn Jahre nichts weiter als ein Wechsel der Jahreszeit. “Manchmal ist das so”, sagt er mit gezwungenem Lächeln. “Manche Menschen in dieser Welt können nicht altern, egal wie lange sie leben.” Er sieht das Mädchen an, das inzwischen zu einer Frau geworden ist, und fragt sich wieder: Endlose Zeitalter lang zu leben – ist es ein Segen oder ein Fluch?

Kaims Bemerkung kann kaum als Erklärung gelten, doch das Mädchen nickt, offenbar verstehend. “Wenn das so ist”, sagt sie, “solltest du derjenige sein, der zu dem Ort geht, wo der Wind anfängt. Du wärst der ideale Stromaufwanderer.” Vielleicht hat sie Recht. Schließlich ist das Leben eines Menschen viel zu kurz, um gegen den Fluss des Winstroms bis zum Ausgangspunkt des Windes zu reisen. Trotzdem antwortet Kaim mit einem langsamen Kopfschütteln “Ich bin nicht geeignet für diese Reise.” “Nein? Jeder kann ein Stromaufwanderer sein. Jeder, der mit eigenen Augen sehen möchte, wo der Wind anfängt.” Mit einem Hauch Traurigkeit fügt dasMädchen dann aber hinzu: “Allerdings hat den Ort noch niemand gesehen, glaube ich.”

Der Ort, an dem der Wind anfängt: dieser Ort ist nirgendwo. Selbst wenn man nach einer langen Reise am östlichen Ende des Winstroms ankäme, würde der Wind dort ebenfalls wehen. Und nicht nur aus dem Osten: Westwind, Nordwind, Südwind: Winde ohne Grenzen, ohne Ende. Menschen, die nicht ewig leben, wagen sich auf eine Reise ohne Ende. Das könnte die größte Tragödie sein, aber ebenso gut auch die größte Komödie. Eins weiß Kaim jedoch: Man kann es nicht einfach als sinnloses Bestreben abtun.

“Was ist mit dir?”, fragt er das Mädchen. “Wirst du deine Reise nicht bald fortsetzen?” Sie denkt einen Atemzug lang darüber nach, dann legt sie den Kopf schief und sagt, während sie ihren runden Bauch streichelt: “Ich weiß nicht…. Vielleicht möchte ich ewig so weiterleben wie jetzt. Oder ich verspüre irgendwann den Wunsch, den Ausgangspunkt des Windes zu erreichen.” Alle Stromaufwanderer sagen ohne Ausnahmen, dass man niemals weiß, was die Rückkehr zur Reise auslösen kann. Eines Tages streift man ohne Vorwarnung das ganze Stadtleben ab und beginnt zu wandern. Nicht immer muss man dazu auf einen Stromaufwanderer treffen, der einen wieder auf die Straße lockt. Viele Menschen brechen ganz plötzlich allein wieder auf. Die Lehren der Stromaudwanderer besagen, dass alle Menschen den Wunsch nach einer endlosen Reise in sich tragen. Sie sind sich dieses Wunsches wahrscheinlich nicht bewusst, weil er tiefer verborgen liegt, als die Erinnerung. In dem Augenblick, in dem etwas ihn an die Oberfläche bringt, wird ein Mensch zum Stromaufwanderer.

“Selbst du hast diesen Wunsch”, sagt das Mädchen zu Kaim. “Vielleicht…” “Doch”, sagt sie. “Bestimmt.” Der Ausbruch in ihren Augen ist so direkt und frei von Zweifeln wie beim letzten Mal, als er sie traf. Sie fixiert ihn mit diesem Blick und deutet auf sich selbst. Ich habe ihn selbst nich ganz verloren.” “Aber du bist doch sicher glücklich mit deinem jetzigen Leben?” “Natürlich bin ich das.” “Glaubst du wirklich, der Tag wird kommen, an dem du die Reise fortsetzen willst, auch wenn das bedeutet, dieses Glück aufzugeben?” Statt einer Antwort schenkt sie ihm ein sanftes Lächeln.

Viele Jahre ziehen ins Land, doch ab und an erinnert Kaim etwas an die Worte des Mädchens – dass jeder den Wunsch nach einer endlosen Reise in sich trägt. Für Kaim ist das Leben selbst eine Reise ohne Ende. Im Laufe seiner Reise wurde er Zeuge unzähliger Tode und unzähliger Geburten. Das menschliche Leben ist zu kurz, zu schwach und vergänglich. Doch je mehr er über seine Vergänglichkeit nachdenkt, desto stärker spürt er auf unerklärlicher Weise, dass Worte wie ‘ewig’ und ‘endlos’ besser auf das Leben zutreffen, so endlich es auch ist, als auf alles andere.
Als er nach vielen Jahren wieder den Windstrom hinunterwandert, sieht Kaim das Begräbnis einer Stomaufwanderin. Ein Junge in Trauerkleidung steht an der Straße und hält vorbeigehenden Reisenden Wildblumen hin und drängt sie, “einer edlen Seele eine Blume zu schenken, die die lange Reise bis hierher geschafft hat.” Kaim nimmt eine Blume und fragt den Jungen: “Eine Familienangehörige?” “Mhm, meine Oma.” Der Junge nickt, sein Gesicht: ein Abbild dessen, das Kaim vor so langer Zeit gekannt hatte.

Die alte Frau in dem Sarg muss das Mädchen sein. Kaim ist sich ganz sicher.
“Großmutter ist eine lange, lange Zeit gewandert. Sie nahm meinen Papa mit, als er noch ein kleiner Junge war. Siehst du diesen Hügel dort? Sie ging ganz weit dahinter los und ist bis hierher gekommen.” Das Mädchen hatte sich also doch wieder auf die Reise begeben. Kehrte dem Stadtleben den Rücken, nahm ihr Kind bei der Hand und machte sich auf die endlose Reise. Ihr Wunsch, den Ort zu erreichen, wo der Wind anfängt, wurde an ihr Kind weitergegeben, an ihren Enkel und weiter an nachfolgende Generationen. In ein Land aufzubrechen, das man nie zu erreichen hoffen konnte, und dass Generation auf Generation eine weitere endlose Reise unternehmen.

Ist es eine Tragödie? Eine Komödie? Vielleicht ist das heitere Lächeln auf dem Gesicht der alten Frau im Sarg die Antwort. Kaim legt die Blume als Opfergabe zu ihren Füßen. Die Familienmitglieder, die mit ihr gewandert sind, stimmen gemeinsam ein Lied für die Verstorbene an:

Dieser Wind, woher weht er?
Wo beginnt er seine Reise hierher?
Kommt er von dort, wo das Leben beginnt?
Oder beginnt er dort, wo das Leben endet?

Der Wind weht. Er fegt über das weite Grasland. Kaim macht einen großen, langsamen Schritt auf sein Ziel zu. “Gute Reise!”, ruft der Junge. Seine Wangen, so rot und rissig wie die des Mädchens vor so langer Zeit, heben sich zu einem Lächeln, als er dem davonziehenden Reisenden hinterherwinkt.

Zurück zur Übersicht

Lost Odyseey hab ich aus Zufall beim Saturn herumliegen sehen und konnte anhand des Packshots nicht sehen was das für ein Rollenspiel sein soll, also erstmal nach hause gegangen mir paar Videos angeschaut und mir voller Überzeugung das Spiel am nächsten Tag besorgt. Ich hab vorher noch nie Final Fantasy oder ähnliches gespielt – nur immer Western RPGs, weil ich bis vor kurzem eigentlich immer der aufgedrehte nervöse Typ war der Action wollte, aber jetzt spiele ich halt sogar mein erstes RTS (Halo Wars) und eben auch mein erstes Japano RPG (Lost Odyssey).

Es ist echt ein Megarollenspiel mit bombastischem Umfang und Gameplay aber mehr gibts unter weiter lesen, sonst habt ihr ja gar kein Anreiz mehr mein Review zu lesen

Grafik

Die erste Kategorie ist wie immer die Grafik. Die Farben im Spiel sind mir ein wenig zu trist und blass, vieles ist Detailarm, aber vieles auch Detailreich, man könnte also sagen das an manchen stellen gepatzt wurde. Zaubereffekte sehen realistisch aus wirken aber ebenfalls schlicht und unspektakulär, aber es ist eben ein gewisser Realismusgrad vorhanden, womit man das nicht als Minuspunkt zählen sollte. Die Animationen sind sehr gut gelungen, Cutscenes sind gut in Szene gestellt nur Schatten werden irgendwie vermisst, denn die gibt es nicht wirklich.

Sound

Typisch japanische Sounds kriegt man hier zu hören, vor allem das Theme zum Spiel wäre mir einen Award wert. Die deutschen Synchronsprecher sprechen etwas gelangweilt, was letztendlich auch die Bestnote verhindert. Dennoch sind sie gut gewählt und passen zum jeweiligem Charakter.

Story

Kaim findet sich zu Anfang des Spieles in einem Dorf wieder, das kurz vor der Vernichtung steht. Schließlich schafft es Kaim die Truppen samt Panzer zu besiegen. Wie es einer gegen viele Truppen schafft? Kaim ist unsterblich. Aber dazu später mehr. Kaim läuft weiter bis er andere Truppen findet die nach überlebenden suchen, ihr fahrt dann mit einem Zug ins Königreich Uhra, weil euch der Rat sprechen möchte. Im Zug trefft ihr auf eine weitere Unsterbliche die es geschafft hat, namens Seth.

In Uhra angekommen werdet ihr von den Wachen zum Rat geführt, dieser schickt euch zum Großen Stab, da dieser am Ausbruch eines Vulkans in der nähe des Dorfes vom Anfang schuld sein soll. Zusammen mit Seth und Jansen, einem Boten von Gongora, dem Bauer des Stabs, macht ihr euch nun auf dem Weg dorthin und geratet immer weiter in neue Probleme. Sei es familiär oder anderweitig.

(SPOILER ALERT AB HIER) Gongora ist übrigens ein Verräter der den Stab absichtlich so manipulieren hat lassen, er ist auch dafür verantwortlich das die unsterblichen Charaktere ihr Gedächtnis verloren haben und eben ihre Unsterblichkeit erlangt haben.(SPOILER ALERT BIS HIER)

Unsterbliche Charaktere leiden auch extrem, da sie eben soviel schlimmes schon erlebt haben und deshalb auch ein wenig emo drauf sind. Mit der Zeit wecken sich die Erinnerungen der unsterblichen Chars in Form von Träumen, die durch Kurzgeschichten sehr traurig erzählt werden. Ich hab mich sogar das ein oder andere mal erwischt wie mir ne Träne ausm Auge kam, weil das ganze echt verdammt emotional gemacht ist.

Gameplay

Der Gedanke unsterblich zu sein lässt euch vielleicht im ersten Moment denken “olol imba kann man ja nicht sterben ixdehdehdeh”, aber da denkt ihr falsch. Unsterbliche Charaktere sterben auch im Combat, werden aber dann immer später wiederbelebt, das heißt wenn Seth stirbt, steht sie mit 1/5 der HP nach 2 Runden wieder auf, wenn sie dann wieder stirbt steht sie erst nach 4 Runden mit 1/6 der HP wieder auf und immer so weiter. Charaktere die so wenig HP haben sind eh so gut wie nutzlos und außerdem bekommen sie dann keine EXP am Ende eines Kampfes.

Die meiste Zeit läuft man herum wie in einem ganz normalen West-RPG und sammelt allerlei Items ein und redet mit diversen Charakteren um sich Cutscenes und Träume freizuschalten. Gekämpft wird dann unterwegs in Randombattles, die kommen nicht zu häufig aber auch nicht zu selten vor, was mir sehr gelegen kommt da mich das bei Pokemon immer genervt hat wo alle 10 Schritte ein Vieh mit euch kämpfen wollte und ihr wie blöde immer auf Flucht geklickt habt…
Außerhalb von Kämpfen könnt ihr euer Team anpassen. Ihr könnt sie mit diversen gekauften Waffen und Ringen ausrüsten, ihre Status werte anschauen oder die Formation des Teams ändern. Gekämpft wird rundenbasiert. Ihr könnt bis zu fünf Charaktere in den Kampf schicken, wobei ich euch empfehle Kaim und Seth immer drin zu lassen, da sie vorne die Schläge abfangen und die meisten HP besitzen.

Umfang

Es gibt insgesamt acht Charaktere die euch im Verlauf der Story auf eurem Weg begleiten. Dazu zählen Kaim (Krieger), Seth (Krieger), Jansen (Magier), Max (Geistmagier), Kuke (Heilerin), Ming (Magierin/Heilerin), Sarah (Magierin/Heilerin), Sed (noch nicht freigespielt, sieht mir aber nach nem Schützen aus). Hierzu sei gesagt das alle Heilen oder Zaubern können, zumindest die Unsterblichen, Kaim, Seth, Sarah und Ming können durch Fähigkeiten-Verknüpfung die Spells der sterblichen Charaktere lernen.

Das Spiel beinhaltet 4 Discs, ich bin nun kurz vor Ende der zweiten und hab nun 25 Stunden played time. Ich schätze 50 Stunden sind locker drin.

Wertung

Grafik: 2+
Sound: 2+
Gameplay: 1
Umfang: 1

Endwertung: 1- (1.5)

Gefasel am Ende: Wenn ihr bisher noch keinen Grund zum Kauf einer XBox 360 hattet und ihr Japano-RPG Fans seid, dann ist vielleicht Lost Odyssey ein System Seller für euch. Vorallem die erstaunliche Fähigkeit des Spiels emotionen dem Spieler zu überbringen ist fantastisch. Muss in jede 360-Sammlung rein! Die Azubis des Final Fantasy Erfinders haben sehr gute Arbeit an diesem Titel geleistet.

Jeder auf dem Markt hasst das kleine Mädchen. Sie ist noch keine zehn Jahre alt und hat noch nichts von der Unschuld der Kindheit verloren, und doch wird ihr von den Erwachsenen, die auf dem Markt ihre Stände haben, nur offenes Misstrauen entgegen gebracht. Der Grund dafür ist einfach. Sie erzählt immer nur Lügen.

“Hey, du da, ich hab gerade einen Dieb in dein Haus schleichen sehen!”
“Pass auf, da ist gerade alles von deinen Regalen heruntergefallen!”
“Hey, hört mal zu, Leute. Habt ihr gehört, was der Reisende gesagt hat? Banditen wollen den Markt überfallen!”

Selbst die harmlosesten kleinen Lügen können wütend machen, wenn sie oft genug wiederholt werden, und die Marktleute sind bald mit ihrer Geduld am Ende.
“Du sollst dich ebenfalls vor ihr in Acht nehmen”, wird Kaim von der Gemüsehändlerin gewarnt. “Hier fällt keiner mehr auf ihre Lügen rein, deshalb hält sie immer nach Neuankömmlingen oder Fremden Ausschau. Jemand wie du ist das perfekte Opfer für sie.” Da könnte sie Recht haben. Kaim ist neu in der Stadt. Er ist vor ein paar Tagen hier angekommen und hat heute seinen ersten Arbeitstag auf dem Markt.
“Was machen denn ihre Eltern?”, fragt Kaim, während er das Gemüse ablädt. Die Frau schaut ihn finster an und schüttelt dann seufzend den Kopf. “Sie hat keine Eltern mehr.” “Sind sie gestorben?” “Die Mutter, ja. So vor vier oder fünf Jahren. Sie war eine gesunde junge Frau, die nie auch nur eine Erkältung in ihrem Leben hatte, und dann ist sie auf einmal zusammengebrochen und war tot.” “Und was ist mit dem Vater?” Wieder stößt sie einen tiefen Seufzer aus und sagt: “Er ist in die Stadt gegangen, um Arbeit zu finden.”

Die Eltern hatten einen kleinen Stand auf dem Markt, aber eigentlich kümmerte sich die Mutter allein um den Ein- und Verkauf der vielen Waren. Als sie starb, ging es mit dem Stand schnell bergab, bis ihn schließlich jemand anders übernahm. Der Vater machte sich dann auf der Suche nach einer gut bezahlten Arbeit in die ferne Hauptstadt auf, um irgendwann die Schulden der Familie abbezahlen zu können. Er versprach, in sechs Monaten wieder da zu sein, aber jetzt ist er schon ein ganzes Jahr fort. Hin und wieder schrieb er ein paar Briefe an seinen Freund, den Schneider, aber auch das hörte irgendwann auf.

“Natürlich ist es sehr traurig, wenn ein kleines Mädchen so lange darauf wartet, dass ihr Vater endlich nach Hause kommt, aber trotzdem…” Das Mädchen schläft jetzt in einer Ecke des gemeinschaftlich genutzten Lagerhauses der Marktleute. “Wir waren uns alle einig, uns um sie zu kümmern – als eine Art Ersatzeltern, bis ihr Vater wieder nach Hause kommt.” Das ist keinesfalls überraschend für Kaim. Aus eigener Erfahrung weiß er, dass die Leute auf dem Markt hier – nicht bloß diese gutmütige, einfache Frau – trotz ihrer begrenzten Mittel großzügig und gutherzig sind. Ansonsten hätten sie einem Fremden wie ihm wohl kaum Arbeit gegeben.
“Doch schon lange bevor die ersten sechs Monate um waren, hatten wir es alle gründlich satt mit der Kleinen. Als ihre Mutter noch lebte, war sie ein ganz normales, liebes Mädchen, aber die Erlebnisse müssen sie sehr mitgenommen haben. Von lieb und nett kann keine Rede mehr sein. Natürlich tut sie und allen sehr leid, wir kümmern uns ja auch um sie, versorgen sie mit Essen und alten Kleidern, aber so, wie sie uns alle pausenlos belügt, mag sie keiner mehr sehen. Warum versteht sie das nicht…?”
“Wahrscheinlich ist sie einfach einsam, glaubst du nicht?” Mit einem bitteren Lächeln auf den Lippen zuckt die Frau mit den Schultern. “Genug gequasselt für heute. Jetzt wird gearbeitet!”, sagt sie forsch und geht zurück in den Laden.

Kaim sortiert gerade vor dem Laden das Gemüse, das er eben abgeladen hat, als er hinter sich eine zarte Stimme hört. “Hallo! Du bist neu hier, oder?” Es ist das Mädchen. “Ja…” “Du bist nicht aus der Stadt, oder?” “Nein, bin ich nicht…” “Wohnst du da oben, solange du hier arbeitest?” “Wenigstens für eine Weile, ja. Hoffe ich zumindest.” “Ich werde dir ein Geheimnis verraten, okay?”
Und schon fängt es an. “Okay”, sagt Kaim, ohne seine Arbeit zu unterbrechen. “Hier auf dem Markt treibt ein Geist sein Unwesen. Die Leute sagen das natürlich niemanden, weil es ja schlecht fürs Geschäft wäre, aber es stimmt. Ich hab’s mit eigenen Augen gesehen.” “Ach tatsächlich?!“, antwortete Kaim mit gespielter Überraschung. Er beschließt, das Spiel mitzuspielen und sie nicht für ihre Lüge zu rügen. In seinem endlos langen Leben sind ihm schon unzählige Kinder untergekommen, die ihre Eltern verloren hatten oder von ihnen im Stich gelassen wurden. Die Traurigkeit und Einsamkeit dieser Kinder, die in der großen weiten Welt ganz alleine sind, ist genau das, was Kaim selbst empfindet, wenn er im unendlichen Lauf der Zeit auf seinen ewigen Lebensweg dahinzieht.

“Was ist es denn für ein Geist?” “Eine Frau. Und ich weiß auch, wer sie ist. Es ist der Geist einer Mutter, die ihr Kind verloren hat”, sagt sie. Ihr kleines Mädchen, ihr einziges Kind, sei einer Seuche zum Opfer gefallen. Übermannt von Schmerz und Trauer habe die Mutter beschlossen, zu sterben, und jetzt suche ihr Geist Nacht für Nacht auf dem Markt nach ihrer Tochter. “Die arme Frau” Sie hat sich selbst umgebracht, um mit ihrer Tochter zusammen zu sein, aber in der anderen Welt kann sie sie nicht finden. Also hält sie hier nach ihr Ausschau und ruft: ‘Wo bist du? Komm schnell zu Mami, komm mit in die andere Welt.” Das Mädchen ist todernst, während es seine Geschichte erzählt. “Ist das nicht traurig?”. fragt sie Kaim. Sie hat sogar Tränen in den Augen – und genau daran erkennt Kaim, dass sie lügt. Selbst wenn die Frau ihn nicht gewarnt hätte, wüsste er aufgrund der Dinge, die sie ihm über das Mädchen erzählt hat, dass dies eine Lüge ist.

Sorgfältig arrangiert Kaim die Weintrauben in einer Kiste und fragt das Mädchen: “Warum glaubst du, kann die Mutter ihre Tochter nicht finden?” “Was?” Das Mädchen starrt ihn verwundert an. “Na ja”, erklärt er. “Das Mädchen ist nicht im Jenseits, und in dieser Welt ist es auch nicht. Wo ist sie denn dann?” Kaim will das Mädchen nicht ins Kreuzverhör nehmen. Aber er glaubt, dass es jemand, der nur aus Sorge lügt, viel leichter hat, wenn er die Lüge als das erkennt, was sie ist. Die Einsamkeit eines Mädchen, das seine Mutter verloren hat und von seinem Vater verlassen wurde, kann nicht aus einer kleinen Lüge, sondern muss aus einer ganzen, fortwährenden Lügengeschichte bestehen.
“Hmm, jetzt wo du’s sagst…”, meint das Mädchen lächelnd. “Stimmt, wo ist denn das Mädchen?” Kaim überlegt kurz, ob er auf das Mädchen zeigen und sagen soll: “Genau hier”, aber da redet es auch schon weiter. “Das ist das erste Mal, dass mich das jemand gefragt hat. Du bist irgendwie… anders.” Ich frage mich… Nein, es stimmt. Du bist anders”, beharrt die Kleine.

“Wir können bestimmt Freunde werden.” Und ihr Lächeln wird zu einem breiten Grinsen. Kaim erwidert ihr das Lächeln, sagt aber nichts. Genau in diesem Moment hören sie die Gemüsehändlerin aus dem Laden kommen, und das Mädchen rennt davon. Doch bevor es um die Ecke läuft und in der Gasse verschwindet, winkt es Kaim kurz zu, als ob es sagen wolle: “Bis bald!” Zum ersten Mal erkennt er auf dem Gesicht des Mädchens, das nur allzu erwachsen daherredet, einen Anflug der Kindlichkeit, die tatsächlich ihrem Alter entspricht.

Seitdem besucht das Mädchen Kaim regelmäßig, immer dann, wenn die Gemüsehändlerin gerade nicht da ist. Und tischt ihm eine Lüge nach der Anderen auf. “Gestern Abend habe ich mit meiner Mutter Kekse gebacken. Ich wollte dir welche mitbringen, hab sie aber alle selbst aufgegessen, weil sie so lecker waren.”
“Als ich noch ein Baby war, bin ich von Banditen entführt worden, aber dann kam mein Vater und hat sie alle verprügelt, und mir ist nichts passiert.”
“Mein Haus? Es ist das große weiße am Fuß des Berges. Du bist neu hier und kennst es wahrscheinlich nicht. Es ist das größte und schönste der Stadt.”
“Du hast keine Familie? Du bist ganz allein? Armer Kaim! Ich wünschte, ich könnte dir ein wenig von meinem Glück abgeben!”

All ihre Lügen entspringen ihrer Verzweiflung: Es sind traurige und einsame Lügen, die sie den Marktleuten nie erzählen könnte, weil sie ihre wahre Geschichte kennen. Am Ende eines jeden Gesprächs mit Kaim legt sie ihren Finger auf die Lippen und sagt: “Das ist unser kleines Geheimnis. Verrate bloß der Gemüsehändlerin nichts davon.” Natürlich erzählt Kaim niemanden von ihren Lügen. und falls er mal in eine Situation kommt, in der die Marktleute schlecht von dem Mädchen reden, stiehlt er sich leise davon. Lügen sind schon ein seltsames Phänomen. Denn sie nehmen erst Gestalt an, wenn sie jemand anhört und ihnen Glauben schenkt, und nicht, wenn sie einfach nur erzählt werden. Eine Person, die alleine ist, kann gar nicht schlecht von jemanden reden. Das gleiche gilt auch für Lügen. Weil sie jemanden hat, dem sie ihre Lügen erzählen kann, versinkt sie nicht in totale Einsamkeit. Und um dieses kleine, traurige Glück zu schützen, übernimmt Kaim widerstandslos die Rolle ihres Zuhörers.

Eines Tages, als das Mädchen wieder einmal zu Kaim kommt, achtet es besonders darauf, dass es von der Gemüsehändlerin oder den anderen Ladenbesitzern nicht gesehen wird. “Sag mal Kaim, hast du vor, lange Zeit hier zu bleiben?” “Nein”, sagt Kaim und lädt weiter das Obst und Gemüse ab. “Du gehst also, wenn du genügend Geld zusammen hast?” “Wahrscheinlich.” “Aber du hast noch nicht genug?” “Ich arbeite daran”, meint er und lächelt das Mädchen müde an. Das ist eine Notlüge. Er besitzt bereits genügend Geld für seine Weiterreise. Außerdem hat er seinen momentanen Job nicht angenommen, weil er das Geld so dringen braucht. Er ist hier, weil er noch nicht weiß, wohin er als nächstes gehen soll. Denn eine Reise ohne Ziel wird zur unendlichen Qual. Ein weiser Mann hat einmal gesagt, dass ein Leben ohne Träume und Ziele kein wahres Leben ist. Doch Träume und Ziele sind gerade deshalb so wichtige Wegweiser, weil das Leben begrenzt ist. Was aber sollten die Träume und Ziele von Jemanden sein, der ein Leben führen muss, das kein Ende hat? Kaims Lebensreise darf nicht überstürzt werden. Außerdem kann sie gar nicht überstürzt werden. Und vielleicht sollte man dieses ziellose In-den-Tag-hinein-leben gar nicht erst als Reise bezeichnen.

“Wenn ich du wäre”, sagt das Mädchen, “würde ich von hier verschwinden, sobald ich das nötige Geld hätte, um zwei oder drei Tage zu überleben.” Kaim antwortet mit einem stummen, bitteren Lächeln. Wie würde die Kleine reagieren, wenn Kaim ihr sagen würde, dass er wegen ihr hier bleibt? Momentan besteht der Sinn meines Lebens darin, ein Zuhörer für deine Lügen zu sein. Als ihm diese Worte in den Sinn kommen – Worte, die er ihr niemals sagen kann – sieht sich das Mädchen verstohlen um und sagt leise, fast flüsternd: “Wenn du bald hier raus willst, weiß ich, wie du’s anstellen kannst.” “Wie ich es anstellen kann…?” “Schleich dich in den Laden des Schneiders und stehl sein Geld. Im Schrank hinten im Laden steht ein Topf voller Geld.” Willst du mir damit sagen, dass ich klauen soll?” “Ja.” Sie sieht Kaim fest in die Augen, ohne die Spur eines Zweifels. Ernst fährt sie fort: “Der Schneider verdient es, dass man ihn ausraubt.” Das Geld, das er in seinem Topf habe, sei verdorben, sagt sie.

“Ich kenne da ein Mädchen, eine gute Freundin von mir”, erklärt sie weiter. “Das ist eine traurigen Geschichte. Ihre Mutter ist gestorben und ihr Vater ist in die Hauptstadt gegangen, um Arbeit zu finden, und hat sie allein gelassen. Er sollte eigentlich nach sechs Monaten zurückkommen und sie holen, aber sie hat nie wieder was von ihm gehört.” Und schon wieder eine Lüge, die aus der Sorge geboren ist. Kaim fragt ruhig: “Gibt es eine Verbindung zwischen deiner Freundin und dem Schneider?” “Natürlich”, sagt sie. “Und was für eine. Die Wahrheit ist nämlich die: Der Vater schickte ihr, so wie es abgemacht war, jeden Monat etwas Geld, damit sie es leichter hätte – Und er schrieb ihr auch Briefe. Er schrieb, dass er eine gute Arbeit in der Stadt gefunden habe und sie sofort zu ihm kommen solle. Er sei zu beschäftigt, um sie selbst zu holen, deshalb solle sie zu ihm kommen. Und er schickte ihr auch Geld für die Reise. Aber keiner der Briefe hat das Mädchen je erreicht. Und das Geld erst recht nicht. Und was, glaubst du, ist der Grund dafür?” Bevor Kaim antworten kann, redet das Mädchen schon weiter: “Er machte einen Fehler. Er schickte die Briefe und das Geld an den Schneider. Und der hat alles für sich behalten.” Kaim schaut das Mädchen nicht an. Um die eine traurige Lüge aufrechtzuerhalten, hat das Mädchen eine noch traurigere erfunden – eine Lüge, die einer anderen Person schaden kann. Das ist das Traurige daran. “Das Schloss an der Hintertür der Schneiderei ist leicht zu knacken”, meint das Mädchen und läuft davon, ohne Kaims Antwort abzuwarten.

Am nächsten Morgen stürmt das Mädchen aufgeregt in den Gemüseladen. Es ruft der Frau, und nicht Kaim, zu: “Letzte Nacht ist in der Schneiderei eingebrochen worden!” Angeblich habe das Mädchen spät in der Nacht ein paar Diebe einsteigen sehen, als der Marktplatz leer war. “Ach je”, sagt die Frau mit gekünsteltem Lächeln, “Wie schrecklich!” Offensichtlich nimmt sie das Mädchen nicht ernst. “Aber es ist wahr! Ich hab sie wirklich gesehen!” “Hör mal zu, kleines Fräulein, ich habe langsam wirklich genug von dir. Du bist eine ziemliche Lügnerin, und es macht mir Angst, wenn ich mir vorstelle, dass du mal als Diebin oder Trickbetrügerin enden könntest. So, ich will jetzt mein Geschäft aufmachen. Geh und nerve jemand anderen.”

Sie hat kaum zu Ende gesprochen, als von draußen ein Schrei ertönt. “Hilfe! Zu Hilfe! Auf der Straße steht der Schneider und brüllt aus vollem Halse. “Diebe! Sie haben all mein Geld gestohlen!” Das kleine Mädchen stiehlt sich leise aus dem Laden, als der Schneider hereinkommt. Der Marktplatz ist in Aufruhr. Das Mädchen hatte nicht gelogen, so viel ist sicher. Doch da die Leute nur allzu gewöhnt an ihre Lügen sind, ziehen sie nun die Möglichkeit einer anderen Art von Lüge in Betracht. “Vielleicht hat sie es getan. Was meinst du?” Und so kommt der Ball ins Rollen…. “Ja, das könnte sein.” “Sie war schon immer eine gute Schauspielerin!” “Zutrauen würde ich es ihr.” “Los, suchen wir sie. Wir werden sie schon zum Reden bringen – selbst wenn wir dabei etwas grob werden müssen.” Keiner hat etwas gegen diesen Vorschlag einzuwenden. Einige laufen zum Lagerhaus, andere beginnen, den Marktplatz abzusuchen. “Wir können sie nicht finden!” “Das Lagerhaus ist leer.” “Sie ist mit dem Geld abgehauen!” Und während die Marktleute noch weiter wild spekulieren und raten, wird Kaim alles klar. Nach all den traurigen Lügen hat das Mädchen eine letzte Wahrheit zurückgelassen. “Sie kann noch nicht weit sein!” “Ja, wir holen sie bestimmt noch ein!” “Diese kleine Diebin! Wartet nur, bis ich sie in die Finger kriege!” Die Männer reden sich in Rage, die Frauen stacheln sie weiter an: “Gut so! Verdient hätte sie’s!” “Wir waren immer gut zu ihr, und jetzt seht euch an, wie sie’s uns dankt! Damit darf sie nicht durchkommen!” Ein Dutzend Männer bricht auf, um sie zu verfolgen, aber Kaim baut sich vor ihnen auf und versperrt ihnen den Weg.

“Hey, geh weg da!” Die Männer sind außer sich vor Wut, aber Kaim weiß, dass er es ohne Probleme mit ihnen aufnehmen könnte und sie ihm kein Haar krümmen würden. Stattdessen entspannt er sich ein wenig und wirft den Männern einen Lederbeutel vor die Füße. “Das gestohlene Geld ist hier drin”, sagt er. “Was?” “Tut mir leid, ich habe es gestohlen.” Auf die verwirrten Blicke folgt wütendes Geschrei. Kaim hebt seine Hände, um zu zeigen, dass er keinen Widerstand leisten wird. “Macht mir mir, was ihr wollt. Ich bin bereit.” Die Gemüsehändlerin boxt sicht durch die Männer und schreit ihn an: “Wir konntest du das tun, Kaim?” “Ich wollte das Geld, das ist alles.” “Und sagst du das auch nicht nur, um das Mädchen zu beschützen?” Die Frau liegt mit ihrer Vermutung nur allzu richtig. Mit gequältem Lächeln dreht sich Kaim zum Schneider um und sagt: “Das Geld war in einem Topf im Schrank, richtig?” Der Mann nickt aufgeregt. “Das stimmt. Er muss es getan haben! Das Geld war in einem Topf! Er ist der Dieb!”

“Es war aber nicht nur Geld in dem Topf, hab ich recht?” “Was sagst du da?” “Da waren auch Briefe. Briefe vom Vater des Mädchens.” “Das ist eine Lüge! Du bist ja verrückt!” “Es stimmt aber.” “Nein, da waren bestimmt keine Briefe! Die hab ich doch alle-” Der Schneider schlägt sich die Hand vor den Mund. Doch es ist zu spät. Die Gemüsehändlerin starrt ihn entsetzt an “Was soll das heißen?”, fragt sie. “Ähm…also…ich….” “Erzähl sofort, was du getan hast.” Die wütenden Blicke der Leute wandern von Kaim zum Schneider.

Einige Tage später kommen im Gemüseladen zwei Briefe des Mädchens an, adressiert an: ‘Die Dame vom Gemüseladen und den netten Mann darüber.’ In Kaims Brief steht, dass das Mädchen seinen Vater in der Hauptstadt gefunden habe. Er hat keine Ahnung, ob das die Wahrheit ist oder nicht. Allerdings fällt es ihm schwer, zu glauben, dass ein kleines Mädchen in der großen Stadt seinen Vater so leicht finden kann, ohne die Adresse oder seinen Arbeitsplatz zu kennen. Trotzdem glaubt er ihr, als sie schreibt: “Ich bin jetzt glücklich.”

Menschen sind die einzigen Lebewesen, die lügen. Sie lügen, um Leute zu hintergehen, lügen, um sich selbst einen Vorteil zu verschaffen und um das eigene Herz vor der grausamen Einsamkeit zu schützen. Gäbe es keine Lügen auf der Welt, würde sich ein Großteil des Unfriedens und der Missverständnisse einfach in Luft auflösen. Aber vielleicht ist es ja auch diese Kombination aus Wahrheit und Lüge auf der Welt, die die Menschen dazu veranlasst hat, zu ‘glauben’. Als er den Brief zu Ende gelesen hat, dreht sich Kaim zu der Gemüsehändlerin um. Sie liest konzentriert den Brief, sieht aber schüchtern auf, als sie Kaims Blick auf sich spürt. “Ich gebe auf!”, ruft sie. “Hör dir das an: ‘Ich bin dir und den anderen vom Markt so dankbar für all das, was ihr für mich getan habt. Ich werde euch niemals vergessen.’ Eine Lügnerin bis zum bitteren Ende, die Kleine”, sagt sie lächelnd mit Tränen in den Augen.

Zurück zur Übersicht

Em seu site oficial, a Mistwalker (Blue Dragon e Lost Odyssey) colocou uma foto de seu novo jogo. Não podemos ver claramente, até porque é um designer trabalhando nele.

Uma coisa nós podemos ter certeza: não é Blue Dragon 2, já que a arte é totalmente diferente do estilo da franquia. Pode ser Lost Odyssey 2? Ou será uma nova franquia? Confira abaixo, e espere a E3.

Personally speaking, I’m the kind of person who enjoys walking around a lot in that thing called “real life”, first discovered by the ancient Greeks after one of their V.R. simulators ran out of batteries. Subsequently postured on for centuries.

I enjoy walking around for the sense of exercise and exploration I can get as I might just take a new turn and see something I haven’t seen before.

Not the case with video games.

In games, I prefer to run. Unlike real life, I can’t tire out so easily in a video game, and my virtual body’s threshold is almost limited, provided the right conditions are met.

In life, my destination is something of casual interest. In games, it’s a pressing point of urgency; something I need to hurry to or get away from.

The ability to run is one of those weird little things that can easily get overlooked entirely but is crucial to design. A character can move too fast or too slow, disrupting progression time and realism, or making the experience tedious and leaving the player unnecessarily vulnerable.

When a character is too slow, though, it really is the worst. Sometimes one has to wonder if such speed was implemented during an eleventh-hour epiphany that the game was too short. “Quick, make the character hobble! That’ll double the game’s length!”

Parasite Eve, back in the PSX days, was always one of my favorite offenders. No matter how urgent to situation, protagonist Aya Brea never broke out beyond a brisk jog. It’s as though nothing bothered her enough to do that extra little bit of exertion, even when the precinct she worked at was under attack.

AYA

(Urgently)

There are monsters in the precinct!

(Beat, calmly)

Well, better not strain myself.

Even later in the game, when a giant monster that could kill Aya on contact was chasing her, she could never urge herself to run any faster. It’s like she just didn’t care.

Another problem with running speed suddenly comes out when the character is placed in relation to an environment. Two examples suggest the character is supposed to acquire some sort of vehicle, though one isn’t initially available while another isn’t always readily available.

My primary example would by The Legend of Zelda: Ocarina of Time, an obscure title only played by a handful of people.

After clearing the first dungeon, the player is granted the right to leave the forest and emerge into the main of Hyrule, where further adventure surely awaits! But first, in order to pursue said adventure, he must cross the dreadful and tedious Hyrule Fields where nothing interesting ever happens.

While Link could get a horse to ride in the second half of the game, it should be noted that first the horse was entirely optional, so a player could run through the entire game zipping back and forth across that tedious field map, over and over and over again.

In this case, while Link’s running speed wasn’t technically faulty (it was correct to the proportional size of the dungeons and towns), foot travel became increasingly tedious on the Overworld, suggesting that either the location should have been smaller or at least more interestingly structured (as past Zelda games provided a maze of forests and canyons with all sorts of twists and turns).

Since Ocarina, following titles Majora’s Mask and Twilight Princess have incorporated considerably better map design and quicker acquisition of accelerated traveling, so it seems the designers were aware of this pitfall as well. But, as Ocarina is debated as the best Zelda and considered a classic regardless, it is valid for debate.

I found a similar illusion of space in Jak 2 some years ago, where I still swear to this day that Jak loses running speed whenever he’s in the city environments of the game. Most likely it’s an illusion resulting from the size of the location, but I pretty much needed to steal a car to get around at any point, because doing anything less than that was tedious.

Of course, traffic was structured in such a way in Jak 2 that driving was like playing dice with your life, so you were in trouble no matter what you did.

Another element of running which is underused but should be used cautiously is the possibility of a character tiring out.

For the sake of immersion, this is a great device. Insofar as I’ve seen, it’s only really been utilized in horror games, and perhaps it should remain that way. After all, imagine a game where Dante or Solid Snake had to stop for a breath every two minutes. Or a game where Mario refused to jump, saying “A-hold on a minute! I’m-a exhausted!”, which is much funnier if you picture it with an Italian accent.

Two instances where tiring out has been used can by found in GameCube classic Eternal Darkness, and the Silent Hill series.

In the case of Eternal Darkness, it was used intelligently but not necessarily well. Which sounds weird, but I’ll explain it (as opposed to ending this article on a cliffhanger, which would just make me a jerk).

In Eternal Darkness, pretty much everyone you play as can be categorized as a “normal person” to one degree or another. After running around for a bit, they will tire out and need a moment’s rest. This also becomes true with melee fighting: swing that heavy sword too often and your guy needs to catch his second wind.

It’s a fairly realistic touch of design you don’t see in many games, and for the most part it works. It’s not so obtrusive that it breaks the design or makes things unbearable… until later in the game.

The game is essentially built around a few environments which are visited and revisited in various time periods, each return bringing the character deeper in than the previous one had gone. This results in some massive rooms and long stretches of running to get around, and is particularly bad in the missions in the Roivas Mansion, since the underground ruins open with a massive foyer which the character tires out in before they get across to the door on the other side.

After zig-zagging back and forth across these ruins and having to stop so someone can catch their breath, it gets pretty bad. It gets worse in the last chapter, since Alex has to essentially re-do everything her grandfather did in his chapter, meaning you’ll have to do all this zig-zagging twice.

Silent Hill by contrast, handles it a little better. For better or for worse, characters don’t tire out from swinging their weapons but can get exhausted from running and thus lose running speed until they get a chance to recover.

Most of the problems with Silent Hill (collectively speaking) present them when you’re traversing the streets of the town itself, more than in the interior locations. SH2’s James in particular didn’t seem to have much stamina, and would tire out repeatedly during a long trek up a highway road to reach a museum which surely has all the answers to locating his letter-writing-dead-wife.

By contrast to this, some games throw running speed to the wind. Japanese style role playing games in particular seem to sometimes favor this, most likely since running isn’t necessarily as an action mechanic in relation to the more hazardous elements of gameplay, since the field maps are handled independently of the combat sequences- that is to say, no one’s shooting at you when you’re free to run.

Back in the Sega CD days, I played a game called Vay whose main character moved with standard 16-bit sluggishness. Until you hit the run button of course, in which case protagonist Sandor would suddenly dart around like a Chihuahua on speed. He moved ridiculously fast, to the point that you often had to double back just in case you missed something.

More recently, Mistwalker’s Lost Odyssey takes a similar approach. Main character Kaim in this case actually moves at a decent speed normally, but hold down the run button and he goes considerably faster (yet with no change in visible stride or overall animation).

Both of these are cases where the mechanic seems implemented more for the player’s sake than for the game’s design. Both games represent turn based RPGs with random battles on the field maps- meaning as long as the experience distribution is handled correctly it doesn’t matter how fast the characters necessarily run.

I’ll just close by saying that the implementation of running mechanics and how they function varies from game to game. This, along with the body’s threshold for physical abuse, is probably one of the things thrown to the wayside more than anything else. But, like the aforementioned analogy (and probably others) games wouldn’t be so much fun if running were handled more realistically all the time.

 Basically, running should be handled kinda like porridge- you don’t want it too fast, or too slow, but just right. (Yes, I’m actually closing this on a Goldilocks and the Three Bears reference)