Enter your email address to subscribe to this blog and receive notifications of new posts by email.
Join 4 other subscribers
In their last show as a band, the Sex Pistols played one song and left the stage. Before leaving the stage, Johnny Rotten quipped, “Ever get the feeling you’ve been cheated?”
The thing is, I don’t feel this way for the reasons everyone else might think I might. I suppose we’ll go after the biggest point of contention first.
“Final Fantasy XIII is The Worst Final Fantasy Ever (TM) because all the dungeons are straight lines and there are no towns.” Guess what. The non-linearity of those Final Fantasy games you all hold so dear is an illusion. Final Fantasy XIII draws so much ire because it has the gall to tell you what you already know.
I mean, really, you might be able to wander around the world man, but that doesn’t mean you get to pick what you do. The plot only advances when you go to specific places in a particular sequence (also known as a linear progression) and locations on the map are artificially locked from transit by story gates.
In fact, non-linearity is a joke across almost every video game. The main fun of any GTA game may not stem from following the story, but when you do decide to start on it, you will never be able to sequence break or do anything but follow it linearly to its conclusion. You might be able to pick which order you complete mission paths, but, with the exception of GTA IV, every event has a pre-determined outcome. If that’s not linearity, I don’t know what is.
I applaud a game that doesn’t try to conceal its story behind a veneer of faux choice. Final Fantasy games have only ever allowed choices once: The World of Ruin in FF VI. There are countless story details and sidequests to experience, but once you get Setzer, Edgar, and Sabin, you don’t have to see any of them. You’re free to grind and face Kefka at any point.
Bonus points really should be awarded to FF XIII for having the guts to let its story carry the momentum, but they are immediately lost on their failed attempt to make anything remotely interesting happen.
Foremost in my annoyance with the game is Hope’s subplot. In the first hour or so of gameplay, Snow, a big, earnest, stupid guy in the tradition of anime big, earnest, stupid guys, manages to get most of his ragtag squad killed, including Hope’s mother, standing up against the world’s government. Naturally, this infuriates Hope, who now desires revenge.
Hypothetical: A man seems directly responsible for the death of your mother. Do you:
1. Stutter and stammer every time you see him
2. Stew silently while enjoying revenge fantasies every time you see him
3. Figure out some way to confront him (in rage or otherwise) the first chance you get.
Maybe I’m being presumptuous here, but unless you’ve got some sort of emotional disorder, option three seems like the healthiest and most logical choice. Hope is all about the first two options because he is a gigantic pain in the ass.
I don’t think this is the result of some kind of cultural difference. I mean, hey, I’m not the most emotionally open person. I don’t really go around sharing my feelings with everyone I know, but I’m pretty sure that if a man were responsible for killing my mom, he’d know about it ASAP. It’s got to be a contrivance (and an annoying one). Why are characters in media so unable to just open their mouths and talk? If writers think this is an effective way to build narrative tension, then I’ve got news for them. As a rule, if your characters are forced to behave like they’ve never interacted with another human being for your plot devices to work, said devices are cripplingly contrived.
Honestly, it’s just lazy writing and it removes me from the narrative. Maybe Hope has a Deep Dark Secret that makes him act so stupidly, but we never learn about it. The game goes out of its way to say that Hope has father issues to hand-wave away his social idiocy, but when we meet Papa Hope, we’re confronted with a loving father who seems to care very deeply about his son. Did I miss something somewhere? Someone seems to have dropped the ball.
You know what, I think I know why this happened. Somewhere along the way the story gurus at Square Enix decided that many young men, their prime and target demographic, seem to have issues with their domineering fathers. Some of them wrote this detail on his character sheet. Somewhere else the scenario writers were coming up with how half of the player characters would unite and escape. They decided they’d meet at Hope’s mansion and Hope’s awesome dad would help them out. When you’ve got a game this massive and important, you’d think that these two teams would discuss these idiosyncrasies, right? How does such a glaring contradiction make it into the final build?
One of my other big “WTF?” moments comes at the end of a sequence at an amusement park. Sazh struggles with whether or not to kill the traveling companion who has betrayed him. Pretty soon after that starts, the physical manifestation of his emotional conflict attacks him. For most characters, fighting their eidolons, as they are called, brings them emotional peace allowing them to understand their path. In this case in results in Sazh deciding to commit suicide. What. The. Fuck.
Repeating this same emotional pattern six times (one for each main character!) seems like it would get old fast. It does. Suicide does not freshen the experience. It makes no sense. We all know he’s not really dead because we just unlocked his summon!
It’s a shame to see so many missteps in such a promising premise. Roll with me here. In the world of FF XIII there are two primary sentient beings: Humans and Fal’Cie (ignore the stupid name of the second species (typical Squeenix pretentious nonsense)). The FC, as I will now call them, are magical creatures specializing in producing food, power, or other more advanced functions. Unfortunately, the FC are split into two warring factions, Cocoon and Pulse. FC also have the terrifying ability to brand humans, saddling them with cryptic quests. Failing to complete these quests turns the human into a mindless monster cursed to wander the earth slowly solidifying until he finally petrifies and can no longer move. If they magage to succeed in their quest, they are transformed into crystals for eternity. Those in “crystal sleep” are not dead, but they are also not alive.
It’s the perfect deconstruction of video game protagonists. Each character has a singular purpose. Failing will result in a fate worse than death and succeeding will result in the end of the narrative, dooming the characters to non-existence. The much maligned linear nature of the game represents their inability to turn away, especially when you learn that the antagonists have been helping you the whole time. The big bad wants the characters to kill him. For once the game realizes that its point is to be defeated by the player.
If Squeenix hadn’t gone and relied on a deus ex machina ending like they had, the world would have ended with mankind and the FC extinct. It would have been brilliant.
Here’s another idea for the writers out there. If we have no idea (and no hint) a character can do something until you dramatically reveal it in the penultimate cutscene, it will feel cheap when you make the ending rely on that skill. Not to mention, of course, that the physics of arresting the momentum of a giant biome falling thousands of feet through the atmosphere would probably result in the deaths of nearly every inhabitant.
This is all stacked upon the naive and bullheaded solution that our heroes come up with to counter the manipulative FC. Get this, their plan is to just keep going along the path hoping that something will save them from dooming themselves (ok, so it does, but that’s because of narrative bullshit). It makes my brain hurt in ways I cannot fathom. It’s idiotic.
Now we’re going to take a moment for a quick aside into my personal life that will invariably lead back into the game.
I don’t know what university was like for non-math-type majors, but for my ECE degree I was forced to read and watch tons of mathematical proofs. Invariably (math pun! (so lonely)) we’d reach a point where the professor would skip to the end of the proof and tell us students “I’ll leave the rest of this proof as an academic exercise for you students”. When you’re the professor, you don’t have to waste your time doing the grunt work.
That was quick, back to the game:
Why are we forced to load the battle engine against enemies who are drastically weaker than the player’s party? What’s the point of that? The only time I’ve ever seen this problem intelligently avoided was when I played Earthbound. Once Ness is sufficiently more powerful than a given enemy, enemy encounters result in an instant KO. The battle engine isn’t loaded and XP and items are awarded as appropriate. The game surrenders a battle whose result is a foregone conclusion, saving you from wasting unnecessary time.
Shouldn’t more games do this? Why do I have to load up the battle engine to complete a fight that lasts five to ten seconds? What does the game gain by forcing me to sit through this? It’s not like we’re strategically managing resources in this game (unlike, say, a Persona or Shin Megami Tensei game); the entire party is fully healed after every battle. So why not? Does Squeenix think that if we don’t sit through a five second battle while pushing ‘X’ once we will be livid that the game is playing itself?
Of course, this makes even less sense when you think about the way the battle system works in FF XIII. There are two ways that you can fight: Auto-Attack and Abilities. If you select Auto, the AI will select a series of commands faster than you could based on the knowledge it has about the enemy you are facing. All you have to do is set the roles (Tank, DPS, Healer, Buffer/Debuffer) and the game will pick the most prudent course of action. It’s also streamlined to such a degree that if you die, all you’ve got to do is pick retry and you are respawned just outside the battle you just lost. It’s that easy.
Final Fantasy XIII wants so badly to be a well-oiled machine, like a Disney ride pushing you toward the goal, that these time sinks become way more pronounced. Fighting with auto, like almost every player does, with your only responsibility being character roles can still be strategic and fun, but at a certain point I start to think, “Why do I have to select auto every single round? Why can’t I just toggle it off when I need to change my tactics?” It’s like the game asks me every turn if I still want it to play the game for me.
Don’t get me wrong here, XIII is not a bad game…or maybe it is. Perhaps FF XIII is a better experience than it is a game. You’ve got stunning cutscenes and top-notch voice acting combined with a game that mostly plays itself along a straight line. Almost sounds like a movie to me.
When you’re on a 2.5 week trip, it hardly seems like it’s ever going to end, but it was my last day in Tokyo and it felt pretty surreal. It would be my last chance to tie up all my loose ends, so I headed out to get my final souvenirs and replace that stupid sake cup that I broke.
The plan was to go over to the Square Enix store to grab a CD for Min, the Tokyo Seibu Loft to try and replace the sake cup, somewhere to find another bag because my suitcase was now too full to travel, the Tokyo Dome to get Fighters jerseys for Eric, and maybe a CD shop to look for a live Persona music DVD/CD.
It would be a busy Thursday as I worked to get everything done and have enough time to see the sumo tournament I had tickets to and catch the ballgame that night. It doesn’t sound like a whole lot, but it involves a lot of train switching and walking and nothing really opens until 1000 or 1100.
They text just as much as we do out in Japan, if not more.
To make a long story short, my day was met mostly with adversity. The first two or three stores I went to didn’t have travel bags. As I mentioned in a previous post, the Square Enix store was closed because it was Thursday, so the long trip out there was a waste of time too. The only real highlights were being able to get Eric and Danielle’s jerseys, the Persona DVD/CD (and a few other soundtracks), and my final CoCo curry lunch of the trip. All the running around the city got me back to the hotel with barely enough time to get to sumo (only an hour and a half left of matches that day) and a guarantee that I’d be late to the stadium in Chiba.
Frustrated, I finally reached the station by the sumo venue. How did I know it was the right one?, I hear you ask.
Lucky guess, I suppose.
Sumo has a religious context to it too, a first for any sporting event I’ve ever seen. Because of that and probably the national germophobia, I was required to purify my hands at the gate after entering with hand sanitizer. It was strange, but I also got a sweet sumo fan out of it, so I couldn’t really complain.
Exhibit A: Sweet sumo fan.
A nice usher lady took me to my seat in the arena and I saw some great bouts. There’s a lot of starting and stopping in sumo that I really didn’t understand, so each match takes a really long time. Rather than explain it, I took a video of the match:
There are so many videos because of the limit in how long an upload can be on Flickr.
Once I’d had my fill of watching the most awesome wrestling style on the planet, I decided to head on over to Chiba Marine Stadium. Before I got too far, I noticed barricades being set up for spectators to wait and watch the departing sumo wrestlers. A steady stream of those already done with the day’s matches flowed out of the stadium and excited fans waited for a chance to take a picture.
Leaving the arena for the night.
One older lady walked right up to a sumo wrestler, but he brushed her off. As I was walking toward the station I noticed a much younger, very good-looking lady stop to talk to the same sumo and he gladly stopped to chat with her. It’s comforting to know that sumo wrestlers are men just the same.
They may have the mass of three men, but they still have the brain of one.
By the time my train and taxi made it to Chiba Marine Stadium, it was already dark out and the game was just getting started. I bought my jersey, but not before almost going insane listening to the Marines fight song on endless loop, and made my way to the seats.
Your usual fake grass outdoor ballpark. At least the dirt is real here.
The Marines are one of the few Japanese teams managed by an American, Bobby Valentine, in this case, and, contrary to what you might think, the fans of the team totally love Valentine. Despite the fan adoration, the team did not renew his contract in Chiba, so it was his last year managing the team. Fan response was vehemently against letting Valentine go, so much so that the cheer section carries a large Bobby Valentine flag with them to every game. Still, the team is looking to go in other directions, so they’ve even ignored the fan petitions and pleas to keep Valentine. With his dismissal, the lone, remaining American manager is Marty Brown, who was fired from the Carp this season, but will go on to manage the Eagles next year.
An early shot of the scoreboard.
Since Ken was there and, if you recall, he loves the Lions, I was actively rooting for the Marines, even though we were seated within the Lions section. I was lucky this game, because it was one of the few where the home team prevailed, with the Marines eventually winning 6-3, bucking the home team loss trend of the trip once again.
The last out for the Lions walks dejectedly off of the field. Reminds me of the episode "Good Grief" in Arrested Development.
Chiba Marine Stadium was nothing really to write home about. The decoration was mostly spartan and kind of reminded me of late 80s stadiums in the States. Most of the atmosphere comes from the ōendan. If you remember from that Buffaloes game, those guys go nuts all game long, waving their flag and jumping up and down to their fight song. They really get into it and make it lots of fun.
Yet another shot of the field
Another game marked off, we now had only one left and only one more full day. Since we had to catch a very early shinkansen, I had yet another boring night as I packed up what I could and turned in for the night. To Tohoku and Sendai tomorrow!
Insert another credit, because it’s time for your weekly video game news and you’ve just hit the Game Overview screen.
July was an interesting month for sales. It seems that if your name wasn’t EA or Nintendo, you didn’t even crack the top ten list for game sales. In fact, Nintendo’s month of dominance is even more astounding when you consider that the top sellers included New Super Mario Bros. and Mario Kart DS, games well past their prime. This tough economy is making it rough to be anyone but Nintendo, but I’m sure that the holiday season will bring other games to the forefront. There’s lots of good stuff in the pipe.
Speaking of dominance…
Pokémon Platinum launched about a year ago in Japan (September 2008). As of right now, lifetime, worldwide sales of that title have reached 5.66 million. That’s a lot of pokémon. Even more ridiculous are the lifetime sales figures for the franchise, which stand at 193 million units. It’s astounding to see just how well this series has done.
Expect that 193 million to increase by two come spring 2010, since Nintendo has announced that HeartGold and SoulSilver will be launching then. I’m a sucker for catching them all, so I’ll be picking both copies up, probably in the mail to spare myself some embarrassment at the store.
My most recent WoW relapse occurred around the launch of the Wrath of the Lich King expansion. I can safely say that I’ve been cured of the need to grind in Azeroth, but that doesn’t mean I’m disinterested in rumors pertaining to the game’s expansions. While we’ll probably get most of this confirmed or denied at this weekend’s Blizzcon, there’s no harm in talking about proposed changes.
It’s MMO 101 to raise a level cap and open up classes to races to loosen restrictions and bring in more players and it’s MMO 201 to add in new races, so you shouldn’t be surprised to hear that the level cap will supposedly be 85, classes will be available to more races, and there are rumors that the Worgen and the Goblins will become the next playable races, but it’s most surprising to me to hear that they might remake classic Azeroth. That would be a monumental undertaking and it would seriously alter the way that people play the game to start. It would be cool to see them shake things up a bit.
I’ve also heard they’re buffing Onyxia so she’s less of a joke. Good on you Blizz.
While we’re talking about Blizzard, the Starcraft II LAN petition has reached 100,000 signatures. Unfortunately, 99,000 of those people (maybe more) will still buy the game when it launches, regardless of this petition. My guess is that Blizzard still doesn’t care. With how much money WoW makes them, they can easily shrug off a few lost purchases.
Everyone loves when a company starts to talk price changes. Who wants to spend so much money on those consoles, right? I’m sure that the UK was thinking it was a good day when they heard that they were going to be changes to the MSRP of the 360, but it turns out that Microsoft is raising the price. By £30. That’s about $50.
Sorry England, I don’t know why M$ is treating you so poorly. I still like you guys.
Phoenix Wright is getting an UDON art book! Those guys are responsible for the fantastic Street Fighter comics and the new sprites in the HD Turbo Remix and they do fine work.
You can see images from the book here.
It’s hardly scientific, but a Game Informer magazine survey suggests that the hardware failure rate for Xbox 360s over their lifetime has been over 50% (54.2%). This was revealed based on a survey of 5,000 of their readers and it’s kind of alarming. To be fair, the new hardware boards are supposed to have fixed this, but it’s still at a highly unacceptable level.
Also unacceptable, Microsoft is planning on cutting HDMI and component cables out of their packaging, forcing users to buy cables that used to come bundled. Thanks for being cheapskates guys, but I guess the economy’s pretty bad right now, so I can’t complain too much.
I think it’s fair to say that I love the Persona series. A lot. I love seeing new games in the series announced and I’d love to see a remake of Persona 2 (both games). That’s what makes the announcement of a PSP version of P3 so strange. That game came out nearly two years ago and it’s getting a remake that allows the player to play as a female? More details as they become available, but I think I’m just bitter because I don’t have a PSP.
The Real Slim
After months of leaks and speculation, Sony finally confirmed the PS3 Slim at Gamescom in Cologne, Germany. The new hardware SKU will replace the older hardware and retail at $300 with some slight changes.
There will no longer be a power switch on the back and the power and eject buttons will be actual buttons instead of whatever tech they had there before, the system is obviously slimmer and smaller, there are only two USB ports, no media card slots, a new, faster disk drive, and, unfortunately, no custom OS (no Linux!), and no backwards compatibility.
Still, it’s a great deal for a blu-ray player and a fine system for gaming. Good to know it’s for real.
There you have it, the biggest news (to me) of the week. To those of you keeping score at home, yes, this is the first week I’ve gone without a Left 4 Dead 2-related story since forever ago and I’m devastated about it.
When I was a kid I became saddled with the unfortunate notion that Japan did pretty much everything better than the United States. I don’t think I would have gone so far as to call myself a Japanophile, but it was definitely close. Their video games were all sweet (FF VI and Chrono Trigger!) and their cartoons sure beat the heck out of the asinine stuff I was sometimes watching on the Disney Afternoon. This may have had something to do with the fact that I was watching Bubblegum Crisis and Ranma at a time when the best cartoon I could watch was Timon and Pumbaa, but it would be foolish to think that the allure of the unknown didn’t factor into it too.
This persisted up until I got to high school and I realized, “Hey, I’m never gonna get laid if I keep this up…” Your mileage may vary with that statement, but at my school the anime crowd consisted of one fat lesbian and a bunch of greasy, socially maladjusted dudes. Clearly a situation not conducive to meeting the ladies. So what did I do? Push a lot of it to the hidden background and pretend like I played video games and watched anime a lot less than I did.
Here I digress for a few moments about the absurdity of anime culture in the states compared to Japan. We grow up rationalizing that the obsessive, smelly, cosplaying kids we see on this side of the the Pacific would fit right in the Land of the Rising Sun, but the truth is otaku is almost a dirty word in Nippon. The most hardcore devolve into hikikomori and become paralyzed with social anxieties preventing them from even leaving the apartment. Yes, I know it’s naïve to associate the hikikomori exclusively with anime, but it’s also totally fair to say that a good degree of them do obsessively collect or exhibit some sort of obsessive otaku behaviors. Meanwhile, the term is romanticized in the West as a badge of pride. My brother uses DJOtaku as a handle online and even to actually DJ. It’s bizarre in the way that the Japanese attach firmly Western ideas like Christianity or Western names to their anime characters. It kind of fits, but then you realize that this nun-training school is part of a hentai dating sim and it leaves you scratching your head.
And so my love-affair with Japanese media remains mostly a secret, but even I have become disillusioned with it. The over-reliance on moe, the bizarre obsession with girls who look like they are eight (I realize this is part of moe, but this is creepy enough to warrant its own entry), same-y plots, and damn-near interchangeable characters make the whole thing feel kind of like a waste of time. Among all of this unoriginal crap that was flooding my brain, I managed to run into Azumanga Daioh. Guess what: this is the most realistic, if you can call slapstick realistic, seeming representation of Japanese high school life. It’s also entirely incomprehensible to anyone who just doesn’t get Japanese humor. Aside from all the insanity, what did I learn? Japanese high school sucks.
Let’s start right from the entrance requirements: Japanese high schools are not compulsory. Here in the States the local governments provide school for us knuckleheaded Americans to attend as required by law (unless we decide to stop going at age 16). The Japanese, on the other hand, have to test into their high schools, rather like some of us do for private schools. Then they suffer through three years of rote memorization all while stressing out over college entrance exams, attending school on SATURDAY(!), spending time obsessively devoted to their clubs, and, if they’re trying to get into a sweet university and they’re not brilliant, attending cram school to help study for those entrance exams. Meanwhile I coasted through public school, hit on girls as often as I could, and spent my afternoons swimming, hanging out with my friends, playing video games, and maybe doing some homework. One seems clearly better than the other, but then again, who am I to judge? Plenty of Americans probably can’t find Japan on the map much less remember the quadratic equation. I counter that we also don’t deny raping and pillaging China and Korea, so I’ll call us even for now.
So now you see that if you weren’t in a private boarding school with super-strict academics, your life was probably a lot easier-seeming than your counterparts out East. Enter the Persona series, which for the past two iterations has, yes, simmed having to attend JAPANESE high school. Persona 3 has you attending high school in an urban Tokyo-analog. Then you move onto Persona 4 which takes place in rural Japan where everyone is quick to tell the protagonist, heretofore referred to as Dan, since that’s what I named him, that “Boy is life gonna be boring now that you’re out here with us country bumpkins after living the high life in the city.”
I say all this to point out that Persona 4 comes at the non-Japanophile from an unexpected angle. It is an unapologetically Japanese 80+ hour RPG about going to school in the countryside. Yet, as I write this, I am listening to Vinny Caravella and Jeff Gerstmann comment on the game, MSTK 3000-style, in one of Giant Bomb‘s most successful video features, the Persona 4 Endurance Run. So not only did I play this game, I take about 20-60 minutes each day, on average, to listen to people play the same game I spent 80 hours on and crack jokes about it.
Persona 4 is good because it, rather like Azumanga Daioh, represents high school in rural Japan pretty darn well. I say this, of course, as a man who has never attended high school in rural Japan. In fact, my most legitimate experience with Japan comes from working in Okinawa, so take from that what you will. In my mind, it does a pretty good job, abstractions aside. As a student who also has to grapple with the forces of evil, Dan also must balance his social life, do his schoolwork, and work a part-time job, which mirrored my high school experience in America, minus the forces of evil. The plot boils down to this, Dan shows up in Inaba, Japan right before a series of bizarre murders begin to happen on a fairly regular basis. Dan, being the mostly conscientious type, doesn’t really jive with murders, so he and his buddies decide to bring the murderer to justice.
There is one thing I also don’t remember being a part of high school: I don’t remember my posse constantly reminding me of the exact same thing, over and over, using different wording. There’s a disturbing trend in modern games where the player is treated as something of an imbecile. I can’t say I mind the Zelda-esque bold letters to denote something important is being said, but could that possibly be because I find the rest of the dialogue so full of repeated nonsense that my brain starts to shut down from exposure to stupidity? At least I know when to pay attention, right? I would blame the localization staff, but I realize that all the redundancy is actually a problem with the way the game was originally made. They’re just aping all of that empty, redundant dialogue with their translation. It’s also not a case of “Japan thinks the West is stupid,” because this game was clearly meant for Japanese audiences. No, this is what modern game designers do. You can’t trust the player to read the manual any more, that I get. Besides, video games are a visual AND a kinetic medium, as I’m sure you’ve heard me say before (just like you’ve heard me say games are too easy), but it doesn’t mean that you have to talk down to us. The Persona games, 3 more than 4, are way hard when it comes to the battle mechanics, but the storylines and dialogue are at about middle school level.
Don’t even get me started on the dubbing work…I’ve said it once and I’ll say it again, if you’re bringing a game over from Japan, leave the Japanese vocal track on there. I don’t care how much money you spent trying to localize and dub it, it just sounds bad. Japanese vocal actors, seiyū, are big business in Japan. Consequently, they’re way better at their jobs. Even if they’re not, I have no idea what poor Japanese acting sounds like, but I’m infinitely familiar with poor English acting (hint: I’ve got experience listening to every thing I’ve ever heard with English dubs). So here’s the pro-tip I’m sure they didn’t even ask for, don’t stick me with just a dub of your game. It makes me mute the volume when they speak. I know Atlus knows better too, because they do leave it on sometimes.
The folks at Atlus do respect gamers when it comes to their battle system. Persona 4 is joyously hard in an era where few games challenge me. I’m not a masochist, I just don’t want my game session to be so simple I can sleep through it. I get that Pokémon is a game for children, but why can I battle, listen to music, and play another video game entirely and NOT LOSE. There is a point, after you’ve finished the quest where Pokémon turns around, takes off its belt, and says “So you think your Pikachu is cute? You think that belief in the heart of your pokémon is going to tump my belief in cold, hard statistics?” and promptly starts beating down the weak, but this is after 60 hours of questing.
No, Persona paces itself brutally. You think you can get away with not having a social life? Your party will be weaker along with the Persona you summon. Think you can have a social life, but not worry about raising your personal statistics like courage, knowledge, or understanding? Guess what, you can’t raise your social links without certain statistical prerequisites met. This results in a game that forces you to do everything it asks of you and to do them at least kind of well, if you kind of want to survive. Grinding got you plenty far in Persona 3. You could buy SP (the MP-analog) recovery items at will. In Persona 4, SP is a commodity. There are three main ways to restore it: 1. Blind luck, 2. SP recovery items (now available through chests as a random drop or as a reward for helping people out), and 3. One of your social links. It seems like the third option would be beneficial, except that social link needs to be damn near maxed out for the cost of SP recovery to be manageable (oh yes, he’s your friend, but he don’t heal for free. Nope, daddy’s gotta eat too). So this SP system manages just how long you can survive in the dungeon because the monsters are pretty tough and won’t go down with physical damage alone, not without a strong fight. In fact, some are even immune to physical damage. You could try picking on weaker enemies in earlier dungeons, but their EXP yield eventually drops to drops in the ocean the further you get away from them in level.
I like Perona 4 because of its hard, no-nonsense battle systems. I like it because its story, embarrassing as it might be in front of girls you want to impress, because it deals with social anxiety, isolation, angst, and belonging, a little less than Persona 3, but you get what you can. I like it because it looks at Final Fantasy’s huge budget and beautiful CG graphics, flips it the bird, releases on PS2 when the PS3 has been out for two years, and uses a heavily stylized interface with anime style graphics and anime cutscenes. I also like it because I like being called Mesa-senpai and Mesa-kun. Not in real life, mind you, but it’s funny in-game.
Now, if you’ll excuse me, I’ve got to go watch some Naruto while eating curry and Pocky and building my Ichigo Kurosaki costume for Otakon.
I’ve known about this game for about a month or so already, but this is the official IBNttT Persona 4 exists (!) post.
Details are still a bit light stateside, but here’s a breakdown on what I do know:
The Persona 3 engine is being recycled for use in this new game (this will be very obvious once you see the embedded videos), which also means that the latest Persona game will be on the PS2.
Persona 4 does not take place in the same city as Persona 3. In fact, it takes place in rural Japan instead and might not even be related to Persona 3 at all. This wouldn’t be the first unrelated Persona game, as Persona 3 (correct me if I’m wrong) is entirely unrelated to the previous three games (yes, that’s an accurate count). There are no evokers (the guns that the students use to blast the Persona out of their psyche), but I’ve noticed from the trailers that the students all seem to be wearing glasses when in the shadow world. Whether or not these are needed to summon Persona or even what their purpose is, I have no clue.
The Wikipedia page for P4 states that the story is a murder mystery with the victims of a killing spree appearing on a mysterious midnight TV show that you can enter (maybe using the glasses?). There also appears to be a school day aesthetic, rather like P3 and, if the trailers are any indication, an equally cool soundtrack to P3.
I look forward to the day later on this month that I will once again be able to hold a video game controller within my hands, as I will finally be able to finish P3: FES (not to mention MGS4). It’s good to know that I’ll have something brewing in Japan, waiting for me when I finish. Well…it’ll probably be a while before it’s localized, but still. I can’t wait.
Enjoy the embedded opening and trailer of Persona 4!
The other day when I was talking about Persona 3, I got a comment about the SMT series being a Western-based RPG instead of a JRPG. To start off with, the original game for the Famicom was based on a Japanese book about using the digital world to summon demons. From this point forward, no matter how much the first-person dungeon crawling might be reminiscent of Ultima or other Western RPGs, we cannot call the game Western, but we can do better than just this.
Demons: Gotta catch ‘em all!
From the start of the series on the Famicom, Digital Devil Story: Megami Tensei, there was a focus on using digital methods to capture or recruit demons to fight on your team. A variety of demons should be collected so that the player will have access to multiple attacks to exploit the weaknesses of other demons and characters. So you can capture, coerce, or convince demons to join your party and fight alongside your team. They have specific characteristics and properties that they can exploit/be exploited. Does this sound like some other game that’s huge in Japan? That’s right, it’s like an early Pokemon, but much more violent and demonic. It’s rare to see a game of this type come out from the West, at least not before the Pokemon clones started to come out. Collecting monsters and elemental properties may not have been exclusively developed in Japan, but it was definitely refined in the East before the West even saw a prominent game of that type (please correct me if I’m wrong).
If you’ve ever watched anime, no doubt you’ve seen at least one instance of a Neo Tokyo or New Tokyo or post-apocalyptic Tokyo. Fear of destruction through nuclear attack, earthquake, or military assualt is very deeply ingrained in the collective Japanese unconscious. Just consider the number of calamities the country has experienced: serious bombing in WWII, two nuclear assaults, also in WWII, and the earthquakes the island weathers. So when most of the SMT games feature the destruction of Tokyo through missile attack, both nuclear or non-nuclear, it becomes clear that this series is distinctly Japanese.
(Anti?) Western Religious Themes
It takes a non-Christian country to have the final boss of a game be YAHWEH. The Almighty God is indeed the final enemy of SMT2. Lucifer and other angels, like Michael all make appearances, along with gods and demons from other religions. Especially back in the SNES day, but even nowadays, there would almost never be a Western game that prominently featured a character called the Messiah (there are Messianic characters, but that’s way more general and not considered offensive in the West), an anti-Messiah, or any vilification of the Judeo-Christian religion.
All of these small things combine to give what I feel to be a very distinct Japanese feeling, even with the first person viewpoint used in the earlier games.