Xenosaga II: A Rant

So why am I choosing to blog about a game that released to bad to moderate reviews, and was overall a great disappointment when compared to its predecessor? I have no good reason other than I sat through the entire game and feel the need to vent a little and offer up some warnings to those classic minded rpg-ers wanting to take these games for a spin. I'm not offering up a complete review of the game as I don't feel the need; but if you're planning on getting into the series (quite a bit late, anyway) there are a couple things you should know.

First, the good:  Yes, the story is still compelling, complicated, confusing, and so well-written and unique that it's worth slogging through the second entry. Also, Episode II sports 5.1 surround sound and some pretty amazing cutscenes that hold up well to this day. The level design is so-so and...oh, starting to feel like a total review. Let's skip ahead to...

The bad: While I continued playing solely because I'm fond of the story and knew that I would have the good Episode III waiting for me at the end, it was still a very painful experience. Sure, I'm upset they changed KOS-MOS's voice actress; but the combat system was the real let-down of the game. A scenario if you will: Battle begins. There are three enemies of moderate power to take down - but surely nothing that KOS-MOS, Jr. and Ziggy couldn't handle, right? Oh, wait a minute. You mean in order to stand a chance against said "moderate" enemies I have to "Stock"? In layman's terms this means I choose a menu option (the "Stock" option) which adds one bar under my characters' hit points. And each character has a total of three bars to fill up for a grand total of nine bars? Wait, so each character gets to attack an extra time for each bar; but, isn't that nine total turns spent not attacking? And, wait a minute again. I'm getting attacked over and over by this gnosis that managed to boost (basically cutting into the attack line) and now half of KOS-MOS's life is gone. So now I have to spend a turn or two healing her and anyone else, all while stocking? Yes, yes, yes it's all true and is more laborious than carrying a three-hundred pound man up a "down" escalator. Sure you might make it to the end, but you'll be tired, annoyed, and left hating the heavy man. Okay, Monolith Soft, I appreciate that you tried to add depth and complexity to the battle system; but you forgot to add the "fun", which is kind of a key component of any video game. Sarcasm aside, though, I'm a little ways into Episode III and am relieved to see the battle system has more in common with the great Episode I.

Should you consider playing this classic trilogy? If you want one of the most unique JRPG experiences around then hell yes, you should. Just be warned that the second episode is trying at best; but is a merciful twenty-five hours long if you don't go after all the optional bosses, which you won't want to. Between all of the crappy combat, however, are some of the best cutscenes in JRPG history and shouldn't be missed, especially if you're planning on sticking around for Episode III. For me, it was worth it. Barely.

Will Still Make You Pee Your Pants - Retro Review of Fatal Frame II: Crimson Butterfly

By the time Fatal Frame II released survival-horror conventions were well established: creepy settings, numerous locked doors, funny-shaped keys to unlock said doors, convoluted narratives, and lots of backtracking. Tecmo’s foray into this genre clutches to these very conventions like a frightened child to her mommy, while at the same time throwing the finger to anyone brave enough to criticize her for it. While the format is familiar to the seasoned horror gamer, it is undeniable that this ends up being one of the classics of the genre, and is still creepy eight years after its release.

Players are introduced to the game via a short cut-scene in which twin sisters Mio and Mayu are running headlong through a forest. Mayu begins to lag behind slightly, and eventually falls down a slope, leaving Mio scared and alone, wondering what to do. This is where things take on the familiar “wait…what’s going on?” vibe as the two girls are instantly back together, and approaching a tiny, uninhabited village. As exploration ensues the player is filled in on what happened at the village (surprise! there was a ritual!) through scattered diaries, notes, old-school film reels, and the interesting Spirit Stones which provide minimal (albeit creepy) voice recordings when used in the aptly named Spirit Stone Radio. Pieces of the narrative fall together fairly nicely, provided you read everything you pick up. The only problem is that occasionally a note or diary entry is picked up out of order, making it seem like you're trying to read the script to Pulp Fiction. It can make for a confusing read, though this added confusion does serve to emulate what Mio and Mayu must be experiencing.

And what they are experiencing is downright scary! Sure, this game is roughly eight years old, and the character models have the whole "jaggy" effect that was commonplace with consoles of last generation; but in a dark room, alone, and with some decent surround sound this game still gave me both sudden scares, as well as that all-important feeling of despair that all decent horror games exude. The small village, both inside the many houses and out, is nicely detailed and complemented with the occasional ghost appearance. You definitely have to dispatch some of these ghosts, but there are many that are simply scattered about, continuing the activities of their past lives. I never knew when one might appear right in front of me, or to the side of the screen; and the simple fact that I knew of the inevitability of these encounters caused me to see things that were never even there. It's brilliant that a game can be so unnerving that it doesn't even have to scare you intentionally.

And speaking of intentional scares - the combat is also quite good at making you squirm in your seat, at least until you get a grip on the controls, upgrade your camera via easy to find Spirit Stones, and learn the movements of your spectral foes. This was my first encounter with the Camera Obscura, and once I realized that I would be forced to stand (almost) still as the game's ghouls meandered towards me I thought to myself, "That is freaking awesome!". In other standards of the genre (Resident Evil, Silent Hill...) you always received a gun or something sharp or blunt to rage at your attackers; but this game required me to stand helpless with a camera as I awaited my doom - but, not so much, as I eventually learned. There are only a handful of enemy types, and once I learned their hotspots for attacking and had to kill them over and over, the scare factor dropped immensely and made me anxious for the end of each battle so I could move on to the next creepy room. Also detracting from the overall scariness was the fact that I regularly had ten to twenty healing items in my inventory at all times. Fear of death was never an issue (despite the usual stupid mistake), and this was a shame. Also of note are the numerous instances of backtracking through the same few houses, as well as the frustrating camera work in which angles would shift so suddenly that losing my orientation was a common experience. These last two are traits common to the genre, but they are so prevalent here that I feel they are worth mentioning.

On the upside, Fatal Frame II has a nice, minimalist soundtrack that suites the dreary setting, and sound effects that will make your skin crawl. A highlight for me was when Mayu would chime in with her eerily detached, small voice with something like: "It's cold in here," or "I think somebody's here,". This was but one of many small touches the developers threw in to constantly keep players on the edges of their seats.


Despite its eventually stale combat system and other, small issues, I have to agree with the sentiment I've heard over and over about this game - it is one of the best entries in the survival horror genre, and must be played by anyone with a love for a good scare. I may have played it eight years late, but I think the game still looks good, sounds good, and feels...well, creepy as hell. Obtain a copy of this increasingly hard-to-find game any way you can. You will not be sorry.

There Will Be Money: An Argument For the Longevity of Video Games

Is it too bold a statement to say that video games will always hold a place in our society? How about that there will always be quality titles available? Or even artistically valid and thought-provoking titles? I think it’s reasonable to expect this sort of future – and here’s why.

The movie industry is pretty big, right? I would say so, considering that movie stars are pretty much the closest thing to royalty America has. The industry has been hit by financial woes in various ways over the years; but let’s face it, it still rakes in a mind-boggling amount of money because people (me, you, and probably everyone we know) love to watch movies. They are the main topic of conversation among many people I know. They make us happy, make us cry, make us this and that and nearly everyone loves it. Movies reach and affect so many people due to one very important thing: variety. No matter what someone's interest is, there are movies to coincide with it. There is a market for any interest; and there is always money to be made which guarantees more and more options.

Video games are not quite as mainstream as movies are; but they are steadily getting there. No longer is the average gamer left to sit alone and become socially inadequate in his mom's basement. Now we see throngs of people of all ages waiting in line to pick up the newest Call of Duty, and yet other folks connect through games on Facebook. I have heard countless discussions at work between grown women about certain Wii games that I never expected to hear. Slowly but surely the medium of the video game is permeating our society, creating new markets for developers as interest grows among the populace. The unfortunate stigma of the gamer as weird, nerdy and awkward is dissipating; and in its wake dollar signs are twinkling in the eyes of developers and publishers all over the world. I don't want to suggest that game makers are greedy (not all of them anyway), but let's face facts - opportunities for profit are continually opening up and it's only natural someone will be there with a product to sell.

Here we run into what I think is a large misconception among some people. Let us consider the music industry now - I have heard time and time again that no one is making good music these days. It is a common lament and frankly an unfounded one. It's true that popular opinion changes, creating a flood of mimics as everyone tries to cash in on "what's cool"; but if any self-respecting music fan digs past the mainstream onslaught they will find something that suits them. And for me, sometimes finding that diamond in the rough makes the discovery that much better. To an extent, the same can be said of video games. Notice I say "to an extent" - this goes back to my statement that video games aren't quite as mainstream as they will be. Currently, to dig past the Call of Duty's and Facebook games (not that these are all bad, mind you) and find something suitable to the discriminating gamers' tastes, some concessions may have to be made. Call of Duty not "deep" enough for you? Then try the third-person Mass Effect 2; there's plenty of action as well as top-notch story telling. Whimpering that there are no good horror games anymore? Well, you may have to pony up for a decent PC so you can try Frictional Games' amazing Amnesia. It's certainly not ideal, but there are options even now if you look hard enough and have the means to play what you find.

I say give it time. Today the average movie lover can enjoy mindless action, tear-inducing love stories, and deep and thought-provoking films that some may even call art. And as the popularity of video games increases so will the number and variety of games increase. Some gamers want the instant thrills that online multiplayer games provide, while yet others want that deep and time consuming experience that is the RPG. There are markets for all types of video games, and through the years we will see these markets grow and shift - yet they will be there and so will future developers and publishers. There will be demand, there will be money to be made, and there will be plenty of options for us gamers in the future.

*On a side note - this is all assuming there is no global economic meltdown; and in light of recent events let's hope things improve.  ; )

Well That Was Nice - A Magna Carta 2 Review

After the veritable RPG factory that was the PS2 it is strange to be talking about such a game on the Xbox 360; but this is the future, and things ain't what they used to be. What sets a game like Magna Carta 2 apart from the current trend in RPG's - that is, the western RPG - is that it is undoubtedly old school in its formula. For all intents and purposes it is, dare I say it, a JRPG, despite its South Korean development house. This game employs the same tried and true formula we've seen over the years from titles such as Final Fantasy, Dragon Quest, Legend of Dragoon and many, many others. That said, if you have played a JRPG before then you will feel right at home with Magna Carta 2.

The story begins with the young and hapless Juto, who is coping with a textbook case of amnesia with the help of the sisterly Melissa on the scenic Highwind Island. After some perfunctory introductions to their characters, a tutorial on how the fighting system will work, and other hijinks between Juto and Melissa, a sudden invasion of this once peaceful island begins. Here we are introduced to the the two warring factions in the game - the Northern Forces and the Southern Forces. Without giving too much away in terms of plot, it would seem that the Northern Forces are creating powerful warriors called Sentinels which require something called a Kamond, a physical manifestation of the game world's version of magic, and have suspicions that Highwind Island houses such a thing. This is where the Southern Forces (the good guys) step in, with princess and soon-to-be close friend to our hero Juto, in tow. Before we know it Juto is swept up in an epic story of power, greed, love, and intrigue. I will admit that, although the plot is very familiar, it tells an interesting story and takes a couple unexpected turns that guaranteed I would stick around for the ending.

Combat can also be a high point in the game, though it is carrying its own bevy of flaws. The player's party consists of three members that can be switched on the fly with any of the three reserve members. Once a party of three is chosen, the player is then able to fight as any one of the members at the touch of a button; which can be fun as well as annoying. Take this scenario for instance: I hit the A button a number of times to pull off a combo move with Juto as his "Overdrive Meter" fills up. Once the meter is in the red I can then hit X to pull off a special move, and once this is done Juto cannot move for a number of seconds. So I now switch to Zephie and use her until her meter is in the red, meanwhile Juto's meter is seen going back to normal below Zephie's. If I can successfully pull off a combo and/or use a special attack, putting her into overdrive as Juto's meter refreshes, then her meter will refresh instantly and she is free to attack once again - this is what the game calls a "Chain Attack". Sound confusing? It can be, and I didn't fully grasp this concept until about twenty hours into the game. Perhaps I wasn't paying proper attention, but even after I understood what to do, actually pulling off these combos effectively was not always possible. There were times I would have all three characters in overdrive, walking around dumbly waiting to attack while getting smacked by various large implements of war. My teammates' pathfinding AI was also a big problem at times, as I would finish off a combo with one character, and switch to another to find them twenty yards away running into a rock. Not only was my party unnecessarily split up, but now my party member actually in battle is left to drool on himself while I guide everyone over to save his skin. Granted this doesn't happen a lot, and when things are working as they should combat is actually great fun, but there were more than a handful of occasions I found myself shaking my head in amazement.

There are also certain graphical flaws, which may just be inherent to its use of the Unreal engine. Texture pop-in is commonplace, but when everything is painted in properly things look very nice. There is also a nifty, dreamy blur in the distance, which likely also serves to boost the framerate in certain cases due to the large playing fields scattered between the many narrow trails. Thankfully, the world is fairly fun to explore, as treasure chests are a common find and the scenery varies from lush, green forests to barren, lava-scarred terrain. The music, however, left little impression on me and more often than not was forgotten behind the sounds of battle.

I have my gripes with Magna Carta 2, but in the end none of them detracted too much from my overall enjoyment. The story begins as a rehash of familiar conventions, but ends up being quite a gripping tale that brought forth unexpected feelings of ambivalence in me. The combat, when it works, is rewarding and addicting, drawing you back into the field for just one more level before calling it a day. And the attractive fantasy world of Lanzheim, while at times seemingly empty except for enemies, is a satisfying romp. I have been neglecting this thinning genre of RPG lately, and playing Magna Carta 2 was like trying on an old pair of "footie" pajamas and realizing they still fit comfortably. I can't say I desire another immediate playthrough of it, but I would definitely purchase another entry in the series. Here's to hoping that the next Magna Carta is a more-polished gem of JRPG goodness.

At Long Last...

Ahhhhh.... that's better.

See that scanned photo above? I finally found a copy of one of my most sought-after horror titles: Fatal Frame II: Crimson Butterfly! I remember reading reviews of this after its release and for some unknown reason never plunked down the cash to play it. Before I gush more let me get this out of the way - I am a horror game junkie. I don't know if I would say it's my favorite genre, as I like to play the "fair dad" and say I love them all equally, but there is something primal and satisfying about feeling absolutely alone and scared to death. It takes a special talent for game design to achieve the atmosphere needed to draw you in and creep you out without knowing it right away, and in this respect I think few compare to Amnesia and the Silent Hill games (except Homecoming, which can die in a fire as far as I'm concerned), but something tells me that I'm going to dig the hell out of Fatal Frame II for this very reason. Just a hunch.

I could have easily found this sooner by purchasing it online, or perhaps having my local GameStop ship it from another store. So why didn't I? Good question, and I suppose it's due to the same reason I didn't buy it upon its two separate releases (both PS2 and Xbox). What that reason is is a complete mystery to me. Perhaps my subconscious has been swaying my hand when selecting which game to buy, knowing through some ethereal grapevine that something horrible would happen should I let my PlayStation consume this disc. Or maybe I just should have bought this instead of Condemned 2. Either way I plan on tempting fate as soon as I finish with my first playthrough of Mass Effect 2 (I know, talk about late to the party), which should be fairly soon. Hmmm...I feel a retro horror review coming on...