After reading an article on gamasutra I realized just how primitive script writing still is. I'm a reasonable writer and I have read many scripts, and a common link in nearly all of them is that, in the directions, they will describe what is seen - rarely what is heard. As a composer I'm rather shocked at myself for not noting this earlier. But scripts and designs need, not to focus on audio, but to include it more.
So instead of:
JACK looks around the wood slowly. The sunlight flickers through the leaves and leaves long shadows as it begins to set.
We should see:
JACK looks around the wood slowly. The sunlight flickers through the leaves and leaves long shadows as it begins to set. He hears birds, crickets and other wildlife making noise and the rustle of grass. An owl hoots somewhere behind him to connote the transition into nightfall.
Sound needs to be utilised mroe, especially in the day of surround sound.
Thursday, 22 November 2007
Wednesday, 31 October 2007
Preview: Metal Gear Solid 4: Guns of the Patriots
Metal Gear Solid 4 takes place a few years after the Manhattan Incident in MGS2, and Solid Snake is back looking as old and war-torn as the Middle Eastern city he is infiltrating. Konami’s last installment of the hit stealth action series was released on the PSP earlier this year, so what new features can be seen on the Playstation 3 sequel, due out early next year?
First of all, interaction with NPCs is a big thing nowadays with breakaway games like Oblivion and Mass Effect breaking down barriers relating to conversation, but Metal Gear Solid 4 takes a slightly different tack. Actions speak louder than words after all. The game is no small step up from previous installments in the series by any standards, but one of the most intriguing new features is how the player’s behavior affects that of the AI controlled characters. Upon coming across a battle, Solid Snake has the choice of slipping through unnoticed or joining in the fight, and can help out either side. When it’s all over, those Snake assisted will say thanks and hand over some goodies before going on their way, and will do the same if Snake gives Rations to a wounded soldier.
Another new feature clear in the demo was Konami’s attempt to reduce the control complexity affiliated with the MGS series with a more context sensitive action button. When approaching a wall or other object that can be interacted with by using this button its current use is displayed by a graphic at the bottom of the screen, and this allows for easier interpretation and means that those who are less able to grasp the over-complex controls are less limited than in previous installments.
For those who missed out on MGS3: Subsistence of Portable Ops, the most important change in the series is the camera. No longer fixed to a top down view, the player has 360 degrees of control and gives a much wider view of the action. This change breeds another with a new over-the-shoulder aiming view similar to that of Resident Evil 4 and every action game that followed it, as well as an improved first-person view that finally allows the player to move whilst aiming.
Many games nowadays are trying to move away from the standard “health bar”, and in early previews MGS4 seemed to be trying something similar where it sacrificed the LIFE gauge and instead blood stained the screen a little more each time Snake got shot. The system was close to that of Gears of War but in the latest demos it has been completely removed and the LIFE gauge and stamina gauges are back. There may be an “injury” system like in MGS3 but Kojima and his team have obviously decided to sacrifice a “realism” gimmick for a more understandable and proven system that doesn’t hinder visibility.
Metal Gear Solid 4 has taken every step it can to simplify its interface and add the new features players expect from this generation. Levels are less linear, AI is much improved and the gameplay has been tweaked and overhauled to just the right level. Put this one on the list – Snake is coming back with a bang.
First of all, interaction with NPCs is a big thing nowadays with breakaway games like Oblivion and Mass Effect breaking down barriers relating to conversation, but Metal Gear Solid 4 takes a slightly different tack. Actions speak louder than words after all. The game is no small step up from previous installments in the series by any standards, but one of the most intriguing new features is how the player’s behavior affects that of the AI controlled characters. Upon coming across a battle, Solid Snake has the choice of slipping through unnoticed or joining in the fight, and can help out either side. When it’s all over, those Snake assisted will say thanks and hand over some goodies before going on their way, and will do the same if Snake gives Rations to a wounded soldier.
Another new feature clear in the demo was Konami’s attempt to reduce the control complexity affiliated with the MGS series with a more context sensitive action button. When approaching a wall or other object that can be interacted with by using this button its current use is displayed by a graphic at the bottom of the screen, and this allows for easier interpretation and means that those who are less able to grasp the over-complex controls are less limited than in previous installments.
For those who missed out on MGS3: Subsistence of Portable Ops, the most important change in the series is the camera. No longer fixed to a top down view, the player has 360 degrees of control and gives a much wider view of the action. This change breeds another with a new over-the-shoulder aiming view similar to that of Resident Evil 4 and every action game that followed it, as well as an improved first-person view that finally allows the player to move whilst aiming.
Many games nowadays are trying to move away from the standard “health bar”, and in early previews MGS4 seemed to be trying something similar where it sacrificed the LIFE gauge and instead blood stained the screen a little more each time Snake got shot. The system was close to that of Gears of War but in the latest demos it has been completely removed and the LIFE gauge and stamina gauges are back. There may be an “injury” system like in MGS3 but Kojima and his team have obviously decided to sacrifice a “realism” gimmick for a more understandable and proven system that doesn’t hinder visibility.
Metal Gear Solid 4 has taken every step it can to simplify its interface and add the new features players expect from this generation. Levels are less linear, AI is much improved and the gameplay has been tweaked and overhauled to just the right level. Put this one on the list – Snake is coming back with a bang.
Preview: LittleBigPlanet
LittleBigPlanet, from Media Molecule for the Playstation 3, debuted at E3 2007 and caused a stir that no-one was expecting. With people wanting more and more from games, why would a bog-standard platformer cause such excitement?
With the title due out in the first half of 2008, the answer lies in two places. The first of these is the most realistic and dynamic physics engine ever seen on a games console. Every object interacts seamlessly with every other object and there is a real sense of weight and momentum, and puzzles can be built of out this such as knocking down a tower of blocks with a ball to make a staircase of dropping something heavy onto a seesaw to propel the characters up to the next platform.
But the real appeal of LittleBigPlanet is found in the customization options, with players being able to create and fully customize levels from the word go. With the touch of a button menus are opened and allow the simple creation and manipulation of objects in real time with no additional loading required. All the levels created by Media Molecule’s designers are made with the same tools available to users so those who persist will be able to create some truly staggering masterpieces that can then be uploaded, shared, and rated via the Playstation Network.
This is an important device that completely throws away a lot of the problems suffered in the past by platform games. Whilst the linearity in the levels are still there, the ability to edit of create these levels gives the game the replay value that many platform titles miss out on.
These features allow users to experience and create complex puzzles in their levels which may require multiple players to solve – perhaps two characters are needed in order to lift a rock onto a lever for example. So with offline and online multiplayer support LittleBigPlanet is a perfect party piece as well, although it will be important for Media Molecule to get the online support lag free as, being a platform game, timing is of the essence and it cannot afford to suffer from the problems of other PS3 titles over the PSN.
But LittleBigPlanet is not only promising because of what it adds, but also what it takes away. Sonic the Hedgehog and Mario are two franchises that have suffered from going 3D, and whilst LittleBigPlanet is fully three dimensional, it plays like an old fashioned 2D platformer. Not having that distracting 3rd dimension brings the focus back to the action rather than carefully aligning for a difficult jump.
Add to these features stunning visuals, a catchy soundtrack and brilliant slapstick humour achieved by the cuddly characters whose extremities can be player controlled and this looks like a title that could reinvent the way people think about platform games. With moving the emphasis on running and jumping to physics, teamwork and user customization, LittleBigPlanet seems on course to take a giant leap forward in an otherwise recently stale genre.
With the title due out in the first half of 2008, the answer lies in two places. The first of these is the most realistic and dynamic physics engine ever seen on a games console. Every object interacts seamlessly with every other object and there is a real sense of weight and momentum, and puzzles can be built of out this such as knocking down a tower of blocks with a ball to make a staircase of dropping something heavy onto a seesaw to propel the characters up to the next platform.
But the real appeal of LittleBigPlanet is found in the customization options, with players being able to create and fully customize levels from the word go. With the touch of a button menus are opened and allow the simple creation and manipulation of objects in real time with no additional loading required. All the levels created by Media Molecule’s designers are made with the same tools available to users so those who persist will be able to create some truly staggering masterpieces that can then be uploaded, shared, and rated via the Playstation Network.
This is an important device that completely throws away a lot of the problems suffered in the past by platform games. Whilst the linearity in the levels are still there, the ability to edit of create these levels gives the game the replay value that many platform titles miss out on.
These features allow users to experience and create complex puzzles in their levels which may require multiple players to solve – perhaps two characters are needed in order to lift a rock onto a lever for example. So with offline and online multiplayer support LittleBigPlanet is a perfect party piece as well, although it will be important for Media Molecule to get the online support lag free as, being a platform game, timing is of the essence and it cannot afford to suffer from the problems of other PS3 titles over the PSN.
But LittleBigPlanet is not only promising because of what it adds, but also what it takes away. Sonic the Hedgehog and Mario are two franchises that have suffered from going 3D, and whilst LittleBigPlanet is fully three dimensional, it plays like an old fashioned 2D platformer. Not having that distracting 3rd dimension brings the focus back to the action rather than carefully aligning for a difficult jump.
Add to these features stunning visuals, a catchy soundtrack and brilliant slapstick humour achieved by the cuddly characters whose extremities can be player controlled and this looks like a title that could reinvent the way people think about platform games. With moving the emphasis on running and jumping to physics, teamwork and user customization, LittleBigPlanet seems on course to take a giant leap forward in an otherwise recently stale genre.
Preview: Lost Odyssey
After a somewhat average debut for new developers on the block “Mistwalker” in the from of Blue Dragon, the experienced team of ex Square-Enix employees headed up by producer Hironobou Sakaguchi are lining up for their second attempt due for worldwide release early next year.
The result is Lost Odyssey, an Xbox 360 RPG that tells the story of Kaim Argonar; a man who has been sentenced to live for 1000 years. Preview trailers and demos so far have looked and sounded promising, this title seeming to have more depth in both gameplay and narrative than the disappointing Blue Dragon.
In terms of the gameplay the creator’s style really shines through. Anyone who has experienced a main Final Fantasy title before FFXII will be in familiar territory here. Battles are random and a party of three or more fights it out against their enemies in a conditional turn based system. On using certain attacks, there is a small button pressing and timing exercise similar to the Overdrives of Final Fantasy X which can increase the effectiveness of attack if executed properly.
The use of this system is a gamble. Turn based random battles are tried and tested in a myriad of games, but is the general public going to accept another one in an age where people are pressing for more and more believable real-time systems? Level designs that can be seen are of the enclosed, relatively linear experiences seen in games like Final Fantasy X so early indications are the focus will be on progressing along a very fixed path to experience the story rather than giving a lot of scope for exploration.
Lost Odyssey uses the Unreal 3 engine and so graphically the game is above par, if not quite up there with the hyper-realism of Gears of War and Call of Duty 4. Effects in-game are beautiful and so far there is no hint of slowdown, although some of the animations look a little stiff and artificial, perhaps due to Mistwalker-s insistence on using key frame animation as opposed to the ever increasing popularity of motion capture.
The sound seems very promising at this stage. Uematsu produced a disappointing soundtrack for Blue Dragon but the style is much more focused in Lost Odyssey, and the tracks sent out so far have been full of the emotion and melodic quality that Uematsu is famed for. Equally impressive is the voice acting, and noticeably absent are the lip-synching issues for the English release as Mistwalker have designed this particular JRPG with the western audience in mind, which is a refreshing break from poor localizations from Japan.
In short, Lost Odyssey looks set to be a game to please the traditional JRPG lover, but doesn’t attempt to break any new ground in terms of its play and features. If the story and mechanics can grasp the player as strongly as the Final Fantasy titles before it, though, Lost Odyssey could well become a revered classic. For those fans of the tradition Japanese RPG, this title is one of the most exciting prospects of 2008.
The result is Lost Odyssey, an Xbox 360 RPG that tells the story of Kaim Argonar; a man who has been sentenced to live for 1000 years. Preview trailers and demos so far have looked and sounded promising, this title seeming to have more depth in both gameplay and narrative than the disappointing Blue Dragon.
In terms of the gameplay the creator’s style really shines through. Anyone who has experienced a main Final Fantasy title before FFXII will be in familiar territory here. Battles are random and a party of three or more fights it out against their enemies in a conditional turn based system. On using certain attacks, there is a small button pressing and timing exercise similar to the Overdrives of Final Fantasy X which can increase the effectiveness of attack if executed properly.
The use of this system is a gamble. Turn based random battles are tried and tested in a myriad of games, but is the general public going to accept another one in an age where people are pressing for more and more believable real-time systems? Level designs that can be seen are of the enclosed, relatively linear experiences seen in games like Final Fantasy X so early indications are the focus will be on progressing along a very fixed path to experience the story rather than giving a lot of scope for exploration.
Lost Odyssey uses the Unreal 3 engine and so graphically the game is above par, if not quite up there with the hyper-realism of Gears of War and Call of Duty 4. Effects in-game are beautiful and so far there is no hint of slowdown, although some of the animations look a little stiff and artificial, perhaps due to Mistwalker-s insistence on using key frame animation as opposed to the ever increasing popularity of motion capture.
The sound seems very promising at this stage. Uematsu produced a disappointing soundtrack for Blue Dragon but the style is much more focused in Lost Odyssey, and the tracks sent out so far have been full of the emotion and melodic quality that Uematsu is famed for. Equally impressive is the voice acting, and noticeably absent are the lip-synching issues for the English release as Mistwalker have designed this particular JRPG with the western audience in mind, which is a refreshing break from poor localizations from Japan.
In short, Lost Odyssey looks set to be a game to please the traditional JRPG lover, but doesn’t attempt to break any new ground in terms of its play and features. If the story and mechanics can grasp the player as strongly as the Final Fantasy titles before it, though, Lost Odyssey could well become a revered classic. For those fans of the tradition Japanese RPG, this title is one of the most exciting prospects of 2008.
Wednesday, 24 October 2007
Retro Reviews: Metal Gear 2: Solid Snake
After a poorly received “sequel” to Konami’s hit MSX title Metal Gear, the franchise was given back to the man who came up with the concept in the first place: Hideo Kojima. So on July 19th 1990, Metal Gear 2: Solid Snake was released on the MSX2 in Japan, although it wouldn’t see an official European release until it was made downloadable onto mobile phones in 2004.
What Kojima produced was a revolutionary title that far surpassed the quality of the original groundbreaking Metal Gear. But what was excellent in 1990 is seventeen years older today – and this shows in Metal Gear 2. The story follows FOXHOUND operative Solid Snake, brought out of retirement by the unit’s new commander Roy Campbell. His mission is to infiltrate a military installation known as Zanzibar Land and rescue a kidnapped scientist who has produced a new bacterium to create oil.
The gameplay was heavily updated from the original Metal Gear, the most noticeable being the enemy AI who could not patrol a wider area, hear and investigate out of place noises and had a 45 degree field of vision. The inclusion of a crawling mode and radar gave the player more places to hide (such as air ducts) and allowed planning based on enemy patrol routes. The bad news is that for those who have played later titles, MG2 is an extreme step backwards. Determining height is often a problem, so whilst the player may think he is safely hidden behind a wall, the guard will still spot him because he is not crouching. Enemies also tend to know exactly where Snake is – once they have spotted him, it doesn’t matter if he runs away and hides in a vent, enemies will hone in with unfair efficiency. No game that is this basic should be this challenging to play. Unforgiving from the word go; Metal Gear 2 is a harsh title with no real reward from playing.
The visuals are decent for their time, but are so basic that they’re unable to portray any real sense of emotion which distances the player from what is a strong story. Graphically Metal Gear 2 has aged poorly and better shading to give a better impression of scale would have worked wonders.
Sound effects are simple beeps of varying pitches but they’re not so poor they grind on the players nerves. The music on the other hand lacks identity, obviously repeats itself and is far too upbeat for a “stealth” game. Many players will be reaching for the mute button as the soundtrack offers little variation and sets entirely the wrong mood.
In conclusion, Metal Gear 2: Solid Snake is a game to be showed respect for the classics it inspired, and for those persistent enough fans of Metal Gear Solid it is worth a play just for a deeper understanding of the story. But this is a game that has fallen down trying to stand the test of time. Created in an era where video games where still very much in their infancy, seventeen years is simply too much to ask.
Overall: 5/10
What Kojima produced was a revolutionary title that far surpassed the quality of the original groundbreaking Metal Gear. But what was excellent in 1990 is seventeen years older today – and this shows in Metal Gear 2. The story follows FOXHOUND operative Solid Snake, brought out of retirement by the unit’s new commander Roy Campbell. His mission is to infiltrate a military installation known as Zanzibar Land and rescue a kidnapped scientist who has produced a new bacterium to create oil.
The gameplay was heavily updated from the original Metal Gear, the most noticeable being the enemy AI who could not patrol a wider area, hear and investigate out of place noises and had a 45 degree field of vision. The inclusion of a crawling mode and radar gave the player more places to hide (such as air ducts) and allowed planning based on enemy patrol routes. The bad news is that for those who have played later titles, MG2 is an extreme step backwards. Determining height is often a problem, so whilst the player may think he is safely hidden behind a wall, the guard will still spot him because he is not crouching. Enemies also tend to know exactly where Snake is – once they have spotted him, it doesn’t matter if he runs away and hides in a vent, enemies will hone in with unfair efficiency. No game that is this basic should be this challenging to play. Unforgiving from the word go; Metal Gear 2 is a harsh title with no real reward from playing.
The visuals are decent for their time, but are so basic that they’re unable to portray any real sense of emotion which distances the player from what is a strong story. Graphically Metal Gear 2 has aged poorly and better shading to give a better impression of scale would have worked wonders.
Sound effects are simple beeps of varying pitches but they’re not so poor they grind on the players nerves. The music on the other hand lacks identity, obviously repeats itself and is far too upbeat for a “stealth” game. Many players will be reaching for the mute button as the soundtrack offers little variation and sets entirely the wrong mood.
In conclusion, Metal Gear 2: Solid Snake is a game to be showed respect for the classics it inspired, and for those persistent enough fans of Metal Gear Solid it is worth a play just for a deeper understanding of the story. But this is a game that has fallen down trying to stand the test of time. Created in an era where video games where still very much in their infancy, seventeen years is simply too much to ask.
Overall: 5/10
Portal: The Flash Version
Portal: The Flash Version is a 2D puzzle game which is the online equivalent of Valve’s smash hit first-person puzzler “Portal”. Whilst this may be a game lacking all the bells and whistles of its big brother, a simple control system coupled with a smooth difficulty curve makes this one of the most fun and accessible games out there.
The game’s premise is identical to that of the 3D version, where the players takes control of a test subject in a research centre who must navigate his way through a myriad of maze-like puzzles using nothing but his wits and portal gun.
There are few good puzzle games that over-complicate their controls as the player needs their brain power focused on the task at hand rather than trying to remember which button allows him to jump. With Portal this trait is even more important as timing is very nearly everything. Fortunately the game passes this test with flying colours. Movement is handled with the direction keys and portals are simply fired by putting the mouse where you want it to open and clicking. Puzzles are made more complex with the addition of blocks and gun turrets that can be lifted with the gravity gun function of the weapon and moved around, and deciding how best to use obstacles like these turrets to your advantage is a key part of the game, as well as making the latter stages more difficult.
One small issue with Portal: The Flash Version is the difficulty level which, whilst usually a relatively solid curve, spikes sometimes and certain levels will take impeccable timing and precision as well as a little luck, whereas following levels will be much easier. This is a relatively small design flaw but can be off putting to a lot of players, especially bearing in mind flash games are supposed to be easy to pick up and play. When an individual level can take upwards of half an hour to complete this quality is somewhat compromised.
Fortunately, the physics are top-notch allowing the player to have a lot of fun throwing themselves out of portals over obstacles at high speed. Creating a portal under a block to send it tumbling onto an unsuspecting gun turret never gets old, and whilst the game lacks the voice over of its big brother the captions that appear at the top of the screen taking over the role of the cross-wired AI adds some comic relief. The Flash Version of Portal certainly keeps the witty charm of the original.
Graphics are nothing spectacular and there are many flash games that try to be more ambitious, but the visuals are simple and smooth allowing for easier navigation around the levels and matters are not overcomplicated. Having said that, if the player is shot by a gun turret blood will spatter in a surprisingly realistic manner, and this is a touch that makes the character seem more human somehow.
The sound effects are clean and in keeping with the tone of the game. The turrets whir and bang as they shoot at you and the boxes clank when you throw them on top of each other. The background music is a solid techno affair that sets the mood well, but it does tend to grind a little. Luckily the option is there to mute this so if it becomes frustrating players won’t have to suffer for long.
Portal: The Flash Version is a well executed homage to the console and PC version available in the shops and in terms of gameplay time there’s actually a little bit more. This is certainly a well executed title and for a free game the price is certainly right. Although some irregularities in the difficulty level make this less accessible than a lot of other online games, for those looking for an immersive and challenging puzzle game, there are few better places to look than here.
Overall: 9/10
Retro Reviews: Final Fantasy VI (SNES)
The last of the main Final Fantasy titles to be released on a Nintendo console was Final Fantasy VI for the SNES in 1994. With development of Final Fantasy VII on the Playstation looming, Squaresoft were determined to sign off from their seven year hosts with a bang. So arguably video gaming’s greatest creative team put their heads together for one last outing on the console they knew and loved.
The result is staggering. 13 years after the original release, Final Fantasy VI still boasts one of the most atmospheric and memorable opening sequences of any game, and this feeling is reflected in the next 40 hours of plot. The deep, engaging narrative follows the story of Terra, a woman with the ability to use magic, a mystic art lost for 1000 years after the deadly war it caused.
The characters are some of the most well developed the industry has ever seen. Even the more minor of those in the player’s party have an engaging story and play an important role in the game. The inclusion of a human villain in a world filled with magic and monsters was a refreshing change from previous titles and this makes the entire experience more believable.
The gameplay in Final Fantasy VI is barely different from any other titles in the series. The player controls their party around towns, caves and the overworld map, with the ability to equip weapons and accessories (or “Relics”) in the menu system as well as changing party members and using learned abilities. Battling is nothing revolutionary either, random battles take the player to a battle screen and characters fight it out in a turn based manner, utilizing the new Active-Time Battle system first introduced in Final Fantasy IV, a bar that fills at different speeds depending on the character’s statistics and commands can only be inputted when it is full. Whilst a useful inclusion, the speed of the ATB bar didn’t vary enough from character to character so waiting for it to fill feels more like a formality than an interesting strategic addition.
One interesting new dynamic is the ability to switch between different parties at certain points in the game, and managing to balance these teams properly becomes an essential skill, and the simple addition of a puzzle element brings something new to the series. That said, being forced to switch between different teams to accomplish different objectives can drag on a little and at times the player will just want to reunite the team and get on with the story. One of the most irritating aspects of the gameplay is simply transitions that move too slowly. Whether it’s from the overworld map into battle or checking equipment in the menu, the transition takes a second or two too long and this tends to break up the experience a bit too much.
For its time, Final Fantasy VI was a graphical masterpiece. Although all 2D, the artistic direction was top-notch and the character were able to show a much wider range of emotions than many would expect, and even today this helps the player to engage with them. Having said that, the dated visuals can detract from the experience somewhat, with enemy sprites barely animated at all and the squashed looking text can be difficult to read at times. In later titles whenever a character spoke a new text box would open, but in Final Fantasy VI speech from different characters is all in one box with no gaps between them, so reading what is said often becomes more like code-breaking and this can frustrate.
The entire game was scored by Nobuo Uematsu, and Final Fantasy VI is widely regarded as one of his greatest achievements. Each character and main location has their own theme, along with mood setting background music for towns and battles. The music was varied and memorable, and for one scene even included an Aria. The effect was to push the game forward ahead of its time and allowed people to feel emotions for their characters rarely seen before. VI also included some of the world’s first voice acting in game, albeit only a single distorted laugh used for the villain, Kefka.
Final Fantasy VI was all about pushing boundaries and doing things that could supposedly not be done on the technology available. To this end Square’s masterpiece was a resounding success. Unfortunately, many games from the pre-Playstation era suffer the passing of time more than later titles such as Final Fantasy VII or Metal Gear Solid ever will, and this is true with VI as well, the archaic visuals and gameplay turning the play through into a struggle. But for those who persist, they will find a rich, engaging story filled with lovable characters that will forever remain timeless.
Overall: 7/10
The result is staggering. 13 years after the original release, Final Fantasy VI still boasts one of the most atmospheric and memorable opening sequences of any game, and this feeling is reflected in the next 40 hours of plot. The deep, engaging narrative follows the story of Terra, a woman with the ability to use magic, a mystic art lost for 1000 years after the deadly war it caused.
The characters are some of the most well developed the industry has ever seen. Even the more minor of those in the player’s party have an engaging story and play an important role in the game. The inclusion of a human villain in a world filled with magic and monsters was a refreshing change from previous titles and this makes the entire experience more believable.
The gameplay in Final Fantasy VI is barely different from any other titles in the series. The player controls their party around towns, caves and the overworld map, with the ability to equip weapons and accessories (or “Relics”) in the menu system as well as changing party members and using learned abilities. Battling is nothing revolutionary either, random battles take the player to a battle screen and characters fight it out in a turn based manner, utilizing the new Active-Time Battle system first introduced in Final Fantasy IV, a bar that fills at different speeds depending on the character’s statistics and commands can only be inputted when it is full. Whilst a useful inclusion, the speed of the ATB bar didn’t vary enough from character to character so waiting for it to fill feels more like a formality than an interesting strategic addition.
One interesting new dynamic is the ability to switch between different parties at certain points in the game, and managing to balance these teams properly becomes an essential skill, and the simple addition of a puzzle element brings something new to the series. That said, being forced to switch between different teams to accomplish different objectives can drag on a little and at times the player will just want to reunite the team and get on with the story. One of the most irritating aspects of the gameplay is simply transitions that move too slowly. Whether it’s from the overworld map into battle or checking equipment in the menu, the transition takes a second or two too long and this tends to break up the experience a bit too much.
For its time, Final Fantasy VI was a graphical masterpiece. Although all 2D, the artistic direction was top-notch and the character were able to show a much wider range of emotions than many would expect, and even today this helps the player to engage with them. Having said that, the dated visuals can detract from the experience somewhat, with enemy sprites barely animated at all and the squashed looking text can be difficult to read at times. In later titles whenever a character spoke a new text box would open, but in Final Fantasy VI speech from different characters is all in one box with no gaps between them, so reading what is said often becomes more like code-breaking and this can frustrate.
The entire game was scored by Nobuo Uematsu, and Final Fantasy VI is widely regarded as one of his greatest achievements. Each character and main location has their own theme, along with mood setting background music for towns and battles. The music was varied and memorable, and for one scene even included an Aria. The effect was to push the game forward ahead of its time and allowed people to feel emotions for their characters rarely seen before. VI also included some of the world’s first voice acting in game, albeit only a single distorted laugh used for the villain, Kefka.
Final Fantasy VI was all about pushing boundaries and doing things that could supposedly not be done on the technology available. To this end Square’s masterpiece was a resounding success. Unfortunately, many games from the pre-Playstation era suffer the passing of time more than later titles such as Final Fantasy VII or Metal Gear Solid ever will, and this is true with VI as well, the archaic visuals and gameplay turning the play through into a struggle. But for those who persist, they will find a rich, engaging story filled with lovable characters that will forever remain timeless.
Overall: 7/10
Retro Reviews: Super Mario Kart (SNES)
In 1992 Nintendo released a title on their SNES that would give racing games something to think about. With all the racing simulations on the PC and Amiga, the designers at Nintendo had to think outside the box to challenge them. The result is Super Mario Kart, a new kind of racer featuring characters from the world’s most famous gaming icon.
Not even the most optimistic of the Nintendo management could have predicted the success. After seven incarnations of Mario Kart on six different consoles and an arcade version, the original still goes strong. Fifteen years after the original release and this game still excites as it did back then.
The premise is a simple as they come. Take control of a character and race others. The player chooses one of eight characters and one of three events and off they go. The controls are simple enough to grasp, there is one button to accelerate, left and right to turn, one that fires weapons and one that allows the player to jump over obstacles, whilst braking is achieved by simply not accelerating.
There are two big gameplay differences between Mario Kart and other racers of its time. The first is the weapons feature which allows the player to use a variety of simple pick ups ranging from banana skins to drop on the ground to speed boosts and turtle shells to fire at opponents. Unfortunately these only really become useful in the harder of the two difficulty modes where the computer controlled rivals become some sort of a challenge. When they are used however they add depth - a well timed turtle shell can turn a race on its head.
The second big difference is the physics which, in Super Mario Kart, are fantastic. Turn too sharply and the back end will swing out, sending the kart into a spin, or let go of the accelerator and watch as Mario gradually rolls to a stop. To corner properly means moving out wide and clipping the apex, and the whole thing feels free moving and organic, unlike a lot of the “on rails” racers available around the same time such as Formula 1 for the Sega Megadrive. One criticism that should be mentioned is the AI, which will be no problem at all until the 100cc mode and even then the computer controlled characters will finish in a predictable almost parade like order. Mario, Donkey Kong Junior, and Princess Peach will be the top three nine times out of ten and this detracts from the realism a tad – which, after setting such high standards for itself in most other areas, is a little disappointing.
Graphically Super Mario Kart is better than one would expect. Whilst everything is done in 2D the view is somewhat isometric so it feels very much as if there’s an extra dimension. Many games tried this approach but in getting a realistic view the gameplay became a lot stiffer, as trying to pull of 3D gameplay on a 2D system presents a lot of problems. Mario Kart doesn’t suffer from this however as a lot of work has gone into the fluidity of the animations which gives the game its organic feel. The sprites are full of sharp colours and the designers have been careful not to crowd the screen with too much information so navigation around menus is simple and allows the player to focus on the gaming.
The sound is on par with anything else on the system and anyone whose ever played Mario games before will recognize the leitmotifs used in the music, and whilst the quality is very archaic there’s nothing here that will grind too much on the player’s nerves.
Super Mario Kart is still extremely playable and fun even by the standards of today, and given the choice between this SNES game or Need for Speed on PS3, Mario Kart would probably be a better bet. In almost all respects it has passed the test of time with flying colours but its main problem is that of its successors. Mario Kart on the N64, Gamecube, Game Boy Advance and DS all keep the core gameplay intact but also improve it, which pushes Super Mario Kart somewhat into the corner. With so many better versions of the same game out there, this doesn’t give a player any reason to blow the dust off his SNES. But for PC gamers with emulators, before you try anything else: try this.
Overall: 8/10
Not even the most optimistic of the Nintendo management could have predicted the success. After seven incarnations of Mario Kart on six different consoles and an arcade version, the original still goes strong. Fifteen years after the original release and this game still excites as it did back then.
The premise is a simple as they come. Take control of a character and race others. The player chooses one of eight characters and one of three events and off they go. The controls are simple enough to grasp, there is one button to accelerate, left and right to turn, one that fires weapons and one that allows the player to jump over obstacles, whilst braking is achieved by simply not accelerating.
There are two big gameplay differences between Mario Kart and other racers of its time. The first is the weapons feature which allows the player to use a variety of simple pick ups ranging from banana skins to drop on the ground to speed boosts and turtle shells to fire at opponents. Unfortunately these only really become useful in the harder of the two difficulty modes where the computer controlled rivals become some sort of a challenge. When they are used however they add depth - a well timed turtle shell can turn a race on its head.
The second big difference is the physics which, in Super Mario Kart, are fantastic. Turn too sharply and the back end will swing out, sending the kart into a spin, or let go of the accelerator and watch as Mario gradually rolls to a stop. To corner properly means moving out wide and clipping the apex, and the whole thing feels free moving and organic, unlike a lot of the “on rails” racers available around the same time such as Formula 1 for the Sega Megadrive. One criticism that should be mentioned is the AI, which will be no problem at all until the 100cc mode and even then the computer controlled characters will finish in a predictable almost parade like order. Mario, Donkey Kong Junior, and Princess Peach will be the top three nine times out of ten and this detracts from the realism a tad – which, after setting such high standards for itself in most other areas, is a little disappointing.
Graphically Super Mario Kart is better than one would expect. Whilst everything is done in 2D the view is somewhat isometric so it feels very much as if there’s an extra dimension. Many games tried this approach but in getting a realistic view the gameplay became a lot stiffer, as trying to pull of 3D gameplay on a 2D system presents a lot of problems. Mario Kart doesn’t suffer from this however as a lot of work has gone into the fluidity of the animations which gives the game its organic feel. The sprites are full of sharp colours and the designers have been careful not to crowd the screen with too much information so navigation around menus is simple and allows the player to focus on the gaming.
The sound is on par with anything else on the system and anyone whose ever played Mario games before will recognize the leitmotifs used in the music, and whilst the quality is very archaic there’s nothing here that will grind too much on the player’s nerves.
Super Mario Kart is still extremely playable and fun even by the standards of today, and given the choice between this SNES game or Need for Speed on PS3, Mario Kart would probably be a better bet. In almost all respects it has passed the test of time with flying colours but its main problem is that of its successors. Mario Kart on the N64, Gamecube, Game Boy Advance and DS all keep the core gameplay intact but also improve it, which pushes Super Mario Kart somewhat into the corner. With so many better versions of the same game out there, this doesn’t give a player any reason to blow the dust off his SNES. But for PC gamers with emulators, before you try anything else: try this.
Overall: 8/10
Wednesday, 17 October 2007
Final Fantasy XII
After numerous development delays and with four years separating it from the last major release in the series, Square Enix’s latest RPG Final Fantasy XII had to pull off something special to prove itself.
Did it succeed? Undoubtedly - and more. The story takes place in the world of Ivalice, where magic and airships are commonplace, and there is trouble in the heart of the Arcadian Empire. The player takes command of Vaan, an orphan whose home nation has been conquered by the Arcadians, in a rebellion against the Empire. The characters aren’t developed as much as in previous Final Fantasy titles which can be a slight disappointment, but a strong script incorporating a number of different dialects helps give each character a strong sense of individuality. The focus of the story is very much on the wider world than on the individual characters.
Nobody does PS2 graphics better than Square-Enix and this shows with hugely detailed environments and by far the largest explorable world in any Final Fantasy game. The attention to detail and vastly populated towns surpass anything else on the system, although the population takes longer to load then the towns themselves so the player will occasionally find themselves in a deserted city for ten seconds before the people suddenly appear.
Final Fantasy XII takes the series in a bold new direction with its new “Active-Dimension-Battle” system. Gone are the random encounters and turn based fighting seen in previous installments, the ADB attempts to blend traditional Final Fantasy strategy with semi-real time combat. All enemies are fought in the open environment with no transition from exploration to battle. The player can pause the action at any time to select commands, but also available are various “gambits”, which give party members a set of customizable instructions to follow which allows the fights to flow in a much more believable manner. These new features are incorporated with resounding success, the gambits being 100% optional to please old time fans that would rather input each command themselves.
The game also utilizes a new customization system that is the spiritual successor to the Sphere Grid in Final Fantasy X. In order to be able to use a new “Magick” or piece of equipment, the player must first buy the license for it on the License Board. The player can only buy licenses adjacent to ones already bought, but the freedom of the board is much greater than the old Sphere Grid, with no set paths to follow and this allows each character to be fully customized in whatever way the player wants.
For the first time in the main series Nobuo Uematsu was absent from most of the soundtrack, supplying only the title song “Kiss Me Goodbye”. Music duties therefore fell to Final Fantasy Tactics’ composer Hitoshi Sakimoto and the difference in style shows. Music is atmospheric and sets the tone of the scene efficiently wherever it is used, but the sound lacks the hum-along quality of previous titles and this unfortunately numbs the effect of some of the more impressive cut-scenes.
Despite small issues Final Fantasy XII is an excellent adventure worth a good sixty hours of gameplay before even considering the hunts - which add on so much play time they could justify a game of their own. A true return to form from a series plagued with half hearted sequels and spin-offs over the last few years and a hearty send off for Final Fantasy on PS2.
Overall: 10/10
Did it succeed? Undoubtedly - and more. The story takes place in the world of Ivalice, where magic and airships are commonplace, and there is trouble in the heart of the Arcadian Empire. The player takes command of Vaan, an orphan whose home nation has been conquered by the Arcadians, in a rebellion against the Empire. The characters aren’t developed as much as in previous Final Fantasy titles which can be a slight disappointment, but a strong script incorporating a number of different dialects helps give each character a strong sense of individuality. The focus of the story is very much on the wider world than on the individual characters.
Nobody does PS2 graphics better than Square-Enix and this shows with hugely detailed environments and by far the largest explorable world in any Final Fantasy game. The attention to detail and vastly populated towns surpass anything else on the system, although the population takes longer to load then the towns themselves so the player will occasionally find themselves in a deserted city for ten seconds before the people suddenly appear.
Final Fantasy XII takes the series in a bold new direction with its new “Active-Dimension-Battle” system. Gone are the random encounters and turn based fighting seen in previous installments, the ADB attempts to blend traditional Final Fantasy strategy with semi-real time combat. All enemies are fought in the open environment with no transition from exploration to battle. The player can pause the action at any time to select commands, but also available are various “gambits”, which give party members a set of customizable instructions to follow which allows the fights to flow in a much more believable manner. These new features are incorporated with resounding success, the gambits being 100% optional to please old time fans that would rather input each command themselves.
The game also utilizes a new customization system that is the spiritual successor to the Sphere Grid in Final Fantasy X. In order to be able to use a new “Magick” or piece of equipment, the player must first buy the license for it on the License Board. The player can only buy licenses adjacent to ones already bought, but the freedom of the board is much greater than the old Sphere Grid, with no set paths to follow and this allows each character to be fully customized in whatever way the player wants.
For the first time in the main series Nobuo Uematsu was absent from most of the soundtrack, supplying only the title song “Kiss Me Goodbye”. Music duties therefore fell to Final Fantasy Tactics’ composer Hitoshi Sakimoto and the difference in style shows. Music is atmospheric and sets the tone of the scene efficiently wherever it is used, but the sound lacks the hum-along quality of previous titles and this unfortunately numbs the effect of some of the more impressive cut-scenes.
Despite small issues Final Fantasy XII is an excellent adventure worth a good sixty hours of gameplay before even considering the hunts - which add on so much play time they could justify a game of their own. A true return to form from a series plagued with half hearted sequels and spin-offs over the last few years and a hearty send off for Final Fantasy on PS2.
Overall: 10/10
Dirge of Cerberus: Final Fantasy VII
Dirge of Cerberus: Final Fantasy VII is a third-person shooter from Square Enix that tries to break free from the RPG tone of the Final Fantasy series and take it along new roads. The first spin-off game in the Compilation of Final Fantasy VII comes after the DVD movie “Advent Children” and follows Vincent Valentine three years after the events of the original title, as he fights a group of soldiers who intend to summon the ultimate weapon, Omega, to destroy the planet. With such a prestigious label, Dirge of Cerberus had the massive challenge of breathing new life into the already classic world of Final Fantasy VII.
Unfortunately, Dirge of Cerberus falls just as short of the mark as a long jumper with his shoelaces tied. Even without the inherent stigma of the brand, Dirge of Cerberus barely qualifies as “competent” of its own accord. The main problems lie in switching to a genre Square Enix has little experience in, and this shows in the poorly thought out level design. The effect is a very linear experience with invisible walls blocking jumps over the smallest of obstacles to keep the player on the straight and extremely narrow path.
the most part the gameplay follows a simple move - aim - shoot formula with little variation – although using materia and customizing Vincent’s gun helps to break up the monotony a little. The customization tool allows the player to edit Vincent’s weapon in relation to four attributes; power, range, rate of fire, and weight. Some combinations allow for high damage shots but will make movement slower, for example. It’s an interesting mechanic that is unfortunately wasted as differences between the weapons are mostly so small the options are effectively reduced to “Shotgun” or “Machine Gun”, and trudging through the entire 7-10 hour game doing nothing but mash the trigger with the standard gun equipped presents little to no challenge.
This is a problem exacerbated by Dirge of Cerberus’ assisted aiming function, which means the player’s gun will automatically lock on to enemies with unerring accuracy as long as he points it in their general direction. The only real challenge this presents is that after four hours of this unrelenting tedium can you still be bothered to point your gun in their general direction? Players can also sometimes transform into the Galian Beast, Vincent’s limit break from Final Fantasy VII, and this does succeed in changing the formula a bit as mindless shooting turns into mindless pummeling. Still, in a game like this any tiny positive is one to be cherished.
One area Dirge of Cerberus does come in at slightly above average is the graphics, with Square Enix not reaching the heights of Final Fantasy X or XII, character animations are impressive and the CGI sequences would not have looked out of place in the game’s big brother Advent Children.
Also on the plus side is a decent soundtrack. Although most in-game music is instantly forgettable, and the theme song by Gackt, a popular musician in Japan, has a more “nails on chalkboard” effect to those used to Uematsu’s creations, music in cut scenes is dramatic, impressive, and helped out by a strong cast of voice actors.
Overall the compilation of Final Fantasy VII gets off to a miserable start with a game worth a rent for the more hardcore fans, but for those who want an entertaining, engaging shooter on the PS2, get Resident Evil 4. An ill-advised cash-in that one can only hope doesn’t set a trend.
Overall: 4/10
Unfortunately, Dirge of Cerberus falls just as short of the mark as a long jumper with his shoelaces tied. Even without the inherent stigma of the brand, Dirge of Cerberus barely qualifies as “competent” of its own accord. The main problems lie in switching to a genre Square Enix has little experience in, and this shows in the poorly thought out level design. The effect is a very linear experience with invisible walls blocking jumps over the smallest of obstacles to keep the player on the straight and extremely narrow path.
the most part the gameplay follows a simple move - aim - shoot formula with little variation – although using materia and customizing Vincent’s gun helps to break up the monotony a little. The customization tool allows the player to edit Vincent’s weapon in relation to four attributes; power, range, rate of fire, and weight. Some combinations allow for high damage shots but will make movement slower, for example. It’s an interesting mechanic that is unfortunately wasted as differences between the weapons are mostly so small the options are effectively reduced to “Shotgun” or “Machine Gun”, and trudging through the entire 7-10 hour game doing nothing but mash the trigger with the standard gun equipped presents little to no challenge.
This is a problem exacerbated by Dirge of Cerberus’ assisted aiming function, which means the player’s gun will automatically lock on to enemies with unerring accuracy as long as he points it in their general direction. The only real challenge this presents is that after four hours of this unrelenting tedium can you still be bothered to point your gun in their general direction? Players can also sometimes transform into the Galian Beast, Vincent’s limit break from Final Fantasy VII, and this does succeed in changing the formula a bit as mindless shooting turns into mindless pummeling. Still, in a game like this any tiny positive is one to be cherished.
One area Dirge of Cerberus does come in at slightly above average is the graphics, with Square Enix not reaching the heights of Final Fantasy X or XII, character animations are impressive and the CGI sequences would not have looked out of place in the game’s big brother Advent Children.
Also on the plus side is a decent soundtrack. Although most in-game music is instantly forgettable, and the theme song by Gackt, a popular musician in Japan, has a more “nails on chalkboard” effect to those used to Uematsu’s creations, music in cut scenes is dramatic, impressive, and helped out by a strong cast of voice actors.
Overall the compilation of Final Fantasy VII gets off to a miserable start with a game worth a rent for the more hardcore fans, but for those who want an entertaining, engaging shooter on the PS2, get Resident Evil 4. An ill-advised cash-in that one can only hope doesn’t set a trend.
Overall: 4/10
Wednesday, 10 October 2007
Final Fantasy Tactics: The War of the Lions
Final Fantasy Tactics: The War of the Lions, a remake of the original Final Fantasy Tactics for the Sony Playstation, is a tactical RPG that follows the story of Ramza, a cadet at a time of political unrest. With the current king of Tactics’ world Ivalice recently deceased, two knightly orders struggle against each other for control of the land.
The story then becomes much darker and more mature than other Final Fantasy titles and was the creation of celebrated director Yasumi Matsuno. Fortunately, the language problems from the original Playstation game have been rectified for the PSP. The effect is an incredibly diverse but well spoken cast of characters that will engage the player throughout the epic plot.
Graphically, Final Fantasy Tactics impresses on the PSP, even if the 2D sprites don’t stun like other title’s 3D characters. Having said that – the models look as sharp and detailed as the game needs them to be and each one is given such character that the player will become emotionally attached to even the most obscure soldier for hire. Final Fantasy Tactics depicts the phrase “Elegance in Simplicity” and shows you don’t need top graphics for a top game, although the cell-shaded and fully voiced cut-scenes for the PSP version are very well executed. The one graphical concern is the occasional touch of slowdown which occurs in battle as the game loads special effects and the like; but this is a minor issue.
So what of the gameplay? The majority of Tactics takes place on the battlefield, with players moving from one locale to another using the World Map. On this map players can edit their party, save, view tutorials and visit services of the city they are currently in. The level of party customization is huge, with the player being able to recruit up to 24 soldiers at any one time including beasts which can be used in battle. Each human character is assigned to a “job” with its own unique abilities and with over 20 jobs in total there really is something for everyone. Along with the jobs themselves abilities can be purchased using “job points” earned in battle, which allows a character to use selected abilities from other.
As for the battlefield itself, the player has to choose a selection of team members to put into battle who will then fight on a grid based field alongside AI controlled “guests” and enemies. Combat is in turns based on the characters speed, utilizing the abilities of the different jobs, and even taking into consideration the terrain is vital for success. The battles are unforgiving and the tough difficulty curve forces you to learn quickly – but the consistent challenge accounts for a more rewarding experience when you finally emerge victorious. The main gameplay problem is the camera, which can be moved to see the action from four different angles, but movement isn’t free enough to guarantee a clear view of the entire battlefield, and sometimes the player is forced to guess where his character is moving.
The music is pleasant if forgettable and the sound effects are crisp and appropriate with spot on voice acting for the cut-scenes. Again the camera is a problem in this area as it makes an irritating grinding sound upon movement but this sound can be turned off.
Overall, a couple of minor problems do little to taint this game, and the immersive story, strong tactical gameplay and lovable characters make this one of the premier handheld experiences ever made. Final Fantasy Tactics: The War of the Lions is reason enough to buy a PSP – but there is no reason good enough not to play it.
Overall Rating: 10/10
The story then becomes much darker and more mature than other Final Fantasy titles and was the creation of celebrated director Yasumi Matsuno. Fortunately, the language problems from the original Playstation game have been rectified for the PSP. The effect is an incredibly diverse but well spoken cast of characters that will engage the player throughout the epic plot.
Graphically, Final Fantasy Tactics impresses on the PSP, even if the 2D sprites don’t stun like other title’s 3D characters. Having said that – the models look as sharp and detailed as the game needs them to be and each one is given such character that the player will become emotionally attached to even the most obscure soldier for hire. Final Fantasy Tactics depicts the phrase “Elegance in Simplicity” and shows you don’t need top graphics for a top game, although the cell-shaded and fully voiced cut-scenes for the PSP version are very well executed. The one graphical concern is the occasional touch of slowdown which occurs in battle as the game loads special effects and the like; but this is a minor issue.
So what of the gameplay? The majority of Tactics takes place on the battlefield, with players moving from one locale to another using the World Map. On this map players can edit their party, save, view tutorials and visit services of the city they are currently in. The level of party customization is huge, with the player being able to recruit up to 24 soldiers at any one time including beasts which can be used in battle. Each human character is assigned to a “job” with its own unique abilities and with over 20 jobs in total there really is something for everyone. Along with the jobs themselves abilities can be purchased using “job points” earned in battle, which allows a character to use selected abilities from other.
As for the battlefield itself, the player has to choose a selection of team members to put into battle who will then fight on a grid based field alongside AI controlled “guests” and enemies. Combat is in turns based on the characters speed, utilizing the abilities of the different jobs, and even taking into consideration the terrain is vital for success. The battles are unforgiving and the tough difficulty curve forces you to learn quickly – but the consistent challenge accounts for a more rewarding experience when you finally emerge victorious. The main gameplay problem is the camera, which can be moved to see the action from four different angles, but movement isn’t free enough to guarantee a clear view of the entire battlefield, and sometimes the player is forced to guess where his character is moving.
The music is pleasant if forgettable and the sound effects are crisp and appropriate with spot on voice acting for the cut-scenes. Again the camera is a problem in this area as it makes an irritating grinding sound upon movement but this sound can be turned off.
Overall, a couple of minor problems do little to taint this game, and the immersive story, strong tactical gameplay and lovable characters make this one of the premier handheld experiences ever made. Final Fantasy Tactics: The War of the Lions is reason enough to buy a PSP – but there is no reason good enough not to play it.
Overall Rating: 10/10
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