And welcome to part 3 of this ongoing series of video game music. Today, we head into the fifth generation. Now things are a little different than before: In previous posts, I made mention that I grew up with the games of the previous generations. But during the fifth generation of consoles, my interest in gaming was being directed away and I missed out on a lot - much of which was eventually rediscovered years later. Thus, this post is going to be based on looking through a past generation through a perspective both new and adult.
Will it make a difference? Let's find out...
Castlevania: Symphony of the Night - Dracula's Castle
Well when you call your game a Symphony it’s kind of expected that the music be top-notch right? Well not only does Symphony of the Night achieve this goal but it surpasses it many times over.
Symphony of the Night is often considered one of the finest soundtracks ever made in the history of gaming and rightly so. Whilst many other soundtracks may age with time and technological advancements, Symphony of the Night is in a class of its own. It has a timeless quality that can proudly hold up some fourteen years later. And it certainly has a lot of variety and colour throughout, touching many styles and succeeding: Choral voices, classical pieces, rock guitars and even a dancey number – it may sound cluttered but somehow it works and even maintains the gothic horror mood that made the Castlevania series famous. In fact, I could say this is one of the few soundtracks that could actually work without the game: on it’s own it sounds dark, sinister and strangely beautiful. Much like Symphony of the Night itself.
Thus I, once again, am spoiled for choice when it comes to selecting one piece for the purposes of this list. Requiem for the Gods, Abandoned Pit, Lost Paintings and Heavenly Doorway are all beauties but I’ve decided to go with Dracula’s Castle. It is the first theme heard when the player enters the castle as Alucard and pretty much sets up the mood for what’s to follow. It’s nightmarishly scary but at the same time, wonderful.
You know, I recall playing Symphony of the Night at a friend's place and someone heard Lost Paintings and said: “That’s nice music”. And this was without looking at the TV screen. Sometimes moments like that can count for so much.
Chrono Cross - Unsealed Jewel
It seems that each time I do a post to this series I must, at some point, break my own guidelines. Yes this game wasn’t released in Australia, yes I never played it, and yes I’m basing this theme purely on what I’ve heard but damn is this a sweet theme.
For me, I have no idea what this song is implying: I don’t know what the singer is singing, I don’t know what context this is being used in the game (okay I do: it’s the ending cinematic) and I have no idea what the point, if any, is trying to be conveyed. But you know what? I don’t care. This is such a simple song and it works well. I love the singing, the guitar playing and the peaceful mood this song manages to project. And that’s the beauty of it: It doesn’t need the game to work for me. I can listen to this and still enjoy it without playing the game. And for a game theme to do that is indeed a substantial accomplishment – and an accomplishment that happens much rarely than one would realise.
In fact, as I found out, it’s quite nice to listen to when you go outside in the morning and watch the sun rise. It’s also nice to listen to when you wake up in the morning nursing a large hangover.
Command and Conquer - Act on Instinct
I must say I’ve always had a soft spot for the work of Command and Conquer composer Frank Klepacki. It's a great combination with the metal guitars and industrial beats – even to the point that when I play the previous Command and Conquer games now I’m still impressed that the music like this was still being made in the mind-nineties. It was as if someone decided that music in computer games was going to get serious and, years later, it would seem they were successful.
So what can I say about Act on Instinct? Well not a lot really: There’s a lot going on in this song with the bass, the pounding drums and the sound effects. But honestly what makes this theme for me is that four note keyboard part that appears halfway through the piece. It’s the dealmaker for me, even to the point that I rewind those parts of the song just here it again. Although I’m not entirely sure why I like to so much – but then again, there is the fear that if I try to explain it may not work in the same light ever again.
So yes, Act on Instinct is a rockin’ theme. And this must rank as one of the few game themes that can actually work outside the game: As I found out, this is actually a really good theme to listen to in the car.
Command and Conquer: Red Alert - Hell March
Die Waffen legt an!
Well it was hard to choose one piece from the repertoire of Frank Klepacki so I went with his other best known theme. And could I not? This is a theme with plenty of bite and perfect for charging into battle with guns blazing. Or behind the wheel of a tank.
This is pretty much a battle theme – even to the point of being shameless in its intent. It’s loud, powerful and pretty much just the thing to get one’s blood pumping. It may have been intended for a strategy game but it could work equally well for a shooter. Or a death match LAN. Open fire? Hell yes.
Everything here seems to work: The rumbling bass demands attention before the drums kick in and the guitars come charging in. And it must’ve succeeded so well because it’s been remixed for the Red Alert sequels
Now I’m not a big fan of metal music – I do enjoy it yes but I’m nowhere near the hyper serious fans that flock to it’s banner – But I have to say this works for me far more than a lot of metal bands I’ve heard. And all for a computer game no less! And if such a theme can cross such barriers then you know you’ve done something right.
Deus Ex - Opening Theme
Yes it’s another no-brainer but its inclusion is there for a reason. For one of the main goals for any opening theme is to pretty much establish the mood and establish a line of thinking that the player must abide to. And this theme is shining example of that principle. I hear this now and I immediately think cyberpunk, X-Files-esque conspiracies and saving the world from catastrophe – pretty much what Deus Ex is all about. I can picture all of this is achieved even without a single image being shown. In fact I bet you could play this to anyone without a prior knowledge of Deus Ex and they'll pick it up straight away. And if your opening theme can do that then you're onto a winner indeed.
I also like the orchestral arrangements and the pounding drums throughout. And let us not forget: At the end of the day is a pretty damn good tune.
Not much more I can say except, I must confess that nowadays I, unfortunately, can’t hear this song without thinking: “Put on a trenchcoat, and fight some conspiracies, Get experience and level up abilities…”
Final Fantasy 9 - Crossing The Hills
You know what? Of all the Final Fantasy games I’ve played, I would have to say that no.9 has the strongest soundtrack of all. And I’m not the only one: Nobuo Uematsu himself has even ranked no.9 as his favourite. So who am I to argue?
And once again I face the difficult process of selecting one track on a soundtrack that’s packed to the gills with gems. I love The Place I’ll Return to Someday. I love Awakened Forest. I love Freya’s theme. I love Burmecian Kingdom. I love You Are Not Alone!. Much like Secret of Mana, in the previous post, if I could the entire soundtrack on this list I damn well would’ve. But no, I’ve broken enough of my own self-imposed rules already so we must go with one. And the lucky winner is Crossing the Hills.
One thing I like about this, and this may sound kind of bizarre, is whilst this used as a world/journeying theme, it doesn’t sound anything like an atypical journeying theme. I wouldn’t associate this with exploring a world – I would think it more a theme to a storybook being read than a game.
And that’s what’s kinda cool about it. I mentioned in my best endings post that Final Fantasy IX does come across as taking the storybook approach – perhaps more so than it’s brethren – and this theme really is representative of that intent.
But this is just me rambling. Simply put: I like this song, I think it’s great so just listen to it and draw your own conclusions.
Metal Gear Solid - The Best is Yet to Come
Well seeing have I’ve spoken at length of the emotional impression Metal Gear Solid’s ending had on me having The Best is Yet to Come on this list shouldn’t come to a surprise to the regular viewer of this blog. But who am I kidding? It’s a great song and one of those rare songs that still sound great no matter how many times one hears it.
Mind you, Celtic folk isn’t something you’d hear in any video game at all, let alone a military drama but here it works. And as the title suggests, the Best is Yet to Come: Snake completed his mission and ultimately found himself and a new purpose in life and hearing this haunting tune only adds to that truth. The fact that it is accompanied by the footage of the Alaskan wildlife, where life truly does go on, only adds more to it.
But again, this is one theme that exists freely beyond the confines of its original purpose. I can hear this when I’m feeling low and it helps. For tomorrow is another day. The problems that came before are meaningless. Things can get better and every moment in this life counts. It may sound cheesy but to find a theme that can work without it’s accompanying game is a rare thing. But to find such a life-affirming theme in a video game is certainly an achievement in itself. Who would’ve guessed that video game music could do such a thing?!
Shining Force 3 - Scenario 1 opening theme
I’ve played the Shining Force games that came out on the Megadrive and I enjoyed them very much. But I have issue with the music: It sounds ghastly and has aged rather horribly. So much so I can barely listen to instead preferring to mute it and put on some Dragon Force.
Thus hearing this, the opening to Shining Force 3 (scenario 1) on the Saturn, comes largely as a shock: Instead of some Megadrive ditty, we get a full orchestral piece accompanied by the rapping of military drums. It sounds epic, heroic and more representative of the game, a strategy RPG, as a whole. The fact that this is playing during the opening cinematic – which features the unforgettable image of two warriors facing off against each other in a crumbling fire-ravaged city as a giant mech approaches – is the icing on the cake.
Indeed, listening to this theme now to me sounds like the composers finally had an opportunity to work beyond the technological restrictions previously presented to them and are relishing it for all it’s worth. As such whereas the previous Shining Force games have had soundtracks consisting of rather chirpy sounding little ditties, this, along with the rest of the soundtrack, sounds much more serious and indeed more befitting of an army fighting its way through countless battles. Indeed one feels that this is the soundtrack that the Shining Force games deserved all along.
Not much else to say but there have been many heroic themes throughout fantasy games but none of them can match this: More than anything that came before it, or even after it, this is the sound of an army marching to war.
Starcraft - Terran Theme 1
It’s the Korean National Anthem!
Okay seriously, much like the Command and Conquer themes, this is pretty much a battle theme, designed to get the blood pumping and create the mood of building an army, storming across the battlefield and annihilating anything stupid enough to get in your way. Whilst the first part, the orchestral arrangements that came with the UED campaign in Brood War, is impressive by it’s self, the real meat comes in the rock part. I love the moody bass and the guitar work but the real treat comes in the keyboard work (Ba-ba-ba-ba-ba-Bah, Bah, Bah bahhhh!!!). In any case, this theme works as being many parts being put together to produce a compelling whole.
Of course the rest of the soundtrack to Starcraft is pretty cool in itself. But what I find particularly interesting is that this theme, and indeed the rest of the Terran music, is more akin to conventional music from a strategy game. Thus the themes to the Protoss and the Zerg are less about convention and more building a mood to go with the race in question. Thus the Zerg get themes with industrial electronics, squealing guitars and a sense of being evolved to destroy. And the Protoss get orchestral themes, a sombre mood and the sense that a once glorious civilisation is pretty much on it’s knees. It’s an unusual move for a strategy game but in my mind, makes it all the better for it.
So that's it for the fifth generation. Already, game music was evolving at an impressive rate and delivering some unforgettable tunes. So what can the sixth generation do? Tune in next week to find out...
Showing posts with label Chrono Cross. Show all posts
Showing posts with label Chrono Cross. Show all posts
Friday, November 18, 2011
Friday, March 18, 2011
Mature like old cheese
With many gamers today being adults - many of whom grew up playing games - there is talk of games getting mature. This is due to games catering for a change of tastes and doing things beyond the restrictions of a child demographic.
Decent enough intentions true but I've grown suspicious of games proclaiming to be 'mature'. It's nice you cater for different tastes just don't make a big show of it!
In addition, claims of being 'mature' seem to come across as being silly: Sex, cursing and killing so many dudes in gruesome fashion seems to me, pandering to a sense of spectacle. Sure, it may be great that we can do such things but it is indeed problematic that such things should get more attention than the game mechanics themselves. Other times, the 'mature' content comes across as trying too hard to please an audience that's growing older. I personally thought the use of cuss words in Mass Effect 2 as coming across as trying ever so hard to such pretensions of 'maturity' - so much so that it kind of distracted from what was a stunning game on all accounts.
No, for me, 'mature' games seem ill-defined. In my eyes, 'mature' gaming is really a sign that that games are growing beyond their original intention as a sense of entertainment. 'Mature' games for me those which are trying to get a point across that challenges the player until well after the console is turned off.
So what games do I think meet this criteria? Funny you should say that:
Cannon Fodder (1993)
A game that came out on the Commodore Amiga with other systems following suite. Seeing as war games are a major driving force in the gaming industry, it seems strange that one game should come along which criticizes warfare. Strange yes but it works: You control a small group of soldiers through a succession of missions involving entering enemy territory and blowing shit up. Thing is, each soldier has a name and, upon each successful mission the player is confronted with a list of who survived and a list of who got killed. This is then followed by a screen image consisting of a line of new recruits ready for action - a line that encircles a hill covered with graves of the fallen. You wouldn't see a game biting the hand that feeds it but here it works a treat.
The Dig (1995)
Sure the dialogue's questionable, sure the period in development was beset with problems and sure it's stern/serious nature seems out of place to the rest of the LucasArts adventure games, but there is still a lot going for this game. I like the ideas that are really being put forward that suggests a gaming maturity: It breaking from the humor that the adventure genre is known for to do something different. It is conveying a sense of wonder in exploring an alien planet. It is the sense of atmosphere on being on a barren world where an advanced civilization once inhabited and is doing something with a tiny cast of characters.
Metal Gear Solid (1997)
Heavy handed in it's approach to war and nuclear warheads but at least they're having a stab at it.
Final Fantasy VII (1997)
A dying planet that would be glad to see it's human inhabitants gone? That makes heaps of sense to me. Though it is interesting to note that, considering the backlash to the game's conclusion, whether or not gamers are really ready for 'mature' gaming as they so claim....
Chrono Cross (2000)
Can't say I've played this game (call it being in a country that apparently doesn't matter) so pretty much all I know about this game comes from this slice of wisdom. Still, what is said is enough to get me interested.
As indicated by the linked piece, Chrono Cross, as a game, has as many good ideas as bad ideas. But the one that works, is the one that challenges the borderline between the player and the player character. This eventually reaches it's apex with the game's conclusion with text addressed directly to the player and a montage made up of some life action footage shot in Japan.
Won't give too much away (you could read the linked article or just look the ending up on youtube) but I commend the balls the game designers had in presenting such an idea and connecting the player at a personal level. This type of thing needs to happen more often.
So let's drop the pretensions: Let's make something with more substance than style. And while we're at it, someone get me a Ferrari!
Decent enough intentions true but I've grown suspicious of games proclaiming to be 'mature'. It's nice you cater for different tastes just don't make a big show of it!
In addition, claims of being 'mature' seem to come across as being silly: Sex, cursing and killing so many dudes in gruesome fashion seems to me, pandering to a sense of spectacle. Sure, it may be great that we can do such things but it is indeed problematic that such things should get more attention than the game mechanics themselves. Other times, the 'mature' content comes across as trying too hard to please an audience that's growing older. I personally thought the use of cuss words in Mass Effect 2 as coming across as trying ever so hard to such pretensions of 'maturity' - so much so that it kind of distracted from what was a stunning game on all accounts.
No, for me, 'mature' games seem ill-defined. In my eyes, 'mature' gaming is really a sign that that games are growing beyond their original intention as a sense of entertainment. 'Mature' games for me those which are trying to get a point across that challenges the player until well after the console is turned off.
So what games do I think meet this criteria? Funny you should say that:
Cannon Fodder (1993)
A game that came out on the Commodore Amiga with other systems following suite. Seeing as war games are a major driving force in the gaming industry, it seems strange that one game should come along which criticizes warfare. Strange yes but it works: You control a small group of soldiers through a succession of missions involving entering enemy territory and blowing shit up. Thing is, each soldier has a name and, upon each successful mission the player is confronted with a list of who survived and a list of who got killed. This is then followed by a screen image consisting of a line of new recruits ready for action - a line that encircles a hill covered with graves of the fallen. You wouldn't see a game biting the hand that feeds it but here it works a treat.
The Dig (1995)
Sure the dialogue's questionable, sure the period in development was beset with problems and sure it's stern/serious nature seems out of place to the rest of the LucasArts adventure games, but there is still a lot going for this game. I like the ideas that are really being put forward that suggests a gaming maturity: It breaking from the humor that the adventure genre is known for to do something different. It is conveying a sense of wonder in exploring an alien planet. It is the sense of atmosphere on being on a barren world where an advanced civilization once inhabited and is doing something with a tiny cast of characters.
Metal Gear Solid (1997)
Heavy handed in it's approach to war and nuclear warheads but at least they're having a stab at it.
Final Fantasy VII (1997)
A dying planet that would be glad to see it's human inhabitants gone? That makes heaps of sense to me. Though it is interesting to note that, considering the backlash to the game's conclusion, whether or not gamers are really ready for 'mature' gaming as they so claim....
Chrono Cross (2000)
Can't say I've played this game (call it being in a country that apparently doesn't matter) so pretty much all I know about this game comes from this slice of wisdom. Still, what is said is enough to get me interested.
As indicated by the linked piece, Chrono Cross, as a game, has as many good ideas as bad ideas. But the one that works, is the one that challenges the borderline between the player and the player character. This eventually reaches it's apex with the game's conclusion with text addressed directly to the player and a montage made up of some life action footage shot in Japan.
Won't give too much away (you could read the linked article or just look the ending up on youtube) but I commend the balls the game designers had in presenting such an idea and connecting the player at a personal level. This type of thing needs to happen more often.
So let's drop the pretensions: Let's make something with more substance than style. And while we're at it, someone get me a Ferrari!
Wednesday, August 18, 2010
Best Game Endings
Endings sure are a crucial point for gamers aren’t they? Seeing as people are willing to invest so many hours of their life in a game, it thus becomes a cardinal sin for games to have endings that are inconclusive or end on a cliff-hanger. Does anyone want to spend so many hours of their life only to arrive at a sloppy ending? Or a blank screen with ‘Game Over’ or, worse yet, ‘To be Continued’? Of course not! Thus it becomes apparent that to have a crummy ending is seen as a betrayal – betrayal to the player from investing so much time and reaping so much enjoyment.
And in some cases, a betrayal beyond forgivable.
We’ve all heard the story before: Someone plays a game and enjoys it a lot. They get to the ending, which turns out to be one big anticlimax, and the gamer gets mad. Within seconds, so many hours of fun and enjoyment are erased instantly and the gamer starts venting their disgust to some internet blog or message board.
To me, an ending needs to provide a proper resolution to the hard effort put into the game. It needs to convey a sense of achievement - or even something that sticks in the player’s mind – to really make all the hours worth it. So today, I’m going to talk about some of my favourite endings to a game and how they made an impression on me.
So here we go:
11. Ninja Warriors
And we start with an ending (badumtish) that certainly leaves a substantial impression. For those not in the know, Ninja Warriors was an arcade game from the late eighties (although the above video is from the SNES conversion), where the player controls a robot ninja assassin dispatched by revolutionaries to kill a corrupt politician. At the end of the game, the ninjas confront their target when suddenly they explode taking the politician’s mansion with them. It turns out the mission was a suicide one – thus enabling the revolutionaries to seize control and end up doing an even worse job than their predecessor.
This ending works on two levels: Firstly, it is thought-provoking in its handling of it’s themes of terrorism (perhaps more so in this modern, post-9/11 age we live in). Secondly, it is the notion that not all endings are happy ones. Sure it means all the player’s efforts were ultimately for naught but that doesn’t mean the player won’t walk away with something to ponder. I like games that challenge the relationship between game and the person playing it – and whilst this move has become popular in recent years, Ninja Warriors may just well have been a pioneer.
Audacious maybe but Ninja Warriors is still a worthy way to start off this list.
10. Prince of Persia: Sands of Time
One of the most well-realised stories ever in the history of video gaming yields the cleverest of endings. Allegedly, Jordan Mechner was inspired by Tales of Arabian Nights in development of the original Prince of Persia – so it’s interesting to see the ideology of stories being carried over into Sands of Time.
The narrative of SoT is guided by the voice of the Prince himself, explaining things as they happen to an unseen audience. As the story progresses, the gamer is constantly wondering just who this audience is – and the urgency that the prince narrates with adds to this mystique. Indeed, it is an interesting motivator to keep playing just to find out who the Prince is telling this story to.
And when this audience is finally revealed, not to mention HOW the prince got there himself, is truly a moment even I did not see coming. And that for me represents a mark of exceptional storytelling: keeping the audience in suspense without breaking step once. Indeed, SoT makes it look so effortless you can’t help but wonder if other game developers were looking and taking notes.
Granted I haven’t included this revelation in the video above (actually I couldn’t find it but really maybe it’s something one has to see for themselves) but, as the ending indicates, I do like the ideology of stories that SoT has. A story is a narrative device, being told by the Prince, to someone who, as the above video indicates, is left in a state of disbelief. It’s a clever idea and the fact that it’s conveyed successfully throughout the whole game is an achievement in itself.
9. Skies of Arcadia
And here we have the very first JRPG in this list – and there’s more to come.
RPGs have got to be the most time-demanding game genre ever: After accomplishing so many quests, levelling up and building up characters in wealth and combat prowess, an RPG really needs to have a killer ending. So many RPG’s have been condemned for a lame ending, so it is interesting to see how that the developers handle the task of providing a decent pay-off. Some do a half-arsed job whilst others really put in an effort not shown by any other genre.
So what does Skies of Arcadia offer up? Well, after so many hours gone into the game, the gamer is treated to a cinematic displaying a sense of victory: The adversary is defeated, the heroes have won and the player is treated to a sense of accomplishment. Okay so the outcome of the efforts of Vyse, Fina and Aika was probably never in doubt but dammit, if any game ending did convey a sense of accomplishment then Skies of Arcadia does so in spades!
The real treat however is the end credits sequence which presents a montage revealing what everyone got up to following the events of the game. Granted this may not have been the first JRPG to do this but for me, it’s the one that does it best.
8. Super Mario Bros 3
I remember seeing this one when I was a kid: Mario defeats Bowser and runs to the rescue of Princess Peach – only to be informed that the Princess is in ANOTHER castle….. before Peach reveals she was only kidding.
Why does this ending work for me? Two reasons: The first is the idea that Mario is an everyman. He doesn’t look in any way the heroic type – he’s just a regular guy. And yet he still goes on fantastic adventures and manages to save the day (and a princess!). Indeed, it is that everyman quality that may attribute to his continuing popularity. And for me, the Super Mario bros. 3 ending exemplifies that quality more than it’s SMB1 and, quite possibly, even more that it’s successors.
The other reason is the joke Peach plays. While it’s a nice surprise to see Nintendo poking fun at their own franchise, one can only wonder how the player, after so many hours spent playing the game, reacted. What may have started as screams of disbelief and frustration eventually gave way to either a huge sigh of relief or shouts of “FUCK YOU BITCH!!”
Seriously though, this is an ending that, again, exemplifies the connection between the player and the game. And this is one ending which may have inspired a reaction – it may not have been the best one but it’s still one nonetheless. And not many games can lay claim to such a feat.
7. Terranigma
Whilst Australia may have missed out on Chrono Trigger, we instead had to settle for Terranigma. Okay so it may not compare on a level of complexity to Chrono Trigger but Terranigma can boast some great ideas being put to work.
The player controls a guy named Arc who lives in a village that seems to know largely little of the outside world. But through a series of misadventures, Arc eventually discovers an empty world and is thus charged with the task of resurrecting it. He does this through bringing life back to it and furthering scientific progress for it’s human inhabitants. However as the game goes on, the game puts forth some ideas on existence that’s kind of unexpected in a game of the 16-bit era.
As stated before, any game that can make a player think is a winner in my book. And no way is this exemplified with the ending: His task done, Arc is then left with one last day to spend on the mortal plane. This is indeed a challenging prospect that one wouldn’t find in a video game: What would you do if you had one last day upon this earth? How would you spend it? How would the thought of having made a difference weigh upon you’re mind? These are challenging ideas and for a game to convey them is indeed an achievement in itself.
In particular, I love that concluding dream sequence – I can’t really explain it as it's something that really needs to be seen to be comprehended. but, for me, it’s one of those moments of perfection that few games can match.
6. Chrono Cross
Okay so I’m cheating here seeing as I’ve never played this game (as it was never released here in Australia) and I’m relying on someone else’s assessment of it but this ending video is a gem indeed.
As the above link suggests, Chrono Cross is game aimed at breaking down the borderline between player and game. Throughout the game itself, there are key moments which suggest the player is having a more interactive role in the proceedings than what is usually associated in a video game. This eventually reaches its pinnacle at the end when the character of Schala speaks through a passage of text directly at the player. This is then followed by the ending cinematic which includes live action footage of an actress, representing Schala, searching for the player (ie YOU).
Quite disturbing yes but I take my hat off to the makers who seem to be keen on trying something different, intent on challenging the gamer’s perceptions and say something unexpected and unique – particularly in a medium which is usually associated with killing lot’s of dudes, buxom chicks and young men who look more girly than the females who control them.
Fortune, it would appear, truly does favour the brave.
5. Shadow of the Colossus
One of the big ones (pun most certainly intended). No other game has left me with a mixed reaction to this ending. With this ending, the rug is pulled under the player’s feet: Suspicions are confirmed and suddenly Wander’s quest is nowhere near as noble as one was originally led to believe.
Of course, at first I was annoyed that the hard effort I put into playing the game had, ultimately, all come to naught. But when I look back at it now, my view has softened - somewhat. You see, I can now appreciate the game for being able to challenge my perceptions and direct me into a quest that, upon closer examination, has me asking questions of a morale nature far more effectively than the Mass Effect series. In addition, the fact that not all endings are happy ones hits really hard in this cinematic.
Really though, I have no idea whether I should praise or condemn this ending but there is no need: If a game has inspired such a divisive opinion then it must have made quite an impression – indeed the type that some games can dream about. If game triggered a debate and a closer look, then it must’ve been a pretty damn good one.
4. Final Fantasy X
A mark of a great game is one that elicits an emotional reaction – and in that field, you can’t go wrong with this. Final Fantasy X may have had it’s fair share of emotional moments but the apex of it all comes in the form of the ending.
One thing I’ve enjoyed with the Final Fantasy games is that, unlike a lot of RPGs, their approach to story-telling is that not all endings are happy ones. Sure some good may have been done come at the end, but the protagonists can’t really save everyone. Which now brings me to Final Fantasy X and, in particular, the doomed romance between Tidus and Yuna. At the end, Spira may be saved but one of the main protagonists has fallen: One who didn’t really belong in Spira’s world and who made a lasting impression on the one who was supposed to die. Some say, the romance was kinda uninspiring but I give credit to Square to take a chance with this ending: It wasn’t a happy ending and it’s indeed interesting to see a romance that doesn’t work out. Sure Mario may keep saving Princess Peach from Bowser's constant clutches but no such thing seems to happen on Spira’s world.
Plus I have to admit, there is always the emotional punch of seeing Yuna running to Tidus and subsequently through him. This is then followed by those three words uttered by Yuna showing more emotion (or at least her voice actress) than she ever did in the entire game. It is a moment like this that still hits hard on my cold jaded heart.
Of course, this is all ruined with the advent of FFX2 but still, for a game to break the rules and convey such emotion, this is a shining example.
3. Ico
On second thought, forget what I said about Final Fantasy X: When it comes to eliciting an emotional response from the gamer, nothing can hope to match the ending that is Ico. Much like Team Ico’s other game, the afore-mentioned Shadow of the Colossus, there is no sense of a happy ending as it becomes clear that the player’s efforts have ultimately come to naught – except for leaving an emotional resonance that most games can only dream about.
There are so many magic moments in this ending that I don’t know where to start: The symbolism of Ico’s horns coming off, the Queen/Witch’s dying taunt, the realisation that Yorda can’t escape the castle even when the way out is finally open, the collapse of a seemingly ancient castle, the indication that Yorda and Ico belong in separate worlds and, of course, the slow creeping in of ‘You Were There’.
Funny thing is all of these aren’t really spelled out for the viewer: they are just presented for the viewer to draw their own conclusions. As a result, the mind works in the fashion that the designer intended and an emotion connection is built up. It is an effective method and one that works a treat.
Like FFX, the ending of Ico did indeed leave an impression on my cold jaded heart. And for a video game to do this is a feat indeed – enough to secure it in the third position in this list. What could top it? Funny you should say that…..
2. Metal Gear Solid
For me, Metal Gear Solid is a character driven game done right: Among the many achievements this game accomplished, paramount among them was the idea of taking a character and building a world around him for which to inhabit.
That being said, Metal Gear Solid is a game that deceived me: At the start, it is established that Snake is sneaking into Shadow Moses Island to thwart some terrorists who pose a considerable threat through being in the possession of nuclear warheads.
However, like many games on this list, by the end, the game has switched gears and revealed its true intentions: Metal Gear Solid isn’t about sneaking into a base, beating up some bad guys and eventually destroying a giant mech – no it represents a personal odyssey for Snake. It’s about him starting out with emptiness in his life only to come out the other side with a sense of meaning. It is indeed a relief to see Snake, through all his trials and tribulations come out the other side with a much better outlook on life. Of course, a feel-good/life affirming ending may have done many times before but here it works well – perhaps because, unlike a book or a movie, a video game demands participation from the player. Thus, there is the sense that Snake got to where he ended up with the player’s assistance. It is impressive, in the terms of story telling, to see Snake decide to make every day of his remaining time on earth count. What's even more impressive is this revelation is conveyed through to make an impression onto the player.
Of course, this ending is made redundant with the puzzling presence of the Metal Gear Solid’s 2 and 4 (why would Snake go back into combat after deciding to make every remaining day of his life count?!) but still it’s not everyday you see a life-affirming ending in video game.
And that’s why it works so well.
And my number 1 ending to a video game is…..
1. Final Fantasy IX
In this list, I’ve described various reasons to why certain endings work: Some challenge my perceptions as a gamer. Some give me something to think about. Some present situations designed to inspire an emotional response. Some present me with character and make me wanting to go with them on their adventures every step of the way.
But in the end, what I ultimately want is the sense that I achieved something: The sense that the many hours I put into the game have amounted to something grandiose. I want a payoff that was worth the effort. Step forward: Final Fantasy IX.
So why this one? Firstly length: The RPG demands the greatest investment of time than any other game – having an ending that stretches out for over half an hour is a perfect counter-weight to the many hours spent playing the game.
Secondly, throughout the ending, we get to see the character’s lives afterwards. Each of the key characters have their own cinematic which shows what they had gotten up to since the adventure ended. Whilst not all of them may be happy (Freya’s comes to mind), it is a credit to the designers for showing us that life does indeed go on (something that, I wish, would happen more often).
The real treat however is in the video shown above where Garnet and Zidane are finally reunited. Of course, it is a bit annoying that it isn’t really explained HOW Zidane managed to get back to Alexandria but it is interesting to see what Garnet’s character eventually developed into (note the moment when she loses the Alexander pendant). Indeed, I particularly love the moment when she throws away her tiara before charging into Zidane’s arms: Sometimes little things can mean so much.
Also pleasing is seeing the crowd, with Zidane and Garnet’s former comrades, bursting into applause. It is as if that after the grim undertones of 6, 7 and 8, Square just decided “Bugger this, let’s just do a happy ending’. It may not have been their intent but even if it was, it works a treat. A sweet relief maybe but there is the thought that, after so many dark themes lurking within the Final Fantasy games, if Square can put their mind to it a happy ending can work out well.
Some may dismiss the tried and tested notion of ‘And they all lived happily ever after’ but what would they know?
More to the point why would I care?
So that’s my thoughts on what makes a good ending. A diverse list but all work in different ways: I like having my perceptions as a gamer challenged. I tip my hat to a game designer for presenting something to think about. I love a sense of accomplishment whilst other times I just love a happy ending.
Really games should be self-contained stories with a properly defined beginning, middle and an end. And whilst many games can start of great they can fumble with the other two. But whereas people don't remember the middle of a game, it's the ending that can prove most critical. Having said that, I've just written out eleven different endings that work in different ways so really there is no excuse.
Until next time....
And in some cases, a betrayal beyond forgivable.
We’ve all heard the story before: Someone plays a game and enjoys it a lot. They get to the ending, which turns out to be one big anticlimax, and the gamer gets mad. Within seconds, so many hours of fun and enjoyment are erased instantly and the gamer starts venting their disgust to some internet blog or message board.
To me, an ending needs to provide a proper resolution to the hard effort put into the game. It needs to convey a sense of achievement - or even something that sticks in the player’s mind – to really make all the hours worth it. So today, I’m going to talk about some of my favourite endings to a game and how they made an impression on me.
So here we go:
11. Ninja Warriors
And we start with an ending (badumtish) that certainly leaves a substantial impression. For those not in the know, Ninja Warriors was an arcade game from the late eighties (although the above video is from the SNES conversion), where the player controls a robot ninja assassin dispatched by revolutionaries to kill a corrupt politician. At the end of the game, the ninjas confront their target when suddenly they explode taking the politician’s mansion with them. It turns out the mission was a suicide one – thus enabling the revolutionaries to seize control and end up doing an even worse job than their predecessor.
This ending works on two levels: Firstly, it is thought-provoking in its handling of it’s themes of terrorism (perhaps more so in this modern, post-9/11 age we live in). Secondly, it is the notion that not all endings are happy ones. Sure it means all the player’s efforts were ultimately for naught but that doesn’t mean the player won’t walk away with something to ponder. I like games that challenge the relationship between game and the person playing it – and whilst this move has become popular in recent years, Ninja Warriors may just well have been a pioneer.
Audacious maybe but Ninja Warriors is still a worthy way to start off this list.
10. Prince of Persia: Sands of Time
One of the most well-realised stories ever in the history of video gaming yields the cleverest of endings. Allegedly, Jordan Mechner was inspired by Tales of Arabian Nights in development of the original Prince of Persia – so it’s interesting to see the ideology of stories being carried over into Sands of Time.
The narrative of SoT is guided by the voice of the Prince himself, explaining things as they happen to an unseen audience. As the story progresses, the gamer is constantly wondering just who this audience is – and the urgency that the prince narrates with adds to this mystique. Indeed, it is an interesting motivator to keep playing just to find out who the Prince is telling this story to.
And when this audience is finally revealed, not to mention HOW the prince got there himself, is truly a moment even I did not see coming. And that for me represents a mark of exceptional storytelling: keeping the audience in suspense without breaking step once. Indeed, SoT makes it look so effortless you can’t help but wonder if other game developers were looking and taking notes.
Granted I haven’t included this revelation in the video above (actually I couldn’t find it but really maybe it’s something one has to see for themselves) but, as the ending indicates, I do like the ideology of stories that SoT has. A story is a narrative device, being told by the Prince, to someone who, as the above video indicates, is left in a state of disbelief. It’s a clever idea and the fact that it’s conveyed successfully throughout the whole game is an achievement in itself.
9. Skies of Arcadia
And here we have the very first JRPG in this list – and there’s more to come.
RPGs have got to be the most time-demanding game genre ever: After accomplishing so many quests, levelling up and building up characters in wealth and combat prowess, an RPG really needs to have a killer ending. So many RPG’s have been condemned for a lame ending, so it is interesting to see how that the developers handle the task of providing a decent pay-off. Some do a half-arsed job whilst others really put in an effort not shown by any other genre.
So what does Skies of Arcadia offer up? Well, after so many hours gone into the game, the gamer is treated to a cinematic displaying a sense of victory: The adversary is defeated, the heroes have won and the player is treated to a sense of accomplishment. Okay so the outcome of the efforts of Vyse, Fina and Aika was probably never in doubt but dammit, if any game ending did convey a sense of accomplishment then Skies of Arcadia does so in spades!
The real treat however is the end credits sequence which presents a montage revealing what everyone got up to following the events of the game. Granted this may not have been the first JRPG to do this but for me, it’s the one that does it best.
8. Super Mario Bros 3
I remember seeing this one when I was a kid: Mario defeats Bowser and runs to the rescue of Princess Peach – only to be informed that the Princess is in ANOTHER castle….. before Peach reveals she was only kidding.
Why does this ending work for me? Two reasons: The first is the idea that Mario is an everyman. He doesn’t look in any way the heroic type – he’s just a regular guy. And yet he still goes on fantastic adventures and manages to save the day (and a princess!). Indeed, it is that everyman quality that may attribute to his continuing popularity. And for me, the Super Mario bros. 3 ending exemplifies that quality more than it’s SMB1 and, quite possibly, even more that it’s successors.
The other reason is the joke Peach plays. While it’s a nice surprise to see Nintendo poking fun at their own franchise, one can only wonder how the player, after so many hours spent playing the game, reacted. What may have started as screams of disbelief and frustration eventually gave way to either a huge sigh of relief or shouts of “FUCK YOU BITCH!!”
Seriously though, this is an ending that, again, exemplifies the connection between the player and the game. And this is one ending which may have inspired a reaction – it may not have been the best one but it’s still one nonetheless. And not many games can lay claim to such a feat.
7. Terranigma
Whilst Australia may have missed out on Chrono Trigger, we instead had to settle for Terranigma. Okay so it may not compare on a level of complexity to Chrono Trigger but Terranigma can boast some great ideas being put to work.
The player controls a guy named Arc who lives in a village that seems to know largely little of the outside world. But through a series of misadventures, Arc eventually discovers an empty world and is thus charged with the task of resurrecting it. He does this through bringing life back to it and furthering scientific progress for it’s human inhabitants. However as the game goes on, the game puts forth some ideas on existence that’s kind of unexpected in a game of the 16-bit era.
As stated before, any game that can make a player think is a winner in my book. And no way is this exemplified with the ending: His task done, Arc is then left with one last day to spend on the mortal plane. This is indeed a challenging prospect that one wouldn’t find in a video game: What would you do if you had one last day upon this earth? How would you spend it? How would the thought of having made a difference weigh upon you’re mind? These are challenging ideas and for a game to convey them is indeed an achievement in itself.
In particular, I love that concluding dream sequence – I can’t really explain it as it's something that really needs to be seen to be comprehended. but, for me, it’s one of those moments of perfection that few games can match.
6. Chrono Cross
Okay so I’m cheating here seeing as I’ve never played this game (as it was never released here in Australia) and I’m relying on someone else’s assessment of it but this ending video is a gem indeed.
As the above link suggests, Chrono Cross is game aimed at breaking down the borderline between player and game. Throughout the game itself, there are key moments which suggest the player is having a more interactive role in the proceedings than what is usually associated in a video game. This eventually reaches its pinnacle at the end when the character of Schala speaks through a passage of text directly at the player. This is then followed by the ending cinematic which includes live action footage of an actress, representing Schala, searching for the player (ie YOU).
Quite disturbing yes but I take my hat off to the makers who seem to be keen on trying something different, intent on challenging the gamer’s perceptions and say something unexpected and unique – particularly in a medium which is usually associated with killing lot’s of dudes, buxom chicks and young men who look more girly than the females who control them.
Fortune, it would appear, truly does favour the brave.
5. Shadow of the Colossus
One of the big ones (pun most certainly intended). No other game has left me with a mixed reaction to this ending. With this ending, the rug is pulled under the player’s feet: Suspicions are confirmed and suddenly Wander’s quest is nowhere near as noble as one was originally led to believe.
Of course, at first I was annoyed that the hard effort I put into playing the game had, ultimately, all come to naught. But when I look back at it now, my view has softened - somewhat. You see, I can now appreciate the game for being able to challenge my perceptions and direct me into a quest that, upon closer examination, has me asking questions of a morale nature far more effectively than the Mass Effect series. In addition, the fact that not all endings are happy ones hits really hard in this cinematic.
Really though, I have no idea whether I should praise or condemn this ending but there is no need: If a game has inspired such a divisive opinion then it must have made quite an impression – indeed the type that some games can dream about. If game triggered a debate and a closer look, then it must’ve been a pretty damn good one.
4. Final Fantasy X
A mark of a great game is one that elicits an emotional reaction – and in that field, you can’t go wrong with this. Final Fantasy X may have had it’s fair share of emotional moments but the apex of it all comes in the form of the ending.
One thing I’ve enjoyed with the Final Fantasy games is that, unlike a lot of RPGs, their approach to story-telling is that not all endings are happy ones. Sure some good may have been done come at the end, but the protagonists can’t really save everyone. Which now brings me to Final Fantasy X and, in particular, the doomed romance between Tidus and Yuna. At the end, Spira may be saved but one of the main protagonists has fallen: One who didn’t really belong in Spira’s world and who made a lasting impression on the one who was supposed to die. Some say, the romance was kinda uninspiring but I give credit to Square to take a chance with this ending: It wasn’t a happy ending and it’s indeed interesting to see a romance that doesn’t work out. Sure Mario may keep saving Princess Peach from Bowser's constant clutches but no such thing seems to happen on Spira’s world.
Plus I have to admit, there is always the emotional punch of seeing Yuna running to Tidus and subsequently through him. This is then followed by those three words uttered by Yuna showing more emotion (or at least her voice actress) than she ever did in the entire game. It is a moment like this that still hits hard on my cold jaded heart.
Of course, this is all ruined with the advent of FFX2 but still, for a game to break the rules and convey such emotion, this is a shining example.
3. Ico
On second thought, forget what I said about Final Fantasy X: When it comes to eliciting an emotional response from the gamer, nothing can hope to match the ending that is Ico. Much like Team Ico’s other game, the afore-mentioned Shadow of the Colossus, there is no sense of a happy ending as it becomes clear that the player’s efforts have ultimately come to naught – except for leaving an emotional resonance that most games can only dream about.
There are so many magic moments in this ending that I don’t know where to start: The symbolism of Ico’s horns coming off, the Queen/Witch’s dying taunt, the realisation that Yorda can’t escape the castle even when the way out is finally open, the collapse of a seemingly ancient castle, the indication that Yorda and Ico belong in separate worlds and, of course, the slow creeping in of ‘You Were There’.
Funny thing is all of these aren’t really spelled out for the viewer: they are just presented for the viewer to draw their own conclusions. As a result, the mind works in the fashion that the designer intended and an emotion connection is built up. It is an effective method and one that works a treat.
Like FFX, the ending of Ico did indeed leave an impression on my cold jaded heart. And for a video game to do this is a feat indeed – enough to secure it in the third position in this list. What could top it? Funny you should say that…..
2. Metal Gear Solid
For me, Metal Gear Solid is a character driven game done right: Among the many achievements this game accomplished, paramount among them was the idea of taking a character and building a world around him for which to inhabit.
That being said, Metal Gear Solid is a game that deceived me: At the start, it is established that Snake is sneaking into Shadow Moses Island to thwart some terrorists who pose a considerable threat through being in the possession of nuclear warheads.
However, like many games on this list, by the end, the game has switched gears and revealed its true intentions: Metal Gear Solid isn’t about sneaking into a base, beating up some bad guys and eventually destroying a giant mech – no it represents a personal odyssey for Snake. It’s about him starting out with emptiness in his life only to come out the other side with a sense of meaning. It is indeed a relief to see Snake, through all his trials and tribulations come out the other side with a much better outlook on life. Of course, a feel-good/life affirming ending may have done many times before but here it works well – perhaps because, unlike a book or a movie, a video game demands participation from the player. Thus, there is the sense that Snake got to where he ended up with the player’s assistance. It is impressive, in the terms of story telling, to see Snake decide to make every day of his remaining time on earth count. What's even more impressive is this revelation is conveyed through to make an impression onto the player.
Of course, this ending is made redundant with the puzzling presence of the Metal Gear Solid’s 2 and 4 (why would Snake go back into combat after deciding to make every remaining day of his life count?!) but still it’s not everyday you see a life-affirming ending in video game.
And that’s why it works so well.
And my number 1 ending to a video game is…..
1. Final Fantasy IX
In this list, I’ve described various reasons to why certain endings work: Some challenge my perceptions as a gamer. Some give me something to think about. Some present situations designed to inspire an emotional response. Some present me with character and make me wanting to go with them on their adventures every step of the way.
But in the end, what I ultimately want is the sense that I achieved something: The sense that the many hours I put into the game have amounted to something grandiose. I want a payoff that was worth the effort. Step forward: Final Fantasy IX.
So why this one? Firstly length: The RPG demands the greatest investment of time than any other game – having an ending that stretches out for over half an hour is a perfect counter-weight to the many hours spent playing the game.
Secondly, throughout the ending, we get to see the character’s lives afterwards. Each of the key characters have their own cinematic which shows what they had gotten up to since the adventure ended. Whilst not all of them may be happy (Freya’s comes to mind), it is a credit to the designers for showing us that life does indeed go on (something that, I wish, would happen more often).
The real treat however is in the video shown above where Garnet and Zidane are finally reunited. Of course, it is a bit annoying that it isn’t really explained HOW Zidane managed to get back to Alexandria but it is interesting to see what Garnet’s character eventually developed into (note the moment when she loses the Alexander pendant). Indeed, I particularly love the moment when she throws away her tiara before charging into Zidane’s arms: Sometimes little things can mean so much.
Also pleasing is seeing the crowd, with Zidane and Garnet’s former comrades, bursting into applause. It is as if that after the grim undertones of 6, 7 and 8, Square just decided “Bugger this, let’s just do a happy ending’. It may not have been their intent but even if it was, it works a treat. A sweet relief maybe but there is the thought that, after so many dark themes lurking within the Final Fantasy games, if Square can put their mind to it a happy ending can work out well.
Some may dismiss the tried and tested notion of ‘And they all lived happily ever after’ but what would they know?
More to the point why would I care?
So that’s my thoughts on what makes a good ending. A diverse list but all work in different ways: I like having my perceptions as a gamer challenged. I tip my hat to a game designer for presenting something to think about. I love a sense of accomplishment whilst other times I just love a happy ending.
Really games should be self-contained stories with a properly defined beginning, middle and an end. And whilst many games can start of great they can fumble with the other two. But whereas people don't remember the middle of a game, it's the ending that can prove most critical. Having said that, I've just written out eleven different endings that work in different ways so really there is no excuse.
Until next time....
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