Welcome to part two of this series and thanks for joining us. Well let's not dither around, let's dive straight in.
Last week I talked about the gaming themes I listened to, and enjoyed, as a kid. And seeing as nearly all of them came from games on the Commodore 64, let's head into the next generation of gaming history. That's right, lets talk the fourth generation - it's round about here that many recognizable themes begin to show their faces. So which have I enjoyed and which still hold up years later? Let's find out...
Cannon Fodder - War has Never Been So Much Fun
Let's kick things off with a game that wasn't on the Megadrive or SNES! Okay so maybe this game got converted onto the afore-mentioned systems but honestly? In retrospect, the Amiga definitely comes across as being the true version.
I’ve made mention of Cannon Fodder previously where I pointed out how the game was devised as an anti-war game masquerading as strategy game. And no better is this idea exemplified than with this rather cheerful sounding, but still quite morbid, title theme. Handled by the late great Richard Joseph, this one of those rare computer game themes that invite a singalong – and how can one not? The song is built around a repetitive chorus that’s quite catchy – but go beneath the surface and it’s clear the song is a condemnation as opposed to a glorification. But it’s only after the listener has been sucked in by the lyrics that the realisation becomes crystal clear. For any song to pull that off is feat in itself but for a videogame theme? Absolute genius. Interestingly enough I can’t think of any other games that feature a singalong opening theme (except Sonic CD) – maybe they needn’t bother as Cannon Fodder did it right the first time around.
Interestingly enough this song didn’t survive the conversions to the Megadrive or SNES – as such the point of was lost in mass of blips. So listen to this in all it’s original glory and chalk one up for the underdog.
(and yes I am well aware of the irony of me mentioning this song on Remembrance Day so please don't point that out)
Final Fantasy 6 - Terra's Theme
Yeah well we all knew this was going to happen: It seems to be some sort of law that you can't talk video game music without mentioning the Final Fantasy series.
In last week’s post, I was praising the composers of the C64 era in how they managed to come up with material so memorable and evocative through the limited of technology. And the same could be said for Final Fantasy 6. Now whilst the SNES had some great soundtracks in it’s own right (some of which are mentioned later on in this post), I personally feel that Final Fantasy 6 has a soundtrack that could be truly considered epic. Now whilst many video games of soundtracks may strive for an epic feel in their soundtrack, I think Final Fantasy 6 may have been the first to do so - and hey, a game soundtrack boasting the only opera ever written for game is something not to be sniffed at.
So this is a theme that’s repeated many times throughout the game in different forms (leitmotifs one would call them) yet one never gets tied of it. It consists of a sweeping, epic feel that one would expect from the likes of Richard Wagner or John Williams yet it never once feels out of place in a videogame. It evokes many emotions from the sombre to the inspiring. And seeing this theme matched up to three mechs traveling through the snow truly makes for an unforgettable sight. And for a theme to accomplish all of this is indeed impressive.
But then again what would I know? In the end, it’s one of the finest pieces of music to emerge from the entire series and perhaps one of the real signature pieces of Final Fantasy (One Winged Angel be damned!). It’s also a damn good tune too.
Golden Axe 2 - Ravaged Village
I must admit - whilst I may have sworn my fourth generation allegiances to Sonic and the Megadrive, a lot of games on the Megadrive look different from an adult perspective - they have not aged at all that well. And such is the case of the music: Many Megadrive game music sound ghastly and irritating now but Golden Axe 2 is an exception.
I love the Golden Axe games for the action, the artwork, setting and obvious steals from the Conan the Barbarian mythos. And I really enjoyed the music with Golden Axe 2: Listening to it now really encapsulates the feel of traveling from one end to the other of a ravaged land that is being torn apart by some evil forces of insurmountable odds. Pounding drums are featured throughout and the soundtrack still sounds great. In fact, I think the music in Golden Axe 2 is better than that of the original Megadrive Golden Axe.
That being said, there's not much I can add to Ravaged Village - It's the best theme in the entire game and it encapsulates the feel of the rest of the soundtrack in general. It’s just the type of thing one could do with listening to when assaulting a village filled with Orcs…
Legend of Zelda: Link to the Past – Light World Dungeon theme
Strange as this may seem but I don’t think that the music from subsequent Zelda games aren’t as good as Link to the Past. That’s not to say that the music to Twilight Princess and Ocarina of Time have been crummy – far from it – but it is only in Link to the Past that the soundtrack has made the greatest impression on me.
Now whilst there have been some superb themes from Link to the Past that may have been worthy of consideration, the one I will always remember is the Light World Dungeon theme. It starts off nasty and foreboding before it gives way to a hypnotic synthesizer riff – and the inclusion of the (imitation) trumpet is the icing on the cake. There may not be much going on in this theme but it works wonders. It’s a triumph of minimalism evoking danger, darkened corridors and stepping into the unknown. Many RPGs have tried to replicate similar feelings but this is the one, I feel, that does it the best. And who would’ve guessed that a trumpet could work for a dungeon theme?
Phantasy Star 4 - Air Castle
As mentioned above whereas many Megadrive game music sounds dated today there are however three exceptions I'm willing to make. Golden Axe 2 is one and Phantasy Star 4 is another (and the third? Keep reading...)
As PS4 was pretty much the last hurrah for the original series, it seems the creators went all out with this one: Everything from the gameplay, graphics and storyline is top-notch and made with obvious care and love as one could muster for a last hurrah. And indeed, the soundtrack sounds great throughout - even to the point where I never thought it possible for the Megadrive.
And then there's this: the Air Castle theme. The Air Castle may be one of, if not the, toughest dungeon in the game so what music accompanies this area? The loudest and most scariest theme in the entire game. This seems the ultimate throwing down of the gauntlet: A dungeon theme that's taunting the player is if to say: "You want to step in here? You must be crazy!" I like the pulsating bass line throughout, the freaky synthesizer effects and, how the theme fades in once a battle's been fought and the dungeon resumes. This definitely seems the theme of a warlord's fortress, challenging anyone foolish enough to enter.
Interestingly enough, when I was doing research for this post, I found out this theme is actually a remix of the original dungeon theme for Phantasy Star 1. Comparing the two, the original seems more stiff and bland - whilst with this remix, one felt the theme was given the bite it so originally deserved.
Secret of Mana - Fear of Heavens
Yeah it’s another no-brainer but dammit if I could include the entire soundtrack to this game to this list then I would. Every damn song on there is a gem and exhibits a lot of variety and creativity on the composer’s part (one Hiroki Kikuta). I’ve said that many Megadrive soundtracks have dated horribly in the years since but that does not seem to be the case with the soundtracks from the SNES. The system may be long gone but Secret of Mana possesses that rare trait of having a soundtrack that never once sounds outdated – indeed many more modern games don’t come close. Wonderment, adventure, and mood emphasis – the Secret of Mana OST does all this and more – And special mention must go to the haunting-like-no-other game over theme Close Your Eyelids.
That being said, choosing one of this list isn’t easy (A Curious Tale, Into the Thick of It, The Dark Star are all beauties) but I settled with the opening theme. In my Degeneration serial, I noted I disappeared from gaming for a number of years – But that turned around when I decided to hunt down Secret of Mana and give it a shot. Thus hearing the opening piano chords to Fear of Heavens for the first time and I knew the exile was over. Now I could to continue to gush over how good the soundtrack to Secret of Mana is but I would rather leave that to the many critics the internet has to offer. Instead, I’ll say that Secret of Mana, and Fear of Heavens, represents a place in time – a point in my life where things changed completely. Everyone has pieces of music that do that type of thing (and if you don’t then you’re a liar) but for a theme to a videogame to do just that is indeed an accomplishment in itself.
Sonic the Hedgehog - Green Hill Zone
And it’s a hat trick for the Megadrive - although admittedly, the inclusion of this shouldn’t really come to as a surprise. Now whilst the original Sonic the Hedgehog game had many exceptional themes, many of which still sound great twenty years later, I’ve decided to go with the original Green Hill Zone theme. True the themes to the Marble Zone, Spring yard Zone and Star Light Zones are all superb, but this for me was pretty much the beginning of an adoration of Sonic – and I’m certain I’m not the only one.
If anything, the themes of Sonic the Hedgehog represent a time and place better than any game soundtrack I've ever heard. And hey, if they left an impression on me as a nine-year old that has lasted twenty years since, then something must've worked. And for a game soundtrack to do that is an impressive feat indeed.
Super Metroid - Brinstar
One thing I like about SNES music is how good it is replicating the sounds of bass guitar. And this is a shining example of that principle (the Filmore theme from Actraiser and certain themes from Tetris Attack are also good examples). Indeed, the bass line dominates the song and is pretty much the focal point throughout the song. Also pleasing are the many colors built around the bass with the percussion effects and the weird keyboard effects.
But enough with the technical talk: Whilst much of the music to Super Metroid is minimalist, often used to haunting effect, this theme sounds more like a fully-formed theme. But it is no less freaky. It’s a bizarre amalgam of natural sounds combined with a sci-fi/technological theme – much like Brinstar itself. Such a combination seems a recipe for disaster – but that’s not the case with this theme. It does what it sets out to do and does so with flying colours – much like Super Metroid itself.
In fact let’s just drop the pretenses altogether: I think finding the words as to why I like this theme is doing this theme a disservice. Just listen to the damn theme yourself and draw your own conclusions.
Terranigma - Underworld
One of the lesser known titles in the SNES canon, Terranigma still has managed to garner some recognition in the years since the 16-bit era. Aside from being a forgotten treasure (if you were in the US at least) it has been praised for being a solid RPG, the philosophical themes the game addresses and being somewhat ahead of it’s time. But it’s in the music that Terranigma comes into it’s own, standing proudly as one of the finest in the SNES library. And again, there are many masterful pieces in the soundtrack that it makes selecting one a tough task. However I decided to go with this: The Underworld theme. This is the first thing the player hears when Ark steps beyond his village, the only world he was ever known, and ventures into the real world. And what does he find? A dead, lifeless world that’s waiting to be brought to life.
In any RPG, a lot rests on the shoulders of the music – it can establish a mood and convey an idea that gets the player thinking. Whilst there have been themes in RPGs that have been used for exploring and adventure, this theme sounds different. Whereas other themes have been inspiring and stepping out into a weird and wonderful world, this theme sounds far more sombre and cautious, suggesting that maybe the outside world isn’t really that great. Of course, this isn’t the way it’s meant to be done but to me, that makes the theme work so well.
And that's it for the fourth generation! Tune in next week when we head into the age of fifth generation where Playstation takes the field and many more memorable themes come into play. Which of them made an impression on me? I think you might be surprised....
Showing posts with label Terranigma. Show all posts
Showing posts with label Terranigma. Show all posts
Friday, November 11, 2011
Friday, July 29, 2011
Degeneration (no.4)
And thus we arrive to the fourth generation.
Now those who’ve been following this series will note that my recollections seem somewhat hazy. This is due to things being experienced out of order and exact moments in my gaming history are difficult to pinpoint.
But now all that is changed. Because I can recall one particular moment that sold me over: It remains burned in my memory as a turning point and, in retrospect, marks my true beginning as a gamer. And that moment was this:
Megadrive (or as some of you call it Genesis)
I recall reading through my brother’s video game magazine and was hit by a full page ad for Sonic the Hedgehog. And, like hundreds of other people, it was all over. I had know idea who this blue guy was but I was sold with his big eyes, cocky grin and a general ‘bring it on’ disposition. Naturally, this led me gravitating towards the Megadrive.
Needless to say, when I finally saw one in action, I wasn’t disappointed. It seemed a world apart form the eight bit games I had seen before. Of course this was all 16-bit but it seemed beefier: Anything seemed possible within this new gaming technology, with colourful graphics, large worlds to explore and character that would be impossible to replicate on the Master System, NES or Commodore 64.
As luck would have it, my cousin had one so many times were spent talking about games and playing them to death. Many memories were built up and some I still recall: Playing two player games of Golden Axe 2, the theme to the first level of Truxton, the character of Rocket Knight Adventures, being floored by the rotoscoped graphics to Flashback, playing an ace conversion of the Mortal Kombat arcade, being impressed by the tactical pace of Jungle Strike, being blown away by both Sonic and being excited about the arrival of Tails in Sonic 2 (and subsequently laughing by how many times he died through following Sonic).
However looking back through an adult perspective, there is a lot that hasn’t aged well in the world of the Megadrive. A lot of games have aged horribly (most of them being part of the pre-Sonic era when this new technology was being figured out) through lousy graphics, crummy sounds and being dull to play. Many game soundtracks now sound dreadful given the limited sound prowess of the console (ie Shining Force 2) and many games were really overshadowed by Sonic. True sport games had a field day on the Megadrive, the Shining series had some gems and the Phantasy Star’s importance as a pioneering RPG series can never be overlooked but beyond Sonic, one would struggle to come up with an equally important IP – whereas Nintendo had how many? Three? Five?
But in the terms of building a lasting impression, the Megadrive is in a class of it’s own. It’s arrival opened my eyes to the world of gaming: I discovered there was a world waiting for me and I charged right in: I read the CVG magazines my brother collected. I sought out the NES and the Master System. I became aware of Sonic’s intent to usurp the throne of some guy called Mario. I talked games with my classmates and built up bonds through common interests. I began to grow excited of the game that resided in the arcade machine. I built up an ear to the ground and grew excited about the hype machine (the arrival of Streetfighter 2 to home computers and the afore-mentioned arrival of Tails being two such examples). The wall may have been chipped previously, but this was a breakthrough. And it all came in the form of Sega’ s little black box.
SNES
Having spent the previous paragraphs gushing about the Megadrive it’s fair to say that I spent the fourth console generation as a Sega fanboy. So is there anything I can say about the other camp? Why yes there is.
I recall the SNES being really popular in it’s day: Even to the point when the Nintendo fans recovered ground lost by the Megadrive and, as before, outnumbering us Sega fans. But it was not without good reason. Now whilst I had a lot of focus towards the Megadrive, I will admit there some instances of the some Nintendo games slipping through the cracks. Through visiting friends at the time, I remember quite a bit: Getting my claws on Super Mario World and being impressed by how the familiar can be revamped quite dramatically, Playing Yoshi’s Island and thinking how the bizarre can actually come across as something very enjoyable, plunging headlong into the world that was Super Metroid and being very impressed with Donkey Kong Country.
But my own experiences with the SNES really come in two halves: With my childhood years and with my adult years. As described in the previous paragraph the childhood years were nothing more than flirtations but come my adult years, it was something completely different.
You see, it’s only in past few years that I started playing SNES games again – thus heralding the end of many years of wandering in the wilderness. In that period, I set about rediscovering the type of stuff that my comrades were doing years before. I hunted down many games that escaped my notice the first time and, needless to say, I found them very enjoyable. Even now it does indeed blow my mind that a game I noticed when I was a child could still work for me as an adult.
In fact, this perception of the SNES is an interesting counterpoint to the Megadrive: Whereas I can easily find a lot of things with Megadrive games that have been dated in the years since, this does not to be the case with the SNES library. I have played and enjoyed the likes of Super Mario World, Legend of Zelda Link to the Past, Secret of Mana, Actraiser, Terranigma, Super Metroid, Final Fantasy 4 & 6 and, of course, Chrono Trigger. All of which hold up remarkably well in this age of hi-def graphics. An obvious point would be the high quality game play the game is built around has outlasted many of trends that has come since the game’s initial release but the same could be said at an aesthetic level: Many of the SNES game are still as beautiful to look at now as the day they were released. I’m still impressed by how much detail can be squeezed out of such graphical limitations. And many of the music in games still hold up – and it seems that, through the presence of orchestral arrangements and remixes, many will agree with me. I love the Final Fantasy music (who doesn’t?), I rate the Secret of Mana very highly, and I think some of Link to the Past music outdoes many of the successive Legend of Zelda games.
Indeed, it’s fair to say that many games on the SNES have withstood the test of time very well – in fact, it makes one wonder whether the games we’re playing now will have similarly staying power ten years from now…
But one must take the good with the bad and in the SNES’ case I can see a problem: If the NES was something of a franchise starter, then the SNES is where the franchises took root. And to does raise the problem in that everyone was playing the same damn thing – even to the expense of the other titles. Granted it’s because the games were great but even now, you ask someone which was the best game on the SNES and they reply with the usual suspects: Super Mario World, Link to the Past, Super Metroid, Secret of Mana, Chrono Trigger and Final Fantasy 6 (even as I type this I can see myself repeating myself and it’s damn depressing). Indeed, if you challenge anyone to name the best game on the SNES without mentioning those made by Nintendo or Square and they’ll struggle to say the least. Indeed, it’s this sense of entrenchment that may be costing Nintendo even now….
But criticism aside, the SNES was indeed one of the finest consoles ever made, blessed with superb titles and technological prowess. It represents for me staying power in games and a shining example of how something can last, and keep calling me back, years later. It’s a bastion still standing no matter what time, age and technological developments can throw against it.
Phew, what a mammoth post. No matter: I had a lot to say and I'm glad to have it said. See you this time next time next week for a shock to the system....
Now those who’ve been following this series will note that my recollections seem somewhat hazy. This is due to things being experienced out of order and exact moments in my gaming history are difficult to pinpoint.
But now all that is changed. Because I can recall one particular moment that sold me over: It remains burned in my memory as a turning point and, in retrospect, marks my true beginning as a gamer. And that moment was this:
Megadrive (or as some of you call it Genesis)
I recall reading through my brother’s video game magazine and was hit by a full page ad for Sonic the Hedgehog. And, like hundreds of other people, it was all over. I had know idea who this blue guy was but I was sold with his big eyes, cocky grin and a general ‘bring it on’ disposition. Naturally, this led me gravitating towards the Megadrive.
Needless to say, when I finally saw one in action, I wasn’t disappointed. It seemed a world apart form the eight bit games I had seen before. Of course this was all 16-bit but it seemed beefier: Anything seemed possible within this new gaming technology, with colourful graphics, large worlds to explore and character that would be impossible to replicate on the Master System, NES or Commodore 64.
As luck would have it, my cousin had one so many times were spent talking about games and playing them to death. Many memories were built up and some I still recall: Playing two player games of Golden Axe 2, the theme to the first level of Truxton, the character of Rocket Knight Adventures, being floored by the rotoscoped graphics to Flashback, playing an ace conversion of the Mortal Kombat arcade, being impressed by the tactical pace of Jungle Strike, being blown away by both Sonic and being excited about the arrival of Tails in Sonic 2 (and subsequently laughing by how many times he died through following Sonic).
However looking back through an adult perspective, there is a lot that hasn’t aged well in the world of the Megadrive. A lot of games have aged horribly (most of them being part of the pre-Sonic era when this new technology was being figured out) through lousy graphics, crummy sounds and being dull to play. Many game soundtracks now sound dreadful given the limited sound prowess of the console (ie Shining Force 2) and many games were really overshadowed by Sonic. True sport games had a field day on the Megadrive, the Shining series had some gems and the Phantasy Star’s importance as a pioneering RPG series can never be overlooked but beyond Sonic, one would struggle to come up with an equally important IP – whereas Nintendo had how many? Three? Five?
But in the terms of building a lasting impression, the Megadrive is in a class of it’s own. It’s arrival opened my eyes to the world of gaming: I discovered there was a world waiting for me and I charged right in: I read the CVG magazines my brother collected. I sought out the NES and the Master System. I became aware of Sonic’s intent to usurp the throne of some guy called Mario. I talked games with my classmates and built up bonds through common interests. I began to grow excited of the game that resided in the arcade machine. I built up an ear to the ground and grew excited about the hype machine (the arrival of Streetfighter 2 to home computers and the afore-mentioned arrival of Tails being two such examples). The wall may have been chipped previously, but this was a breakthrough. And it all came in the form of Sega’ s little black box.
SNES
Having spent the previous paragraphs gushing about the Megadrive it’s fair to say that I spent the fourth console generation as a Sega fanboy. So is there anything I can say about the other camp? Why yes there is.
I recall the SNES being really popular in it’s day: Even to the point when the Nintendo fans recovered ground lost by the Megadrive and, as before, outnumbering us Sega fans. But it was not without good reason. Now whilst I had a lot of focus towards the Megadrive, I will admit there some instances of the some Nintendo games slipping through the cracks. Through visiting friends at the time, I remember quite a bit: Getting my claws on Super Mario World and being impressed by how the familiar can be revamped quite dramatically, Playing Yoshi’s Island and thinking how the bizarre can actually come across as something very enjoyable, plunging headlong into the world that was Super Metroid and being very impressed with Donkey Kong Country.
But my own experiences with the SNES really come in two halves: With my childhood years and with my adult years. As described in the previous paragraph the childhood years were nothing more than flirtations but come my adult years, it was something completely different.
You see, it’s only in past few years that I started playing SNES games again – thus heralding the end of many years of wandering in the wilderness. In that period, I set about rediscovering the type of stuff that my comrades were doing years before. I hunted down many games that escaped my notice the first time and, needless to say, I found them very enjoyable. Even now it does indeed blow my mind that a game I noticed when I was a child could still work for me as an adult.
In fact, this perception of the SNES is an interesting counterpoint to the Megadrive: Whereas I can easily find a lot of things with Megadrive games that have been dated in the years since, this does not to be the case with the SNES library. I have played and enjoyed the likes of Super Mario World, Legend of Zelda Link to the Past, Secret of Mana, Actraiser, Terranigma, Super Metroid, Final Fantasy 4 & 6 and, of course, Chrono Trigger. All of which hold up remarkably well in this age of hi-def graphics. An obvious point would be the high quality game play the game is built around has outlasted many of trends that has come since the game’s initial release but the same could be said at an aesthetic level: Many of the SNES game are still as beautiful to look at now as the day they were released. I’m still impressed by how much detail can be squeezed out of such graphical limitations. And many of the music in games still hold up – and it seems that, through the presence of orchestral arrangements and remixes, many will agree with me. I love the Final Fantasy music (who doesn’t?), I rate the Secret of Mana very highly, and I think some of Link to the Past music outdoes many of the successive Legend of Zelda games.
Indeed, it’s fair to say that many games on the SNES have withstood the test of time very well – in fact, it makes one wonder whether the games we’re playing now will have similarly staying power ten years from now…
But one must take the good with the bad and in the SNES’ case I can see a problem: If the NES was something of a franchise starter, then the SNES is where the franchises took root. And to does raise the problem in that everyone was playing the same damn thing – even to the expense of the other titles. Granted it’s because the games were great but even now, you ask someone which was the best game on the SNES and they reply with the usual suspects: Super Mario World, Link to the Past, Super Metroid, Secret of Mana, Chrono Trigger and Final Fantasy 6 (even as I type this I can see myself repeating myself and it’s damn depressing). Indeed, if you challenge anyone to name the best game on the SNES without mentioning those made by Nintendo or Square and they’ll struggle to say the least. Indeed, it’s this sense of entrenchment that may be costing Nintendo even now….
But criticism aside, the SNES was indeed one of the finest consoles ever made, blessed with superb titles and technological prowess. It represents for me staying power in games and a shining example of how something can last, and keep calling me back, years later. It’s a bastion still standing no matter what time, age and technological developments can throw against it.
Phew, what a mammoth post. No matter: I had a lot to say and I'm glad to have it said. See you this time next time next week for a shock to the system....
Monday, February 28, 2011
10 Best Intros of the 4th Generation
It would seem that concocting an introduction to a video game is no easy task: You have to grab the viewer's attention immediately or else they won't give you the time of day. Indeed, with the lack of restriction that modern consoles offer in processing power, many games have bowled people over with a ferocious rush of an intro - and suck enough people in only to realise that less effort went into the game design itself.
Not for me though: The best intros for me came from the 16-bit era: 1990-1995. You know, a time when games knew they were games as opposed to movies. A time when developers embraced their limitations and acted smart in order to get their point across. You may bitch about me being old but for me, intros of the 16-bit era offered more atmosphere, more grabbing of the attention and more establishment of drama than many of their more recent contemporaries.
So for today, I present my list of the 10 best intros of the 16-bit era. These may be old games but they are memorable for a reason: They all worked in some way that they managed to grab my attention and urged me to take up the game controller in hand.
So here we go:
10 - Shining Force 2 (Megadrive)
And the list commences with a burglary that goes horribly wrong.
The key purpose of an introductory sequence in any game is to set up a setting and introduce both important characters and key elements. And Shining Force 2 pulls this off with flair: some key characters are established (not least of which Slade), drama and a sense of quest are both set up and a general mood of spookiness is maintained throughout - in the form of the lightening flashes, the weird music and the eventual appearance of the demonic figure. Indeed, the strongest element at work here is the suspense and the gradual sense of approaching calamity.
In this list, this introduction is the longest - and could very well be the longest introduction ever of the 16-bit era. It may seem nothing special to someone from the current area where ultra-long introductory sequences are commonplace but less has been said in eight minutes. In Shining Force 2, we see something so simple that eventually triggers a massive adventure. Every quest has to start somewhere.....
9 - Darkstalkers (Arcade)
Erm..... Morrigan.....
Seriously though, Attract Modes are integral to Arcade games: You need a decent intro to make yourself stand out from the other arcades alongside and make sure it is the gamer's money going into you - not the others. So what does Darkstalkers do? Offer up a topless chick. Well, as they say, sex does indeed sell: One can only how many people would've been sold over seeing Morrigan's curves.
Other than that, there are some nuggets of interest that maintain attention throughout the intro: I like the title appearing over the thunder effects, the panning shot of the genuine freak-show of fighters, the title's eventual appearance with the descending text, the movements of Morrigan's gaze and, of course, the silhouetted Dimitri.
So in the end, this intro won me over with some rather subtle use of imagery. And Morrigan.
8 - Castlevania: Rondo of Blood (TurboGraphix)
The Castlevania games have a reputation for building a degree of spookiness onto the player - you are, after all, traversing through a haunted castle so anything less simply would not have done at all. And the intro to Rondo of Blood establishes this spookiness right from the word go: We see a bunch of knights sacrificing a maiden which subsequently resurrects Dracula. I downloaded Rondo of Blood for the Virtual Console and I was surprised to see such a macabre intro - I never knew one such existed in the 16-bit era.
Indeed, a sense of unease is established with the toiling bell and the narration making it clear that people are rejecting peace and prosperity in favor of chaos - even to a point of going to an effort to end the peaceful age.
Of course, as made clear in the translated video above, the translation is peculiar and the German narration sounds ridiculous in it's sternness. But in the terms of spookiness, unease, drama and general macabre, you can't go past this.
7 - Chaos Engine (Amiga)
Sometimes, simplicity works best. Through text and minimal imagery, this intro introduces the characters who make up the game: Thus we meet a monster and learn just how big a threat it poses. We also meet six gun-totting mercenaries, all geared up to take on the titular baddie. And...that's pretty much it.
The reason why this intro works is that it establishes the six selectable with a portrait and passage of text. And within the confines of these two elements, the mercenaries certainly show plenty of character - we may not be presented with much more in the way of information about these dudes but what there is, is indeed enough. Perhaps maybe modern game developers should take note? Indeed, I for one would like to see how these six mercenaries would last in a current-generation game where fully-realised scripts and voice acting are the norm....
So yes, I like this intro for the way it introduces it's cast - the accompanying music, provided by the late great Richard Joseph, is a treat too.
6 - Jungle Strike (Megadrive)
Intros need to establish a sense of drama in order to grab the player's attention and to provide them with a sense of purpose for the action ahead. And this is shining example of that principle.
Two dudes blow up an island in the Pacific and immediately afterwards state their intent for revenge on the US: one for his father's death and the other for interference on their drug trading. Thus we meet the bad guys and learn their motivations - who are, of course, pissed off enough to use nuclear weapons upon Uncle Sam. Further drama is established through then cutting to a news broadcast and finally settling on the player character swinging into action. Thus, we see a chain of events which explains everything - all held together with some great music which furthers the sense of urgency. I however like the imagery which are made to resemble that of a comic book. I also like the laid-back attitude of the player character responding to things as they unfold before him.
See? This is how it's done: In a few short minutes we meet the bad guys, we see what they are capable of, we see what has inspired them to do what they are doing, we see the effects and then we meet the player character and see just what type of character he is. No in medias res, no unnecessary padding, no complexity and nothing coming all out at once. See? Simplicity works for a reason!
5 - Alien vs Predator (Arcade)
Again, an arcade game providing an attract sequence that demands attention - and again, provided by Capcom no less. Immediately, the first thing that grabs attention is the music: A theme that suggests the mood of the game without a single image: Impending doom, invasion from an unstoppable foe and unexpected help from what could be the lesser of two evils. Indeed, I remember being a kid and hanging around the cabinet just for the music itself.
The images also work great: I like the changes of perspective going from lunar orbit, to a computer screen before ending to a battlefield. I also like seeing the hordes of Aliens, the sense that the two marines are the only opposition left standing and the sudden arrival of the Predators.
Indeed, what makes this intro work is the drama of encountering an unstoppable foe who outnumbers you a hundred times over and, generally, being part of a battlefield where the main combatants are two intruders to your planet leaving you, the human cyborgs, caught in the middle. In fact the use of the sentence 'A Living Hell' on it's own, says a lot.
And the fact that I was willing to use so much coinage on this game in my teen years suggests the mission of the attract mode, a well and truly successful one.
4 - Super Metroid (SNES)
Whilst the pre-game set up of Super Metroid with Samus' narration is an impressive sequence by itself, the part I will forever remember is the title screen. In such a short space of time, we see three corpses - one clearly being a child - and the Metroid linked up to a machine, being the only light source in an otherwise darkened room. As a result, a sense of drama is established in the most subtle of ways: we the audience are left wondering who are (or were) these people? What happened to them? What is the Metroid doing there? Throw in some extremely creepy music and we have a degree of interest triggered within the player and just what awaits them ahead. Its a triumph of subtlety - and the best bit of all is the pay off: In the first location, Samus encounters the machine but this time, the Metroid is missing.
Super Metroid may be best remembered as a game of subtle moments and a sense of unease - but the most memorable moment of all is when all of these are established masterfully at the very beginning. No wonder many modern game developers keep looking to Super Metroid for inspiration.
3 - Final Fantasy 6 (SNES)
The first five Final Fantasy games (hurrah for alliteration!) had a deceptive undercurrent: It all looked bright and cheerful ate first glance but underneath there lurked some sinister elements: Somber musical pieces, as many sad endings as happy endings and permanent deaths of party characters. Thus, the sixth Final Fantasy immediately announces it's intentions from the start: Through a dramatic organ and a drab colour palette, it becomes clear that the seriousness has come to the front and the colourful back-drops of the past have been placed aside. It is interesting how such a change in mood can be pulled off so well - indeed, one can only wonder the sense of surprise on one who'd been weened on FF4. Indeed, seeing as FF is a game series that provides variations on a theme, when they do something completely different it is worth sitting up and taking notice.
And that's not the only FF convention turned on it's head: In the expository text that follows, we see magic, one of the FF hallmarks, has been discarded and technology has taken it's place. Further drama is established with certain people wanting recover the forgotten art of magic and the potential threat of repeating a previous calamity. No doubt about it, FF6 certainly adds a lot of conflict right off the bat.
However, the most memorable aspect is the credits sequence, where we see a trio of mechs advancing through the snow, accompanied by a haunting rendition of Terra's theme. This is indeed, one of most memorable images of the 16-bit era and, I for one, certainly had it burned into my mind the first time I saw it. I guess it must be one of those videos where everything clicks together to produce a solid whole - I can't really describe why it's so memorable: I guess it's one of those perfect moments that everyone has to see it for themselves.
All in all, the march sequence is truly a shining example of how music and imagery can join forces to produce something that could only be described as unforgettable.
2 - Terranigma (SNES)
Whilst the US got Chrono Trigger, the UK, Europe and Australia had to settle for Terranigma. A forgotten gem yes but what an introductory sequence! In terms of presentation, this one leaps ahead of the rest. It utilizes some stunning graphics and a great choice of music, ranging from the heartbeat at the beginning to the restrained music throughout. Everything is handled in a subtle manner (an alien concept to many JRPGs) and the effort gone into it shows. The text is also compelling describing a planet from birth and the trials and tribulations of the people on it, accompanied by the brilliant use of time passing on a pocket watch. Also of particular interest is the use of Biblical motifs - which of course leads to my favourite moment: The watch ticks to twelve o'clock, the hands fall off and a numbers shift to make way for a Thirteenth hour.
Some say JRPG's are all bombast and lack subtlety but then they decide to do things differently, it succeeds with flying colours.
Terranigma may be disregarded as some to be a poor cousin to Chrono Trigger - but it sure has a lot going for it with it's use of history, it's glorious music and it's ideas. All of these are brought together to bring the finest introduction ever on the SNES.
And my favourite intro of the 16-bit era is....
1 - Moonstone (Amiga)
So what makes a memorable intro? Awesome visuals? Unforgettable music? The establishment of what must be done in the game itself? The setting being built up? Or the creation of unease towards the viewer? How about a combination of all of them?
Ladies and gentlemen we have a winner: May I introduce Moonstone. A game from the Commodore Amiga that never went any further. Maybe it was the blood and gore that predated the sensation caused by Mortal Kombat. Maybe it was made in a place that wasn't the US or Japan. Or maybe the game wasn't that remarkable. Whatever: The intro itself was enough to make the game. Indeed, I remember being twelve years old and thinking this was actually quite a freaky intro - In fact at the time, I never thought it possible that someone was actually doing this type of thing. Moonstone is a game that has a sense of dread lurking throughout and this intro encapsulates it perfectly. Throw in a perfect mix of graphics, unsettling music (again provided by Richard Joseph)and impending doom and you've got a winner.
So many memorable moments, I don't know where to start: the music that comes creeping in, the pan down from the moon to the forest floor, the sudden clash of multiple drums, the druid's chanting, the knight's hand moving with nervousness and the concluding piece of text where the target in spelled in a single, capitalized word. It's amazing to think the developers accomplished so much with such, by today's standards, limited hardware. I don't know how many times I've seen this intro but it still works everytime.
I recall the first time I played Moonstone: I was blown away by the intro but never got any further due to my A1200 frowning upon A500 technology. It was only many years later that I managed to play the game but, with high expectations brought by the intro, I came away disappointed. Still, at least there's always the above video.....
So that's my list of best 16-bit intros - artifacts from an era where people know what they wanted to get across and did it using the tools at their disposal.
So what I do think of modern game intros? Not much I'm afraid: If the serial Unskippable is anything to go by, they just keep growing increasingly ridiculous: It's all about the spectacle, where generating gamer interest is through flashy graphics and creating confusion - interest that ultimately leads to mockery.
Some people got it right the first time - now it's a matter of time before we suddenly remember how it's done properly.
Not for me though: The best intros for me came from the 16-bit era: 1990-1995. You know, a time when games knew they were games as opposed to movies. A time when developers embraced their limitations and acted smart in order to get their point across. You may bitch about me being old but for me, intros of the 16-bit era offered more atmosphere, more grabbing of the attention and more establishment of drama than many of their more recent contemporaries.
So for today, I present my list of the 10 best intros of the 16-bit era. These may be old games but they are memorable for a reason: They all worked in some way that they managed to grab my attention and urged me to take up the game controller in hand.
So here we go:
10 - Shining Force 2 (Megadrive)
And the list commences with a burglary that goes horribly wrong.
The key purpose of an introductory sequence in any game is to set up a setting and introduce both important characters and key elements. And Shining Force 2 pulls this off with flair: some key characters are established (not least of which Slade), drama and a sense of quest are both set up and a general mood of spookiness is maintained throughout - in the form of the lightening flashes, the weird music and the eventual appearance of the demonic figure. Indeed, the strongest element at work here is the suspense and the gradual sense of approaching calamity.
In this list, this introduction is the longest - and could very well be the longest introduction ever of the 16-bit era. It may seem nothing special to someone from the current area where ultra-long introductory sequences are commonplace but less has been said in eight minutes. In Shining Force 2, we see something so simple that eventually triggers a massive adventure. Every quest has to start somewhere.....
9 - Darkstalkers (Arcade)
Erm..... Morrigan.....
Seriously though, Attract Modes are integral to Arcade games: You need a decent intro to make yourself stand out from the other arcades alongside and make sure it is the gamer's money going into you - not the others. So what does Darkstalkers do? Offer up a topless chick. Well, as they say, sex does indeed sell: One can only how many people would've been sold over seeing Morrigan's curves.
Other than that, there are some nuggets of interest that maintain attention throughout the intro: I like the title appearing over the thunder effects, the panning shot of the genuine freak-show of fighters, the title's eventual appearance with the descending text, the movements of Morrigan's gaze and, of course, the silhouetted Dimitri.
So in the end, this intro won me over with some rather subtle use of imagery. And Morrigan.
8 - Castlevania: Rondo of Blood (TurboGraphix)
The Castlevania games have a reputation for building a degree of spookiness onto the player - you are, after all, traversing through a haunted castle so anything less simply would not have done at all. And the intro to Rondo of Blood establishes this spookiness right from the word go: We see a bunch of knights sacrificing a maiden which subsequently resurrects Dracula. I downloaded Rondo of Blood for the Virtual Console and I was surprised to see such a macabre intro - I never knew one such existed in the 16-bit era.
Indeed, a sense of unease is established with the toiling bell and the narration making it clear that people are rejecting peace and prosperity in favor of chaos - even to a point of going to an effort to end the peaceful age.
Of course, as made clear in the translated video above, the translation is peculiar and the German narration sounds ridiculous in it's sternness. But in the terms of spookiness, unease, drama and general macabre, you can't go past this.
7 - Chaos Engine (Amiga)
Sometimes, simplicity works best. Through text and minimal imagery, this intro introduces the characters who make up the game: Thus we meet a monster and learn just how big a threat it poses. We also meet six gun-totting mercenaries, all geared up to take on the titular baddie. And...that's pretty much it.
The reason why this intro works is that it establishes the six selectable with a portrait and passage of text. And within the confines of these two elements, the mercenaries certainly show plenty of character - we may not be presented with much more in the way of information about these dudes but what there is, is indeed enough. Perhaps maybe modern game developers should take note? Indeed, I for one would like to see how these six mercenaries would last in a current-generation game where fully-realised scripts and voice acting are the norm....
So yes, I like this intro for the way it introduces it's cast - the accompanying music, provided by the late great Richard Joseph, is a treat too.
6 - Jungle Strike (Megadrive)
Intros need to establish a sense of drama in order to grab the player's attention and to provide them with a sense of purpose for the action ahead. And this is shining example of that principle.
Two dudes blow up an island in the Pacific and immediately afterwards state their intent for revenge on the US: one for his father's death and the other for interference on their drug trading. Thus we meet the bad guys and learn their motivations - who are, of course, pissed off enough to use nuclear weapons upon Uncle Sam. Further drama is established through then cutting to a news broadcast and finally settling on the player character swinging into action. Thus, we see a chain of events which explains everything - all held together with some great music which furthers the sense of urgency. I however like the imagery which are made to resemble that of a comic book. I also like the laid-back attitude of the player character responding to things as they unfold before him.
See? This is how it's done: In a few short minutes we meet the bad guys, we see what they are capable of, we see what has inspired them to do what they are doing, we see the effects and then we meet the player character and see just what type of character he is. No in medias res, no unnecessary padding, no complexity and nothing coming all out at once. See? Simplicity works for a reason!
5 - Alien vs Predator (Arcade)
Again, an arcade game providing an attract sequence that demands attention - and again, provided by Capcom no less. Immediately, the first thing that grabs attention is the music: A theme that suggests the mood of the game without a single image: Impending doom, invasion from an unstoppable foe and unexpected help from what could be the lesser of two evils. Indeed, I remember being a kid and hanging around the cabinet just for the music itself.
The images also work great: I like the changes of perspective going from lunar orbit, to a computer screen before ending to a battlefield. I also like seeing the hordes of Aliens, the sense that the two marines are the only opposition left standing and the sudden arrival of the Predators.
Indeed, what makes this intro work is the drama of encountering an unstoppable foe who outnumbers you a hundred times over and, generally, being part of a battlefield where the main combatants are two intruders to your planet leaving you, the human cyborgs, caught in the middle. In fact the use of the sentence 'A Living Hell' on it's own, says a lot.
And the fact that I was willing to use so much coinage on this game in my teen years suggests the mission of the attract mode, a well and truly successful one.
4 - Super Metroid (SNES)
Whilst the pre-game set up of Super Metroid with Samus' narration is an impressive sequence by itself, the part I will forever remember is the title screen. In such a short space of time, we see three corpses - one clearly being a child - and the Metroid linked up to a machine, being the only light source in an otherwise darkened room. As a result, a sense of drama is established in the most subtle of ways: we the audience are left wondering who are (or were) these people? What happened to them? What is the Metroid doing there? Throw in some extremely creepy music and we have a degree of interest triggered within the player and just what awaits them ahead. Its a triumph of subtlety - and the best bit of all is the pay off: In the first location, Samus encounters the machine but this time, the Metroid is missing.
Super Metroid may be best remembered as a game of subtle moments and a sense of unease - but the most memorable moment of all is when all of these are established masterfully at the very beginning. No wonder many modern game developers keep looking to Super Metroid for inspiration.
3 - Final Fantasy 6 (SNES)
The first five Final Fantasy games (hurrah for alliteration!) had a deceptive undercurrent: It all looked bright and cheerful ate first glance but underneath there lurked some sinister elements: Somber musical pieces, as many sad endings as happy endings and permanent deaths of party characters. Thus, the sixth Final Fantasy immediately announces it's intentions from the start: Through a dramatic organ and a drab colour palette, it becomes clear that the seriousness has come to the front and the colourful back-drops of the past have been placed aside. It is interesting how such a change in mood can be pulled off so well - indeed, one can only wonder the sense of surprise on one who'd been weened on FF4. Indeed, seeing as FF is a game series that provides variations on a theme, when they do something completely different it is worth sitting up and taking notice.
And that's not the only FF convention turned on it's head: In the expository text that follows, we see magic, one of the FF hallmarks, has been discarded and technology has taken it's place. Further drama is established with certain people wanting recover the forgotten art of magic and the potential threat of repeating a previous calamity. No doubt about it, FF6 certainly adds a lot of conflict right off the bat.
However, the most memorable aspect is the credits sequence, where we see a trio of mechs advancing through the snow, accompanied by a haunting rendition of Terra's theme. This is indeed, one of most memorable images of the 16-bit era and, I for one, certainly had it burned into my mind the first time I saw it. I guess it must be one of those videos where everything clicks together to produce a solid whole - I can't really describe why it's so memorable: I guess it's one of those perfect moments that everyone has to see it for themselves.
All in all, the march sequence is truly a shining example of how music and imagery can join forces to produce something that could only be described as unforgettable.
2 - Terranigma (SNES)
Whilst the US got Chrono Trigger, the UK, Europe and Australia had to settle for Terranigma. A forgotten gem yes but what an introductory sequence! In terms of presentation, this one leaps ahead of the rest. It utilizes some stunning graphics and a great choice of music, ranging from the heartbeat at the beginning to the restrained music throughout. Everything is handled in a subtle manner (an alien concept to many JRPGs) and the effort gone into it shows. The text is also compelling describing a planet from birth and the trials and tribulations of the people on it, accompanied by the brilliant use of time passing on a pocket watch. Also of particular interest is the use of Biblical motifs - which of course leads to my favourite moment: The watch ticks to twelve o'clock, the hands fall off and a numbers shift to make way for a Thirteenth hour.
Some say JRPG's are all bombast and lack subtlety but then they decide to do things differently, it succeeds with flying colours.
Terranigma may be disregarded as some to be a poor cousin to Chrono Trigger - but it sure has a lot going for it with it's use of history, it's glorious music and it's ideas. All of these are brought together to bring the finest introduction ever on the SNES.
And my favourite intro of the 16-bit era is....
1 - Moonstone (Amiga)
So what makes a memorable intro? Awesome visuals? Unforgettable music? The establishment of what must be done in the game itself? The setting being built up? Or the creation of unease towards the viewer? How about a combination of all of them?
Ladies and gentlemen we have a winner: May I introduce Moonstone. A game from the Commodore Amiga that never went any further. Maybe it was the blood and gore that predated the sensation caused by Mortal Kombat. Maybe it was made in a place that wasn't the US or Japan. Or maybe the game wasn't that remarkable. Whatever: The intro itself was enough to make the game. Indeed, I remember being twelve years old and thinking this was actually quite a freaky intro - In fact at the time, I never thought it possible that someone was actually doing this type of thing. Moonstone is a game that has a sense of dread lurking throughout and this intro encapsulates it perfectly. Throw in a perfect mix of graphics, unsettling music (again provided by Richard Joseph)and impending doom and you've got a winner.
So many memorable moments, I don't know where to start: the music that comes creeping in, the pan down from the moon to the forest floor, the sudden clash of multiple drums, the druid's chanting, the knight's hand moving with nervousness and the concluding piece of text where the target in spelled in a single, capitalized word. It's amazing to think the developers accomplished so much with such, by today's standards, limited hardware. I don't know how many times I've seen this intro but it still works everytime.
I recall the first time I played Moonstone: I was blown away by the intro but never got any further due to my A1200 frowning upon A500 technology. It was only many years later that I managed to play the game but, with high expectations brought by the intro, I came away disappointed. Still, at least there's always the above video.....
So that's my list of best 16-bit intros - artifacts from an era where people know what they wanted to get across and did it using the tools at their disposal.
So what I do think of modern game intros? Not much I'm afraid: If the serial Unskippable is anything to go by, they just keep growing increasingly ridiculous: It's all about the spectacle, where generating gamer interest is through flashy graphics and creating confusion - interest that ultimately leads to mockery.
Some people got it right the first time - now it's a matter of time before we suddenly remember how it's done properly.
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....
Monday, August 9, 2010
Ogre Kingdom
I live in Australia - a country that apparently doesn't matter. Thus, when the US gets Chrono Trigger, we instead get Terranigma. And when Final Fantasy Tactics comes the the PS1 and the PS3, we get snubbed. Thus in order to fill a hole, one has to look elsewhere.
Thus I've been playing Ogre Battle 64 recently. It may not be the first SRPG I've played (Shining Force 2 instead has that distinction) but it certainly is a lot of fun. I have a liking for RPGs and Strategic games so a hybrid is a welcome one to say the least. I mean what have you got? Sure there's Shining Force 2 and even Chronicle of the Sword (Urghh!) from Soul Calibur 3. Still at least what little there is, is of very high quality.
Initial impressions were crummy with the controls and menu systems taking some getting used to (I've played RPGs that are easier to get into than this!) but once you get the hang of it, it is actually heaps of fun. Indeed, it is interesting to see the fingerprints of Ogre Battle 64 on the afore-mentioned Chronicles of the Sword.
All in all, Ogre Battle 64 is lot's of fun and I look forward to playing more of it.
Thus I've been playing Ogre Battle 64 recently. It may not be the first SRPG I've played (Shining Force 2 instead has that distinction) but it certainly is a lot of fun. I have a liking for RPGs and Strategic games so a hybrid is a welcome one to say the least. I mean what have you got? Sure there's Shining Force 2 and even Chronicle of the Sword (Urghh!) from Soul Calibur 3. Still at least what little there is, is of very high quality.
Initial impressions were crummy with the controls and menu systems taking some getting used to (I've played RPGs that are easier to get into than this!) but once you get the hang of it, it is actually heaps of fun. Indeed, it is interesting to see the fingerprints of Ogre Battle 64 on the afore-mentioned Chronicles of the Sword.
All in all, Ogre Battle 64 is lot's of fun and I look forward to playing more of it.
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