Archive for the ‘Playstation’ Category
This week we are joined by Chip Cella (@CaptinChaos) to discuss listener William’s topic: What makes a successful console launch? It all ends up being more stories of console launches and discussions on killer apps, but we do manage to cover most mainstream consoles.
Console: SNES (as Final Fantasy II in the United States – title changed in later releases)
Released: November 1991
Price: $24.67 (used, cart only), $70.57 (used, complete), $300.00 (new)
Additional Releases:Wonderswan Color (Japan only, updated graphics), Playstation (Final Fantasy Chronicles, new translation), Gameboy Advance (Final Fantasy IV Advanced, upgraded visuals, new translation/conversion to more closely resemble Japanese version), DS (full 3D remodeling, new dungeon), PSP (Final Fantasy IV: The Complete Collection, updated 2D visuals instead of 3D, includes The After Years and a new campaign Interlude to bridge gap between the events of IV and The After Years)
Digital Release? Wii Virtual Console (SNES version, $8), PSOne PSN (Playstation version, $10), PSN (PSP version, $30), iOS/Android (GBA version, $16)
Similar Titles: Dragon Quest (Warrior) franchise, Phantasy Star franchise, Vay, Ys I & II
Please note: This was originally released as Final Fantasy II in the United States and later re-named to the appropriate numbering system. The actual Final Fantasy II Japan-only Famicom (NES)release review will be live shortly.
Despite the numbering of this game (and Final Fantasy VI) to be completely messed up in the US, Final Fantasy IV is a must play for fans of the series and JRPG genre. As George Lucas would put it, this is the “definitive version” of the game director (and series creator) Hironobu Sakaguchi originally wanted to make. It learns from its three predecessors and weaves in a powerful story almost unheard of at this point in gaming. Originally intended to be a final NES title in the series, budgetary and scheduling issues forced the 80 percent complete title to be scrapped and re-made on the new Super Nintendo (SNES) console with some of the original ideas integrated. The elemental concepts of the original, heavy story elements of the sequel, and job system of the third (it would be better utilized in Final Fantasy V however) were all mashed together with a new active time battle (ATB) system to create the most compelling game yet. ATB ditched traditional turn-based combat for a timer that allowed characters to attack at their own pace based on the type of warrior they were. This continues to be a staple of the series today and even snuck into other RPGs like Chrono Trigger. Final Fantasy IV hit early in the SNES and celebrated mass critical and financial success worldwide and is considered a favorite by many series fans.
As you probably have noticed, the game was originally titled Final Fantasy II in North America because it was the second game to be released here – Square released the original in late 1989, about a month before the third game released in Japan. It was decided that instead of localizing the previous games, which were met with mixed feelings, the next game would simply be released worldwide with different numbering. It’s not simply blind porting that is responsible for the game’s massive re-releases, Square seems very scared of introducing the original rather brutally difficult title to North America. The US version on SNES is shortened significantly, probably 12-15 hours, due to storylines and dungeons being removed as well as a significant drop in the game’s difficulty. An even easier version, Final Fantasy IV Easy Type, was released in Japan after countless complaints of the game’s punishing difficulty in its original form. Religious spells and symbols were also changed or removed based on Nintendo’s censorship policies in the US as well, which led to confusion when comparing both versions for walkthroughs. Subsequent re-releases of the title in America re-named to the proper numbering, which also gave way for releases of the previously unreleased titles as well, and adjustments for the appropriate spell names, symbols, and entire plot made for a beefier 30-40 hour game. Square also updated to the original difficulty, which required a much heftier amount of grinding and replaying of long dungeons with brutal boss battles, resulting in an understandable popularity of the original shorter and easier SNES release. If you give it the time and patience it deserves, Final Fantasy IV is a magical fairytale that stands strong even today, and if you get highly invested the additional side stories/games of Final Fantasy IV: Complete Collection on PSP creates one of the most expanded worlds of the Final Fantasy universe aside from FFVII. Personally I have a hard time thinking this is of the best because the dated grinding and steep difficulty is just something fewer and fewer gamers, even retro ones playing on portables, have time for.
Final Score: 4 out of 5
Price: $13.49 (used, cart only), $48.50 (used, complete), $288.00 (new)
Additional Releases: MSX2 (Japan only), Wonderswan Color (Japan only), Playstation (Final Fantasy Origins, updated graphics), Gameboy Advance (Dawn of Souls, upgraded with additional dungeons, new translation), PSP (original title, includes Dawn of Souls content with updated visuals and soundtrack)
Digital Release? Wii Virtual Console (NES version, $5), PSOne PSN (Playstation version, $10), PSN (PSP version, $10), iOS/Android/Windows Phone (PSP version, $7)
Similar Titles: Dragon Quest (Warrior) franchise, Phantasy Star franchise, Vay, Ys I & II
If you ask most Americans what the first true console RPG was probably one of the most common responses would be Final Fantasy. Not only is Square’s epic tale of four warriors taking on a timeless being that plans to destroy the world memorable, but it stood well above the competition of the time. The Legend of Zelda may have taken around 10 hours to complete, a size and scope only possible with the ability to save that was unheard of prior, but it was nothing compared to the massive world and 30-50 hours you may spend conquering Final Fantasy. Aside from that, the 1986 Famicom title Dragon Quest (changed to Dragon Warrior in the US for its earlier iterations) had just received a slight upgrade and released to North America in 1989, less than a year before Final Fantasy. It was great but couldn’t compete with a game that was made three years later with the lack of classes, a party system, and various other differences. It should be noted that in Japan Dragon Quest II had already released and Dragon Quest III came out in February 1988, a mere two months after Final Fantasy, which had slowly built up most of the game’s staples such as a party system, exploration, turn based battle system, and both games had similar class systems. That doesn’t mean that Final Fantasy doesn’t have its own identity, it’s far superior in terms of graphics, nothing like the airship showed in the first three Dragon Quest games, and instead of sending you back to town when you die like Dragon Quest you would instead get a game over and go back to where you last saved. Final Fantasy also shipped with a map and huge manual that got players more invested in exploring and completing the campaign, not to mention a cheap and huge Nintendo Power strategy guide that released shortly after. For me, it was the near perfect conversion of the Dungeons & Dragons universe – some of the characters are literally stripped from the Monstrous Manual - and converted it into a single player experience.
Final Fantasy drops you into a vast world with multiple continents and terrain to explore with four warriors. Each of these warriors are named and given a class from the start. This allows a single player to control the party and do their favorite balance of brute force, tactical strategy and magic. You could have any combination you like, including having all four characters being one class. It really rings significant to me with heavy hitters like Borderlands and Diablo still being based on a class system. The game is riddled with random encounters that are invisible, so the key is to be prepared for everything because at any time you can die. Saving is possible anywhere on the overworld map but once you enter a dungeon, the true challenge of the game, you cannot save and must complete it before getting back to the surface to save. That’s why two taxing activities are a must: grinding and losing progress. You will die in the middle of a crazy ramped difficulty boss battle at some point and be forced to reload a save that you made (hopefully) just before entering and re-do an entire 1-2 hour dungeon only to try again to beat it. If you want to prevent a game of chance, you can opt to grind – beating countless random enemies to get to a high enough level that you no longer have a challenge in said dungeon or against said boss – which may waste hours of mindless gameplay but is often your only hope at progressing. This staple of Final Fantasy titles, and JRPGs as a whole, is why some players never even attempt to pick up the genre. If you can stomach it, the reward is significant. Not only do you progress on an epic journey that is a mixture of a decent story but also your personal achievements on the battlefield, all to feel like you truly saved the world. It took me 40 hours to complete this title with nothing more than a map and free time, but conquering Chaos at the end is still one of my favorite and proudest moments in gaming.
Final Score: 5 out of 5 (GH101 review policy and definitions can be found here)
In the 8-bit era the game was available to Americans only on the NES, but in Japan it was on the MSX2 microcomputer with some glitches, the Wonderswan Color (Gameboy Color competitor) with mild graphical upgrades, and a re-release on the Famicom with the sequel updated with re-drawn sprites.
A Playstation port of the first two games, entitled Final Fantasy Origins, would update the graphics to high detail and some re-drawn looks, a remixed soundtrack, animated sequences, and an art gallery. This same collection would move to the Gameboy Advance as Dawn of Souls: Final Fantasy I & II with four new dungeons, an updated bestiary, and new script. The somewhat recognized definitive version of the game was released first on the PSP that retained the original title, contained all content of Dawn of Souls and updated the visuals again to high resolution 2D graphics as well as updated cutscenes and soundtrack.
An in-between port that was similar to a 16-bit look, but with none of the tweaks beyond the NES version, released on mobile phones in 2004 in Japan and eventually in 2010 in the United States. Shortly after that the PSP version was ported first to iOS and eventually to Android and Windows phone.
There are two stories that are traded off as the reason for the game’s title. The first is that Square was nearing bankruptcy and most of the staff went into the project thinking it would be a swan song for the developer. This was widely regarded as unsubstantiated rumor given the large amount of successful titles developed by Square on the Famicom/NES in addition to no one substantiating the claim. In July 2009, Wired’s Chris Kohler – a well known gaming historian and co-host on the widely popular retro gaming podcast Retronauts – interviewed Final Fantasy composer Nobuo Uematsu and he claimed that this story is, in fact, true.
On the other hand, director Hironobu Sakaguchi has consistently claimed in interviews that the game title is due to the fact that he was set to return to university in the event it was a commercial failure. Obviously the game’s initial 400,000 unit sales (huge at the time) and eventual more than 2 million units sold worldwide by 2003 prevented such events and started a long lasting franchise that still remains today.
While Uematsu stated in the interview that these claims are true, he remains firm that the title’s origins are with the potential Square bankruptcy. Sakaguchi has never claimed the title to mean anything more than his fear of leaving the game industry if Final Fantasy was a failure. The truth will most likely never be known for no better reason than the memories of the individuals involved have already been clouded by the passage of time.
This week Fred is joined by Chip Cella of the B-Team and Derrick H of All Games and Dead Pixel Live fame to discuss how games used to come packaged. This includes the box, instructions, and a bunch of freebies we pay good money for today.
Opening Song – Joe Esposito You’re The Best
Closing Song – Iron Maiden Run to the Hills
This week Fred is joined by Chip Cella of the B-Team Podcast to discuss one of the few colorful platformers born completely from the 3D generation, despite the first game playing on a 2D plain. Ubisoft’s Michel Ansel all but saved the then struggling developer/publisher and gave way to a challenging but fun series starring a character with no limbs.
Opening Song – Rayman Theme from the original Rayman on PS1
Closing Song – Madder by Groove Armada (Fred incorrectly refers to this song as Hoodlum in the show)
This week we post a little early and celebrate America’s Independence Day with patriotic video games:
First up is actually a Japanese game, Parodius Da! but it has quite the patriotic boss so it’s here because I love this game and found a connection:
Next up is a rare unlicensed NES game by Color Dreams entitled Operation Secret Storm:
Third on the list is a digital pinball game from the PS1 era, because why not right? Here’s Patriotic Pinball (please excuse my technical difficulties):
And last but not least we close the show with a game so American, so amazing, so awesome it was only released on one console (Xbox) and in one region (Japan). Yeah, you read that right. Since I have no way of getting my hands on it and don’t have a Japanese Xbox to play it on, here’s a great flashback of 1UP’s Broken Pixels show bragging about From Software’s 3rd person uber-American title Metal Wolf Chaos:
Hope you enjoyed those and have a safe and happy 4th of July!
This week’s double dose comes from our 9/9/99 podcast and Twitter user @UselessBug. During that podcast I purchased a Dreamcast launch game, Expendable, that looked like a 3D violent Smash TV, check out the video to see if that’s what it actually is.
And the second game came from one of our readers/listeners that requested Street Fighter The Movie: The Game based on the glorious movie of, well, another game. He challenged me to complete it, but he failed to mention a large catch in the game’s design. Can I do it?
This week Fred (@spydersvenom) is joined by Rob “Trees” (@TreesLounge00) and special guest Chip Cella (@CaptinChaos) of the B-Team to discuss the summer gaming event that wraps Christmas and Birthday all into one package: E3. We discuss the convention’s roots, establishment, and of course the wild and crazy happenings that accompanied each glorious year from 1995-1999.
This week Fred and Trees are talking about the Tomb Raider series and its busty protagonist Lara Croft that shadowed the video game as a pop culture icon in the late 1990s. We discuss development, creation, and production of both Core and recent Crystal Dynamics’ vision for Lara and her many adventures.
Lately many games that embrace former genres that had fallen to the wayside are making a comeback. As a result lots of games press and developer media contacts like to coin phrases that are based on gameplay styles not many are familiar with. When someone tells you that Tokyo Jungle is a “roguelike” or that Guacamelee is a “MetroidVania” title, it’s entirely possible you have no idea what that means. After this article, you will no longer have that problem.
You may or may not know that the roots of the roguelike come from a 1980 computer game called Rogue, which established the dungeon crawler. This game was considered genre-changing when compared to the slower paced text adventures such as Zork and Dungeons & Dragons video game ports like Wizardry and Ultima. Developers Michael Toy, Glenn Wichman, Ken Arnold, and Jon Lane site a hybrid between both types with influences from D&D as well as the text adventure Colossal Cave Adventure, which featured a detailed description of a cave system in Kentucky that was so precise it was used by a tourist to navigate parts of the actual caves it was based on. The result was a game where an adventurer explored a multi-floored dungeon, collecting items and facing enemies, in search of a final artifact (in this case the “Amulet of Yendor”) to complete the game. Each floor was more difficult than the last, you could not backtrack to a previous floor, and if you died you got a game over, simple as that. Additionally the layout of the dungeon, items, and enemies were all randomly generated, which meant you would ideally never play the same game twice. Despite the fact that you would have to start over, the experience of playing the game assisted you in handling enemies, utilizing items, and preparing for future encounters as such that you could eventually beat the game. Needless to say the game had a tough barrier for entry and popularized itself mostly on Unix systems in colleges across the country, but the public found it too complex and difficult.
Since then the concept originally started in Rogue was expanded upon to integrate classic RPG leveling systems, bosses, save states (for longer quests), and even a way to retrieve your items from the body of your previous adventurer. These concepts would be applied mostly to 16-bit era Super Famicom (SNES) titles in Japan known as the Mystery Dungeon series, notably Shiren the Wanderer. Granted both these series and Shiren would get sequels on the Wii that did come stateside, which might explain your familiarity with them now, but if you get a chance look up the fan translation patches online and check out the originals. Later on this concept would come to light in a stronger way with Diablo, although certain characteristics of that game – like the ability to revert back to a save and the entire concept of a save mechanic – are incosistent with a roguelike.
Modern day terms, and what basically defines a title known as a “roguelike”, refer to a game that has randomly generated levels/layouts, random items/enemies, and permadeath. Permadeath means that when you die all your levels, items, experience, gold, and even save game are completely lost and you are forced to start over. In some cases finding your body will grant you items back, but overall there needs to be significant consequences for your actions. Best examples of games like this are Binding of Isaac and FTL on Steam, Tokyo Jungle on PS3/PSN, Spelunky on 360/Steam, and of course Shiren the Wanderer or Pokemon Mystery Dungeon on Wii. These are true roguelikes and there are plenty more, but I wanted to demonstrate the ones you probably have heard of. Other titles skate the line and are (mis)labeled roguelikes like Diablo III and Dark Souls. Diablo III utilizes save mechanics and no true permadeath despite having all other aspects of a roguelike and Dark Souls suffers just the opposite with its very clear system of permadeath but lack of randomization in game design. So there you have it, when you hear someone refer to a game as a “roguelike” you will now know what they’re talking about – assuming of course that they aren’t mislabeling a title, which happens more times than not.
Fun Fact: Did you know that before first-person shooters was a genre, FPS titles were known as “Doom clones”?
This is a much simpler concept to grasp as it doesn’t quite have the rules that roguelikes do. In truth the title “MetroidVania” is a bit of a misnomer because the genre began with Metroid, but because Konami decided to copy the format with Castlevania: Symphony of the Night and Metroid titles were few and far between at the time the term “MetroidVania” stuck. Much like the roguelike, modern day programming has built up a concept such as this to give a hybrid between a game where you explore as well as overcome obstacles. Additionally most titles in this vein require 2D sprites or polygonal renders on a 2D plane, which is ideal for fans of the sub-genre. So basically the format that Metroid, Super Metroid, Symphony of the Night, and any Gameboy Advance iteration of either franchise is a MetroidVania.
The basic building blocks of a MetroidVania is to offer a large map that is completely available from the very start of the game. There are no levels and setting changes (ie: planets, countries, etc), everything takes place in one pre-defined area that can be fully explored from the first moment the game starts. From there items, doors, and enemies are scattered throughout the area to keep the character limited in his or her actions until certain points – it’s a creative way to offer some semblance of linearity to a game. Additionally obstacles such as the aforementioned locked doors, high ledges, long jumps, and physical hazards will assist in telling the player that they will need to come back to this location once they’ve obtained the appropriate item/ability/weapon. For this reason the MetroidVania sub-genre is extremely focused on exploration and finding absolutely every single nook and cranny the map has to offer without forcing the player to do so. In Symphony of the Night, it’s possible to explore 200.6% of the map (but I won’t spoil how), and in almost every MetroidVania title in the Castlevania franchise you will only get a true ending after completely exploring a map and collecting everything. This type of game has come back into style, but still remains somewhat niche given the old school mentality of this type of game and the frustrating planning involved in development. Probably the most popular recent MetroidVania titles are Shadow Complex on XBLA, Dust: An Elysian Tale on XBLA/Steam, and just two weeks ago Guacamelee on PS3/Vita/PSN.
Fun Fact: Both the Metroid (Other M) and Castlevania (Lament of Innocence and Curse of Darkness) franchises migrated to a fully rendered 3D world and almost everyone, especially fans, unanimously hated it.
So there you have it. Now you no longer have to wonder what the hell we are talking about when we discuss Roguelikes or MetroidVania titles ever again, and knowing is half the battle.