#in characters. story. art. music. tactics (LOVE the battle maps)

[orcelito]

I take back... SOME of my negativity about fe:engage. Now that I'm out of prolog hell I have decided the fun eclipses the annoyances. For now.

[card-queen]

WIP Tag List Game

Tagged by the lovely @kyuponstories over here on this post

Rules: post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! and then tag as many people as you have WIPs.

Just a heads up: I will not be tagging anyone for this, but please treat yourself as tagged if you want to join in because this game is one of my favourites.

Feel free to Reply or Send an Ask about any of these file names, some of them can be downright wacky!

All files sorted by date modified This post will be l o o o n g !

MAIN FOLDER

Plotting Step-by-Step

Plotting Skeleton

The Voice File

Character Intro Guide

The Nitty-Gritty Sheet

Name Refs

Mega Notes

Accessories to Murder

Mystery Crafting 101

Plotting Guide

Rough Story Reworking

GAME FLOW OVERVIEW

Plotting Guide: Chapter 1

Dialogue Test

Name Reworking Sheet

Food Stuffs

Forging Names

City Planning

Game Flow Overview

Plotting Guide -- Act 1 --

General Guide

Character Guide

Plotting Guide -- Act 2 --

Gameplay Basics

Programming Bits

Working out details

Drawing up ideas

Plot Sheet

The Basics

CASE NOTES

Questions Doc

Case Files

CHARACTERS & NAMES

Directory

Oh Dear...

Name Bank

Name Directory 2.0

Name Directory

! The Smackdown Draft !

Smackdown Draft

SCRIPT FILES

Accessories to Murder Voice Practice

MAIN FOLDER

Tinker, Tailor, Soldier, Study

Genealogy of the Holy War

Programming Unfuckery

Info: Banner of the Maid Battle Calcs

1st DRAFT

! Introduction Document

Worksheet: Script

Misc: Character MBTI

Splatsheet: Story & Chapter

Pre-Story Skeleton

Info: World-Building

Misc: Name Trials

Ideas: Characters

The Rundown v.2

Misc: Dialogue Helper

Misc: Loss of Hope

Misc: The One Lie

Character Nonsense

Quiz: Character Quotes

Misc: Battle Quotes

Compendium: Characters

Misc: Story Basics

Misc: Old World Shit

Info: Names

The Rundown

Misc: Dialogue Snippets

Character Deep Dives

! Design Document

Character Roughs

Characters as Vines

Info: Class Basics

Character Funsheet

Map

Timeline

Glossary

Character Profiles

Synopsis & Beyond

Ideas: Chapter

Splatsheet

Conversation Topics

War Game Splatsheet

2nd DRAFT

Dialect Scratchpad

Map Idea - Modern, Basic Gimmicks

Logo Mockup

Map Idea - Modern, Basic

Map Idea - Modern, Advanced

Map Idea - Ancient

Map Idea - Climate

Funsheet: Character songs

Splatsheet: Story-Building

Misc: Character Snips

Compendium: Athyria

Splatsheet: The Basics

Info: Character Sheet

Info: Timeline

Info: Classes

Info: Chapter Breakdown

Script: Part One

Splatsheet: Story & Chapter

! Design Document

Misc: Story Steps

Info: Chapter & Story Breakdown

Compendium: Countries

Compendium: Creatures

Misc: Tactics & Style

Splatsheet: Countries & History

Splatsheet: Athyria

Compendium: Scripts

Logo

3rd DRAFT

Splatsheet: Gods, Religion and History

Splatsheet: Conlangs

Vibe Check: Music Assigning

Compendium: Religions

Splatsheet: Country Rundown

Map of Athyria 2

Map of Athyria 1

Splatsheet: Story Steps w/ Consequences

Splatsheet: Game Design Thoughts

Splatsheet: Skill & Art Names

Splatsheet: Skill Thievery

! Starter Guide

Splatsheet: Daily Lives

Splatsheet: Fantasy Country/Town Names

Splatsheet: Anti-Genealogy

Misc: Hierarchies of Power

Misc: Story Steps

Splatsheet: Dialogue Zone

Misc: Rosters

Splatsheet: Story Breakdown

Splatsheet: World-Building

Misc: Character Snips

FINAL DRAFT

! Ultimate Splatsheet

Basics: Country Rundown

Compendium: Religions of Athyria

Compendium: Conlangs, Caṕāre

Basics: Rungs & the Ancient World

Compendium: Conlangs, Az̨irrah̨

Splatsheet: Loose Thoughts & Chapter Names

Compendium: Conlangs, Kujû

Compendium: Countries of Athyria

Basics: Athyrian Calendar

Misc: Rosters

Splatsheet: Character Building Blocks

Misc: Stressors

Splatsheet: Story Building

Notebook: On Worldbuilding: Class, Wealth and Power

Notebook: 6-Minute X-Ray

Vibe Check: Music Choices

Notebook: Travel Notes

Notebook: 48 Laws of Power

Notebook: 36 Ancient Chinese Stratagems

Notebook-Following Along: Religion & Worldbuilding

Notebook: One Worldbuilding: Fictional Histories

Notebook: Suspense Thriller

Splatsheet: Battle Tactics

Misc: Special Revivals

FINAL DRAFT > CONCEPTS

Character Mini Profiles

Primer: Part One

Primer: Part Two

# So you want to help...

FINAL DRAFT > WRITING

Splatsheet: Snippets

Info: Cheat Sheet

! Memories of Aether World Guide & Story Bible

Book 1. Shadow Elements v.1.5, Chapter 0

Memes: Songs & Lyrics

Book 1. Shadow Elements v.1.5, Chapter 3

Book 1. Shadow Elements v.1.5, Chapter 1 ver. B

Book 1. Chapters

Book 1. Shadow Elements v.1.5, Chapter 2

Book 1. Shadow Elements v.1.5, Chapter 10

Book 1. Shadow Elements v.1.5, Chapter 9

Book 1. Shadow Elements v.1.5, Chapter 8

Book 1. Shadow Elements v.1.5, Chapter 7

Book 1. Shadow Elements v.1.5, Chapter 6

Book 1. Shadow Elements v.1.5, Chapter 5

Book 1. Shadow Elements v.1.5, Chapter 4

Splatsheet: Character Breakdown

Notebook: Writing Notes

Book 1. Plotting Out Framework

Compendium: Characters

Info: Calendar Conversion

Memes: Character Portraits

Memes: Character Chart Stuff

Book 1. Shadow Elements v.1.4

Book 1. Shadow Elements v.1.5, Chapter 1 ver. A

Splatsheet: Character Intro & Scene Breakdown

Book 1. Shadow Elements v.1.3

Compendium: Conlangs, Caṕāre

Info: Accents & Dialects

Info: Fantasy Names

Splatsheet: Chapter Breakdown

Memes: Goofy Memes

Splatsheet: Spy Tropes & Ideas

Compendium: Conlangs, Kujû

Compendium: Conlangs, Az̨irrah̨

Book 1. Shadow Elements v.1.2

Book 1. Shadow Elements v.1

[nintendowife]

I completed Crimson Shroud (second playthrough) on Nintendo 3DS yesterday. I'm so glad I bought this game before the eShop shut down! It truly exceeded my expectations and I enjoyed my time with it.

"This is a tale of those who would quest for this origin of miracles: the Crimson Shroud. May God have mercy on their souls." The story follows a young mercenary Giauque and his partners, Lippi and Frea. The group is sent to ancient palace ground dungeons - now occupied by goblins and undead - to find a missing person and an old book. The location is also rumoured to house a source of powerful magic, the "original gift" called Crimson Shroud which has attracted people through the ages only for them to meet their demise in the dangerous dungeons. I quite liked the characters and their banter during their quest.

The story is good and I was eager to find out what's going to happen in it. There's a good amount of darker content or what say you about the game's depiction on how to kill a heretic: "Lead is poured into the eyes, robbing sight, that the truth might be buried in darkness. The fingers and toes are crushed, that the punished will know they are not to return to this world."

The game features two different endings. The second ending can be accessed when clearing New game+ and surviving an optional boss fight. I found the first ending much more intriquing than the second one but your mileage may vary.

Crimson Shroud's visuals are rather unique with 3D models of characters and opponents mimicking table-top pieces. There's also striking illustrations sprinkled into the story segments. You may recognize the art style as the artist has worked on games like Vagrant Story and Final Fantasy XII. Music is by Hitoshi Sakimoto (Final Fantasy XII, Tactics Ogre) and sounds superb.

The gameplay combines traditional turn-based combat with elements from table-top role-playing games. You roll dice to determine the outcome of some things like buffs and debuffs - get unlucky and your skill fails. I had never played a table-top RPG in my life and was uncertain whether I'd like the gameplay. I ended up loving it!

The game is clearly more challenging than most JRPGs I've played. Game Over wasn't a rare occurrence during my two playthroughs. The battles can take a long time and paying attention to what happens is important and managing buffs and debuffs is vital to your success. You can't grind levels - actually the characters do not even have levels. You grow stronger by finding better gear which you can also upgrade. But there's a catch: you need an identical piece of gear in addition to upgrade material to meld the equipment into a stronger version. The characters do gain skills at set moments in the game and gear may also have skills attached to them. You can find skill/spell scrolls that you can use to teach new skills to your party members. But again, there's a catch: the skill will be attached to a piece of gear and you'll lose it if you replace the gear. There are no shops to purchase healing items or gear from, you need to find it all as monster drops.

You recover MP only during battle and recovery items can only be used during battles. It doesn't make things any easier that there seems to be a rather limited amount of encounters and traversing the dungeon map drains your MP. I found myself in sticky situations more than once when my characters were low on MP and I ran into an ambush or a boss fight. Luckily the party's HP is fully replenished after battle.

The only complaint I can think of is that the UI for gear was confusing when comparing a new piece of equipment to currently equipped one. The blue and red numbers were hard to decipher and I never understood them, so I had to look at both the equipments' base stats separately to decide which one is better.

Crimson Shroud is quality stuff and it's refreshingly short. My first playthrough took just a bit under 10 hours, after two playthroughs my save file displayed 26 h of playtime combined. I recommend the game to anyone who isn't afraid of reading text and enjoys turn-based combat.

[casuallyyoa]

FIRE EMBLEM ENGAGE REVIEW

WHAT

Fire Emblem Engage is the latest in a series of tactical role-playing games by Intelligent Systems, published by Nintendo for the Nintendo Switch. It has an expansion pass featuring four waves of DLC, introducing additional maps, items and story. The series has come a long way since static 2D art and pixel spritework to full 3D models, but is Engage worth playing? This is the spoiler-free Casual review. 

SETTINGS

Much like most games on the Nintendo Switch, the options are basically non-existent, offering only a change in dialogue text and between Japanese and English dub. That said, the game’s performance on the Switch is quite respectable, so it’s mostly only lacking in a more customizable interface.

OPENING HOUR

Before jumping into the game proper, you get to choose your form of Alear. You get to input their name and birthday, which is functionally cosmetic. You have three increasing difficulty options in Normal, Hard and Maddening, then choose if you’re playing in Casual - where fallen units return - and Classic - for permadeath. Outside of profile cards and certain additional modes and stats, online play is mostly limited to some random items you can find on the battlefield.

PRESENTATION

If I had to choose a word to describe Engage’s style, perhaps that would be anime? Not in a bad way, mind; the mostly brighter colour palette is quite pleasing on the eyes, with quite the spread of new eccentric party members to add to your squad. While the red/blue protagonist is admittedly quite jarring on a first impression, I do think it does get quite endearing - fortunately so, considering I’ve spent almost 80 hours on a first playthrough. 

The use of 3D models is alright. There will be many canned animations and certain actions done just offscreen to save on additional details, not especially to its detriment. If you’re really, really nitpicky, you’ll have to live with the various instances of clipping across the board.

The music has several standout tracks, one of them being the opening vocals. Both the English and Japanese version did not have to go this hard, but they sure did. I do have a number of personal favourite battle tracks, with a large soft spot for the final story battle theme. 

GAMEPLAY

The basics should be familiar to seasoned veterans of grid-based tactical strategy games. You deploy a set number of units, with each of them being in their own respective classes, able to move a certain range, and strike the enemy if they are so capable. There’s no back-attack or individual defend moves, though there is a ‘Chain Guard’ move to have a character soak at least one attack for another.

The weapon triangle - the so-called rock-paper-scissors advantage chart - is here. You could consider it more potent than usual in Engage thanks to the Break mechanic, which prevents a Broken unit from doing a follow-up attack until the end of their next combat when hit by an advantageous attack. Either you or the enemy can wail on the other with impunity at least once. Smash weapons can do something similar, though these weapons cannot strike first nor do follow-up attacks. Incidentally, weapons no longer have durability which I love, because bad RPG hoarding habits are hard to break out of. Staves, whether they be healing or utility, still do, however.

Terrain bonuses or limitations are present. A ground tile can provide +30 bonus to dodge, but Flying units won’t be able to utilize them. Flying units can go to places where infantry or cavalry can’t traverse easily or at all, unless specified to be impassable.

I’ve come this far without mentioning the Emblems. Emblems are powerful utilities that grant an equipping unit that Emblem’s spread of bonuses, skills and weapons. Engaging is a ‘super mode’ that lasts a limited number of turns to use their unique weapons. There’s also an Engage move that is usable once per Engage, typically a robust signature move. Should you not have enough Emblem rings, you can still have Bond rings that provide comparatively minor boosts, but have some other unique skills not found on the Emblems themselves.

Outside of combat, you have the Somniel. Here, you can do a lot of admin or side activities. Gain support with your units to learn more about them and eventually Pact Support them - essentially bonding Alear with the other for life. Alear can Pact Support any playable character regardless of gender, so happy gays! There’s the cafe to gain support and additional stats for the next battle depending on the quality of the food, but I honestly didn’t really find much use out of that.

The fringe case use also applies to the side activities you can unlock. Strength training only grants Alear the bonuses and if you flunk it, you can get nothing for your time. Unless you really enjoy these mini-games or intend to min-max, you can pretty much ignore them. While I do consider even Normal decently challenging especially for someone not well versed in these tactical games, I didn’t have much desire to try out what are ostensibly breaks from the usual action.

For those interested in level grinding, the Arena offers 3 tries after each combat to grind out some more EXP and potentially supports for the chosen character. There are overworld skirmishes or training occasions for more EXP. As I understand it, donating to nations improve the quality/spawn rate of these skirmishes, but money feels tight. I only grinded because that’s how I play, and I didn’t even donate past level 2 on Normal.

Once characters hit certain level thresholds, they can change classes provided you have the seals and the required weapon proficiency. For their respective classes, they can then get its class-specific passive in addition to what their personal skills are, and from their Emblem/Bond rings as relevant. Classes have their own growth rates additive to a character’s, so reclassing to force a certain stat growth could be something you want to do.

DLC

For those deciding on whether to obtain the expansion pass, you get bonus items and more Emblems to go with the new maps. There’s also the Fell Xenologue with more maps and new characters to add to your roster on completion.

The DLC Emblems are definitely powerful in their own right, which I can jokingly dub ‘pay to win’. These Emblems can’t be used to make bond rings though. As additional flavour, these Emblems can have bonus dialogue if you have the Emblems associated with them from the base game. 

The biggest chunk is arguably the Fell Xenologue, what with giving more story and characters. The Xenologue gives you fixed unit levels, classes and inventory, so you do have the option to jump in right away as soon as you can access it without the other base game emblems, characters, or even support / bond bonuses. Its difficulty is also separate from the base game and nobody dies permanently in it, so feel free to bald like I did.

STORY

I’ve seen criticisms of Engage’s story being less complicated, or even too simple. However, I strongly believe it’s told competently, and I think that’s much better than trying to clumsily weave in too many nuances. I do understand if people think certain complexities are hidden far too deep into support chains, but I see that as a way to get you invested in the overarching story.

It’s Not That Deep, but I think if a story has gotten you crying positively over certain beats over rubbing your temples regarding what you see as plot holes, the former is more preferable. I enjoyed it myself.

That said, this is one thing I find important enough to mention to ‘spoil’, so to speak: Engage lacks paired endings between characters who aren’t Alear, which is disappointing considering the dynamics the rest of the cast have.

CONCLUSION

In summary, what are the pros and cons?

Pros: 

Engaging (ha ha) story and characters

Can be still fairly challenging even on the lowest difficulty

Pretty stunning visuals and music

Cons: 

Unfortunate that further paid DLC can enhance the experience but at least it’s decent value

Lack of paired endings for non-main characters

If you do like tactical strategy RPGs and have yet to take the leap into anime, Engage is a pretty good starting point. I give Fire Emblem Engage a Highly Recommended.

[satoshi-mochida]

NIS America has announced strategy RPG collection Prinny Presents NIS Classics Volume 1 for Switch and PC, which includes both Phantom Brave: The Hermuda Triangle Remastered and Soul Nomad & the World Eaters. It will launch this summer.

Pre-orders for a $99.99 limited edition are available now via the NIS America Online Store, which includes a copy of the game, hardcover art book, two-disc soundtrack, Soul Nomad & the World Eaters acrylic stand, Phantom Brave: The Hermuda Triangle Remastered acrylic stand with collector’s coin, and a collector’s box.

Here is an overview of the collection, via NIS America:

Prinny Presents NIS Classics Volume 1

This is the first installment of a quintessential Strategy RPG lover’s collection, which boasts 2 games in 1! With over 60 hours of gameplay between both games, and an exclusive physical Deluxe Edition that includes a CD soundtrack and art book (with music and art from both titles), returning fans can relive time-honored favorites, while new (and old) fans can discover hits they may have missed!

Soul Nomad & the World Eaters

Gig and the gang are back to spread destruction! Utilize customizable “Rooms” to assemble and experiment with different team builds with over 25 different unit types such as Knight, Archer, Nerneid, and Griphos Knight. Make impactful choices that change the outcome of the story, scout out battle conditions prior to combat, and even kidnap or do battle with the townsfolk!

Phantom Brave: The Hermuda Triangle Remastered

Follow the touching story of Marona and Ash as they complete jobs around the islands of Ivoire. Use the “Confine” feature to bind phantom units to physical objects on an isometric grid-free map, allowing you to call them to battle and alter their stats. With over 50 Phantom types to unlock such as Witches, Owl Knights, and Prinnies(!), along with all content from previous releases, this is the definitive version of Phantom Brave!

Key Features

Endless Adventures Everywhere – Two thrilling Strategy RPG classics come together in one collection, giving new and old players alike an exciting and long-lasting gaming experience that they can take on the go.

The World Eaters Return – Carve a path to glory with the first release of Soul Nomad since its debut in 2007, and experience the in-depth gameplay and captivating story of the original on a modern platform.

Phantom Brave…Complete! – This comprehensive version of Phantom Brave brings all the island-exploring adventures, memorable characters, and tactical gameplay you loved from the original, plus all content from previous releases!

Watch the announcement trailer below. Visit the official website here.

https://youtu.be/-MnE17o-U58

[baconpal]

Bravely Default and BD2

Here it is, the partially prompted bravely default rant/retrospective/whatever the fuck!

With the announcement and demo of bravely default 2 out now for a bigger market than the original game ever had, I feel that as a massive fan of the original I should put some amount of effort into explaining what the appeal of the original is, why bravely second missed a lot of the appeal, and why bravely default 2 has been very, very worrying so far.

If you care about any of that, come on in and I'll try to actually avoid spoilers this time and make this a more legitimate recommendation of a game than usual.

THE APPEAL OF BRAVELY DEFAULT The games obviously have a beautiful art style, especially when it comes to the backgrounds. Every city is like a painting, a beautifully composed shot that you see from just one direction to give you one very strong impression. While the overworld and dungeons are fully 3d and do not have as strong of an artistic impact, they are still very competent and have good colors and cohesive elements. The character design, including the job outfits, the monsters, and all the villains are just top notch. Simple, evocative designs that make the most of the 3DS' limited hardware and build upon the teams skill in making handheld games look good. (its the same team that did the ff3 remake and 4 heroes of light, which looks absolutely kino on original DS) The music is also consistently excellent, with great use of motifing, a full and varied orchestra, and many good slow paced tracks for most of the non-combat segments. Shit like "Conflict's Chime" being the main battle theme, "Infiltrating Hostile Territory" being a common dungeon theme, and "That person's name is" as the rival boss themes makes even the seemingly repetitive songs a constant joy to listen to.

The story is pretty decent, it's not the best part of the game, and there are definitely some aspects of the story some people loathe, but the characters (specifically ringabel fuckin love him) are pretty good and the make for an enjoyable experience. The side material like D's journal are really well done and integrate into the main narrative well for how tucked away and ignored it is.

The gameplay and systems are also some of the best of any RPG I've played, and I've played far too many. The job system from ff3 and 5 is brought to an even greater depth with the addition of universal job abilities, allowing any character of any job make use of another jobs features to create an endless depth to strategy. The way various jobs can mingle together, and how no job is completely perfect on its own makes for very compelling team composition and unit design. The extensive amount of jobs helps as well for replay value and for assuring that no easy winning strategy is found by all players.

The BP system makes battles take on a very unique pacing as the player and enemies can choose to save up turns or blow them all at once to make more complicated strategies possible, or to make the most of an enemies vulnerabilities. This powerful option gives the player a meaningful way to capitalize on their knowledge of the game, while also allowing them to make truly detrimental mistakes. That may sound not good if you're a fucking baby, but nobody wants an RPG you cant lose, but losing because you fucked up is much better than losing because the enemies are just stronger than you or anything to that effect.

But the single greatest part of bravely defaults, which creates the games wonderful balance and unique design philosophy, is that the player is expected to hit the level cap long before finishing the game. Reaching level 99 should occur somewhere just after the middle of the game, at the point where the player has access to almost every job and has encountered almost every type of threat. Reaching level 99 brings with it a certain security, the implication that from then on, all enemies will also be level 99, and that any failure to defeat an enemy will be a result of a bad strategy or the players own mistakes. The game is not easy, and is certainly intended for veteran final fantasy players used to the games with job systems and changing up your entire party to combat a single encounter. Leveling up is not a slow grind part of the game, as you have a lot of control over the speed and frequency of battles, and it is not difficult to keep up with the games level curve.

The other layer to this unique design is that the game expects you to "cheat", or use strategies that would be overpowered and frowned upon in most other games. Bravely default easily expects you to know or discover strategies such as: applying a status to all enemies and killing every enemy with that status using another spell, cycling a counter move over and over to have a nearly invincible party member, applying a healing attribute to a self-damaging character to get huge damage at little cost, casting reflect and dangerous spells on your own party to bounce them at the enemy, or duplicating a move that does maximum damage 15 times in a row. The game builds all of its encounters with the knowledge that your team will be the maximum level and that you will be using the most vile tactics you can come up with, and the game will do the same. Bosses and even common enemies will employ equally vile tactics using the exact same moves that you have access to, meaning you can learn from your enemies or quickly grasp the enemies strategy through your own experiences. One of the late game dungeons is entirely optional, but involves several fights against parties of 4 just like your, using the same jobs and skills you have gained during the game as a perfect test of your ability to develop counter-strategies, instead of relying on your own overpowered tactics. This type of design is really not something you find in many games due to the prominence of grinding or the lack testing strategies, and it is the most true appeal of bravely default to me.

BRAVELY SECOND EXISTS I GUESS So bravely second, a direct sequel to bravely default, definitely is a video game. It uses the original game as a base to generate more content, but completely misses the appeal of the original, and the new content added makes the experience even less focused. Overall, it's still a fairly alright RPG, but it fails to follow up on bravely default in a meaningful way or to provide as compelling of a gameplay experience. Here's some of the things it fucked up.

The game reuses almost everything the original game had, including the same music, world map, and most of the original's towns and dungeons, while adding a few of it's own. Going through areas you've been before never feels good, and the new areas lack the quality or brevity of the original game, leading to uninteresting areas that overstay their welcome, despite being the only break from repetitively reused content.

This extends to the classes but in an even worse sense. One important trait of the original jobs is that they were not perfect by themselves. While every job provided some useful abilities to be shared with other classes, or provided a good base with which to make a character, no class was without flaws. The new classes in bravely second are a lot of the opposite, they are closed loops that think of everything they could have to make a good standalone character. The 4 starter classes you get in bravely second are all brand new, and there's almost no reason to use any class besides those 4 as they are just insanely good. The priest and magician specifically augment magic in a way that makes spells infinity scalable into the end game, completely trampling on any other magic classes territory without needing the extra effort of grinding a new class out. Many of the new job concepts are actually really interesting, like going back in time to return to a healthier state, or a class that changes the stats and attributes of all units in a battle, allowing for all new kinds of strategies; but these classes lack any opportunity to be used to their full potential since they don't mesh well with other jobs and are limited by their self-centered design.

Another completely missed aspect of the original is the level curve discussed before. Bravely second only really requires you get somewhere in the ballpark of level 60-70 to comfortably beat the final boss, and getting too leveled up is really hard to avoid if you are plan to try out various jobs.

Second also fails to account for how many incredibly strong strategies the player can come up with, and even introduces some of its own strategies that it has no way to counteract, such as halfsies (the first skill the first class gets) pretty much splitting the game in two by tripling the value of items like phoenix downs, and allowing for fool-proof strategies by making 1 character focus entirely on defense, effectively making the party unkillable. Essentially, if you play second after having played the original (like any sane person would) then you will absolutely destroy the game with no sense of satisfaction.

The story is also a large step down, enough to become an annoyance, as the writing style changes to a strange romantic comedy situation with, for lack of a better term please forgive my sin, anime writing, but like bad anime writing, ya know the kind of shit that makes people write off all anime cus a lot of it is awkward and unpleasant to listen to. The story tries to mess with some big concepts like "what if new game + was a real thing???" and time travel and shit like that but it doesn't mesh with the tone the rest of the game has and that tone doesn't mesh with the world or art style and it's just a mess.

BRAVELY DEFAULT 2 SEEMS KINDA POOPIE SO FAR So unfortunately, the big appeal of bravely default being part of it's end game makes it hard to judge how 2 is gonna go given we only have a demo of the beginning, but given that the original team behind bravely default has slowly been stripped out of the series as it goes on, the outlook is bleek.

Most immediately obvious is that the artstyle has made a horrible transition from handheld to console, somehow even worse than pokemon. The areas are all fully 3d and lack the style or compositional excellence of bravely default, and the outside environment look like asset store products. The small proportioned characters with simple features to be readable on a small screen have been replaced with identically proportioned characters with excessive detail and ugly features, and look horrible up close on a big screen. Only the negatives of the art style have made it over, and everything good has been made unsavory. The character and enemy design overall is much worse as a result, everything is messy, unclear, and clashes with everything else. It's an absolutely shocking downgrade.

The characters themselves are overly hammy and feel like shallow attempts to have a similar party dynamic to the original without having identical character types, and the writing as a whole doesn't seem to have improved from second, which was already quite a step down from the original.

The gameplay also has not done anything different or interesting yet, and seems to be selling itself to people haven't heard of or gotten enough of the BP system. Enemies being on the overworld as opposed to random encounters shows they have dropped the player agency over encounter frequency, which is dumb. The battles lack any of the flow the original had, especially when using the battle speed option, as the camera does not present everything very well and changes position often as a result. Overall, I have not enjoyed the bravely default 2 demo and feel it shows nothing but a continued decline in the series that likely should have just been a single game. With the release date being set for sometime this year, I feel there is no chance any amount of player feedback could save the game or even begin to pull it in the right direction, as it seems to be fundamentally flawed with an inescapable feeling of shovelware.

SO WHAT? Basically, all I wanted to say here is that the original bravely default is a very unique experience I think every RPG fan should give a good chance (and just do all the optional stuff during the "repetitive" part of the game, it's where all the best content is you bozo) and that the sequels are NOT the same experience. I guess it's kind of mean to just say "hey don't buy or like this new thing cus its not like the old thing" but people should know why there's a bravely default 2 in the first place, and should fight for what made the original great. I worry that BD goes down the same sad path that FF did, becoming a completely hollow, middling series that strayed so far from it's home that a whole new series had to be made to give the fans of the old style a place to go.

Thanks for reading, and hope you got something out of it.

[myhahnestopinion]

THE AARONS 2019 - Best TV Episode

A lot of streaming services are switching over to a more traditional weekly release of episodes instead of dumping a whole season all at once. It may be because they, like me, want to highlight the unique achievements of singular episodes. It could also be that they don’t want people, like me, signing up for free trials to binge watch one show and then cancelling before they are billed anything... Here are the Aarons for Best TV Episode:

#10. “Chapter Fifty-One: Big Fun” (Riverdale, Season 3, Episode 16)

Chapter Fifty-One of Riverdale is quite aptly named. With a talented young cast on hand, Riverdale often indulges in music numbers, but their full-blown musical episodes still manage to stand out. Incorporating songs from the Broadway adaptation of Heathers, Riverdale uses the famous high-school satire as a meta-criticism of its own ever-growing ridiculousness. The characters give a fervent lament of their inability to be just regular high school students, but, in the end, are forced to confront their status as mere players on a stage and puppets of a ravenous following. Riverdale is often quite fun; how much more can it do for our amusement?

#9. “Striking Vipers” (Black Mirror, Season 5, Episode 1)

Though it made its name in pessimistic twist of fortune, Black Mirror has been best when indulging in affectionate tales. In its fifth season premiere, what begins as two friends testing out a near-future fighting video game swiftly and surprisingly switches gears into a sweet story of longing and vulnerability. The episode chooses not to map its relationship onto any existing conceptions of sexuality and gender, suggesting ways in which they may continue to evolve alongside new technology. Though there are hints on darkness on its edges, the episode is one of the heart-warming tales that have always been the series’ most striking.

#8. “A Knight of the Seven Kingdoms” (Game of Thrones, Season 8, Episode 2)

The second episode of Game of Thrones’ final season was the calm before the storm in more ways than realized at the time. As its characters brace for their imminent battle against an undead horde with a night of quiet companionship, the show produced its last great moments before being swallowed by backlash to its rushed and illogical ending. Unlike the show after that point, the episode does right by its characters, building off their storied histories and delivering earned and endearing pay-offs to several relationships. “A Knight of the Seven Kingdoms” forges the last vestige of good in its world; it would have been wise to say ‘good night’ afterward.

#7. “The Trial” (What We Do in The Shadows, Season 1, Episode 7)

The What We Do in The Shadows franchise has conjured a lot of comedy from the long legacy of vampire tropes; in the seventh episode of the new TV iteration, it put the spotlight on the various actors who made up that legacy. As our regular characters arrive for their criminal trial, the show lines up an impressive amount of guest stars, including, but not limited to, Tilda Swinton, Evan Rachel Wood, Wesley Snipes, and the trio from the original What We Do in The Shadows movie. The show doesn’t just use these stars to hang upside down on its laurels though; it’s plump with jokes certain to stir the blood. It’s a very large gathering of vampires, and it doesn’t suck one bit.

#6. “Replay” (The Twilight Zone, Season 1, Episode 3)

Jordan Peele was a promising voice to head up the new incarnation of The Twilight Zone, but the insightful, livid spark of his film projects seemed to get lost along the way for most of the season. “Replay”, though, was one that managed to replicate it. Like the best of the franchise, the situations are supernormal, but the anxieties are very real: a mother discovers a video camera that can rewind time, but still finds herself unable to protect her son from a prejudiced cop hunting them down. The fear of powerlessness is all too palpable; though a fantastic episode that’s worth a watch, it would be hard to sit through again.

#5. “Danny Patrol” (Doom Patrol, Season 1, Episode 8)

The company’s new streaming service has likely doomed Legends of Tomorrow from ever being able to reclaim its title as weirdest DC television series ever. Taking inspiration from writer Grant Morrison’s run in the comics, Doom Patrol is pure absurdity. In episode 8, the team’s quest to find their kidnapped leader brings them into the path of Danny, a sentient genderqueer teleporting street (Yes, like the streets you drive on. This one has thoughts and feelings and can teleport). This odd premise paves the way for the show to reemphasize its core message of learning to love one’s self. The episode most affecting moment is its big karaoke celebration of this idea from Matt Bomer’s Negative Man; the streets are alive with the sound of music. 

#4. “A Quick One, While He’s Away” (BoJack Horseman, Season 6, Episode 8)

The first half of BoJack Horseman’s final season spent a lot of time saddling up its characters to ride off into the sunset… and one episode indicating they won’t get off that easy. The show has frequently experimented with new storytelling tactics, but it has never felt as purposeful as this one, which focuses exclusively on three ancillary characters from the show’s run. The show effortless transplants its engrossing conflicts and noted animal puns to the new trio, but the tragedy at play is knowing, without it being explicitly stated, that we are witnessing BoJack’s worst actions still reverberating in the lives of others. As the show prepares its definitive statement on the series-long question of whether BoJack can find happiness, the toughest answer to acknowledge is that we’ve been backing the wrong horse.

#3. “407 Proxy Authentication Required” (Mr. Robot, Season 4, Episode 7)

While its long-gestating final confrontation against the manipulators of the world economy wouldn’t be for another handful of episodes, “407 Proxy Authentication Required” was the one that finally brought balance to the world of Mr. Robot. Pairing down its characters and sets and stabilizing the series’ deliberately off-kilter cinematography, the episode unfolds as an intimate five act play, slowly preparing Elliot and the audience for a heart-wrenching revelation. It’s a brutal, but ultimately cathartic bit of television, and the finest hour the show has produced. The series rips all its long-standing proxies away, leaving the viewer no choice but to engage with its raw pain and hope for healing.

#2. “I’m In Love” (Crazy Ex-Girlfriend, Season 4, Episode 17)    

After an improbable four season run, Crazy Ex-Girlfriend gave its final bow in 2019, but the show had one last dramatic turn before exiting stage left for good. Having held herself responsible for her actions and addressed her underlying issues, the series finale, in which she is torn between three equally meaningful romantic interests, sees Rebecca Bunch thoroughly and healthily in love. In its final twist, the episode’s title proves as much of a misnomer as the series’ has been all along. Subversive, stirring, and sidesplitting to its very last breath, Crazy Ex-Girlfriend’s impeccable eleven o’clock number sent the series off on a high note.

AND THE BEST TV EPISODE OF 2019 IS...

#1. “This Extraordinary Being” (Watchmen, Season 1, Episode 6)

Masks as a method to hide trauma was a prominent theme of the Watchmen comic; the TV show sequel added a few interesting wrinkles to the idea. In its boldest reinvention of the source material, the episode presents an interpretive origin story of the mysterious comic character Hooded Justice through the eyes of his descendant, laying bare the show’s anxieties of inter-generational trauma. Just as the comic toyed with the composition of its medium, the episode also engages with its own make-up. It illustrates the visual arts’ power to either further the erasure or promote the healing of such lingering pain. As a singular piece of television, comprised as it is with standout guest actors and impressive technical qualities, it’s a great use of the artform; placed within the context of its historic inspirations on- and off- the page, it’s something truly extraordinary. 

NEXT UP: THE 2019 AARON FOR BEST TV PERFORMANCE!

[retronator]

I love turn based games. In fact, the reason you're not reading this mini-review sooner is because after playing Pathway for 40 hours, I was pulled into a Civ 5 multiplayer frenzy (it’s a long story) and I haven't had a free evening since. I deleted Civ yesterday (because that shit is heroin) and so here we are, finally talking about the game with the most advanced pixel art graphics engine so far.

I mean look at the screenshots. It’s gorgeous. Ever since the game was announced, I meticulously analyzed every screenshot that the german developer Robotality put out. I touched upon the behind-the-scenes stuff in my pre-release post and suffice it to say this is some advanced black pixel magic (much like the game’s supernatural nazi-cultist setting). 

The art is joined in perfect unison with the incredible music score, immersing you into your very-own Indiana Jones turn-based strategy adventure. The game is a casual entry into the tactical genre with fast-paced, easy-to-comprehend combat. Fighting is very predictable with shots always landing when there is a clear line of sight (hit percentages are also always right there in the HUD to indicate otherwise). With good strategy you can often get in and out of a fight in 2 or 3 turns. Great for short, relaxing evening sessions, rather than hardcore strategizing.

The glue that holds the numerous randomized battles together is a board-game-like map of Africa and the Middle East, the home of scorching-hot sand dunes, palm tree-filled oases, brick-built villages, and mysterious underground temples. Each of the five campaigns has an enveloping story that tries to give purpose to your team’s expedition, but due to the procedurally generated nature of adventures, you’ll find the random situations you get yourself into more interesting on their own, rather than supporting a progression of the overall arch.

The lush story vignettes are beautifully illustrated and offer a chance for your characters to lead to extra riches and equipment, the latter of which is the key to progression in the game. The 16 available recruits have unique skillsets and combining them into expedition parties offers plenty of varied playstyles. You’ll replay the campaigns often, but that’s by design as you get to try different team compositions and embark on a whole new set of shenanigans, some of which are available only with specific character perks.

Overall the experience does plateau, especially with as many hours as I put into it. It shines best in short, chill sessions for when you feel like immersing yourself into its pulp pre-world-war-II archeologist setting that the graphical wizardry so perfectly captures. A new campaign and improved story events are still on the way, so there’re plenty of reasons to stay excited for the future. If you live for advanced pixel art like I do, Pathway is an absolute must in your library. Get it from Steam, GOG, and Humble (mac, linux, windows, $16).

[linuxgamenews]

Flowstone Saga adventure has almost reached its funding goal

Flowstone Saga JRPG-inspired adventure out now on Kickstarter for Linux, Mac, and Windows PC. Thanks to the creative efforts of developer Impact Gameworks. The crowdfunding campaign has almost hit its $20,000 USD goal too. Impact Gameworks is thrilled to announce the launch of Flowstone Saga on Kickstarter. Which is now 73% funded, with 27 days until the June 9th, 2021 closing date. This is their newest title inspired by classic 16-bit JRPGs. Also featuring a grand story, gorgeous pixel art, and charming characters. While including sweeping music and a totally unique puzzle based battle system. Flowstone Saga is in development to becoming something unique. Like the studios first title Tangledeep. Which sold over 100,000 units to date. So now, the developers are including everything they love about the finest SNES and PlayStation era RPG's. Infusing this with modern insight in a charming, original world.

Flowstone Saga Kickstarter Trailer

Features:

Battle monsters in a truly unique puzzle based arena. Flowstone Saga uses the power of falling blocks so you can attack, defend, and trigger magic effects. Fending off everything from lowly Beewis and Cookie Ferrets to Craggans and Giant Axolotls.

Immerse yourself in a grand story that begins with the discovery of an ancient power. Then grows to include a continent wide conflict

Explore the islands of Ocean's End. Then search for treasure, gather resources, solve ancient puzzles, and unravel mysteries. Doing so across dozens of handcrafted maps and dungeons

Befriend charming characters. Then help them to build the town of New Riverstone. Learning their stories, and even buddy up for extra battle effects

Customize your Flowstone Saga experience with multiple difficulty settings. Enjoy a more relaxed, story driven playthrough. OR push your puzzle and tactical skills to their limits

Feast your eyes on lush, stunning and detailed pixel art. Including huge monster sprites, gorgeous settings, and impressive animations

Rock out to an epic, adventurous soundtrack with over 50 songs. Featuring live acts by world class musicians

A new mode is added:

There is also a recent Flowstone Saga update on Kickstarter. So, in addition to game difficulty options, they have a feature called "Hold Mode". Which is selectable before starting a new game, and anytime in-game. In "Hold Mode", battles are no longer real-time. But you can still move pieces around, and have access to all the same powers. However there is no 'gravity' pulling pieces down. Therefore, enemies will not move or act in real-time. You have total freedom to plan your next move carefully. Then, once you lock a piece in (and only then), the enemy turn gauges will increase slightly. With 3 years of development behind the team. They are raising money to continuing polishing and improving the game. Due to adding more art, animation, music, and features. With a target release in Summer 2022 for Linux, Mac, Windows PC, and Nintendo Switch.

The Demo:

Play Flowstone Saga now, try the native Demo; Linux download, Mac download, and Windows PC download. All developed in Unity 3D. Just make sure to make the "FlowstoneSaga.x86_64" executable with "chmod +x". Check out the Flowstone Saga JRPG-inspired adventure Kickstarter crowdfunding campaign page. It will be interesting to see what the team also offers for Stretch Goals.

[aion-rsa]

30 Best Nintendo Switch Games

https://ift.tt/eA8V8J

After four years of the Wii U, we were eagerly anticipating its successor. While there were plenty of great games on the doomed platform, the Wii U just never caught fire with the public at large. But four years into the Switch’s lifespan, and Nintendo has turned things around dramatically.

Instead of winding things down, the Switch shows no signs of slowing down, with plenty of excellent third party games in its library, as well as more than a few innovative titles from the Big N as well. The platform has also been a great way to bring underrated Wii U gems to a broader audience of Switch adopters. With a rumored 4K upgrade on the horizon, there’s a good chance that the Switch may even have another four years ahead of it,

But for now, these are the very best games available for the portable-console hybrid:

30. Untitled Goose Game

2019 | House House

Anyone who’s even been to a pond can attest to one simple fact: Geese are dicks. Untitled Goose Game lets you finally live out the fantasy of being one of nature’s most annoying creatures, flapping, honking, and generally being a nuisance to the residents of a fair English town. The only thing missing is the goose poop covering everything in sight.

Untitled Goose Game is a short but sweet experience inspired by classic stealth games that adds just enough charm and innovation to make it one of the best indie games on the platform.

29. Dark Souls Remastered

2018 | FromSoftware

There’s not much more that can be said about Dark Souls that hasn’t been said about this revolutionary action RPG title already. Its tough-as-nails difficulty, foreboding atmosphere, and esoteric storytelling have made it a fan-favorite and critical darling.

The Switch port doesn’t change much. It’s actually a visual downgrade from the Xbox One and PlayStation 4 versions without the benefit of 4K resolution, but being able to play Dark Souls on-the-go more than makes up for that. This may not be the best version of Dark Souls, but the gameplay still stands up, and like a lot of Switch ports, being able to finally play the game on a handheld makes it a worthy pick up.

28. Mario + Rabbids: Kingdom Battle

2017 | Ubisoft

“What if Mario starred in an XCOM game?” might sound like the basis for some very ambitious fan fiction, but somehow Ubisoft pulled it off with Mario + Rabbids: Kingdom Battle. The Rabbids actually fit into the Mushroom Kingdom pretty well and the Rabbid impersonations of Mario and company are hilarious.

Even if Mario games aren’t typically your cup of tea, the tactics featured in this turn-based strategy title add a layer of difficulty rarely seen in the plumber’s resume. If you aren’t careful, the corrupted Rabbids will repeatedly hand you your ass on a platter.

27. Captain Toad: Treasure Tracker

2018 | Nintendo

The Captain Toad levels were the best parts of Super Mario 3D World, one of the few well-reviewed Wii U exclusives that haven’t yet made it to the Switch. Captain Toad: Treasure Tracker delivered more of what people loved, this time for the 3DS.

Ignoring traditional Mario-style platforming for isometric puzzles that bar jumping, getting all the stars in every level of Captain Toad is genuinely challenging but rarely frustrating. Captain Toad also stands out as one of the better Wii U ports for the Switch, thanks to a number of new levels, although many of them are only available as paid DLC.

26. Starlink: Battle for Atlas

2018 | Ubisoft

Starlink: Battle for Atlas is a fun space shooter bogged down by a confusing and frankly unnecessary toys-to-life gimmick. The basic premise equates to a sort of smaller scale No Man’s Sky, but with highly customizable ships and weapons.

The big draw for the Switch version is exclusive Star Fox content, missions that feel like the animal-themed space combat game people have wanted from Nintendo for years. They’re certainly better than Star Fox Zero. The retail version even comes with awesome Arwing and Fox McCloud toys. 

With gamers largely burned out on the toys-to-life phenomenon, Starlink didn’t exactly light up the sales charts, but it did sell best on the Switch and is scratching that Star Fox itch.

25. Hollow Knight

2018 | Team Cherry 

Nintendo basically created the Metroidvania genre, but the company has been remarkably stingy about releasing new 2D Metroid games. Thankfully, Hollow Knight is here to fill the void with its insect-filled underground world. While there have been many takes on the Metroidvania formula over the years, a Tim Burton-esque aesthetic gives Hollow Knight a unique edge over the rest of the field.

Of course, Metroidvanias are only as strong as their maps, and Hollow Knight’s giant, secret-filled levels are easy to get lost in for hours. And then there’s the Dark Souls-inspired combat, which requires both patience and skill to master. We can’t wait for the sequel.

24. Xenoblade Chronicles 2

2017 | Monolith Soft

Xenoblade Chronicles 2 is not for casual gamers. The main story alone takes more than 60 hours to complete and you’re looking at well over 100 hours of gameplay if you dig into the side content. Its systems, particularly the Pokemon-style Blade system, aren’t very user-friendly and require time to truly understand. But for those who are willing to keep with it, or who enjoy complex stories and mastering all the intricacies of a JRPG, there are few games of this caliber available on the current crop of consoles. And none of them are on the Switch.

23. The Legend of Zelda: Link’s Awakening

2019 | Nintendo

The Legend of Zelda: Link’s Awakening is arguably the very best game for the original Game Boy, held back only by the portable’s lack of buttons and color. The Switch-exclusive remake easily rectifies those issues, and improves on this classic with so much more, including customizable dungeons and a delightful new art style inspired by children’s toys.

The core Link’s Awakening experience remains as enjoyable as it first was back in 1993, with the deceptively small Koholint Island giving way to nine labyrinthine dungeons and some of the best puzzles in the entire series. This is a great example of a remake done right.

22. Stardew Valley

2017 | ConcernedApe

There’s something oddly relaxing about farming games that Stardew Valley taps into better than any other game in the niche genre. Maybe it’s the especially calming music, the charmingly well-written characters, or just being able to live out your agricultural dreams at your own pace. Whatever the exact reason, Stardew Valley has garnered millions of fans since its original release.

Part of the appeal is the regular updates. Just when you think you’ve seen everything, ConcernedApe will add new content to keep the game fresh. And while Stardew Valley is a fantastic experience on any of the numerous platforms it’s currently available on, being able to play it anywhere on the Switch arguably makes it the definitive version. 

21. New Super Mario Bros. U Deluxe

2019 | Nintendo

The Switch’s success has allowed many Wii U games to enjoy a second life. With their brief levels, Mario games have always been perfect for handhelds, and with its pitch-perfect controls and heavy nods to Super Mario Bros. 3, New Super Mario Bros. U is arguably the best side-scrolling Mario game of the last decade. The Switch port even includes all of the New Super Luigi U content previously only available as DLC and a new playable character, Toadette.

20. The Elder Scrolls V: Skyrim

2017 | Bethesda Game Studios

We probably didn’t need another version of Skyrim, and the Switch port doesn’t look that much better than the original 2011 release, but as with other ports of older games, the ability to play one of the greatest RPGs anywhere is a good reason to double (or triple) dip. And there are a few cool unlockables though amiibos, like the Master Sword.

It’s impossible to ignore such a classic RPG on the Switch, especially now that you can play it on your lunch break or on the bus. But seriously, Bethesda, you can stop porting Skyrim now. Get to work on The Elder Scrolls VI and maybe bring that to the Switch.

19. Pokemon Let’s Go, Pikachu/Eevee

2018 | Game Freak

The Pokemon franchise has been around so long at this point that the Let’s Go games are actually the second remakes of the original 1996 Red and Blue games. That’s okay though, as even the last remakes were released on the Game Boy Advance in 2004. By 2018, it was time for a new coat of paint.

Let’s Go freshens things up with modern 3D graphics, wild Pokemon that are now visible in the overworld, and Mega Evolutions from more recent games. The biggest change is the most divisive: motion controls for catching Pokemon. It can be a little silly at first, but it actually adds to the game’s charm.

18. Luigi’s Mansion 3

2019 | Nintendo

Luigi has long played second fiddle to his more famous brother, but after three spooky solo games, he’s built up a successful franchise in its own right that ranks up there among Nintendo’s best. If the previous Luigi’s Mansion games had a flaw, it’s that they got a little repetitive. Luigi’s Mansion 3 thankfully fixes that problem with a massive 17-story hotel with plenty of puzzles to solve and ghosts to trap. And while Luigi’s Mansion 3 is a fantastic single player experience, what really gives it legs is its co-operative modes for 2-8 players, making it the best ghostbusting game since, well…Ghostbusters.

17. Octopath Traveler

2018 | Square Enix

Square Enix’s love letter to 16-bit RPGs might just be better than the classics. Octopath Traveler boasts an innovative battle system that tweaks the typical turn-based formula and unique “HD-2D” graphics that are unlike anything else in the genre. It’s easy to lose several hours playing in portable mode or at home on a big screen. And while the story drags a little bit at times, it’s still worth playing to the end to see how the tales of all eight protagonists play out.

16. Astral Chain

2019 | PlatinumGames

PlatinumGames’ streak of creating the best and most unique action games in the industry continues with Astral Chain. Everything that has made the developer’s past titles like Bayonetta and Nier: Automata instant classics is on full display here, from the massive set pieces to the bonkers anime-inspired story of humanity making its last stand against an interdimensional threat.

And while you’d think those previous efforts pushed combat in an action game to its limits, Astral Chain’s innovative gameplay finds way to introduce new twists to the Platinum secret sauce. Here, you control both your main character and a fully customizable tethered Legion to maximize combos. This is the perfect game to tie you over until Platinum finishes up Bayonetta 3.

15. Bayonetta 2

2018 | PlatinumGames

The first Bayonetta was a sexy, stylish take on action-adventure hack and slash games, with some of the smoothest combat around and a badass protagonist. Bayonetta 2 doesn’t mess with the winning formula but adds more combat options and some of the most ridiculous setpieces ever put in a game, like a battle on top of a moving fighter jet. If you’re looking for something a little less family-friendly on the Switch, look no further than this hectic action game.

14. Donkey Kong Country: Tropical Freeze

2018 | Retro Studios

The original Donkey Kong Country trilogy is a highlight of the 16-bit era, but in hindsight, it was more beloved for its graphics than its gameplay. It was only once Retro Studios took over the series that the franchise began to live up to its potential, with super smooth platforming and levels more creative than even some of Nintendo’s Super Mario games.

While Retro’s first Donkey Kong Country game on the Wii was a little too punishing, Tropical Freeze got the balance between challenging and frustrating just right. The game was originally released on the Wii U, and the Switch port adds Funky Kong as a playable character. This is an excellent platformer to play with a friend, too!

13. Super Mario 3D World + Bowser’s Fury

2021 | Nintendo

Super Mario 3D World is a top-notch Mario game, so it was always a shame that it released on a platform as underwhelming as the Wii U. The genius of the game is how it so perfectly combines the best elements of 2D and 3D Mario games. Levels have clear beginnings and endings, and ultimately you just need to climb the flag pole at the goal, but there’s also plenty of room for exploration to track down every last green star. Plus, the cat suit is one of the weirdest and best power-ups in any Mario game.

Everything that made the original Wii U release a must-have remains the highlight of the Switch port, but the addition of Bowser’s Fury, a new adventure where Mario and Bowser Jr. must quickly complete missions before the arrival of a giant, enraged Bowser, makes this one well worth a double dip.

12. Pokemon Sword and Shield

2019 | Game Freak

Sword and Shield may not be the best games in the long-running Pokemon series. Arguably, the lack of some older Pokemon (even after two big expansions) is a pretty big mark against it, but the eighth generation still has a lot going for it thanks to more streamlined gameplay, a massive open-world, and the fact this is the first time a mainline Pokemon game can be played on a home console. That’s something that fans have been clamoring for since the series’ inception back in 1996.

So no, you can’t quite “catch ‘em all,” but you can still have a great time battling the gym leaders of Galar in the seemingly never-ending quest to become the very best. 

11. Sid Meier’s Civilization VI

2018 | Firaxis Games

Despite the Switch’s early success, it’s still home to relatively few third-party console exclusives, but Civilization VI alone almost makes up for that deficit. This is an uncompromising PC port with 24 different civilizations available from the get-go, and all of the features from the original version. It also works great with either a controller or touchscreen controls. If you’re looking for a 4X strategy game on the Switch, Civilization VI is the one. 

10. Diablo III: Eternal Collection

2018 | Blizzard Entertainment

Diablo III is one of the best games of the last decade. The Switch port is late to the party, but if you really want to slay demons on the go and don’t have a laptop handy, this is the perfect way to play the classic action RPG. 

The Switch version adds a handful of Legend of Zelda items, including a Ganondorf costume. It’s not an earth-shattering exclusive, but it’s an easy excuse to sink a few more hours into this game.

9. Fire Emblem: Three Houses

2019 | Nintendo

Nintendo is still mostly known for accessible games that appeal to a wider audience. But then there’s Fire Emblem, a series of hardcore tactical RPGs where every battle can mean permanent death for you and your allies. While still true to its roots, Three Houses takes some liberties with the typical Fire Emblem gameplay. There are still plenty of battles to be fought, but the first half of the game largely takes place at a monastery where you’re a teacher preparing your students for war. And the long-used “weapon triangle” has mostly been replaced with the need to equip the best weapons for each character, adding a new layer of strategy.

As if all that didn’t make for dozens of hours of gameplay, the ability to choose which of the titular three houses you belong to has radically different consequences for the game’s story. It takes a very long time to experience everything that Three Houses has to offer.

8. Super Mario Maker 2

2019 | Nintendo

Super Mario Maker 2 is the definitive Mario game, building on its already near-perfect predecessor with new power ups, a world maker, and assets from Super Mario 3D World. The star of the show is the almost endless supply of user created levels that constantly surprise with twists on other genres and some of the most fiendishly difficult levels ever devised. And if you’re the creative type, the course maker remains one of the most intuitive modes in any game, allowing you to design perfectly playable new levels in just a few minutes.

Even if making Mario levels isn’t you’re thing, Super Mario Maker 2 includes a surprisingly fun story mode of 100 original levels that stand toe-to-toe with anything else in the legendary franchise.

7. Hades

2020 | Supergiant Games

Rarely do story, gameplay, and atmosphere mesh together as well as they do in the rogue-lite Hades. You play as Zagreus, the prince of the Underworld, with the simple goal of escaping from the monotonous life you’re forced to lead under your apathetic father. You’ll die a lot during this quest, but each time you’ll get a little stronger and gain new abilities from the gods of Olympus that keep the experience fresh. Hades knows exactly how to leverage its setting, perfectly capturing each deity’s unique personality and abilities.

The rogue-lite gameplay is also well suited for short bursts of gameplay or marathon sessions, making it a perfect fit for the Switch, which is currently the only home console its available on. It’s easily the best third-party game on the system, and one of the best reasons to pick up a Switch if you haven’t already. 

6. Mario Kart 8 Deluxe

2017 | Nintendo

Mario Kart 8 is the best kart racing game ever made. That was true with the original Wii U release and it’s true of the Switch port, which includes all previously released DLC and adds a few new characters and a completely reworked battle mode. Each and every track has its own challenges and the addition of anti-gravity racing is a nice update to the formula.

With tracks and characters from F-Zero, The Legend of Zelda, and Animal Crossing, Mario Kart 8 also feels like the most complete Nintendo racing game of all time. There’s really no reason for a Switch owner not to have this one in their collection.

5. Splatoon 2

2017 | Nintendo

Nintendo has never developed a multiplayer shooter like Call of Duty or Halo. Odds are it never will. But the Splatoon series is just as good as those shooters, especially the second installment. Like with the original, the focus of Splatoon 2 is to use a variety of paint-spraying weapons to cover as much of each level as possible. It’s actually a lot more fun and creative than most of the high-profile shooters out there.

Splatoon 2 adds quite a few new levels, weapons, and unlockables. There’s also a sizable single-player mode, and a ridiculously fun cooperative mode called Salmon Run. If that’s not enough content, Nintendo released the lengthy Octo Expansion DLC in 2018. A copy of Splatoon 2 could occupy a Switch gamer for months.

4. Animal Crossing: New Horizons

2020 | Nintendo

For a lot of people, Animal Crossing isn’t just a game. It’s life. New Horizons was always highly anticipated, but its release at the beginning of the Covid-19 lockdowns made it a much-needed escape for millions of people. Birthdays, graduations, and weddings couldn’t be held in-person, so many were celebrated within New Horizons. Even President Biden and Hong Kong democracy activists set up their own islands.

Even without the specter of Covid-19, New Horizons would still be one of the best games on the Switch. Nintendo has been perfecting the franchise for two decades now, but this version of Animal Crossing is easily the best yet, allowing for near-limitless customization of your own little world. And yet you’re still free to play at your own pace, without any of the pressure of the outside world. The ultimate appeal of Animal Crossing continues to be that it allows us to live our ideal lives.

3. Super Mario Odyssey

2017 | Nintendo

Is Super Mario Odyssey the best 3D Mario game? It’s hard to argue otherwise. Odyssey borrows its level structure and progression system from the beloved Super Mario 64, which Nintendo had largely ignored for the last two decades. Several new twists on the traditional 3D platforming formula, like the ability to throw your new hat buddy Cappy at enemies to take control of them, make Super Mario Odyssey feel incredibly fresh. There probably won’t be another platformer this good on the Switch.

2. Super Smash Bros. Ultimate

2018 | Nintendo

Super Smash Bros. has remained wildly popular since it debuted in 1999, and there’s always been a lively debate about which title is the best in the series. Melee arguably has the best mechanics, while Brawl’s Subspace Emissary boasts the most complete story mode. The Wii U game looks fantastic, but the Ice Climbers and Snake were sorely missed.

Ultimate tries to satisfy the fans of each game by including every character who’s ever appeared in the series (plus a few new ones), more than 100 stages from throughout the Nintendo universe, a deep adventure mode called World of Light, and interesting tweaks to even the oldest characters in the roster. If Ultimate isn’t the perfect installment of Smash Bros., we don’t know what is.

Further Reading: Super Smash Bros. Characters Ranked

1. The Legend of Zelda: Breath of the Wild

2017 | Nintendo

Breath of the Wild is the perfect marriage of traditional Legend of Zelda 3D gameplay and innovative new systems. The world and story are unmistakably Hylian, yet the game puts a major focus on exploration and experimentation to an extent never before seen in the series.

Yes, the number of weapons have been cut down drastically, but the handful of abilities — like freezing time and creating ice blocks — create even more ways to complete the game’s challenges and traverse its world. And you will want to explore every last inch of Hyrule’s beautifully realized world.

For almost two decades, Zelda games closely following the formula established by Ocarina of Time, one of the greatest games ever made. Breath of the Wild throws out almost all of the concepts that Ocarina pioneered and redefines Zelda as something more open-ended and exciting that will hopefully continue to evolve over the next few years.

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[capitainecorbeau]

Game recs : Yggdra Union

And we’re back for another one, and this time, it’s an rpg, like I promised ! More specificly it’s a pretty unique tactical rpg, Yggdra Union : We’ll Never Fight Alone.

Yggdra union came out for the GBA in 2006, and a HD remake came out for the PSP in 2008. It was developped by sting, and distributed by atlus. It’s the second entry in Sting’s Dept Heaven series, which currently has four games and two spin-offs. It’s been on hiatus since 2012, however.

The story starts out pretty classic : you follow Yggdra, the princess of Fantasinia, who had to flee after her country was invaded and her family killed. While on the run, she meets with Milanor, a young thief, who offers to help defeating the invading empire in exchange for Yggdra’s castle. And along the way, they of course assemble a buch of quirky characters (including but not limited to : a royal knight, a kid mermaid named after  a german philosopher (?), a magician, a somewhat incompetent freedom fighter) to fight with them.

The writing is overall pretty good. There are some issues with it (like some dramatic moments or difficult desicions that fall flat because it feels like we don’t have enough information), but otherwise it’s fairly solid. What I really liked was that the writers didn’t shy away from giving the main characters difficult and morally ambiguous choices (which not everyone agree on, and that’s a really nice touch). The protagonist aren’t pure and perfect, and people who disagree with them aren’t all portrayed as evil. They’re all people put in difficult situations who try to act as they see best, and actions that are morally ambiguous are treated as such. It mostly avoids protagonist-centered-morality, and it’s really refreshing.

And your enemies also come with a wide array of personnalities and moral compasses ! Some are irreedemably evil, some have sympathetic motivations, and some are just plainly good people. Like I said, there are a few times the writing can be hit or miss, but for the most part it knows what story it wants to tell and how to tell it. And they manage to give all your characters clear motivations and personnality, despite most of them not getting much screen time (one of the pitfalls of tactical rpgs that the game doesn’t manage to avoid).

But the part where the game really shine is the gameplay ! As I said, it’s a tactical rpg, and a fairly unique one at that. The core of the game is rather close to a Fire Emblem game (you move on a grid, there’s some terrain bonuses, a weapon triangle, the enemy and your units are the same classes, etc), but there lots of elements that add themselves onto that.

The biggest one (so big it made it into the title) is the ability to form “unions”, aka pulling surrounding  units into the fight. Instead of picking one enemy at at time, you can pull all your army and the enemy’s into one huge battle (though units still fight one on one). If you play your cards (litterally) right, you can take out huge chunks of the opposing army in one go. This is the meat and bones of the game, and it’s really fun. It makes fights feel much more intense and important.

The second biggest mechanics is cards (see what I did earlier). Cards determine your range of movement, how much damage you’ll deal (though it’s influenced by other things also), and also serve as special attacks. There are a lot of them, and they’re all pretty different from one another (some boost your stats, some nerf the enemies, some do flat damage, some inflict status effects, some nullify damage etc).

What I really like about the gameplay as a whole is that it’s very complex, yet very well held together. There are a few gimmicks here and there, but for the most part, every element is important to consider. As a result, there are lots of different strategies you can try, and you can get pretty creative (for example, you can completely nullify a character’s disadvantage against another unit with the right combination of skiils and items). It makes the game pretty fun to replay because there’s lots of new tactics you can try out ! The the game does an excellent job at easing you into it, they don’t dump every single gameplay element on you in one go.

Another thing that really stands out about this game is the general presentation. The art style is really original, and personnaly I love it. There’s this sense of slightly chaotic energy emanating from it, and while the designs can get a bit busy, there’s still readable (though I will say the the menus can be pretty messy and cluttured, and that it can be a problem). The art (by Satoko Kiyuduki) was what initially caught my attention and made me want to play the game, actually. The spritework is also pretty smooth (especially in the psp remake). Also there is this design :

Look at that badass armor. Look at it.

The music is nice too ! Some of the map themes can get a bit repetitive or blend into each other, but the battle music is memorable (and the nice touch is, every player unit gets their very own leitmotif ! Important enemies do, too).

Difficulty wise, the game is pretty tough. It’s not too unfair however, there is an option to lower a map’s difficulty if you’re struggling, and the psp remake added diffuculty levels and rebalanced things out. Speaking of which, I highly recommand the psp version over the gba one : it’s got better graphics, music, more balanced gameplay, new maps and characters. And voice acting ! Both in japanese and in english. (but the gba version is still fun, and worth checking out !)

And well, there you go ! This game is still a favorite of mine even after all this time, and I heartily recommend you try it out ! It’s a fun experience. And if you enjoy the gaplay, you can check out the two spinoff, Blaze Union and Gloria Union ! (I can’t speak for the story of these two however because they were never released outside of japan and I don’t speak japanese.)

[postgamecontent]

Shining in the Darkness: SEGA Genesis RPG Spotlight #1

Original Release Date: March 29, 1991

Original Hardware: SEGA Mega Drive

Developer/Publisher: Climax Entertainment, Sonic! Software Planning/SEGA

SEGA's prolific and long-running Shining series is best-known for its entries in the tactical RPG genre, but that's not how it got started. The first game in the series is a first-person dungeon crawler, a format the brand would only return to once more in the late 1990s. Shining in the Darkness was the first development project for both Sonic! Software Planning and Climax Entertainment, but neither team was new to RPG development. In fact, the head of Sonic, Hiroyuki Takahashi, and the head of Climax, Kan Naito, had previously worked together on the Dragon Quest series for Enix. Although most Japanese RPGs released after Dragon Quest take after that important series in some ways, it's even easier to spot the links in Shining in the Darkness.

That link is also how the two teams came to work together on this and its follow-up, Shining Force. Having served in production roles on various Enix titles in the late 1980s, Takahashi was ready to move on, and in 1990 he did just that. He found a welcome partner in SEGA, who had just launched their new 16-bit hardware platform the year before and were looking for any talent they could pry away from Nintendo's powerful grip on third parties. Given Takahashi's resume, it's not surprising that his first project would be an RPG. SEGA invested in a new division called SEGA CD4, which was soon renamed Sonic! Software Planning in honor of the company's popular new mascot.

Naito had decided to depart from Dragon Quest developer Chunsoft around the same time. He formed Climax Entertainment and almost immediately started working with SEGA. Climax's first job was to help out Sonic! with their first game. The new team had just four members including Takahashi and needed some programming and art support. As Takahashi and Naito were friendly from their days working on the Dragon Quest games, the latter happily obliged with the request. Not long into the game's development, there was a shift in management at SEGA. Unfortunately, Takahashi didn't receive nearly as much support from the new management, planting the seeds for an eventual explosive exodus.

Given that Shining in the Darkness was the first project of two unproven teams, it's not that shocking that SEGA offered the absolute minimum budget they could for the game's development. Still, the developers made the most of it, re-using art as much as possible without compromising Takahashi's vision for as immersive an experience as was possible with the technology. The unfortunate outcome is that the game is rather more repetitive than it perhaps could have been. Visual and audio assets are stretched as far as possible, and the game has very few cut-scenes and themes relative to other contemporary RPGs. The game was completed and released in March of 1991 in Japan, with a speedy localization seeing it arrive in North America and Europe in August and September of 1991 respectively.

Expectations for the game weren't terribly high given the low budget and lack of experience of both teams. Somehow, Shining in the Darkness became a fairly big hit both in terms of critical reception and sales. Oh, it wasn't a huge seller in absolute terms, but for a SEGA home console release, it did very well. For his part, Takahashi didn't think the game was as strong as it could have been. He wanted to create better, more innovative battle systems than the average RPG had been including. For whatever merits Shining in the Darkness has, its battle system certainly can't claim to be innovative. Takahashi's inspirations and ideas would lead him down the road that resulted in Shining Force, one of the more successful international releases of a Japanese TRPG in its era.

It's worth noting that in the grand battle between loving RPGs for their mechanics and loving them for their stories, Takahashi was firmly in the mechanics camp. He didn't have a lot of use for stories, and that comes through pretty clearly in most of the Shining games from the pre-Saturn era. Indeed, the plot in Shining in the Darkness couldn't be more generic if it tried. You play as a young knight who is tasked by the king of the realm to recover his missing daughter. Your father, the greatest swordsman in the land, was already sent on a similar quest, but no one has heard from him since. You must enter the nearby labyrinth where they allegedly disappeared and find out what happened to both of them.

The game's world consists of just a single castle, a lone town, and the labyrinth. You can probably guess where you'll be spending most of your time. The castle mainly exists to move the plot forward from time to time. The town is your source of new gear, helpful items, a bed to rest on, a little helpful gossip, and the obligatory church that heals your ailments and saves your game. As for the labyrinth, it ultimately consists of five levels and four side caves, none of which are optional. The size is pretty substantial for the time, and the game doesn't have any sort of useful mapping feature, so you will definitely want to break out the graph paper in order to avoid getting lost. The best the game offers is a spell you learn later on that shows your immediate surroundings. It's not that helpful most of the time.

With its first-person dungeons, turn-based combat, and little more than a menu town to break things up, the obvious source of inspiration here is Wizardry. But Shining in the Darkness also takes a lot of lessons from Dragon Quest, resulting in a kinder, gentler experience. For example, a full party wipe only costs you half of your gold on hand, allowing you to keep any gained experience, items, and progress. Grinding is alleviated somewhat by having random hard-to-kill enemies appear that grant you buckets full of experience should you slay them. You have access to an item that instantly warps you back to town at a relatively low cost right from the start of the game. A big part of your quest involves gathering some legendary equipment, and you even save your game at churches complete with a jingle played on a virtual pipe organ.

While the game on the whole is quite easy for those willing to put in the time to grind, that doesn't mean it's totally bereft of Wizardry's tricks. Later areas of the game make use of trap-door pits, and you'll run into spinner tiles relatively early on. The encounter rate in the game is extremely high, and enemies love to call their friends into battle when they're losing. Even with all of that, however, the hardest part of the game is the beginning, when your hero is all on his own. He has a limited inventory, little money, and no magic. Wandering too far from the front door of the labyrinth is not advised. This portion of the game lasts until you run into the first mini-boss, a crab who scuttles out from behind a wall if you try to enter a certain section of the maze. Take him down and your days of solo battles will be behind you.

None too soon, either. Shining in the Darkness's combat never gets terribly complex, but when you've only got the hero in your party, your options are largely limited to a basic attack, using a healing item, or running away. You're either strong and lucky enough to outlast your opponent, or you're not. Gaining your additional permanent party members at least adds some strategy into the works, as you slowly learn an array of magic spells to use. There's nothing too fancy here, but you will have access to some buffs and debuffs, so that's at least something. You'll also occasionally be joined by a temporary party member who contributes an action every so often. You can't control them, but it's a nice bonus anyway.

There are no bones about it, though: Shining in the Darkness is one of those games where you will spend a disproportionate amount of time grinding. You need to grind up experience to get your stats high enough for bosses and the difficulty spikes that come with them. You need to scour for coins to make sure your gear is as up to date as possible. Some of the grind comes from having to retrace your steps to get back to where you were in the labyrinth. The back half of the game opens up a warp system, but until then you'll have to trudge all the way back through the dungeon every time you go back to town, smashing the weak and worthless enemies that crop up every few steps along the way. Much of this grind is mitigated if you're actually having to explore and map the dungeon, as that involves a fair bit of extra walking and fighting. If you know where to go or are using someone else's maps, you'll have to resign yourself to the idea of plopping down in each new section for a while and smacking around the newest beasts until you catch up.

True to Takahashi's preferences, Shining in the Darkness has a pretty threadbare story. There are a couple of twists that you'll see coming from a mile away if you're well-versed in the genre, but this is mostly a game about pure good versus pure evil. That said, the game has quite a bit of personality to it. The visuals are bright, the characters are well-designed, and what few bits of story that are present go a long way. Little touches like the music from the tavern getting quieter as you move your view to shops farther away in the town help make the world feel more alive. Having NPCs run into you in the dungeons and briefly join your side makes the labyrinth feel like an actual place where characters other than your party venture into. The music is excellent on its own, though it has to carry the heavy burden of being too few pieces stretched across far too much playtime.

With dungeon crawlers making a strong comeback in the last ten years, we've seen many new ideas and systems introduced to make the genre more palatable to the average player. Shining in the Darkness was a relatively player-friendly example of the genre in 1991, but it's a little harder to put up with in the here and now. Even its once-lauded icon-based interface feels cumbersome at times. Still, I think it can be put up with, which is more than you can say for many of its contemporaries. I suppose the real question is whether it's worth putting up with, and that's a more difficult one to answer. If you're the sort for whom the simple joy of mapping is sufficient entertainment, you'll likely enjoy at least one playthrough of the game. There's nothing particularly objectionable about it, after all.

On the other hand, the game's minimal story, grind-heavy progression, and generic approach to just about every aspect of its mechanics don't make for a compelling case for anyone else. Shining in the Darkness is the kind of game that is great when you have too much time and not enough to do, making it perfect for those long summer days in 1991 when the selection of console RPGs was rather thin. Today, its primary merits are that it served as the launching point for much better games to follow, and that it's not especially painful to play. Perhaps that's enough for a game of this vintage. I'm not sure I'd care to revisit it again outside of that context, mind you.

Next: Beyond Oasis

If you enjoyed reading this article and can’t wait to get more, consider subscribing to the Post Game Content Patreon. Just $1/month gets you early access to articles like this one, exclusive extra posts, and my undying thanks.

[satoshi-mochida]

Prinny Presents NIS Classics Volume 1 will launch for Switch on August 31 in North America, September 3 in Europe, and September 10 in Oceania, and Soul Nomad & the World Eaters will launch for PC via Steam on August 31 worldwide, publisher NIS America announced.

The console collection includes both Phantom Brave: The Hermuda Triangle Remastered and Soul Nomad & the World Eaters. The former is already available for PC via Steam.

Here is an overview of the collection, via NIS America:

Prinny Presents NIS Classics Volume 1

This is the first installment of a quintessential Strategy RPG lover’s collection, which boasts 2 games in 1! With over 60 hours of gameplay between both games, and an exclusive physical Deluxe Edition that includes a CD soundtrack and art book (with music and art from both titles), returning fans can relive time-honored favorites, while new (and old) fans can discover hits they may have missed!

Soul Nomad & the World Eaters

Gig and the gang are back to spread destruction! Utilize customizable “Rooms” to assemble and experiment with different team builds with over 25 different unit types such as Knight, Archer, Nerneid, and Griphos Knight. Make impactful choices that change the outcome of the story, scout out battle conditions prior to combat, and even kidnap or do battle with the townsfolk!

Phantom Brave: The Hermuda Triangle Remastered

Follow the touching story of Marona and Ash as they complete jobs around the islands of Ivoire. Use the “Confine” feature to bind phantom units to physical objects on an isometric grid-free map, allowing you to call them to battle and alter their stats. With over 50 Phantom types to unlock such as Witches, Owl Knights, and Prinnies(!), along with all content from previous releases, this is the definitive version of Phantom Brave!

Key Features

Endless Adventures Everywhere – Two thrilling Strategy RPG classics come together in one collection, giving new and old players alike an exciting and long-lasting gaming experience that they can take on the go.

The World Eaters Return – Carve a path to glory with the first release of Soul Nomad since its debut in 2007, and experience the in-depth gameplay and captivating story of the original on a modern platform.

Phantom Brave…Complete! – This comprehensive version of Phantom Brave brings all the island-exploring adventures, memorable characters, and tactical gameplay you loved from the original, plus all content from previous releases!

Watch a new trailer below.

[2700fstreet]

THEATER / 2018-2019

SHE A GEM

STUDENT GUIDE

Written by Josh Wilder Directed by Paige Hernandez World Premiere Kennedy Center Commission

Teacher and Parent Guide: She a Gem

“When one of us makes it, we all make it. That’s the whole point of being a gem.” —Jaleesa

So, What’s Going On?

Tick-tack-tick-tack-tick-tack—the sound of twin jump ropes spinning up a cyclone makes a joyful noise for three girls on this side street in South Philadelphia. Krystin, Jaleesa, and Amber are practicing to show off their Double-Dutch skills at the upcoming neighborhood block party. They’re aiming for a special prize: to be a “gem,” a special figure of love and leadership within the neighborhood. Double Dutch, though, is way more than a game for the trio of friends, who live together in the foster home of Topaz, or Ms. T. It connects them, binds them, and creates a shared strength to celebrate, handle disappointment, and face any and every challenge.

Krystin, the team’s captain, especially faces some tough decisions. With her 18th birthday just days away, her time in Ms. T’s foster home is ticking down. Where will she go? Should she stay in school and shoot for college? Does she have a chance of turning Double Dutch into something more? Choices, self-doubts, and fears weigh heavy on her as she faces a transition from a caring environment to a future of unknowns.

Into the mix comes Symone, a pregnant teen from North Philly who brings her own Double-Dutch and stepping talents to the group. Right from the start, she and Krystin clash about who’s the better jumper and being forced to share a room. Yet, as they begin to polish their routine and settle their frictions, they start to see more clearly who they can be—but only if they can work and stick together. It also becomes clear that Symone is not there merely by chance. She carries ties to the neighborhood’s past, a mystery that affects the girls, their sisterhood, and the whole community.

“One of the themes of the play is the idea about how we have the power to choose or make our own families,” says the play’s director, Paige Hernandez. “How we work together to develop confidence and build self-esteem even when the odds are stacked against us.”

Think about…

Gems are precious or semi-precious stones. How do gems function as metaphors in the play? What are ways gems show up in the play’s dialogue, chants, and other parts of the show?

How do each of the girls change during the course of the play?

Who’s Who

A neighborhood double-dutch team who live together in a foster home:

Krystin, 17 Jaleesa, 16 Amber, 16

Symone, 17 a new girl from North Philadelphia Topaz (Ms. T), foster mother Ms. Mary, never seen…eccentric and mysterious, the O.G.gem

Check this out…

Professor Kyra Gaunt, PhD, is an ethnomusicologist at the University at Albany in New York. In this video interview, she shares some of the history of jump ropes and the unique culture of Double Dutch in urban African American communities.

You can also find a Q & A interview with Professor Gaunt in the Adult Guide.

A Short History of Double Dutch

Who were the first kids to ever jump a rope for the fun of it? You’d have to take a time machine back thousands of years. Various clues lead to Ancient Egypt and China. From there, it eventually skipped its way to Europe and the Netherlands, and the Dutch are credited with bringing it to North America in the 1600s. One of their jump-rope games evolved into “Double Dutch,” and American kids and teens have been turning twin ropes ever since. Girls in particular took to it, aided by a shift from long dresses to skirts with pantaloons around 1800.

Double Dutch really took off in the 1940s and 1950s, especially in northern U.S. cities. For many African American girls and young women there, Double Dutch became much more than a game. Using clotheslines, braided rope, and even super-long phone cords, they took it onto the streets where girls might jump from morning till night. The tick-tack-tick-tack of the ropes laid down a beat not only for jumping but for rhymes and game songs that became part of the tradition. Often turned away from guy-dominated sports, girls doing Double Dutch transformed jump roping into a realm all their own. They introduced moves, etiquette, chants, and traditions that passed from girl to girl and generation to generation.

In the 1970s, a couple of New York police officers, Ulysses “Mike the Cop” Williams and David Walker, sought to use this love of Double Dutch as a tactic to keep teen girls off drugs and out of trouble. Walker created the American Double Dutch League (ADDL), and for a while McDonald’s restaurants sponsored local and national Double-Dutch tournaments.

The competition could be intense. Teen girls were pushing what was possible between the ropes. They introduced back flips, handstands, and other acrobatic moves that were shared back and forth between them and breaking, the dance style of Hip Hop; and not by accident. Hip Hop and Double Dutch of the 1970s were developing side-by-side in the neighborhoods of New York, Baltimore, Chicago, and other U.S. cities, and the two gladly sampled from each other.

Today, Double Dutch has diverged onto two distinct paths. For the more competitive, it is an intense competition featuring uniforms and judges, becoming a sport that has spread worldwide. For others, “street Double Dutch” continues as a neighborhood tradition that binds together girls and women—especially African American girls and women—in a powerful, joyful tradition that brings together rhythm, song, dance, teamwork, and friendship.

Check this out… “Double Dutch is very present in my life,” says She a Gem’s Double-Dutch coach, Ebony Ingram. “I use it to learn about myself. It teaches a lot about persistence and fighting through pain. That’s part of it. You love it so much you’re never going to stop.”

then think about…an activity or passion you love so much you’re willing to keep going even when it causes pain, even when the going gets tough.

The word grit stands for perseverance, drive, and courage. Together with friends, identify people you know—personally or as public figures—who have overcome obstacles and demonstrated grit in pursuit of their goals. What common habits or traits do they seem to possess?

Discuss your favorite book or movie with others. Usually, the protagonists face their biggest challenges and most hopeless moments just before they succeed. Why are we attracted to such stories and characters?

The African Tradition of Scarification

She a Gem echoes some African ancestral traditions, like membership in a tribe or community, says the show’s director, Paige Hernandez. “The strongest parallel to Africa in the play is the idea of scarring,” she says. “It confirms identity, like a tattoo. It shows that you are part of a lineage. It can also be symbolic of your age and status in your given community.”

In parts of Africa, Papua New Guinea, North America, and elsewhere, ritual scarification has been an ancient practice, similar to tattoos in other cultures, as Hernandez notes. Under the guidance of their elders, different groups make superficial cuts in specific patterns. Ash or pigments may be inserted in the cuts before they heal as scars. For some groups, it has been a form of body art that marks them as a member of their family or community.

For some women and men, getting scarred could also be a rite of passage. It might mark life-changing moments like the death of a child or bravery in battle. It represented their ability to not just endure pain, but to demonstrate they had spiritual strength and a willingness to sacrifice for the community. However, the practice of scarification in many cultures has been in decline in recent generations.

Scarring as a symbol shows up in She a Gem. Scars are specifically borne by women who become gems, like Ms. T. At one point, Jaleesa says,

There’s this scar that [Ms. T] has on her face that nobody can miss it. It starts here and it goes all the way down to here. Like its some kind of sign. I asked Ms. T one day what happened and she just looked at me and said, “I got it playing Double Dutch. “That rope cut your face like that?” “No,” she said.

Think about…

Scars are both symbols and a theme in She a Gem. For the characters with scars, how did they get them? What might they represent?

What are reasons people get tattoos, piercings, or dramatic forms of permanent body art? What aspects of their identity are they trying to communicate—to themselves as well as others?

Write a short piece about how your friends signal their allegiances through language, clothing, hairstyles, music, or other means? Then, take it a step further: How do leaders of the group indicate their status?

Setting the Scene for She a Gem

A play’s setting is everything that appears on stage—scenery (background), furniture, and props. “It’s often the first thing in a production that the audience sees,” says Deb Sivigny, who designed the set for She a Gem. Sets can be realistic or fanciful, complex or simple—it all depends on the production needs of the play and the creative vision of director.

She a Gem takes place on a side street in South Philadelphia. Sivigny wanted to get a feel for the neighborhoods there to help her create the “onstage Philly” where the action happens. Unable to visit in person, she instead went for “Google Walks” down South Philadelphia streets using Google Maps (google.com/maps). She snapped “photos” of the buildings and row houses, seeking details that would help her bring the community to life.

She began sketching, using her imagination to create not just a look but a feel. She then rendered the set in model form so she and the director, Paige Hernandez, could view it in three-dimensions.

What to Look and Listen for

Compare what you see onstage with the following photos, sketch, and model from set designer Deb Sivigny’s development process.

Caption: Images from Google Maps.

Caption: Concept sketch for She a Gem. Credit: Deb Sivigny

Caption: Digital Rendering for She a Gem. Credit: Deb Sivigny

Check this out…

Set designer Deb Sivigny says, “My job is to interpret where words can’t go.” What are experiences you have had that require something more than words to express them? What are other art forms that tell a story “where words can’t go?”

Then look and listen for…

The uses of color in the set, costumes, lighting, and language.

The phone lines arcing above the stage, and what they resemble.

The three onstage buildings in She a Gem. What does the set and its buildings tell you about the neighborhood and the changes it has seen?

Projections on the set and its buildings. Consider what these projections represent and how characters interact with them.

The use of music, rhythm, and chants, and what they reveal about the girls and their relationships.

The sound of thunder and specific moments when it occurs during the play.

When the actors interact with each other and when they speak directly to the audience. How do the characters’ monologues differ from their dialogues?

Similarities and differences between the sounds, moves, and ideas of Double Dutch and Hip Hop.

Then think about…

At the beginning of the play, Krystin says: “What does Double Dutch mean to me? Freedom. Jumping inside this whirling circle of danger; of hurt; of pain. Getting to dance with all that. I think it’s brave; and ‘if you wanna be brave then you gotta get off them ends and jump!’” What might Krystin be seeking freedom from? What represents freedom to you personally? What does it mean to be brave—not like in action movies, but in real day-to-day life? How are freedom and being brave related?

Double Dutch takes serious teamwork. Besides turning and jumping, what are ways the girls demonstrate teamwork in other aspects of their lives? How do you demonstrate teamwork in your life?

What conflicts arise among the characters? What causes them, and what are ways the girls deal with them?

What are ways different generations connect and communicate during the play?

The play speaks to the power we have to make our own families. What does family mean to you? What does it mean to “make our own families” as we grow up?

Take Action

Be a Gem

Several gems are mentioned in the play: amber, diamond, ruby, pearl, onyx, jade, opal, jasmine, etc. Do some research on precious and semi-precious stones. Which one (or more) do you feel a special connection with? Why? Name it, explain it, and share your thoughts in writing, or with family and friends.

Take a Virtual Walk

Different views offer different perspectives. Input your home address or the address of your school in the Google Walk feature on Google Maps and take a tour of the streets and neighborhood. Look for things you’ve never noticed before and write them down along with thoughts and feelings. Share them with your family and friends.

Design Your Neighborhood

Give your neighborhood the set-design treatment like Deb Sivigny did for a South Philadelphia neighborhood in She a Gem. Imagine you were going to represent your street, community, or school onstage. What buildings, trees, streets signs, or other physical details would you include? Turn loose the artist in you—take photographs and draw sketches or maps. Consider creating a model of your set where your personal story is taking place.

Jump!

Has it been a while since you’ve jumped rope? To get into the swing of She a Gem, find your old rope or unwind a length of clothesline. No need to go all Double Dutch if that’s not your thing. But see what it feels like to jump again—on your own or with friends. One of the beauties of jumping rope? All you need is some space and a little rhythm and your body comes alive.

Double Dutch Chants

Silly, funny, creative—Double-Dutch chants make their own music. Try them out with your friends!

“Rollercoaster” Down, down baby, down down the rollercoaster. Sweet, sweet baby, I’ll never let you go.

Shimmy, shimmy ko-ko pop. Shimmy, shimmy, pow! Shimmy, shimmy, ko-ko pop. Shimmy, shimmy, pow!

Grandma, Grandma, sick in bed. She called the doctor and the doctor said.

Let’s get the rhythm of the head, ding-dong. Let’s get the rhythm of the head, ding-dong. Let’s get the rhythm of the hands (clap clap). Let’s get the rhythm of the hands (clap clap). Let’s get the rhythm of the feet (stomp stomp). Let’s get the rhythm of the feet (stomp stomp). Let’s get the rhythm of the hot dog. Let’s get the rhythm of the hot dog.

Put it all together and what do you get? Ding-dong, (clap clap) (stomp stomp), hot dog. Put it all backwards and what do you get? Hot dog, (stomp stomp), (clap clap), ding-dong!

“Cinderella” Cinderella dressed in yella, Went downstairs to kiss a fella, Made a mistake and kissed a snake. How many doctors did it take? 1, 2, 3, … (Jumper counts until she misses.)

“Miss Susie” Miss Susie had a baby, She named him Tiny Tim. She put him in the bathtub, to see if he could swim. He drank up all the water, He ate up all the soap, He tried to eat the bathtub, But it wouldn’t go down his throat.

Miss Susie called the doctor. Miss Susie called the nurse. Miss Susie called the lady with the alligator purse.

In came the doctor. In came the nurse. In came the lady with the alligator purse.

Mumps said the doctor. Measles said the nurse. Hiccups said the lady with the alligator purse.

Miss Susie punched the doctor. Miss Susie kicked the nurse. Miss Susie thanked the lady with the alligator purse.

“She a Gem” by Josh Wilder

CHALLENGE! CHALLENGE! 1... 2... 3... 4... 5... 6... 7... 8... 9... 10 – GIRL CAN YOU MATCH THIS? FOOT! AND BOUNCE! AND HOP! AND TURN! AND CRISS! AND WALK!

HEY BABY BABY WHAT DO YOU SEE? WHEN YOU WALK DOWN THE STREET DO YOU NOTICE ME? JUST LIKE THE EARTH’S ROUND JUST LIKE THE SKY’S BLUE THERE’S A BEAUTIFUL GIRL OH, YOU SEE HER, TOO?

SHE A GEM SHE A GEM SHE GOT A CUTE FACE SHE GOT THE BEST SNEAKS HER STYLE’S THE BEST TASTE SHE WALK THROUGH YA DREAMS LIKE A MOVIE SCENE HAIR LAID BILLS PAID JUST WAIT AND SEE

LADY ON ONE FOOT! (jump on one foot) LADY ON TWO FOOT! (jump on two feet) THROW ‘EM UP (raise hands) GETT’M UP THROW ‘EM UP GETT’M UP

IF YOU WANT A GEM YOU GOTTA SEARCH THE SEAS THE MOUNTAINS AND THE CLOUDS THAT’S WHERE WE BE PRECIOUS PRETTY HARD TO FIND FLAWLESS ROYAL IT’S OUR TIME TO SHINE

ONE! Like a diamond! TWO! Like a ruby! THREE! Like a pearl! FOUR! Hey girl! FIVE! Stay alive. SIX! Onyx. SEVEN! Go to heaven EIGHT! At the gate! NINE! She fine! TEN!

Get Your Write On

Read the Double Dutch chants above, paying attention to their rhythm, rhyme, and humor. Write your own and try it out with your own rope-jumping or step routine.

Professor Kyra Gaunt, PhD, talks about “memories in objects.” For her, holding the ends of the ropes triggers memories of jumping Double Dutch as a girl. She says such objects can be things like favorite toys or jewelry, but also books, songs, sounds, or anything that helps us remember significant moments in life.

Interview…an older person about a “memory object” in her or his life. What is it? Where did it come from? What is its story?

Write about…a “memory object” in your life. What memories does it bring up? What does it mean to you? What feelings does it trigger?

Write…a piece of fiction. Imagine finding an important personal “memory object” 50 years in the future. Describe it and the memories it triggers for you, and how it connects your fictional future with your present. Or considering writing the story from the object’s point of view.

Go Deeper/Learn More

If you’re not up to speed on the ins and outs of Double Dutch, check out Stan’s Pepper Steppers “Double Dutch Basics.”

Watch competitive Double Dutch and be amazed.

Read some truth about the early ties between Double Dutch and Hip Hop. “Double Dutch’s Forgotten Hip-Hop Origins.” By Lauren Schwartzberg. Vice. March 31, 2015.

Foster care, including group homes, are part of a government system to take care of children and teens who cannot live with their families, for whatever reason. Curious about the program and how it operates? Check out:

Group homes: “Giving Group Homes a 21st Century Makeover” by Teresa Wiltz. June 14, 2018. The Pew Charitable Trusts.

Foster care: “Foster Care”; Child Trends.

EXPLORE MORE

Go even deeper with the She a Gem Performance Extras.

-

Writer: Sean McCollum

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

-

She a Gem is part of the Kennedy Center's Human Journey representing Identity.www.kennedy-center.org/humanjourney

The Human Journey is a collaboration between The Kennedy Center, National Geographic Society, and the National Gallery of Art, which invites audiences to investigate the powerful experiences of migration, exploration, identity, and resilience through the lenses of the performing arts, science, and visual art.

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President Education

Bank of America is the Presenting Sponsor of Performances for Young Audiences.

Additional support for She a Gem is provided by A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Paul M. Angell Family Foundation; and the U.S. Department of Education.

Funding for Access and Accommodation Programs at the Kennedy Center is provided by the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

© 2019 The John F. Kennedy Center for the Performing Arts

[operationrainfall]

My burning passion for Kickstarter projects has dimmed over the years, beginning at a feverish pace and slowly calming down to a low kindle. But I still appreciate finding small devs, especially when I can provide them a venue to expand their audience. However, sometimes those projects aren’t successful. Today I’m writing up one such project that is all the more impressive for the lack of funding. Picklefeet Games went the self funding route after crowdfunding didn’t succeed. Their game is The Wind and Wilting Blossom. I first played it a while back at SIX at PAX West. Today we’ll see how far the indie project has come.

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Oddly enough, the game that The Wind and Wilting Blossom immediately reminds me of is Oregon Trail. Yes, that Oregon Trail. That hardcore, old school game where 9 times out of 10 you die of malnutrition or wild animals. Now that I think about it, Oregon Trail was the first rogue-like I ever played. The Wind and Wilting Blossom isn’t just a rogue-like, complete with permadeath, but it’s also a tactical adventure. You control a team of warriors as you go on a quest. Each of the main characters has a different backstory and tactical focus, though I was unable to unlock anyone other than the default playable character. His name is Oya Taro Mitsukuni, or Mitsukuni for short. His story revolves around a dangerous witch and her horde of monsters, including a gigantic gashadokuro that has already defeated Mitsukuni in battle. Your goal is to find a way to put a stop to Takiyasha the witch and her ravening hordes, with them nipping at your tail. As such, you’ll constantly be on the move. Your goal is to move across each map quickly while also touching upon the Story nodes. I learned the hard way that you can’t proceed until you do. When I tried to be cute about it, I got trapped right as the massive swarm of monsters caught up to me, and they quickly put an end to my story.

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The loop of the game involves moving from node to node on the map, making sure you go across every Story node in the process. Once you have, you can exit to the next map, rinse and repeat. Movement requires food, represented as a green grain icon. As you progress you’ll trigger random events and battles. Events can help or hinder you, but you’ll never know which in advance. Every part of The Wind and Wilting Blossom is a roll of the dice. Should you help a random stranger or leave them to cruel fate? Do you try to steal an ancient weapon, or leave it to gather dust? Everything is meaningful, and everything is potentially a trap. The key thing to remember is that you can only heal and buy items at shops, which are randomly placed on each map. You can also recruit new characters at most shops, and there’s a range of classes including Soldiers, Farmers and Merchants. The unique characters generally will only join you during specific events, such as sneaky thief Hokusai Komagata. And keep in mind permadeath is alive and well, so if you lose a character in battle they’re gone forever.

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I like the way combat works in the game. It’s very streamlined and intuitive. You select a character, move them along their hexagonal movement grid, and then attack or use a special ability. One of my favorites are how Merchants can gather all Wado (gold) around them for a 20% bonus in value. One element to keep in mind is that only your leader can change their weapons. Everybody else only has what they come equipped with. So if you want a ranged attack, you need a fighter equipped with one. Also, most units have armor. The armor value refreshes after every battle, and it prevents damage from hitting your base health. But don’t get cocky, since your health doesn’t regenerate automatically, and costs cold hard cash to heal at shops. You might find events that heal your party as well, but you can’t really rely on that eventuality. Though the combat is smooth and fun, it can also be overwhelming. A lot depends on the armor rating of your foes, as well as which enemies you’re facing. If it’s basic skeleton grunts or bandits, no sweat. But when you face foes armed with daggers that make your team bleed, or burning wheel demons that kamikaze, things get hectic fast.

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One thing that hasn’t changed since I first demoed The Wind and Wilting Blossom is the art style. I love the woodblocks brought to life aesthetic. It’s really unique and quite attractive. There’s also a good variety of monsters and characters that flesh things out. While the sound effects are a bit muted right now, the music is fantastic. It’s very stirring and full of Eastern flair. It gets you excited to battle and fills you with dread when things are tense. I know Picklefeet is still implementing changes, since this version of the game is early access. I really hope they add a few more sound effects to punctuate battles even further. Also, though you can increase the font size to read all the text in the game, it’s still pretty tiny on the largest setting. I would love if a narrator was present to read these segments, as that could fix how often I had to squint while also lending some gravitas to the events. A dream voice actor would be someone like George Takei, but that’s probably not in the cards. Regardless, this is an attractive package that can easily be improved with some small fixes.

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There’s a few things that I definitely think need fixing in the game. One is the notification for earthquakes. I constantly missed the visual cue for these, and got unpleasantly surprised the next turn. It’s not an issue for other weather effects like lightning strikes, which are clearly indicated on the grid. I also think the tutorial should make it more clear how you level up. It’s not from battles. You have to spend scrolls you’ve found to level up your team, increasing their base health and other stats. Finally, while I very much enjoyed my time with the game, I think the difficulty still requires a bit more fine tuning to make it more balanced overall. Don’t get me wrong, the game has progressed nicely, but there’s still room to improve.

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I will say, after spending 4 hours with The Wind and Wilting Blossom I’m pretty excited for the full release. Though the game is still quite challenging, it’s a bit better paced. I got overwhelmed pretty quick in the first PAX demo, but now I was able to get across several maps. The roadblock I hit this time was a dangerous demon bear, an Onikuma. Not only does he inflict massive damage with each swipe of his paw, he also counters attacks. I tried getting a ranged weapon to even the playing field, but didn’t realize those all cost ammunition. As such, by the time to got to him later I had accidentally spent all my ranged ammo. Thankfully I did eventually succeed, thanks to the random occurrence of a lightning storm that burned the beast, causing him to lose health every turn. Unfortunately, right after I beat the Onikuma I got trapped by Takiyasha’s hordes, since I had run out of food and couldn’t proceed forwards. Yes, this is a very challenging game, but in a dynamic and addictive way. If you enjoy difficult tactical experiences with a unique aesthetic, keep this one on your radar!

PREVIEW: The Wind and Wilting Blossom My burning passion for Kickstarter projects has dimmed over the years, beginning at a feverish pace and slowly calming down to a low kindle.

[entergamingxp]

Sakura Wars Review (PS4) — The Dream is Back

April 29, 2020 10:00 AM EST

While it has been a long wait, Sakura Wars is a satisfying blend of everything that the franchise has done well for a new generation on PS4.

Claiming that Sakura Wars (aka Sakura Taisen) is a huge franchise is an understatement. The steampunk, East meets West stylized series featuring courageous women who act as a theater revue by day and fight demons at night left a huge mark on Japanese pop culture and on anyone who encountered it. When Sega and Red Entertainment released the first Sakura Taisen game on Sega Saturn in 1996, it made history with its peculiar aforementioned mix of genres and atmospheres. Most notably, it mixed various dating simulator, tactical RPG, and adventure elements (what we commonly call visual novels in English) together. By far, it wasn’t the first game that strove to create mixes like these. Red Entertainment themselves weren’t at their first attempt, as Sakura Taisen followed in the footsteps of games such as the Galaxy Fräulein Yuna series.

Sakura Taisen, however, is the first franchise of its kind that managed to reach such mainstream stardom, at least in Japan. This is in part thanks to a very unorthodox idea back then that the franchise pulled off. The seiyuu, Japanese voice actresses and actors, of Sakura Taisen would all regularly hold “Kayou Shows”–musicals similar to the ones that players experienced in-game–that greatly contributed to establish the franchise’ cult status. Putting the seiyuu themselves in the spotlight through stage events, streams and radio shows is usual nowadays, but it was a very novel idea back then, as Sakura Taisen‘s original author Oji Hiroi recently pointed out. Today, many game and anime franchises all do their own stage play musicals in the same vein.

While the Sakura Taisen series reached a conclusion with Sakura Taisen 4 in 2002, followed by a standalone Sakura Taisen V in 2005 (the sole episode that officially left Japan), the series never truly stopped. Indeed, the mainline game part stayed dormant, but anime, manga adaptations and spinoffs, mobile games, apparitions in crossovers such as Project X Zone, and real life events such as art expositions kept it rolling around over the years. And last but not least, the Kayou Shows continued for all these years. Fan demand for a new game never relented, and Sakura Taisen is such a big piece of Sega’s (and gaming) history that culturally and business-wise, a game comeback was only a matter of time. When, and how, were the main questions. And the answer is this brand new PlayStation 4 game, titled Shin Sakura Taisen/New Sakura Wars in Japan, and simply rebranded as Sakura Wars overseas.

Sakura Wars brings back the franchise that everyone loved in a magnificent way, all while making it accessible to neophytes.

Sakura Wars, the PS4 game, is the first main game of the series in 15 years. Officially announced in March 2018 and revealed in March 2019, Sakura Wars is Sega’s attempt to fully relaunch the franchise worldwide, hence why a localization in multiple languages was announced from the get-go. The game is accompanied with its own novel, manga, and a multitude of new crossover collaborations and goods. Seeing the game is already available in Japan since December 2019, an anime sequel also started this April. A stage play was planned as well, but was sadly canceled due to COVID-19.

To be honest, as I relentlessly covered Sakura Wars news via the monthly streams that Sega organized for the game, part of myself was scared. I asked a lot of different questions to myself: “What if the game sucks? What if they only show the good parts on stream? What if I end up hating it?” I’ve rarely been this scared of being disappointed when it comes to my hobbies. It would have been incredibly painful to see the series fail its comeback and fall into oblivion. As I grabbed the game in Japanese, part of my doubts were dispelled after spending some time on it. I even attempted live translating part of the game to show my enthusiasm and spread awareness. Now with this English version, I’ve spent a considerable amount of time with the game, and I can finally affirm this now, with conviction: Sakura Wars brings back the franchise that everyone loved in a magnificent way, all while making it accessible to neophytes.

“Sakura Wars is an ADV, a pure and thorough Adventure game akin to what we call visual novels, and should be approached as such.”

Sakura Wars works both as a sequel and as a reboot. The game’s intro explains how the cast from the previous games all disappeared after a decisive battle against the demons, and introduces instead a brand new cast of main characters. Players are put in the role of Seijuro Kamiyama, a young, talented ex-marine ship captain, who’s now assigned as the captain of the Flower Division. The Flower Division is the core battle and theater unit of the Imperial Combat Revue, protecting Tokyo from demons. All big cities in the current world of Sakura Wars similarly have their own Combat Revues, and they are about to participate in a big tournament to hone their skills. However, the Imperial Combat Revue is facing both a financial and identity crisis, and it’ll be up to Kamiyama to give the Flower Division members the trust they need to overcome their issues and win the tournament, all while fighting off a new demon threat.

You might be wondering why I’ve yet to touch upon the gameplay aspect of Sakura Wars in this review, but you’ve actually been experiencing it already if you’ve read this far. Just like its predecessors, Sakura Wars is an ADV, a pure and thorough Adventure game akin to what we call visual novels, and should be approached as such. You’ll be spending the vast majority of your time in the game reading the dialogue and events unfolding as you control Kamiyama and interact with the characters.

The game reintroduces the series’ LISP system, which are short-timed dialogue choices selected with the directional stick. This aims to make the players realistically think about their words and strengthen immersion. Most of the time, players will have a clear choice between either acting in a positive and gentle way (Top Choice), in a harsh and stern way (Left Choice), or being some kind of creep or clown (Right Choice). Beyond these obvious dialogue choices, you’ll have to do your best to figure out the characters’ feelings, as always picking cliche anime lines about friendship and love won’t work. Kamiyama himself isn’t a self-insert; he has his own personality, and will choose his own words in certain crucial moments, where you’ll instead be urged to pick the intensity of said words.

“All of the concepts and mechanics unique to the Sakura Taisen series have been tirelessly thought over by the development team. They have all been improved and adapted to 3D.”

The true difference in Sakura Wars compared to its predecessors isn’t the change from a tactical RPG system to action RPG elements for its battles; I’ll get to that later. It’s the fact that the game has switched to full 3D. This is a revolution for the series, and Sega made the best out of it. The past games let you roam around the Imperial Theater, which is the Imperial Combat Revue’s base of operations, via a 2D map where characters were represented in Super-Deformed, SD style. When you triggered dialogue with other characters, the games switched to a visual novel-like style, with the characters illustrated with 2D artworks and occasional anime cutscenes. It had (and still has) its charm.

On the opposite side, Sakura Wars lets you explore its environments in full 3D. This choice wasn’t simply fueled by a desire to make the series more appealing to a new generation of players. All of the concepts and mechanics unique to the Sakura Taisen series have been tirelessly thought over by the development team. They have all been improved and adapted to 3D. Exploring the Imperial Theater and the city has never felt so rewarding and immersive. While each area barring the Imperial Theater is quite small, they are packed with small details, fun NPCs, and points of interests. Kamiyama’s own thoughts and observations when inspecting elements will evolve together with the story. Sakura Wars is full of intricate world-building, most notably thanks to the contribution of military specialist and world setting advisor genius Takaaki Suzuki. Simply heading to your next main objective pointed out on the Teletron, Kamiyama’s steam-technology powered smartphone, will probably only make you experience half of the game. You’ll end up missing a myriad of optional events, which aren’t necessarily pointed out on the map, Bromides to collect (photographic portraits of the characters), minigames, and lore.

The most striking aspect introduced thanks to 3D is how Sakura Wars handles its dialogue and events. Nearly all the dialogue is presented through in-engine cutscenes, and each one is stunning. Except during their pre-rendered cutscenes, I dare you to find any other typically Japanese game with as much camerawork, screenplay, and especially lively characters during dialogue. Be it Yakuza, Persona, the Tales series, Ni no Kuni, or any offerings from smaller independent studios like Falcom or Nippon Ichi Software, the characters will most certainly simply be standing there when chatting. Most of the time in several of those games, you will be cycling through minimal, prepared in-advance movements and expressions.

Meanwhile, Sakura Wars feels as if specific movement patterns and facial expressions were tailor-made for every single dialogue in the game. They’re always on-point with the discussion and emotions conveyed by the characters. This is so disconcerting compared to what Japanese games usually offer that I’m convinced some players will dislike how the characters in Sakura Wars are constantly in movement. In-universe it makes perfect sense, as the members of the Combat Revues are all used to performing arts and expressing themselves with their bodies.

“Only 60% to 70% of Sakura Wars‘ dialogue is voiced, and it’s the biggest disappointment that I have with the game. It’s especially jarring to see such incredible vivid dialogue scenes being left unvoiced.”

As for the ever-changing expressions of the characters, you might have heard how multiple artists have worked on Sakura Wars. The original character design of the main cast was handled by Bleach‘s Kubo Tite. Other original character designers handled side characters in the game, and we have K-On‘s Yukiko Horiguchi, Sword Art Online‘s Bunbun, Strike Witches‘ Fumikane Shimada, Pokemon‘s Ken Sugimori, Haruhi Suzumiya‘s Noizi Ito, and Persona‘s Shigenori Soejima. However, it’s important to note that similarly with an anime’s production, another single character designer redrew all the designs so that they’re easy to animate and more uniform. That task was handled by Masashi Kudo, who did a terrific job. In fact, Masashi Kudo in the past did the exact same job with Kubo Tite’s designs on the Bleach anime. As such, there’s absolutely no sense of disunity when it comes to the characters’ designs, despite the various artists.

Sadly, overall, I’d say only 60% to 70% of Sakura Wars‘ dialogue is voiced, and it’s the biggest disappointment that I have with the game. It’s especially jarring to see such incredible vivid dialogue scenes being left unvoiced. Sega’s auditioning for the game, which included singing–seeing as each character has their own theme song–brought us an all-star and talented cast of seiyuu. It’s a huge shame they didn’t get to fully demonstrate their skills. Pre-rendered anime cutscenes are back too, and are in 3D as well. These were handled by famous 3D anime studio Sanzigen. Ironically, the sole lackluster visual aspect of Sakura Wars lies in some of its 2D illustrations used to depict certain scenes in the game, with some of them being of varying quality. Going out of your way to interact with the characters and experience as much of the dialogue as possible, the core gameplay will have a direct influence on the minor gameplay elements, the battles.

“Rather than the battles, what makes Sakura Wars so good is definitely its cast. It’s a purely character-driven experience.”

Each story chapter in Sakura Wars follows a typical mecha anime pattern, with the characters heading to sortie near the chapter’s conclusion, setting up a fight scene for the climax. Characters in the Sakura Taisen franchise fight demons using Combat Armors, which are mecha powered by steam and magical spirit energy, mixing steampunk and fantasy elements. This is where a stern warning is due: you definitely shouldn’t expect to be playing a traditional JRPG. Sakura Wars and its predecessors do not feature numbers to grind, equipment to maintain and skills to learn. The only variable which makes your characters stronger, or weaker, are their Trust Levels, the only way to influence Trust Levels are through your dialogue choices. There’s no real changes to the battle system throughout the whole game, except for Team Attacks that you’ll unlock as you increase Trust.

The battle stages aren’t that big and are globally pretty easy. If you do get a game over, you’ll always be able to restart with extra help. While there are many different types of enemies, none of them will stay etched in your memory. The only exception are the bosses, all introduced with huge on-screen Kanji, following Sakura Taisen tradition, and something you might be acquainted with through Skies of Arcadia and Valkyria Chronicles.

As an important note, the battle system of the original Japanese release of the game had no lock-on system and instead used an automatic homing function, which made it hard to hit flying enemies, most notably. This isn’t a problem anymore as a patch has long been released, adding a lock-on system, a better radar, limited button remapping, being able to save anytime, and last but not least, a dialogue log with voice playback. These improvements will be included in the Western version, so make sure to download the day one patch. However, the patch was only made available to reviewers a little bit before embargo, so some reviews might mistakenly point out these faults, even though they are now patched.

In any case, you’ll only be fighting for around 20 minutes for about every 3 hours of gameplay, and despite being so simple, the battles are still fun and do their job well. The battles, like the rest of the game, are also filled by cool dialogue and incredible cutscenes, including dialogue choices. The music by the legendary Kohei Tanaka (One Piece, Gravity Rush, among others) is always on-point as well, and it’s the combination of these factors that makes these climaxes so awesome. But ultimately, the battle system of Sakura Wars in itself is marginal. Rather than changing from a tactical RPG to action RPG, the battle system might as well have switched to Sega’s match-three puzzle game Columns, and it wouldn’t have changed a thing.

Rather than the battles, what makes Sakura Wars so good is definitely its cast. It’s a purely character-driven experience. Japanese games tend to traditionally include a stereotypical cast, which gradually shows its uniqueness as you play. Sakura Taisen is and always was the culmination of this concept. The protagonists fight to protect the world and follow huge cliches based on their country of origin. The villains simply wish to see humans suffer for no reason. Everything is cheesy, but it works terribly well. The original script, written by 428 Shibuya Scramble‘s director Jiro Ishii, doesn’t stray from these traditions of the Sakura Taisen series, and that isn’t necessarily a bad thing. Each chapter mostly focuses on a single main character, but all the others will play a role too. This is especially true for the second half of the game, when all the characters have already gone through a good chunk of development. Each character’s individuality slowly unveils itself through the multitude of dialogue events, and you just can’t help but fall in love with the characters.

Ultimately, while we might call it a dating sim, Sakura Wars is quite different from most. Of course, in the same vein as its stereotypical characters and plot, Sakura Wars is also filled with cliche anime situations. Kamiyama often finds himself in “lucky pervert” incidents depending of your choices. I’d add Sakura Taisen is one of the few franchises that manages to make sexual fan service moments and “romantic comedy” misunderstandings like these actually comedic and funny. Still, you shouldn’t expect anything steamy to happen, as even the unlockable optional flirting scenes are very tame. Indeed, your true goal in Sakura Wars isn’t to whoo girls, it’s to make the team members feel at home and have a place where to belong. I believe this is why the nomenclature of the series always used “Trust Levels” instead of “Affection” or “Love” levels.

Moreover, while we control Kamiyama, the true protagonist of this new Sakura Wars is Sakura Amamiya, the most devoted member of the Flower Division, who aims to restore the Imperial Combat Revue to its former glory. While the game includes a dive into each main character’ psychology and worries, everything revolves around Sakura Amamiya. She’s the sole character on the game’s case artwork, the first character you see in the opening anime sequence, and she’s the one getting a typical mecha anime midseason upgrade. It’s not a baseless choice as to why the ongoing manga version and sequel anime both put the spotlight on her.

Sakura Wars might even be too much centered around Sakura Amamiya at times. Most side characters, and those who belong to the other Combat Revues fought during the tournament, barely interact for most of the game with the main cast besides Kamiyama and Sakura Amamiya. Moreover, while the tournament battles are centered around 3 vs 3 team battles, only two members of each Combat Revue we face off against are introduced. Their third combatant is always a nameless, faceless character we’re never introduced to.

Nonetheless, in Sakura Wars the girls are always the true stars of the stage. This approach is one of the many reasons why the franchise as a whole is so inspiring and attractive to anyone, despite being a dating simulator for hetero male anime otaku. Furthermore, Sakura Amamiya idolizes Sakura Shinguji, one of the main characters of the past games in the series, which brings us to the final important point; how meta this Sakura Wars is.

“Overall I’ve rarely seen a game manage to deliver a commentary on itself, all while handling fan service perfectly, brimming with love and respect for its own legacy.”

The first part of Sakura Wars‘ story features an obsolete Imperial Combat Revue shunned by all and on the verge of shutting down. It’s almost as if the game is reflecting the image of the franchise itself in the eyes of younger folks who didn’t live through it. Then, you’d be amazed at the numbers of NPCs who trashtalk the new characters while singing the praise of the old ones. Sega is fully aware of grumpy fans who claimed on social media that instead of a new cast, they’d rather have the ex-main characters back even if they were into their senior years. Players can regularly learn about the previous cast via the Imperial Theater’s archives, with Kamiyama sharing words of admiration. And then you have Itsuki, an embodiment of the good fan, with whom you can fangirl with while chatting about both the old and new characters.

As a newcomer or as an oldtimer, your overall opinion of the game and its characters will grow positively as you play, exactly mirroring how the Imperial Combat Revue slowly regain its fame through the main story, making for a unique experience. Overall I’ve rarely seen a game manage to deliver a commentary on itself, all while handling fan service perfectly, brimming with love and respect for its own legacy. I clearly remember the excitement I’d feel when I was a kid looping the Sakura Taisen games’ anime opening sequences while dreaming of playing the series. Experiencing Sakura Wars on PS4 feels exactly like that. The dream is back.

Before concluding, I’d also throw in a word regarding the English localization of Sakura Wars. As I mentioned earlier on, I’ve partly played the Japanese version, and I must say that the English translation is amazing. Despite the Japanese heavy setting, It doesn’t go with the simple choice of keeping Japanese terms and honorifics, and yet still retains what makes the series’ atmosphere so unique, and conveys everything that needs to be conveyed. Every ten lines I was in awe and reminded of how much I suck as a translator.

In conclusion, while Sakura Wars never feels like it cuts corners, you can clearly tell, with the lack of full-voice acting or the nameless third combatants thing, that Sega didn’t fully believe in themselves. Sega is incredibly eager to make the series reach glory again, and brought to the development team all-star artists, writers and seiyuu, but at the same time was reluctant and wary. They believed in this comeback but lacked conviction to put more resources on the table, which is slightly disappointing. A more ambitious and polished sequel would definitely have the potential to become one of the most iconic Japanese games in years, similarly to Persona 5. With full voice acting this time, even denser content, more interactions between the main and side casts, and an attempt to make the battle parts into something more than narrative climaxes, you’d have the formula for a masterpiece. Sales would follow suit, boosting the franchise’s popularity worldwide, and we could even see the past games finally get official localization.

Unless you religiously scorn the act known as reading, there is absolutely no reason to avoid grabbing Sakura Wars on PS4. If you’ve read the integrity of this review, you need to hurry up and grab the game right the hell now. It’ll make you discover a fresh universe full of surprise. If you’re a complete stranger to this culture, it will surely be the game that makes you realize what’s so good about Japanese games, anime and manga. In an era where the most exported Japanese cultural products are battle stories inspired by Dragon Ball, playing Sakura Wars can be a gateway that will definitely broaden your horizons.

April 29, 2020 10:00 AM EST

from EnterGamingXP https://entergamingxp.com/2020/04/sakura-wars-review-ps4-the-dream-is-back/?utm_source=rss&utm_medium=rss&utm_campaign=sakura-wars-review-ps4-the-dream-is-back