I always find it amusing when games attempt a launch on just one console, particularly when the console is very new and often very expensive. Such was the case when the relatively new Ratchet and Clank: Size Matters game was released a few years ago on the PSP. It made me desperately covet one of those little hand-held thingamabobs just so I could play the new game in my favourite series.
A few years later, I still don't own a PSP, yet in a week or so I will own Size Matters. Why? Because the game didn't sell so well. Insomniac's overall return on the game was vastly less than what the rest of the series had drawn in. Thus, since the game was brilliant but releasing it soley on the PSP was a massive faux pas, the nice guys at Insomniac decided to re-release, this time on the PS2 (sorry to all those kiddies who traded in their PS2s for a PS3 which is not backwards compatible).
This is not the first time that releasing games on one console only has proved unpopular. More and more game developers are creating games that can be played on different consoles (the front-runners being the Wii, DS and the XBOX360) in order to maximise profits. One that it particularly relevent to my interests is the release of not one but three versions of Kingdom Hearts III. They will be released on three different consoles (and I believe that there is talk of an online component) with different scenarios in each. The player, to gain the entire story, must play all of the games. In reality, this is going to take some time. The upside to that is that Square Enix has time to find a new director once Tetsuya Nomura leaves the helm of the Kingdom Hearts juggernaut.
That's about it. I just wanted to expound my thoughts about Size Matters, really.
Tuesday, May 27, 2008
Sunday, May 18, 2008
Review: Final Fantasy XII - Revenant Wings
This is one of Square Enix's more brilliant excursions into RTS (Real-Time Strategy) games, since it's original debut as Final Fantasy XII. One year has passed and the land of Ivalice is pretty much at peace. Or so everyone thought. Because now there's an odd airship (that I renamed The Phantom) in port at Rabanastre, a lost sky continent has reappeared and things are about to go from bad to worse for air pirate Vaan and his trusted navigator and poor cook, Penelo...
Game Play:
Like all the best Final Fantasy games, you play in a party. You can have full control over each member or set different members to use certain tactics. I prefer to have full control over my characters, but that doesn't automatically mean that your characters will do everything you direct them to, which can work in your favour but often doesn't.
The espers (renamed as Yarhi) return, as do the quickenings. Like the original, you gain them steadily throughout the game. This can get particularly annoying when a) You don't have enough auracite to form a pact with a more powerful new one or b) You have too much auracite and not enough new espers/yarhi to form pacts with. The second one is particularly accurate once you reach the end of the game and the only yarhi left to form pacts with only become available after you whup them in seriously difficult side missions.
The upside to party-fighting is that you can split the group up and send each half to mow down enemies on each side of the fighting map. Also, thanks to the inclusion of summoning gates, if you lose a Yarhi, even the most powerful ones from Rank III, you can re-summon them at full strength. There is a limit to how many you can summon, but they are useful when entering battles that are dangerous to central party members.
Interface - The Nintendo DS:
In truth, there's probably nothing gained from using the dual screen. A similar style of RTS play was demonstrated in Tactics and the GBA (Game Boy Advance) version worked just as well. But it is handy to have the map in the top screen to show you mission objectives and enemy locations. The touch screen also makes it slightly easier to control larger parties (once summoning yarhi has become second-nature).
Graphics/Music/Sound:
Harking back to the days when Nintendo made excellent use of the angular sprites, most of the game is enacted through little representations of the characters so beautifully represented in the original FFXII. The only time the player is shown the resplendant original portrayals is during dramatic cut scenes.
The music is quite beautiful and changes with each mission. My personal favourite is the music played during the adventure on the Isle of the Yarhi, the place from which all Yarhi are summoned. In retrospect, it casts the Final Fantasy regular back in time to the tenth official installment in the series during Yuna and Tidus' fateful excursion to Macalania Woods.
The sound effects are enjoyable and not really repetitive. Still, like will all games, you wouldn't want to be listening to them constantly. There's good breaks and even usage of them.
Overall Impression:
It's really quite an enjoyable game with good plot structure for the game narrative and excellent pick-up if the player can't understand it by the end. While it does have its faults, it is perfectly playable during long trips and excellent escapism with the nostalgic element for those who played its predecessor on the playstation 2. I'd give it an 8/10.
Game Play:
Like all the best Final Fantasy games, you play in a party. You can have full control over each member or set different members to use certain tactics. I prefer to have full control over my characters, but that doesn't automatically mean that your characters will do everything you direct them to, which can work in your favour but often doesn't.
The espers (renamed as Yarhi) return, as do the quickenings. Like the original, you gain them steadily throughout the game. This can get particularly annoying when a) You don't have enough auracite to form a pact with a more powerful new one or b) You have too much auracite and not enough new espers/yarhi to form pacts with. The second one is particularly accurate once you reach the end of the game and the only yarhi left to form pacts with only become available after you whup them in seriously difficult side missions.
The upside to party-fighting is that you can split the group up and send each half to mow down enemies on each side of the fighting map. Also, thanks to the inclusion of summoning gates, if you lose a Yarhi, even the most powerful ones from Rank III, you can re-summon them at full strength. There is a limit to how many you can summon, but they are useful when entering battles that are dangerous to central party members.
Interface - The Nintendo DS:
In truth, there's probably nothing gained from using the dual screen. A similar style of RTS play was demonstrated in Tactics and the GBA (Game Boy Advance) version worked just as well. But it is handy to have the map in the top screen to show you mission objectives and enemy locations. The touch screen also makes it slightly easier to control larger parties (once summoning yarhi has become second-nature).
Graphics/Music/Sound:
Harking back to the days when Nintendo made excellent use of the angular sprites, most of the game is enacted through little representations of the characters so beautifully represented in the original FFXII. The only time the player is shown the resplendant original portrayals is during dramatic cut scenes.
The music is quite beautiful and changes with each mission. My personal favourite is the music played during the adventure on the Isle of the Yarhi, the place from which all Yarhi are summoned. In retrospect, it casts the Final Fantasy regular back in time to the tenth official installment in the series during Yuna and Tidus' fateful excursion to Macalania Woods.
The sound effects are enjoyable and not really repetitive. Still, like will all games, you wouldn't want to be listening to them constantly. There's good breaks and even usage of them.
Overall Impression:
It's really quite an enjoyable game with good plot structure for the game narrative and excellent pick-up if the player can't understand it by the end. While it does have its faults, it is perfectly playable during long trips and excellent escapism with the nostalgic element for those who played its predecessor on the playstation 2. I'd give it an 8/10.
Exercise and Games: The release of the Wii-Fit
Gone are the days where games were only played by either fat geeks or skinny pimple faced sixteen year olds with as much experience with girls as the Dalai Lama. Seems that the new demographic for game companies is women, more importantly middle-aged ones.
This morning, as I perused my emails that had arrived overnight, I came across this article:
http://aww.ninemsn.com.au/article.aspx?id=563982
It goes into the Australian release of the Wii-Fit. For those not in the know, the Wii-fit is an exercise game that is designed to help the player lose weight and keep fit. The immediate benefits are obvious; at $150, it's cheaper than a year the gym and far more convenient. It's also a lot more fun and while you sit and nurse your well-earned sore muscles afterwards, you can indulge in a quick run in Twilight Princess, should the need arise.
But it got me thinking. Last year in ITB750, we were told that women over thirty(?) comprise a larger percentage of game players than teenage males. If that's the case, why is it that game companies still release title that are specifically aimed at a male demographic? Hang on, I covered this in my ITB750 essay... anyway.
To the case in point about male-orientated released, no-one could miss the hoopla that has surrounded the release of Grand Theft Auto IV. Possibly one of this decade's more successful game series, the Grand Theft Auto games display all those traits that make educators, government and parents recoil in horror; violence, sexual themes, criminal activity and swearing. Yet the series remains a best-seller for the consoles involved.
So why is it that these types of games often sell better? Perhaps it's a case of disposable income. As teenagers, most of us have very little financial burdens (save, perhaps, if you have a car). The type of women that the Wii-fit is aimed at have families and homes to support and with prices and whatnot going through the roof, the amount of money left over for a woman to spend on herself is drastically decreased. I have a feeling that this will impact on the sales of the Wii-fit. But perhaps it will sell well with the teenage female. I plan to get one to test it out. It looks like fun, at the very least.
This morning, as I perused my emails that had arrived overnight, I came across this article:
http://aww.ninemsn.com.au/article.aspx?id=563982
It goes into the Australian release of the Wii-Fit. For those not in the know, the Wii-fit is an exercise game that is designed to help the player lose weight and keep fit. The immediate benefits are obvious; at $150, it's cheaper than a year the gym and far more convenient. It's also a lot more fun and while you sit and nurse your well-earned sore muscles afterwards, you can indulge in a quick run in Twilight Princess, should the need arise.
But it got me thinking. Last year in ITB750, we were told that women over thirty(?) comprise a larger percentage of game players than teenage males. If that's the case, why is it that game companies still release title that are specifically aimed at a male demographic? Hang on, I covered this in my ITB750 essay... anyway.
To the case in point about male-orientated released, no-one could miss the hoopla that has surrounded the release of Grand Theft Auto IV. Possibly one of this decade's more successful game series, the Grand Theft Auto games display all those traits that make educators, government and parents recoil in horror; violence, sexual themes, criminal activity and swearing. Yet the series remains a best-seller for the consoles involved.
So why is it that these types of games often sell better? Perhaps it's a case of disposable income. As teenagers, most of us have very little financial burdens (save, perhaps, if you have a car). The type of women that the Wii-fit is aimed at have families and homes to support and with prices and whatnot going through the roof, the amount of money left over for a woman to spend on herself is drastically decreased. I have a feeling that this will impact on the sales of the Wii-fit. But perhaps it will sell well with the teenage female. I plan to get one to test it out. It looks like fun, at the very least.
Friday, May 2, 2008
Classic Games: Return of the Phantom
Okay, I know I'm a bit obsessed with my Phantom of the Opera. But this game is one of the best known game versions of my favourite story and I thought I'd give it a try.
What a laugh!
The game, made by Micropose in 1993, is the pinnacle of all that is cheesy in the early computer game days. What it lacks in gameplay it makes up in graphical and historical accuracy. The tinny organ music is looped and repetitive, but for those who adore the story behind Phantom, following the storyline through the game is a great source of amusement.
Unfortunately for the Phantom purists, we're forced into the role of Raoul (the Vicomte de Chagny) after being thrown from a fly loft by Erik, the titular Phantom. You then spend the rest of the game hunting him down, only to have him live and come back to try to kill you again!
How this game could have been improved:
PLAY AS THE PHANTOM! I really hate Raoul. He was never a favourite character. He was smarmy and uppity and a lot of other nasty adjectives that I can't add to this assignment. Ugh. Playing as the Phantom would have added much more class and intrigue to the game. After the recent insurgence in interest into the famous book and play, I'd be surprised if this game concept did not come up with some of the bigger game companies.
What this game did well:
The representation of the Opera Populaire. Loved it. The chandelier scene was faithfully represented and the events were quite faithfully followed.
So, what's it worth?
For phans and fans of classic games alike, it rates about a 6.5/10. A lot of the score is for just being Phantom of the Opera. Oh well.
What a laugh!
The game, made by Micropose in 1993, is the pinnacle of all that is cheesy in the early computer game days. What it lacks in gameplay it makes up in graphical and historical accuracy. The tinny organ music is looped and repetitive, but for those who adore the story behind Phantom, following the storyline through the game is a great source of amusement.
Unfortunately for the Phantom purists, we're forced into the role of Raoul (the Vicomte de Chagny) after being thrown from a fly loft by Erik, the titular Phantom. You then spend the rest of the game hunting him down, only to have him live and come back to try to kill you again!
How this game could have been improved:
PLAY AS THE PHANTOM! I really hate Raoul. He was never a favourite character. He was smarmy and uppity and a lot of other nasty adjectives that I can't add to this assignment. Ugh. Playing as the Phantom would have added much more class and intrigue to the game. After the recent insurgence in interest into the famous book and play, I'd be surprised if this game concept did not come up with some of the bigger game companies.
What this game did well:
The representation of the Opera Populaire. Loved it. The chandelier scene was faithfully represented and the events were quite faithfully followed.
So, what's it worth?
For phans and fans of classic games alike, it rates about a 6.5/10. A lot of the score is for just being Phantom of the Opera. Oh well.
Saturday, April 5, 2008
Physicality in Games - Next-Gen consoles
It seems to me that not so long again, the Sega Master System II was the height of cool. Alex Kidd in Miracle World was considered awesome and Echo the Dolphin was the new hero of the age.
At the same time, that all seems so long ago.
Nowadays, a console isn't complete unless it has a wireless controller, requires you to fling yourself about the room with abandon, trying out-wit the AI that seems to be doing a quite accomplished job of handing your buttocks to you on a silver platter.
Not that long ago, we were all stuck to the console via a wired-in controller (and those who still their Playstation 2 will still be experiencing this), following the same structured routine to do in the same boss you whupped two days ago.
I've experienced both sides of this. I own a Wii, a DS, a Sega and a Playstation 2. Since I bought the Wii, I've noticed several things. The first and foremost thing is there is such an injury as Wii-shoulder. It falls in the same category as Tennis Elbow. Plus it's painful.
More on this later. Right now, I could use a coffee...
At the same time, that all seems so long ago.
Nowadays, a console isn't complete unless it has a wireless controller, requires you to fling yourself about the room with abandon, trying out-wit the AI that seems to be doing a quite accomplished job of handing your buttocks to you on a silver platter.
Not that long ago, we were all stuck to the console via a wired-in controller (and those who still their Playstation 2 will still be experiencing this), following the same structured routine to do in the same boss you whupped two days ago.
I've experienced both sides of this. I own a Wii, a DS, a Sega and a Playstation 2. Since I bought the Wii, I've noticed several things. The first and foremost thing is there is such an injury as Wii-shoulder. It falls in the same category as Tennis Elbow. Plus it's painful.
More on this later. Right now, I could use a coffee...
Friday, April 4, 2008
Music of the Night II - Further Perambulations into the Sound of Games
To pick up where I left off regarding music in games... since Phantom of the Opera, music has occupied a fair chunk of my concentration. I watched a bonus clip about the musicology, or study of music, in the musical on the DVD of the movie (starring Gerard Butler).
I'm working on something different to a game, yet maybe not so different. It's a script, a sequel of sorts to Phantom. I've discovered (through that ever-nonreliable source Wikipedia), that a game of the book was in fact made. Pah, bet it was a PC-game. I really have a problem with PC-games. They annoy me. Give me a console game anyday. I work at my computer, I'll play away from it.
But I digress. The themes that recurr through the music in Phantom intrigue me. Each character has his or her own melodic injection that announces their arrival or presence. I've noticed this with certain video games. When fighting Sephiroth in Kingdom Hearts, there was a uniquely composed piece that isn't heard anywhere else in the game (and I should know. I've spent hours playing the gummi routes so I could finish at 100% completion).
I've also noticed a correlation between musical composers. In Phantom, Andrew Lloyd Webber allows the Phantom's theme to encroach on other musical pieces, giving the impression of his invasive presence. This is also apparent in the Star Wars films, when Anakin Skywalker is growing up. The Darth Vader theme is there, but muted. It becomes more pronounced throughout the series of films. In games, possibly the most foremost in my mind is the gentle theme that plays whenever Sora comes close to finding either his friends Riku and Kairi or King Mickey in Kingdom Hearts.
Themes in game music tend to become iconic. The Super Mario Bros. theme is known across the world, even the songs featured in games like Final Fantasy X-2. Similarly in Phantom, the crashing chords that play in the titular song The Phantom of the Opera are iconic, as is the line that is repeated sung and said throughout the performance:
The Phantom of the Opera is there, inside your mind.
Which could mean a number of things. The Phantom could exist, in which case he is able to read and manipulate minds. If he doesn't exist, the power he expends is all in the mind, something to be believed in to be real. Or maybe it's a combination of the two, or neither. Such is the nature of the character.
We give things power by believing in them. A lesson learnt from the master works of Terry Pratchett.
Maybe it's the same with video games. We believe in certain characters, they become real to us. A certain theme played at a certain time evokes emotion, causes belief.
Just like Phantom of the Opera.
I'm working on something different to a game, yet maybe not so different. It's a script, a sequel of sorts to Phantom. I've discovered (through that ever-nonreliable source Wikipedia), that a game of the book was in fact made. Pah, bet it was a PC-game. I really have a problem with PC-games. They annoy me. Give me a console game anyday. I work at my computer, I'll play away from it.
But I digress. The themes that recurr through the music in Phantom intrigue me. Each character has his or her own melodic injection that announces their arrival or presence. I've noticed this with certain video games. When fighting Sephiroth in Kingdom Hearts, there was a uniquely composed piece that isn't heard anywhere else in the game (and I should know. I've spent hours playing the gummi routes so I could finish at 100% completion).
I've also noticed a correlation between musical composers. In Phantom, Andrew Lloyd Webber allows the Phantom's theme to encroach on other musical pieces, giving the impression of his invasive presence. This is also apparent in the Star Wars films, when Anakin Skywalker is growing up. The Darth Vader theme is there, but muted. It becomes more pronounced throughout the series of films. In games, possibly the most foremost in my mind is the gentle theme that plays whenever Sora comes close to finding either his friends Riku and Kairi or King Mickey in Kingdom Hearts.
Themes in game music tend to become iconic. The Super Mario Bros. theme is known across the world, even the songs featured in games like Final Fantasy X-2. Similarly in Phantom, the crashing chords that play in the titular song The Phantom of the Opera are iconic, as is the line that is repeated sung and said throughout the performance:
The Phantom of the Opera is there, inside your mind.
Which could mean a number of things. The Phantom could exist, in which case he is able to read and manipulate minds. If he doesn't exist, the power he expends is all in the mind, something to be believed in to be real. Or maybe it's a combination of the two, or neither. Such is the nature of the character.
We give things power by believing in them. A lesson learnt from the master works of Terry Pratchett.
Maybe it's the same with video games. We believe in certain characters, they become real to us. A certain theme played at a certain time evokes emotion, causes belief.
Just like Phantom of the Opera.
Thursday, April 3, 2008
Holidays and the week - Music of the Night
Since we were on holidays last week, it appears that we really didn't do much at all. I didn't play many games (apart from Wii-Sports for a bit of difference and finishing the last requirements for KHII) or think up many storylines.
My time, then, was spent on writing music.
Music intrigues me. It evokes a myriad of emotions in those who hear it. All the more reason why it's inclusion in video games is so important. Who could forget the haunting music of 'Sanctuary' as Roxas is 'born' in KHII, or the gothic rock that plays at the start of Final Fantasy VII: Dirge of Cerberus? Even the chirpy electro-pop music that is synonymous with Mario or Yoshi's Story for N64 (wa, wa wa wa waaa, wa, wa wa wa waaa). Music is the lifeblood that drives emotion in the game.
More later. Right now, I have to get to work.
My time, then, was spent on writing music.
Music intrigues me. It evokes a myriad of emotions in those who hear it. All the more reason why it's inclusion in video games is so important. Who could forget the haunting music of 'Sanctuary' as Roxas is 'born' in KHII, or the gothic rock that plays at the start of Final Fantasy VII: Dirge of Cerberus? Even the chirpy electro-pop music that is synonymous with Mario or Yoshi's Story for N64 (wa, wa wa wa waaa, wa, wa wa wa waaa). Music is the lifeblood that drives emotion in the game.
More later. Right now, I have to get to work.
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