Happy Thanksgiving, anyone in the USA. Hope it's a nice day for you. When I realized that my next scheduled rant would be on Thanksgiving (like an hour ago), I thought it would be a nice idea to put up a positive rant, something appreciative of a good aspect of RPGs. Y'know, because it's a day of being thankful, and whatnot. But it turns out that of the 9 finished rants I'm sitting on, all of them are complaining about something. Oh well. I'm a grump, what do you want.
Oh, quick question. I had thought that the new color scheme of the blog was generally positively received, but I've had someone complaining that it hurts their eyes. Anyone else dislike it? And if so, what would make it better? I'm not against adjusting it, but it took me so long to find a color scheme I like that I'd rather have a clear idea of what needs to change before I commit to altering it.
And now, on with the rant.
Ah, Lunar. A “classic” of the Sega CD and Playstation 1 era of RPGs, I’ve always felt that this largely-beloved game more conned its way into players’ good graces with its colorful, high-quality anime cutscenes at a time when such a thing was a rare and impressive treat, than actually earned its accolades. The plot’s thin and listless, the villain’s only notable feature is his voice, and the characters, while distinctive, have very little depth, when they have any at all.
And man, does this game have a case of Love Hina Syndrome.
As a reminder, since I did the rant on LH Syndrome quite a while back, Love Hina Syndrome is a phrase I use to describe a game (or movie, show, anime, comic, whatever) in which the main character and his/her romantic interest are by far the least interesting and worthy characters in the entire cast, but for some unfortunate reason are the ones who completely dominate the story’s focus. The Legend of Dragoon, Rogue Galaxy, Dragon Quest 8, and The Last Story are examples of this, games wherein a number of good (or at least better) supporting characters aren’t given as much focus and time to develop, and it seems to be at least partially because the focal idiots are hogging the spotlight with their inferior blandness.*
Lunar 1’s plot meanders aimlessly for a little while before finally coming to focus squarely on the romance between protagonist Alex and his main squeeze Luna. She gets kidnapped because she’s the goddess Althena in human form, Alex wants her back because he loves her, and the game from that point on (about 1/4th of the way through it) is a journey to confront the bad guys and save Luna. It’s, uh, not a particularly inventive or ambitious idea for a story, so long as you’ve a passing familiarity with 1980s NES titles. Still, an uncreative idea can work just fine if the execution is good. I know I use this as an example all the time, but I once again point to my favorite RPG of all time, Grandia 2, a game that collects a huge bunch of anime and RPG cliches together and then uses them incredibly well to create an amazing work of storytelling art. If Lunar 1 could really sell the Alex and Luna love story, make it believable and touching, then this could really work.
Sadly, this turns out not to be the case. The romance between Alex and Luna sucks, plain and simple. It’s another case of Show, Don’t Tell--the game is eager to Tell us quite often that Alex is in love with Luna, and that she loves him back, but there’s precious little that convincingly Shows this to be true.
First of all, there’s no damn chemistry there. Alex and Luna don’t really act like people who love one another. It’s hard to describe in words, but there’s really not much interaction between them, all said. Alex says very little, Luna’s lines don’t seem to be particularly meaningful, and as a general rule nothing they say to each other has any particular warmth or understanding there. For 2 people who have known each other their entire lives, very little personal rapport, very little emotional connection, is actually expressed between them. Hell, most of the time, what small, lacking personal nuances that Alex or Luna possesses are only ever recognized by Nall or Ramus, their mutual friends. Of course it’s important to establish that Ramus and especially Nall are close to Alex and Luna, having known them for many years, but shouldn’t there be some sort of establishment of emotional intimacy between Alex and Luna, as well?
There’s also precious little in the way of actions that suggest any strong feelings between them--lingering glances, tendency to move closer to one another during periods of conversation or rest, etc. Hey, I know it’s all a bunch of sprites, but you CAN show at least a little relationship personality through that limited medium; plenty of other games have done so. And outside the regular sprite graphics, the cutscenes from the portion of the game where Alex and Luna are traveling together certainly don’t show us any particular connection between them; they’re rarely even present in the same FMV. The only one I can really think of was the boring, long, gratuitous time-waster FMV of Luna singing on the boat. After she’s done wasting half the game’s FMV budget that could have instead been used to illustrate a scene that was interesting in any way whatsoever, the cutscene concludes with Alex standing below her, staring at her. And y’know, this could have worked, it could have been convincing, him standing there in silent, emotional awe at this (supposedly-but-not-actually) beautiful song and outpouring of emotion by his beloved. All that would have been needed to really pull this scene off, make it a compelling moment of watching Alex realize his love for Luna, or at least confirm it, was to give him the right expression, an expression that conveyed the kind of impressed, poignant tenderness of a person as they gaze at the one who stirs their heart in that beautiful, unique way, the expression of silent, radiant love.
This is not that expression. He looks as bored with Luna’s song sequence as I am. For fuck’s sake, the damn magic talking catdragon looks more emotionally moved than Alex does.
There also doesn’t seem to really be any noticeable development of romantic feelings between Alex and Luna. Now, I’ll grant you, their background means there might not have to be. Since they’ve known one another their whole lives, it would be perfectly believable and fine for their romantic feelings to need no development because it was already established before the game’s opening. For example, I rather liked the fact that Monstania’s protagonist was already in a relationship with his love interest when the game began, and so I found it acceptable that the romance didn’t actually develop any further than it started--though their feelings for one another were nonetheless shown quite clearly, so you could say they had romantic development anyway. But as I’ve said, there’s just about no chemistry whatsoever between Alex and Luna; they by and large do not act or seem like people who have feelings for one another when they’re actually together. So this is a romance that DOES need development, because there’s nothing really established beforehand for it. But there really isn’t any. Alex’s love for Luna, which is confirmed much more often by his friends’ mentioning its existence than it is by any statement made or action taken by Alex himself (more Telling instead of Showing), seems to appear out of nowhere once she’s been kidnapped, and once it’s there, it doesn’t seem to deepen or anything. It’s just there, where it didn’t seem to be before--although since Alex just quietly plods along through the plot, we usually can only tell it’s there because other people are mentioning it. Love should not just be a fucking switch that the writers flip when it’s convenient!
Oh, and there’s certainly no development on Luna’s side. Alex, at least, has the game’s focus on his journey, so he can occasionally simulate romantic feelings by saying Luna’s name over and over again (I think half of all his lines are just name repetitions). Luna’s feelings for Alex, after never being believably established due to their lack of chemistry, seem to just be assumed to exist--it feels like she loves him because it’s what the lazy plot wants her to do.
What is it about him that she loves? What does he love about her? I’ll give you that he’ll go to great lengths to save her and protect her, and that deserves a certain amount of respect and lends some verification to their relationship, but what the hell was it that made him so devoted to her to begin with? What was it that made her notice this devotion before the villain provided the opportunity for Alex to prove it? If, for each of them, the feelings of love developed as they grew up together, why do we never see or hear anything of these experiences of the past, never see any special connection or rapport or understanding of one another that this long history would imply? Do either of them make the other happy, cheer them up, support them, make them laugh? Why does the entirety of the game hinge on a love whose only real proof of existence comes at the game’s very end?
It’s not like the writers weren’t capable of at least a passable romance. The love stories between Nash and Mia, and Jessica and Kyle...well, they’re certainly not great or moving, but you can believe that they exist! Kyle and Jessica’s constant bickering is broken up by enough clear expressions of begrudging affection, enough self-confirmations of romantic interest, that they seem to genuinely care for each other. Nash’s affection for Mia is something established before the game’s opening, but unlike Alex, his words actually seem to carry that affection, even when he’s trying to deny it’s there. Someone teases Nash about liking Mia, he’ll get flustered and tell them to stuff it. Someone talks to Alex about how he loves Luna, and he just doesn’t even respond. It’s like an awkward silence of someone who doesn’t know how to break the news that they don’t feel that way after all.
And lastly...frankly, Alex and Luna feeling romantically interested in one another is kind of creepy on some level. I mean, consider this--Alex and Luna have both been raised by Alex’s parents all their lives. Alex’s parents took Luna in when she was still just a baby, so they’ve shared a house, parents, friends, and their whole lives together. So. Um. Doesn’t that essentially mean that Alex wants to bone his sister, and Luna in turn wishes to receive boning from her brother? Yeah, they aren’t related by blood, but in every mental, spiritual, and practical way, they are brother and sister! Raised together in the same home, by the same parents, from the earliest age they can remember...explain to me how their wanting to get it on is not at all creepy.
This is what Luna should’ve been singing during the Boat Song FMV.**
Dear Game Writers: If you’re going to make a love story the major point that your entire plot revolves around, please try to have the characters involved actually seem to be interested in one another; just having the supporting cast occasionally yell out “BOY ALEX U SHUR DO LOVE LUNA HYUCK HYUCK” does not cut it. Please try, game writers, to give us some indication, any at all, of what it is about one another that they like or appreciate, how their feelings develop into something. The emotion of love is a bit more than just an on/off switch to be flipped whenever it’s convenient for the story. And for the love of Ramuh, game writers--and I put this in because Alex x Luna isn’t the first time this has happened in RPGs--please try to stop hooking people up when they’ve been raised in the same household most/all of their lives as adopted siblings. Being brother and sister is very, VERY much less romantic than you people seem to think.
* Now, sometimes this happens in a good game, and it’s not so bad--Tidus and Yuna eventually came to dominate the story of Final Fantasy 10, for example. But it works for the better in FF10, turning it into a very impressive and touching story of love that meshes well with the themes and intended message of the game, rather than discarding them, and the relationship between Tidus and Yuna develops their characters extremely well, elevating them above the rest of the cast, even when at least some of the supporting cast is quite good. This is a case where the main characters have earned their focus, where their dominance of the story has been used to properly develop them and improve the quality of the plot. In this case, it’s not really Love Hina Syndrome, because the idea with LHS is that 1, it’s a bad thing, and 2, the ones hogging the story spotlight from other qualified characters are not themselves good characters. Thus, even though Planescape: Torment, Wild Arms 3, Final Fantasy 10, and Valkyrie Profile: Covenant of the Plume all are cases where a number of good supporting characters aren’t given quite enough time to shine because the main character(s) is/are completely dominating the story focus, they’re not examples of Love Hina Syndrome, because the end result is a good one, because the characters in the spotlight deserve to be there. Sure, I’d LIKE it if those good supporting characters had more time devoted to them, but the sacrifice is at least acceptable because the end result is a definitely positive one.
** Someone please, please, PLEASE grab the Boat Song FMV, maybe splice it up with some other scenes or artwork from the game, and make a Lunar 1 AMV to this song. It will be hilarious, and I will PAY you. A game from GOG.com. 2 games from GOG.com! I would consider it so, so worth it.
Thursday, November 28, 2013
Monday, November 18, 2013
General RPGs' Timed Hits
No introductory preamble today. Let’s talk about Timed Hits.
In most RPGs with a standard battle system (that is to say, menu-based combat), using a basic attack against an enemy is a simple case of selecting the Attack option, picking out which enemy you want to damage, and confirming with another button press. Very efficient, very simple (especially considering that Attack is almost always the first option on the menu), which is good, because you’re gonna be doing it maybe 4000 times or so for basically any given RPG.* Of course, as simple and efficient as it is, it’s equally tedious and boring. You all know by now that I consider the actual playing experience of RPGs to generally be boring (I’m in it for the story, characters, and all that jazz, not for the actual gameplay), but even by the standards of someone who for some reason enjoys limiting their gaming experience to moving a cursor up and down through various menus, selecting the Attack command probably starts to get monotonous after the first 500 times.
This is where timed hits come in. Pioneered, I think, by Super Mario RPG on the SNES,** the idea of a timed hit is that it’s an attack or skill which requires the player to enhance the effectiveness of said attack/skill by hitting a button, or multiple buttons, at just the right time and/or in just the right way during the attack/skill’s act. For example, in SMRPG, if you have Mario use a jump ability on an enemy, he leaps into the air and comes down on his enemy’s head in standard Mario fashion. But if you press the A button at just the right moment as he’s landing on the enemy, the attack will do extra damage, or Mario will bounce back up for another jump attack altogether (depending on which variation of the jump attack you’re using). For the sake of convenience, I’m going to use the term Timed Hits to cover both these basic button-pressing occurrences, and other, similar cases where more than just a button press is needed--for example, from the same game, one of Geno’s powers is boosted if you hold the Y button down until a certain time, and then release, and one of Bowser’s abilities is enhanced when, if I remember right, you move in counter-clockwise circles on the direction pad. In a sense, all this sort of thing still has to take place in a certain way in a certain time limit, so you can call it a Timed Hit. Also, for the purposes of simplicity, we’ll assume that a Timed Hit is only something that happens in standard menu-based combat. Timing your attacks and blocks and combos and such in an Action RPG is the norm, not an extra. Hell, I’m not sure how you’d have an Action RPG without timing your actions in some way.
Anyway. There is a right way, and a wrong way to do Timed Hits. Unfortunately, it is much more common to see it done the wrong way than the right one. Let’s take The Legend of Dragoon, for example, because it’s got just about everything wrong with Timed Hits that can be wrong. In TLoD, with the exception of Shana and Miranda, every character’s full normal attack consists of a half dozen or more strikes that can be made if you push a button at the exact right moment during the attack’s sequence. Here’s the first problem--the rapid-fire Timed Hits are frustrating. Where Super Mario RPG had the sense to keep its regular attacks restricted to a single well-timed button tap, your regular attacks in The Legend of Dragoon aren’t going to get you anywhere if you can’t keep up with their pace, something which usually requires more memorization than actual response skills (which just makes it all the more annoying that you’ll have to change their pattern several times during the game’s course as more powerful sequences are found, meaning you have to memorize a whole new set all the time). Look, game, I’m just trying to attack the enemy. I want to do some damage and get done with it. Why the hell do I have to tap 10 times to Dart’s silly sword dance each and every damn time I want to do this, huh? Sony put the work into choreographing all these attack routines; you’d think they’d want us to be able to pay attention to them instead of having to completely focus on the little button prompt box.
I guess I should just be thankful that TLoD’s rapid-fire button ordeal was at least functional. Sonic Chronicles: The Dark Brotherhood’s special abilities very often required tons of fast-paced buttons pressed and circled and so on, and that crappy game’s stylus control always seems a bit off, or like it doesn’t detect the input right. Ugh. I guess that’s one Timed Hit sin that TLoD doesn’t have--a Timed Hit system that doesn’t work properly.
Next potential problem with Timed Hits that can also be found in The Legend of Dragoon: too much reliance on them. Like I said above, if you aren’t making the most of your Timed Hits for your regular attacks in this game, you’re not getting anywhere. The incredibly weak attackers in the game, Shana and Miranda, aren’t weak because their attack deals less damage than an attack by someone else on the team, they’re weak because it only deals that damage once, when the others can deal it many times over. But that’s the problem--without the Timed Hits, your characters are all doing White Mage damage. Super Mario RPG’s Timed Hits were very useful and made a real difference, but they were not essential. If you didn’t get the timing for a character’s attack, yeah, they’d do noticeably less damage, but it wasn’t so little as to be insignificant. Without Timed Hits, Super Mario RPG would be a little harder, and its battles would all be several turns longer, but you wouldn’t be crippled by the problem. But in The Legend of Dragoon...well, the game already suffered from bad experience balance, and a good-on-paper-terrible-in-practice magic system.*** The Timed Hit attacks were more or less your one and only truly effective, truly reliable combat option in most cases. Where does that leave a person who just doesn’t have a knack for timed button presses? Well and fully fucked, that’s where.
I never had any significant problem with TLoD’s Timed Hit system, incidentally. I did, however, have a problem with Mother 3’s Timed Hits, a mastery of which was almost as essential in that game as it was in TLoD. In order to make your characters’ attacks effective in Mother 3, you had to tap the attack button along to the beat of the background music, something I was absolutely fucking TERRIBLE at. I don’t think most players have that much trouble with it, but I’m apparently just utterly tone-deaf (or however you’d describe it), so I was lucky if I could get even one of the beats right. Like TLoD, Mother 3 seemed to be set up on the assumption that you were at least moderately competent at this timing thing, and this assumption made a game I think was supposed to be only as mildly challenging as its predecessor Earthbound into an excruciating ordeal. You guys may snicker at my insistence on playing games with no regard to how fun or boring or frustrating they may be, but I’m glad I do things the way I do, because if I let the actual gameplay of an RPG bother me, I never would have gotten through Mother 3 and would have missed out on a really great game.
At any rate, my point here is, you should never make a gimmick like this into something so important to your battle system that the game can’t be played adequately without it, because there are going to be some people, even if it’s only a small percentage, who just will not be able to perform it as expected. And it’s an RPG, not Guitar Hero, Parappa the Rapper, or Whack-A-Mole--this is not a skill that a gamer who wants to play an RPG should HAVE to have. You know how much I hate mandatory minigames--well, making Timed Hits too significant a part of effective combat is essentially making the entire battle system a mandatory minigame. A successful Timed Hit should be a bonus, not a necessity.
One more way to do Timed Hits wrong: forgetting why you put it in there to begin with. I started this rant by talking about how monotonous and boring it is to just hit the Attack command over and over again for 50 hours or so. Well, Timed Hits are an uncommon feature that changes how this works, so it’s fairly logical to assume that a developer who puts them into his/her game is doing so with the interest in making the playing experience more interesting, right? Well, here’s the problem--it often doesn’t actually make the battles any more interesting. I mean, the ones in The Legend of Dragoon will throw you for a bit of a loop when you first encounter each new sequence, but after a few battles, you’ve either got a handle on it, or you don’t. If you don’t, things are more interesting, but in a bad way, as you become frustrated with this system that you’re having trouble with. And if you do get used to it, well, the difference between a normal game’s Attack command and The Legend of Dragoon’s is that TLoD requires you to push the confirm button several times more. That’s, uh...that’s more or less it. Is that less dull and repetitive? Is it really?
I don’t hate the idea of Timed Hits and their ilk. Like I said, I found that Super Mario RPG did them fairly well--they were simple and straightforward enough, and if you found yourself unable to perform them, it wasn’t too major a roadblock in your attempt to play the game. Barkley: Shut Up and Jam Gaiden also involved Timed Hits in a pretty decent capacity--while not as forgiving as SMRPG, the Barkley game didn’t need you to time everything perfectly each time to do a reasonable amount of damage, and the timing and necessary actions were quite different for every single attack, so it actually managed to avoid becoming tedious pretty well. Some of the Timed Hits were even fairly creative. Still, it’s a gimmick that’s easy to make into an annoyance instead of a fun feature if someone’s not careful about it. Developers, please keep this in mind in the future. Y’know...because I’m sure you’re all reading this.
* You may think I’m exaggerating, but honestly, I think that number’s probably fairly accurate. I mean, on average you’re gonna engage in combat many hundreds of times, possibly over a thousand, in a given RPG, and I think most of those battles will see you use regular attacks at least a few times. It’s gotta add up into the thousands, wouldn’t you think?
** Although I’d swear there were several spells in Breath of Fire 2, released 2 years prior to SMRPG, that you could guarantee a critical hit from if you pushed the A button at just the moment the damage was being dealt. I’ve looked online at GameFAQs and spoken to other players about this and no one has any idea what I’m talking about, but I just know it’s true. Those spells couldn’t possibly have had such a huge Critical chance during every single one of my half dozen or so playthroughs, right? Someone tell me I’m not freaking crazy here.
*** The enemies consistently gave so little experience that grinding was so time-consuming that it was almost out of the question; if you fought every enemy you encountered between one boss and the other in a large dungeon, you’d usually only level up once, which is NOT a good rate for a standard JRPG. Magic abilities could only activate if you transformed into a Dragoon, after which you’d need to recharge your ability to transform again. Additionally, the only significant way to heal your characters was Shana and Miranda, the ones whose basic attack did about as much damage as an anorexic kitten halfheartedly throwing a marshmallow at the enemy. So if you wanted to have any magical healing, for those rare moments when your magic was actually available to you, you had to go through a battle with 1 of your 3 characters unable to do any serious attack damage, AND unable to access her actual abilities without taking special steps. But with the game’s difficulty and the fact that level grinding was twice as tedious and time-consuming as it usually is, not having that magic healing, unreliable though it was, was all the more difficult.
In most RPGs with a standard battle system (that is to say, menu-based combat), using a basic attack against an enemy is a simple case of selecting the Attack option, picking out which enemy you want to damage, and confirming with another button press. Very efficient, very simple (especially considering that Attack is almost always the first option on the menu), which is good, because you’re gonna be doing it maybe 4000 times or so for basically any given RPG.* Of course, as simple and efficient as it is, it’s equally tedious and boring. You all know by now that I consider the actual playing experience of RPGs to generally be boring (I’m in it for the story, characters, and all that jazz, not for the actual gameplay), but even by the standards of someone who for some reason enjoys limiting their gaming experience to moving a cursor up and down through various menus, selecting the Attack command probably starts to get monotonous after the first 500 times.
This is where timed hits come in. Pioneered, I think, by Super Mario RPG on the SNES,** the idea of a timed hit is that it’s an attack or skill which requires the player to enhance the effectiveness of said attack/skill by hitting a button, or multiple buttons, at just the right time and/or in just the right way during the attack/skill’s act. For example, in SMRPG, if you have Mario use a jump ability on an enemy, he leaps into the air and comes down on his enemy’s head in standard Mario fashion. But if you press the A button at just the right moment as he’s landing on the enemy, the attack will do extra damage, or Mario will bounce back up for another jump attack altogether (depending on which variation of the jump attack you’re using). For the sake of convenience, I’m going to use the term Timed Hits to cover both these basic button-pressing occurrences, and other, similar cases where more than just a button press is needed--for example, from the same game, one of Geno’s powers is boosted if you hold the Y button down until a certain time, and then release, and one of Bowser’s abilities is enhanced when, if I remember right, you move in counter-clockwise circles on the direction pad. In a sense, all this sort of thing still has to take place in a certain way in a certain time limit, so you can call it a Timed Hit. Also, for the purposes of simplicity, we’ll assume that a Timed Hit is only something that happens in standard menu-based combat. Timing your attacks and blocks and combos and such in an Action RPG is the norm, not an extra. Hell, I’m not sure how you’d have an Action RPG without timing your actions in some way.
Anyway. There is a right way, and a wrong way to do Timed Hits. Unfortunately, it is much more common to see it done the wrong way than the right one. Let’s take The Legend of Dragoon, for example, because it’s got just about everything wrong with Timed Hits that can be wrong. In TLoD, with the exception of Shana and Miranda, every character’s full normal attack consists of a half dozen or more strikes that can be made if you push a button at the exact right moment during the attack’s sequence. Here’s the first problem--the rapid-fire Timed Hits are frustrating. Where Super Mario RPG had the sense to keep its regular attacks restricted to a single well-timed button tap, your regular attacks in The Legend of Dragoon aren’t going to get you anywhere if you can’t keep up with their pace, something which usually requires more memorization than actual response skills (which just makes it all the more annoying that you’ll have to change their pattern several times during the game’s course as more powerful sequences are found, meaning you have to memorize a whole new set all the time). Look, game, I’m just trying to attack the enemy. I want to do some damage and get done with it. Why the hell do I have to tap 10 times to Dart’s silly sword dance each and every damn time I want to do this, huh? Sony put the work into choreographing all these attack routines; you’d think they’d want us to be able to pay attention to them instead of having to completely focus on the little button prompt box.
I guess I should just be thankful that TLoD’s rapid-fire button ordeal was at least functional. Sonic Chronicles: The Dark Brotherhood’s special abilities very often required tons of fast-paced buttons pressed and circled and so on, and that crappy game’s stylus control always seems a bit off, or like it doesn’t detect the input right. Ugh. I guess that’s one Timed Hit sin that TLoD doesn’t have--a Timed Hit system that doesn’t work properly.
Next potential problem with Timed Hits that can also be found in The Legend of Dragoon: too much reliance on them. Like I said above, if you aren’t making the most of your Timed Hits for your regular attacks in this game, you’re not getting anywhere. The incredibly weak attackers in the game, Shana and Miranda, aren’t weak because their attack deals less damage than an attack by someone else on the team, they’re weak because it only deals that damage once, when the others can deal it many times over. But that’s the problem--without the Timed Hits, your characters are all doing White Mage damage. Super Mario RPG’s Timed Hits were very useful and made a real difference, but they were not essential. If you didn’t get the timing for a character’s attack, yeah, they’d do noticeably less damage, but it wasn’t so little as to be insignificant. Without Timed Hits, Super Mario RPG would be a little harder, and its battles would all be several turns longer, but you wouldn’t be crippled by the problem. But in The Legend of Dragoon...well, the game already suffered from bad experience balance, and a good-on-paper-terrible-in-practice magic system.*** The Timed Hit attacks were more or less your one and only truly effective, truly reliable combat option in most cases. Where does that leave a person who just doesn’t have a knack for timed button presses? Well and fully fucked, that’s where.
I never had any significant problem with TLoD’s Timed Hit system, incidentally. I did, however, have a problem with Mother 3’s Timed Hits, a mastery of which was almost as essential in that game as it was in TLoD. In order to make your characters’ attacks effective in Mother 3, you had to tap the attack button along to the beat of the background music, something I was absolutely fucking TERRIBLE at. I don’t think most players have that much trouble with it, but I’m apparently just utterly tone-deaf (or however you’d describe it), so I was lucky if I could get even one of the beats right. Like TLoD, Mother 3 seemed to be set up on the assumption that you were at least moderately competent at this timing thing, and this assumption made a game I think was supposed to be only as mildly challenging as its predecessor Earthbound into an excruciating ordeal. You guys may snicker at my insistence on playing games with no regard to how fun or boring or frustrating they may be, but I’m glad I do things the way I do, because if I let the actual gameplay of an RPG bother me, I never would have gotten through Mother 3 and would have missed out on a really great game.
At any rate, my point here is, you should never make a gimmick like this into something so important to your battle system that the game can’t be played adequately without it, because there are going to be some people, even if it’s only a small percentage, who just will not be able to perform it as expected. And it’s an RPG, not Guitar Hero, Parappa the Rapper, or Whack-A-Mole--this is not a skill that a gamer who wants to play an RPG should HAVE to have. You know how much I hate mandatory minigames--well, making Timed Hits too significant a part of effective combat is essentially making the entire battle system a mandatory minigame. A successful Timed Hit should be a bonus, not a necessity.
One more way to do Timed Hits wrong: forgetting why you put it in there to begin with. I started this rant by talking about how monotonous and boring it is to just hit the Attack command over and over again for 50 hours or so. Well, Timed Hits are an uncommon feature that changes how this works, so it’s fairly logical to assume that a developer who puts them into his/her game is doing so with the interest in making the playing experience more interesting, right? Well, here’s the problem--it often doesn’t actually make the battles any more interesting. I mean, the ones in The Legend of Dragoon will throw you for a bit of a loop when you first encounter each new sequence, but after a few battles, you’ve either got a handle on it, or you don’t. If you don’t, things are more interesting, but in a bad way, as you become frustrated with this system that you’re having trouble with. And if you do get used to it, well, the difference between a normal game’s Attack command and The Legend of Dragoon’s is that TLoD requires you to push the confirm button several times more. That’s, uh...that’s more or less it. Is that less dull and repetitive? Is it really?
I don’t hate the idea of Timed Hits and their ilk. Like I said, I found that Super Mario RPG did them fairly well--they were simple and straightforward enough, and if you found yourself unable to perform them, it wasn’t too major a roadblock in your attempt to play the game. Barkley: Shut Up and Jam Gaiden also involved Timed Hits in a pretty decent capacity--while not as forgiving as SMRPG, the Barkley game didn’t need you to time everything perfectly each time to do a reasonable amount of damage, and the timing and necessary actions were quite different for every single attack, so it actually managed to avoid becoming tedious pretty well. Some of the Timed Hits were even fairly creative. Still, it’s a gimmick that’s easy to make into an annoyance instead of a fun feature if someone’s not careful about it. Developers, please keep this in mind in the future. Y’know...because I’m sure you’re all reading this.
* You may think I’m exaggerating, but honestly, I think that number’s probably fairly accurate. I mean, on average you’re gonna engage in combat many hundreds of times, possibly over a thousand, in a given RPG, and I think most of those battles will see you use regular attacks at least a few times. It’s gotta add up into the thousands, wouldn’t you think?
** Although I’d swear there were several spells in Breath of Fire 2, released 2 years prior to SMRPG, that you could guarantee a critical hit from if you pushed the A button at just the moment the damage was being dealt. I’ve looked online at GameFAQs and spoken to other players about this and no one has any idea what I’m talking about, but I just know it’s true. Those spells couldn’t possibly have had such a huge Critical chance during every single one of my half dozen or so playthroughs, right? Someone tell me I’m not freaking crazy here.
*** The enemies consistently gave so little experience that grinding was so time-consuming that it was almost out of the question; if you fought every enemy you encountered between one boss and the other in a large dungeon, you’d usually only level up once, which is NOT a good rate for a standard JRPG. Magic abilities could only activate if you transformed into a Dragoon, after which you’d need to recharge your ability to transform again. Additionally, the only significant way to heal your characters was Shana and Miranda, the ones whose basic attack did about as much damage as an anorexic kitten halfheartedly throwing a marshmallow at the enemy. So if you wanted to have any magical healing, for those rare moments when your magic was actually available to you, you had to go through a battle with 1 of your 3 characters unable to do any serious attack damage, AND unable to access her actual abilities without taking special steps. But with the game’s difficulty and the fact that level grinding was twice as tedious and time-consuming as it usually is, not having that magic healing, unreliable though it was, was all the more difficult.
Friday, November 8, 2013
Shin Megami Tensei: Devil Survivor 2's Equality Ending's Supposed Flaw
Before we begin the rant tonight, I'd like to mention that the Kickstarter game You Are Not the Hero looks like it will be pretty neato-torpedo. You might wanna check it out and throw in a pledge in these last days of its funding drive. Or not; purely up to you, and they're certainly more than fully funded at this point anyway. But it's neat so I thought I'd share it.
Okay, now the rant, for real.
Hey guys, here I am, with November's Shin Megami Tensei rant for my self-created SMT Rant Year. I ranted on SMT Devil Survivor 2 last time, so I figured to mix things up, I'd...rant about the exact same game again. Okay, so I'm not very original. Sue me.
Most games in the Shin Megami Tensei series have multiple endings. Not in the traditional RPG sense of a Good Ending, a Bad Ending, and sometimes a Better, True Ending as well (although SMT Persona 4 did that schtick), but rather a finale to the game that reflects the player’s moral beliefs and choices. Traditionally, it’s a split between Law, Neutral, and Chaos, although not always (SMT3’s moral choices are related to these, but not the same, for example). But one thing that that stays pretty consistent in an SMT title with multiple endings based on your personal beliefs regarding society and religion is that Atlus tries pretty hard to keep an unbiased stance on the matter. True, the Neutral path in an SMT game is most often considered the “best” one, and even the canon one, but it’s a small enough margin that it doesn’t feel like you’re pigeonholed into that choice over the other ones. As a general rule, Atlus presents a case for one side, emphasizing its virtues and flaws, and does the same for the other side, and clearly tries to do so equally enough that it’s left to the player’s personal beliefs on what aspects of humanity that the game’s focusing on are valued more highly than others. Almost always, it’s not a choice between a “good” side and a “bad” side, it’s a choice between which side’s virtues you value more and flaws you mind less. Or, if you think both are too extreme, you can go the Neutral route, which usually is shown to be a happier medium between the other choices (hence why so many consider it the “true” choice), but to require more work, and to have the downside that it’s little more than a gamble that a prolonged balance between the extremes is possible.*
This is all true of Shin Megami Tensei: Devil Survivor 2. SMTDS2 has multiple endings, the most prominent ones being an ending that reshapes the world into one of utter equality where all is shared between people, an ending that reshapes the world into a meritocracy where one’s social position and power are dictated by one’s strength, intelligence, and general skills and usefulness, and a couple of Neutral endings that straddle the fence one way or another. The game has the figureheads of each school of thought (Ronaldo for Equality and Yamato for Meritocracy) argue to the protagonist the main benefits of their philosophy, and the main flaw of their opponent's. Unfortunately, however, SMTDS2...well, it didn’t do a particularly good job with providing equally compelling arguments.
The first reason that the argument between Equality and Meritocracy is imbalanced is that the latter’s spokesman, Yamato, has a perspective which is shown to be flawed and incomplete--and not by the writers’ intentions. I already went over that, however, so just refer back to my Yamato’s Folly rant if you want to refresh your memory. Ronaldo, champion of the world of Equality, has no such glaring, specifically self-defeating character development scenes. Thus, regardless of which one’s view you actually would support, Ronaldo is the one who comes off like he’s actually got his act together simply because he’s not a hypocrite to his ideals.
But there’s another, larger problem with Atlus’s attempt to balance the sides out here: the big flaw. Like I said, each side has its benefits and its downsides, but ultimately, the characters of the game focus very specifically upon a small handful of each side’s merits and flaws. The one I’m concerned with is the perhaps biggest alleged flaw of Ronaldo’s proposed world of Equality, a flaw pointed out by several other characters who object to Ronaldo’s philosophy. Their claim, and thus the game’s claim, is that in such a world of full equality, where all work is for the good of others and all resources and aid are distributed equally and without preference, humans would no longer feel the drive to excel, to try their hardest and overcome their own limits to be and do better. The game reasons that if all wealth and resources are truly spread equally, if no one person is valued more than another, then there is no higher position in any part of society to yearn to achieve, no reward for those who do better than others for which a person can strive for. Ronaldo’s equality would mean the end of power, wealth, perks, property, and at least some forms of fame and prestige--at least, in the sense that these things can potentially be possessed in greater quantities by one person than by another.
It seems a fair point, and certainly there’s truth in it, to the effect that the material bonuses for working harder/better/faster/stronger would not exist, and so, indeed, would there be no more motivation for people to work harder and exceed expectations just for the benefits it could bring to them personally. In Ronaldo’s world where no one gets more than another, the most reward one could really hope for as a return for exceptional work would be a pat on the back and others’ appreciation.
But the thing is, the game’s making this out like the hope for advancement and reward are the ONLY reasons people have for giving their all and going above and beyond in their jobs, duties, and so on. When the characters discuss the downsides of Ronaldo’s world of Equality, they talk about how such a world would have NO ambition, they question whether such a world would be taking something important from humanity by removing people’s desire to do their best, do more than is expected, do better than others around them. The game’s philosophy in determining this to be a major, possibly THE major, flaw of Ronaldo’s vision is that EVERY reason to excel is removed when you remove the possibility for material benefits and/or social recognition.
Here’s the thing, though. That’s NOT the only reason people can have to do their best, to excel at their duties, to try to be the best and brightest and do great things. That’s not even close to true! There are so many examples of how this idea is wrong that I don’t know where to start! Are there not many teachers in the world who have a passion for passing on knowledge, a passion whose satisfaction comes not from their meager paycheck or ever-dwindling benefits and social status, but rather from the knowledge that educating others helps to better them and the society they take part of? Is it not true that many doctors, nurses, and EMTs throw themselves into their career ultimately because they want to heal, to help people? Isn’t it true that many, many soldiers joined their country’s military because they love their country and wish to protect its people and values? As far as I’ve been able to tell, the more impassioned about their work a charity worker, environmentalist, or human rights activist is, the more likely that passion flows from a genuine interest in the betterment of society and the world, not from the interest of becoming more affluent or getting a better position. In fact, many such people readily give up those comforts so they can better excel at working for their convictions!
Good heavens, just look at science and mathematics! Philosophy and art! How many countless thinkers of human history, the people we ultimately revere as our greatest members, were motivated by nothing but the pure desire to understand, to explore the workings of the world and the human race? Certainly, many profited from the knowledge and discoveries they achieved, and certainly some did so specifically with that goal in mind, but I daresay it’s quite fair to assume that most of them were working with motives other than personal advancement, power, or material benefits.
It’s a huge gap in SMTDS2’s logic, and not a hard one to recognize. That by itself makes this a rather large and embarrassing flaw for the game’s writers, very uncharacteristic of Atlus. But it’s not just that one’s own simple reasoning can debunk the position that True Equality = No Drive to Excel. The game itself proves this idea wrong! Many times, even!
Consider the character of Daichi. Daichi’s character development in the game is mostly concerned with him dealing with his fears and reticence to stand up for what he believes in, and coming to believe in his ability to help people and the need to do so when they can’t help themselves. Why in the world does Daichi later in the game question whether people in a world of true Equality would be capable of going above and beyond, capable of the important human quality of ambition? His whole bit of soul-searching has given him the convictions and strength of character to put himself on the line to help others, and his reasons for doing so are unrelated to any interest in being rewarded or winning a higher position in life. Daichi’s character development is proof positive by the game itself that motivations to do more than your minimal duties, to go above and beyond in the tasks you take, can be entirely unrelated to desires for reward, prestige, power, or anything like that.
What about Ronaldo himself, for that matter? Ronaldo is putting his life on the line over and over in battling against Yamato’s forces, and he does so in defense of the weak and helpless, people that Yamato ignores as worthless. More importantly, Ronaldo throws his every possible effort into bringing about his ideal world of Equality. You can’t tell me that he lacks motivation to succeed, that he doesn’t give his all to his goals, that he doesn’t have a hell of a lot of ambition. He and Yamato are meant to be seen as basically evenly matched when it comes to ambition and desire to succeed. All of this determination pretty obviously isn’t coming from a desire to be better off or more respected than others, since it’s all being directed at creating a world where such things don’t exist.
And there are plenty of other examples like this in the game. Makoto is one of Yamato’s best officers, and her motivation for doing her job as well as possible, for sticking with Yamato’s group no matter what, is because she’s grateful to him for having given her an opportunity to make a difference with her life after her original life plans fell through. In fact, it’s her motivations of loyalty that keep her with Yamato to the end, not a belief that his ideal world is actually the best option. Keita puts everything he has into being as strong as he possibly can be, and this desire for personal perfection seems entirely motivated simply for its own sake, not the benefits it can confer. Hell, practically every time the party scrambles to prevent a Nicaea death video from coming to pass, it’s unrelated to their basic duties and motivated entirely by the simple wish for that person to live.
You know what? When I really think about it, the vast majority of motivations shown throughout Shin Megami Tensei: Devil Survivor 2 are ones that have little to nothing to do with social or material benefits! The whole damn game is its own argument against itself!
Companionship, altruism, desire for personal perfection, loyalty, love, a wish to make the world better, a thirst for understanding, patriotism, moral obligation...these are many powerful motivations that give people the drive to be as great as they can possibly be and do as much as they possibly do, and there is no logical reason at all to think that ANY of these motives would not exist in a world of Equality as described by SMTDS2. In fact, several of them would probably be all the stronger!
While the debate between philosophies in other SMT games usually comes down to personal beliefs and values because the points for and against each side are well-balanced and logical, the debate between Equality and Meritocracy in SMT Devil Survivor 2 is poorly balanced. As mentioned in a previous rant, the figurehead of the Meritocracy, Yamato, has an incomplete perspective that is contradicted by his own words and actions multiple times. Additionally, as I’ve pointed out in this rant, the game’s big clincher argument against the world of Equality is debunked both by simple logic on the player’s part, and the actions of the game’s own characters. It’s all well and fine for me, since I’m a proponent for the world of Equality, but it makes for a less intellectually engaging story and theme. It feels like the SMT team phoned this one in. Bad show, Atlus, bad show.
* A gamble that actually seems futile sometimes, really. I mean, the balance of the Neutral path is often a return to some semblance of regular life, but the situation of these battling extremes came up naturally from a relatively Neutral world to start with, so it seems like the Neutral path is just a temporary extension of balance that’s eventually going to lead right back to the same situation. Look at some of the major SMT games--SMT1, 2, 4, and Strange Journey. The forces of Law claim that humanity can’t exist on its own without faith in God and a need for restrictive order. The forces of Chaos claim that humanity can’t exist on its own without a desire for the power of demons and a yearning for freedom. Well, since all these games are (tenuously) connected to one another, and the conflict between Law and Chaos keeps repeating itself to the backdrop of regular Neutral life, it would seem both sides are correct. Well, if Neutral is going to keep leading to these wars between Heaven and Hell over the convictions of humanity, maybe it’s not as good a path as everyone says, and somebody SHOULD make a lasting decision of Law or Chaos.
Okay, now the rant, for real.
Hey guys, here I am, with November's Shin Megami Tensei rant for my self-created SMT Rant Year. I ranted on SMT Devil Survivor 2 last time, so I figured to mix things up, I'd...rant about the exact same game again. Okay, so I'm not very original. Sue me.
Most games in the Shin Megami Tensei series have multiple endings. Not in the traditional RPG sense of a Good Ending, a Bad Ending, and sometimes a Better, True Ending as well (although SMT Persona 4 did that schtick), but rather a finale to the game that reflects the player’s moral beliefs and choices. Traditionally, it’s a split between Law, Neutral, and Chaos, although not always (SMT3’s moral choices are related to these, but not the same, for example). But one thing that that stays pretty consistent in an SMT title with multiple endings based on your personal beliefs regarding society and religion is that Atlus tries pretty hard to keep an unbiased stance on the matter. True, the Neutral path in an SMT game is most often considered the “best” one, and even the canon one, but it’s a small enough margin that it doesn’t feel like you’re pigeonholed into that choice over the other ones. As a general rule, Atlus presents a case for one side, emphasizing its virtues and flaws, and does the same for the other side, and clearly tries to do so equally enough that it’s left to the player’s personal beliefs on what aspects of humanity that the game’s focusing on are valued more highly than others. Almost always, it’s not a choice between a “good” side and a “bad” side, it’s a choice between which side’s virtues you value more and flaws you mind less. Or, if you think both are too extreme, you can go the Neutral route, which usually is shown to be a happier medium between the other choices (hence why so many consider it the “true” choice), but to require more work, and to have the downside that it’s little more than a gamble that a prolonged balance between the extremes is possible.*
This is all true of Shin Megami Tensei: Devil Survivor 2. SMTDS2 has multiple endings, the most prominent ones being an ending that reshapes the world into one of utter equality where all is shared between people, an ending that reshapes the world into a meritocracy where one’s social position and power are dictated by one’s strength, intelligence, and general skills and usefulness, and a couple of Neutral endings that straddle the fence one way or another. The game has the figureheads of each school of thought (Ronaldo for Equality and Yamato for Meritocracy) argue to the protagonist the main benefits of their philosophy, and the main flaw of their opponent's. Unfortunately, however, SMTDS2...well, it didn’t do a particularly good job with providing equally compelling arguments.
The first reason that the argument between Equality and Meritocracy is imbalanced is that the latter’s spokesman, Yamato, has a perspective which is shown to be flawed and incomplete--and not by the writers’ intentions. I already went over that, however, so just refer back to my Yamato’s Folly rant if you want to refresh your memory. Ronaldo, champion of the world of Equality, has no such glaring, specifically self-defeating character development scenes. Thus, regardless of which one’s view you actually would support, Ronaldo is the one who comes off like he’s actually got his act together simply because he’s not a hypocrite to his ideals.
But there’s another, larger problem with Atlus’s attempt to balance the sides out here: the big flaw. Like I said, each side has its benefits and its downsides, but ultimately, the characters of the game focus very specifically upon a small handful of each side’s merits and flaws. The one I’m concerned with is the perhaps biggest alleged flaw of Ronaldo’s proposed world of Equality, a flaw pointed out by several other characters who object to Ronaldo’s philosophy. Their claim, and thus the game’s claim, is that in such a world of full equality, where all work is for the good of others and all resources and aid are distributed equally and without preference, humans would no longer feel the drive to excel, to try their hardest and overcome their own limits to be and do better. The game reasons that if all wealth and resources are truly spread equally, if no one person is valued more than another, then there is no higher position in any part of society to yearn to achieve, no reward for those who do better than others for which a person can strive for. Ronaldo’s equality would mean the end of power, wealth, perks, property, and at least some forms of fame and prestige--at least, in the sense that these things can potentially be possessed in greater quantities by one person than by another.
It seems a fair point, and certainly there’s truth in it, to the effect that the material bonuses for working harder/better/faster/stronger would not exist, and so, indeed, would there be no more motivation for people to work harder and exceed expectations just for the benefits it could bring to them personally. In Ronaldo’s world where no one gets more than another, the most reward one could really hope for as a return for exceptional work would be a pat on the back and others’ appreciation.
But the thing is, the game’s making this out like the hope for advancement and reward are the ONLY reasons people have for giving their all and going above and beyond in their jobs, duties, and so on. When the characters discuss the downsides of Ronaldo’s world of Equality, they talk about how such a world would have NO ambition, they question whether such a world would be taking something important from humanity by removing people’s desire to do their best, do more than is expected, do better than others around them. The game’s philosophy in determining this to be a major, possibly THE major, flaw of Ronaldo’s vision is that EVERY reason to excel is removed when you remove the possibility for material benefits and/or social recognition.
Here’s the thing, though. That’s NOT the only reason people can have to do their best, to excel at their duties, to try to be the best and brightest and do great things. That’s not even close to true! There are so many examples of how this idea is wrong that I don’t know where to start! Are there not many teachers in the world who have a passion for passing on knowledge, a passion whose satisfaction comes not from their meager paycheck or ever-dwindling benefits and social status, but rather from the knowledge that educating others helps to better them and the society they take part of? Is it not true that many doctors, nurses, and EMTs throw themselves into their career ultimately because they want to heal, to help people? Isn’t it true that many, many soldiers joined their country’s military because they love their country and wish to protect its people and values? As far as I’ve been able to tell, the more impassioned about their work a charity worker, environmentalist, or human rights activist is, the more likely that passion flows from a genuine interest in the betterment of society and the world, not from the interest of becoming more affluent or getting a better position. In fact, many such people readily give up those comforts so they can better excel at working for their convictions!
Good heavens, just look at science and mathematics! Philosophy and art! How many countless thinkers of human history, the people we ultimately revere as our greatest members, were motivated by nothing but the pure desire to understand, to explore the workings of the world and the human race? Certainly, many profited from the knowledge and discoveries they achieved, and certainly some did so specifically with that goal in mind, but I daresay it’s quite fair to assume that most of them were working with motives other than personal advancement, power, or material benefits.
It’s a huge gap in SMTDS2’s logic, and not a hard one to recognize. That by itself makes this a rather large and embarrassing flaw for the game’s writers, very uncharacteristic of Atlus. But it’s not just that one’s own simple reasoning can debunk the position that True Equality = No Drive to Excel. The game itself proves this idea wrong! Many times, even!
Consider the character of Daichi. Daichi’s character development in the game is mostly concerned with him dealing with his fears and reticence to stand up for what he believes in, and coming to believe in his ability to help people and the need to do so when they can’t help themselves. Why in the world does Daichi later in the game question whether people in a world of true Equality would be capable of going above and beyond, capable of the important human quality of ambition? His whole bit of soul-searching has given him the convictions and strength of character to put himself on the line to help others, and his reasons for doing so are unrelated to any interest in being rewarded or winning a higher position in life. Daichi’s character development is proof positive by the game itself that motivations to do more than your minimal duties, to go above and beyond in the tasks you take, can be entirely unrelated to desires for reward, prestige, power, or anything like that.
What about Ronaldo himself, for that matter? Ronaldo is putting his life on the line over and over in battling against Yamato’s forces, and he does so in defense of the weak and helpless, people that Yamato ignores as worthless. More importantly, Ronaldo throws his every possible effort into bringing about his ideal world of Equality. You can’t tell me that he lacks motivation to succeed, that he doesn’t give his all to his goals, that he doesn’t have a hell of a lot of ambition. He and Yamato are meant to be seen as basically evenly matched when it comes to ambition and desire to succeed. All of this determination pretty obviously isn’t coming from a desire to be better off or more respected than others, since it’s all being directed at creating a world where such things don’t exist.
And there are plenty of other examples like this in the game. Makoto is one of Yamato’s best officers, and her motivation for doing her job as well as possible, for sticking with Yamato’s group no matter what, is because she’s grateful to him for having given her an opportunity to make a difference with her life after her original life plans fell through. In fact, it’s her motivations of loyalty that keep her with Yamato to the end, not a belief that his ideal world is actually the best option. Keita puts everything he has into being as strong as he possibly can be, and this desire for personal perfection seems entirely motivated simply for its own sake, not the benefits it can confer. Hell, practically every time the party scrambles to prevent a Nicaea death video from coming to pass, it’s unrelated to their basic duties and motivated entirely by the simple wish for that person to live.
You know what? When I really think about it, the vast majority of motivations shown throughout Shin Megami Tensei: Devil Survivor 2 are ones that have little to nothing to do with social or material benefits! The whole damn game is its own argument against itself!
Companionship, altruism, desire for personal perfection, loyalty, love, a wish to make the world better, a thirst for understanding, patriotism, moral obligation...these are many powerful motivations that give people the drive to be as great as they can possibly be and do as much as they possibly do, and there is no logical reason at all to think that ANY of these motives would not exist in a world of Equality as described by SMTDS2. In fact, several of them would probably be all the stronger!
While the debate between philosophies in other SMT games usually comes down to personal beliefs and values because the points for and against each side are well-balanced and logical, the debate between Equality and Meritocracy in SMT Devil Survivor 2 is poorly balanced. As mentioned in a previous rant, the figurehead of the Meritocracy, Yamato, has an incomplete perspective that is contradicted by his own words and actions multiple times. Additionally, as I’ve pointed out in this rant, the game’s big clincher argument against the world of Equality is debunked both by simple logic on the player’s part, and the actions of the game’s own characters. It’s all well and fine for me, since I’m a proponent for the world of Equality, but it makes for a less intellectually engaging story and theme. It feels like the SMT team phoned this one in. Bad show, Atlus, bad show.
* A gamble that actually seems futile sometimes, really. I mean, the balance of the Neutral path is often a return to some semblance of regular life, but the situation of these battling extremes came up naturally from a relatively Neutral world to start with, so it seems like the Neutral path is just a temporary extension of balance that’s eventually going to lead right back to the same situation. Look at some of the major SMT games--SMT1, 2, 4, and Strange Journey. The forces of Law claim that humanity can’t exist on its own without faith in God and a need for restrictive order. The forces of Chaos claim that humanity can’t exist on its own without a desire for the power of demons and a yearning for freedom. Well, since all these games are (tenuously) connected to one another, and the conflict between Law and Chaos keeps repeating itself to the backdrop of regular Neutral life, it would seem both sides are correct. Well, if Neutral is going to keep leading to these wars between Heaven and Hell over the convictions of humanity, maybe it’s not as good a path as everyone says, and somebody SHOULD make a lasting decision of Law or Chaos.
Monday, October 28, 2013
Knights of the Old Republic 2's Restored Content Mod
You know, I just loved Knights of the Old Republic 2: The Sith Lords. It’s powerful and compelling, taking the already awesome Star Wars universe and adding incredible layers of wisdom and exploration of human nature to it. No, that’s not quite right--KotOR2 doesn’t really add that wisdom, that analysis of the human spirit, to Star Wars, so much as it opens our eyes and makes us realize that it was already there. Through this game’s commentary on The Force and its ways, we find an intuitive understanding of heroism, cowardice, ambition, arrogance, admiration, leadership, of the power of personal and spiritual connections between people and groups and the echoes of actions great and small, and much, much more.
There’s really only one major problem with the game: it was never quite finished.
Oh, KotOR2 has a beginning and an end, to be sure, and it’s (mostly) playable from start to finish, so in certain technical terms. And it’s not like the tragedy that is Lionheart: Legacy of the Crusader,* either; its storytelling pace and quality stays pretty consistent throughout the game, save for its finale. But it’s apparent as you play through KotOR2 that it’s just plain missing things. Most notable are a resolution to the subplot involving HK-47 and the HK-50 droids, and the fact that the game’s finale left too much unexplained and had over half the party suddenly absent (in fact, KotOR2’s ending would likely have made my Worst Endings list if it didn’t have a rather great and at least minimally satisfactorily conclusive conversation with Kreia at its very conclusion). Beyond these large, glaring absences, however, there are plenty of times in KotOR2 that feel like they’re missing something, dialogue or actions here and there that might make the general flow of exposition go more smoothly. There’s also a ton of bugs in KotOR2, and it sometimes just handles rather clumsily. All in all, it adds up to one obvious conclusion: the game was released prematurely, with much of its story content cut and without enough testing. It’s always been a damn tragedy in my eyes that this terrific RPG was rushed to shelves before it was ready, and I’ve always wondered just how great it could have been if its developers had just had the time they needed to properly finish it.
Well, I still don’t know the answer to that query, but thanks to the The Sith Lords Restored Content Mod, I at least have a much better idea.
The TSL Restored Content Mod, which can be found at http://www.moddb.com/mods/the-sith-lords-restored-content-mod-tslrcm, is an absolute, undiluted Godsend for anyone who appreciated KotOR2’s many and sizable virtues. To start with, it’s easy enough to install and get working. I know this to be true because I managed get it running myself, and when it comes to computers, my intellectual prowess is at about the same level as I would expect from, say, the lovechild of Elmer Fudd and Sarah Palin, if said lovechild hung around Dan Slott and Daniel Tosh on a daily basis, was privately tutored by Peter Griffin, and idolized Homestar Runner. If I managed to install the damn thing correctly, it’s fairly safe to say that absolutely anyone can do it.
More important than ease of use, though, is what the mod actually does. First of all, like any good major improvement mod, it cleans the game up considerably, fixing a metric fuckton of bugs and other, more minor problems (like spelling errors, or coloring issues). I’ve seen buggier games than Knights of Old Republic 2, but certainly not many (and to be fair, most of the problems of Fallout 3, Fallout: New Vegas, and Mass Effect 3’s Multiplayer were eventually fixed (or, occasionally in ME3’s case, lazily covered up rather than actually corrected...whatever works, though, I guess)). So making the game properly playable is by itself quite a nice thing.
But that by itself wouldn’t be enough to warrant a rant. What makes this mod so awesome is that it does just what its title implies: it restores content. It restores a LOT of it. As in, tons of lines of dialogue and dialogue cutscenes that were either cut or simply didn’t activate correctly are brought back into the game, and even some entire conversations. Considering that it’s the characters and plot that really make or break an RPG, that’s gonna be a huge deal for any RPG, but it’s even greater and more important a restoration in a game like KotOR2, where so much of its excellence rests in the insights and nuances of its characters’ dialogue. I’d give KotOR2 another playthrough just to hear Kreia’s restored lines, let alone all the others’ additional content.
In addition to that, a great many parts and qualities of the game’s events and quests have been fixed, restored, and/or added as originally intended. For example, the defense of the settlers on Dantooine is now much more in depth. Before, it was basically just a preparation phase, an underwhelming non-interactive view of the first wave of battle, and then a cut straight to the final fight between your characters and the invader. Now you have a part to play in the battle from start to finish, and it all feels far more real and complete. It’s a real treat as you go through the game and keep running across one thing after another that’s been touched up, added upon, or restored out of nothingness.
And of course, it’s definitely worth noting that this mod completely restores the entire HK-50 dungeon and events, AND adds a heap of the cut content from the finale back in, allowing for a proper resolution to the stalemate between the Remote and G0-T0, giving the previously missing crew members actual parts to play, and generally improving substantially upon KotOR2’s ending to make it far more cohesive and satisfying.
I’ve encountered restoration mods before, and they’ve been great, a way for fans to help realize the full ambitions of games’ creators that for whatever reason weren’t complete with the game’s release. There’s a mod for Planescape: Torment called the Unfinished Business mod which adds a few cut quests and dialogues that are enjoyable, which is well-known and respected enough that it’s even officially suggested by GOG.com that you install it, for example. And I’ve mentioned before how great the Fallout 2 Restoration Project is, how it’s almost like playing Fallout 2 new all over again. Well, I’d say that the TSL Restored Content Mod is even better than that, providing so much more of the rich, deep, insightful content of KotOR2 and making the entire experience of playing the game feel far more complete. If you were at all a fan of Knights of the Old Republic 2 the first time around, or even just disappointed with it because it felt incomplete, then it’s definitely time to dust your disc off (or go purchase it anew from Steam; it’s only like $10) and give it another playthrough with the TSL Restored Content Mod. It’s fans to the rescue of a great game in the best way.
* Obscure old PC RPG by the makers of the original Fallout games. By all appearances early in the game, it was going to be pretty damn cool, but after a little while of playing it basically just becomes a semi-plotless slogfest because the developer went out of business during the game’s development and had to either get it out the door ASAP or never publish it at all.
There’s really only one major problem with the game: it was never quite finished.
Oh, KotOR2 has a beginning and an end, to be sure, and it’s (mostly) playable from start to finish, so in certain technical terms. And it’s not like the tragedy that is Lionheart: Legacy of the Crusader,* either; its storytelling pace and quality stays pretty consistent throughout the game, save for its finale. But it’s apparent as you play through KotOR2 that it’s just plain missing things. Most notable are a resolution to the subplot involving HK-47 and the HK-50 droids, and the fact that the game’s finale left too much unexplained and had over half the party suddenly absent (in fact, KotOR2’s ending would likely have made my Worst Endings list if it didn’t have a rather great and at least minimally satisfactorily conclusive conversation with Kreia at its very conclusion). Beyond these large, glaring absences, however, there are plenty of times in KotOR2 that feel like they’re missing something, dialogue or actions here and there that might make the general flow of exposition go more smoothly. There’s also a ton of bugs in KotOR2, and it sometimes just handles rather clumsily. All in all, it adds up to one obvious conclusion: the game was released prematurely, with much of its story content cut and without enough testing. It’s always been a damn tragedy in my eyes that this terrific RPG was rushed to shelves before it was ready, and I’ve always wondered just how great it could have been if its developers had just had the time they needed to properly finish it.
Well, I still don’t know the answer to that query, but thanks to the The Sith Lords Restored Content Mod, I at least have a much better idea.
The TSL Restored Content Mod, which can be found at http://www.moddb.com/mods/the-sith-lords-restored-content-mod-tslrcm, is an absolute, undiluted Godsend for anyone who appreciated KotOR2’s many and sizable virtues. To start with, it’s easy enough to install and get working. I know this to be true because I managed get it running myself, and when it comes to computers, my intellectual prowess is at about the same level as I would expect from, say, the lovechild of Elmer Fudd and Sarah Palin, if said lovechild hung around Dan Slott and Daniel Tosh on a daily basis, was privately tutored by Peter Griffin, and idolized Homestar Runner. If I managed to install the damn thing correctly, it’s fairly safe to say that absolutely anyone can do it.
More important than ease of use, though, is what the mod actually does. First of all, like any good major improvement mod, it cleans the game up considerably, fixing a metric fuckton of bugs and other, more minor problems (like spelling errors, or coloring issues). I’ve seen buggier games than Knights of Old Republic 2, but certainly not many (and to be fair, most of the problems of Fallout 3, Fallout: New Vegas, and Mass Effect 3’s Multiplayer were eventually fixed (or, occasionally in ME3’s case, lazily covered up rather than actually corrected...whatever works, though, I guess)). So making the game properly playable is by itself quite a nice thing.
But that by itself wouldn’t be enough to warrant a rant. What makes this mod so awesome is that it does just what its title implies: it restores content. It restores a LOT of it. As in, tons of lines of dialogue and dialogue cutscenes that were either cut or simply didn’t activate correctly are brought back into the game, and even some entire conversations. Considering that it’s the characters and plot that really make or break an RPG, that’s gonna be a huge deal for any RPG, but it’s even greater and more important a restoration in a game like KotOR2, where so much of its excellence rests in the insights and nuances of its characters’ dialogue. I’d give KotOR2 another playthrough just to hear Kreia’s restored lines, let alone all the others’ additional content.
In addition to that, a great many parts and qualities of the game’s events and quests have been fixed, restored, and/or added as originally intended. For example, the defense of the settlers on Dantooine is now much more in depth. Before, it was basically just a preparation phase, an underwhelming non-interactive view of the first wave of battle, and then a cut straight to the final fight between your characters and the invader. Now you have a part to play in the battle from start to finish, and it all feels far more real and complete. It’s a real treat as you go through the game and keep running across one thing after another that’s been touched up, added upon, or restored out of nothingness.
And of course, it’s definitely worth noting that this mod completely restores the entire HK-50 dungeon and events, AND adds a heap of the cut content from the finale back in, allowing for a proper resolution to the stalemate between the Remote and G0-T0, giving the previously missing crew members actual parts to play, and generally improving substantially upon KotOR2’s ending to make it far more cohesive and satisfying.
I’ve encountered restoration mods before, and they’ve been great, a way for fans to help realize the full ambitions of games’ creators that for whatever reason weren’t complete with the game’s release. There’s a mod for Planescape: Torment called the Unfinished Business mod which adds a few cut quests and dialogues that are enjoyable, which is well-known and respected enough that it’s even officially suggested by GOG.com that you install it, for example. And I’ve mentioned before how great the Fallout 2 Restoration Project is, how it’s almost like playing Fallout 2 new all over again. Well, I’d say that the TSL Restored Content Mod is even better than that, providing so much more of the rich, deep, insightful content of KotOR2 and making the entire experience of playing the game feel far more complete. If you were at all a fan of Knights of the Old Republic 2 the first time around, or even just disappointed with it because it felt incomplete, then it’s definitely time to dust your disc off (or go purchase it anew from Steam; it’s only like $10) and give it another playthrough with the TSL Restored Content Mod. It’s fans to the rescue of a great game in the best way.
* Obscure old PC RPG by the makers of the original Fallout games. By all appearances early in the game, it was going to be pretty damn cool, but after a little while of playing it basically just becomes a semi-plotless slogfest because the developer went out of business during the game’s development and had to either get it out the door ASAP or never publish it at all.
Friday, October 18, 2013
Xenosaga 3's Kevin
Before we get into the rant today, I have a question for you all. I apparently have the option to allow ads on this blog, from which I would presumably make a small, very small, very very small, veeeeeeery very very very very VERY very very ve-he-he-herrrrrrrry small amount of money. Would you, my loyal reader(s), object at all to my having ads on this site? If no one cares at all, I may as well go for that extra nickel per year, but if anyone has even the slightest wish against it, I’d rather just skip it. Lemme know.
And now, the rant.
I actually had thought I’d be wrapping up my long line of Xenosaga rants by now, but somebody actually said that they like them, so on we go with them. Granted, that means I’m basically only catering to a single person by continuing, but on the other hand, that’s still me reaching out to like 25% of my total readership, so this is totally legit. Besides, it’s not like Xenosaga is running out of flaws to point out and criticize any time soon.
Speaking of those flaws, what shall I speak of today? Perhaps I could question why the hell Virgil is one of the Testaments--he’s a guy who dies an hour into Xenosaga 1 and has a very small and only vaguely tangentially-related history with protagonist Shion, so why the hell is he rubbing elbows with the likes of Albedo, the main villain of Xenosaga 1 and 2, Voyager, the main villain of Xenosaga: Pied Piper, and Kevin, the guy whose legacy is the core of the series from the very start to the very end? Or I could take to task the Professor’s explanation of the hero group’s (supposed) journey to the past, the dangers it poses, and how to fix it, for playing faster and looser with science and time travel than a Star Trek engineer writing a Doctor Who episode. Perhaps I could rant about Past-Virgil’s bizarre and utterly reasonless decision to sacrifice himself for Present-Shion and her friends by holding off a small group of enemies that they had already outrun and could easily defeat anyway. Or maybe I should just do a rant about how the looped repetition of loudspeaker announcements in the background of several areas of the game need to SHUT THE FUCK UP BECAUSE THEY’RE DRIVING ME CRAZY, DEAR SWEET CELSIUS ON A SANDWICH I HEARD YOU THE FIRST TIME YOU ANNOUNCED THAT THE SECURITY LEVEL HAD BEEN SWITCHED TO “A,” STOP TELLING ME EVERY 10 SECONDS!
Er, sorry. My mind seems to have a low breaking point for annoying, useless, repeated vocals. Still, having an announcement for where the Omega Res Novae demonstration’s being held being drilled into your head every 15 seconds as you wander around a facility has gotta be annoying for just about anyone.
Anyway! Let’s mix it up today and do a rant about something loathsome, but which may be so by design. Today, I will rant about Kevin.
Kevin Winnicot is a total dick.
Really, Kevin is just a tool. A huge tool. A tremendous tool. A tool of galactic proportions. It may have been intentional on the part of Xenosaga’s writers to have him be as unlikeable as he is, but I’d be inclined to say that they probably were shooting for a sympathetic villain with Kevin, at least partially. And if that’s the case, they failed big time. And here, not necessarily in order of magnitude, are the reasons why:
Reason Number 1: Kevin is a villain. After his death at the hands of archetype KOS-MOS (she must have known he was a douche even before being properly conscious), Kevin was brought back to life to be the Red Testament, right-hand jerk to Xenosaga’s main villain Willhelm. During his time as Red Testament during the events of Xenosaga 2 and especially 3, Kevin uses Shion’s growing confusion, huge emotional turmoil, and old love for him to his advantage, cruelly manipulating her and stoking the fires of her mental breakdown so that he can get her to join him in his scheme to...to...reset the universe, I think, like Willhelm is planning, only Kevin wants to do it so that it’s (somehow) only him and Shion in the universe. At least, that’s what I THINK his intentions are; it’s not like the game makes it easy to suss out what’s going on, why it’s happening, and what the intentions are behind it. There’re times during the game’s finale when you couldn’t understand the dialogue less if it was all in Al Bhed.
So essentially, Kevin’s out to end the current universe and as a result kill every person currently living in it, which is a typical dick move for a villain, but even further, he wants to remake the universe so that it’s only for 2 people. That’s actually a case of being a bigger jerk than the main villain of the whole series--Wilhelm’s at least going through his many machinations and manipulations for the misguided meaning of somehow salvaging the universe by ending it and resetting it or whatever. Wilhelm’s at least not out for a personal, extremely selfish vendetta, and while his plan also kills all things currently living, at least it’s not also with the intention of barring any other people from ever living in the universe again.
Oh, yeah, and the reason that Kevin’s a villain is more proof of what a giant tool he is. See, as a child, Kevin’s mother died as a result of some catastrophe (Gnosis attack, if I recall right), and used her last moments to help Kevin get away safely. Since that moment, Kevin has hated the entire universe, and it’s from that hate that his desire to destroy it utterly springs. Okay, fine. It’s a short-sighted and stupid reaction to have, but nothing unusual in RPGs for a villain, so I won’t consider that by itself as a count of jerk-itude. BUT, during the course of his planning to assist Wilhelm in ending the current universe, Kevin meets and falls in love with Shion. Now, logically speaking, if his original reason for wanting to destroy the current universe is that he feels it’s irredeemable and terrible, as is stated in the game, then shouldn’t his reasoning change a little once he meets and falls in love with Shion? I mean, Shion, like everything else, is a part of and natural result of this current universe. Shouldn’t the fact that he really, really likes this particular part and result of the universe be a fairly obvious tip-off that there are some parts of the universe so significantly good that they’re worth not destroying?
I mean, he wants to save Shion from the end of the universe, so logically speaking, he must think that she’s good enough that nothing should be done to destroy her. But then why is he letting everything ELSE be destroyed? You can point out that in his whole life, she was the only good thing, but that doesn’t make sense as a reason to destroy the whole universe and everyone in it besides her, because Kevin has not BEEN everywhere in the universe and interacted with EVERY person. He cannot say with any certainty that there is NO ONE else out there as good and worth preserving as Shion. To assume that she’s singular in that regard is foolish--in a colonized galaxy with trillions (or maybe more) of individuals residing in it, it’s statistically nigh impossible that, if there really were only 1 single person as good and worth preserving as Shion, he would just HAPPEN across that 1 single person out of trillions. The only reasonable assumption to make would be that the universe was capable of producing people like Shion in a quantity rare enough that Kevin would only ever have a chance to meet 1 in his lifetime, BUT common enough that he WOULD actually have that chance. And don’t tell me not to bring rational logistics into this--Kevin is a scientist, a brilliant one. The basics of logical thought processes and statistical understandings are a core necessity for a huge portion of his life. So if he gave his plans any real thought once Shion’s in the picture, if he had the basic intelligence and human decency to give the extermination of trillions a real, actual second thought at any point, he would almost certainly realize that basic law of averages indicates that his destroying the universe would doom a tremendous amount of people whose goodness and worth are comparable to Shion’s, and since he can’t bear to let Shion be destroyed by his plans, he shouldn’t be able to go through with a plan that would destroy them as well.
But Kevin attempts to go through with his plans, so we can only conclude that he is a stupid tool who gives no real thought to his actions even though they affect countless people’s lives. What an ass.
Reason Number 2: Kevin didn’t want to let Febronia save Virgil’s life. He argues against it and is rather annoyed when Febronia does it anyway. Now I’ll grant you, there’s reason to at least hesitate before saving the life of an enemy soldier, and Kevin brings up some piddly little reasons why Febronia’s actions will be mildly risky for her in regards to how the higher-ups on their side will see this. Still, it’s a bit cold and mean-spirited to have a good Samaritan bring in a dying person, and to just shake your head as you watch the man bleed out and say “No, sorry, against company policy.” Febronia comes up with a perfectly plausible way for her to save Virgil without putting herself or others at any particularly great risk, and Kevin is still against it, only begrudgingly letting her do what she wants while wiping his hands clean of the matter. Since she has effectively assuaged all of Kevin’s legitimate concerns, he really shouldn’t have any problem with her making the choice to save a human being’s life, unless Kevin just plain dislikes the idea of not letting people die in agony. But he nonetheless does still have a problem with it, and so, he is a douche.
Reason Number 3: Kevin is a dick to little girls. We see the first time he meets Shion, which is when she’s 8 years old (according to Xenosaga's wikipedia), and he's 14 (the game later sort of implies that he loved her from the moment he saw her, incidentally, which is kind of creepy, made worse by the fact that he sure as hell looks and acts a lot older than 14, not to mention very contradictory to this scene, as we’re about to see). Little Shion is trying to grow some flowers outside the “hospital” (actually a research facility) in which her mother is a patient. Her reasoning is that when her mother wakes up, Shion wants her to be able to see pretty flowers from her room’s window, and her dad would be happy to see them, too. Very cute and sweet, just the sort of childlike kindness you’d expect from a loving daughter.
Kevin’s reaction is different. Kevin decides that the appropriate response to witnessing this is to start a philosophical argument with Shion about why the world and everyone in it is horrible, and so doing nice things for other people is pointless.
Seriously. Every time I watch this scene, I can’t believe what I’m seeing. This guy, age 14, is picking a fight with an 8-year-old. The dude is seriously engaging in a philosophical debate with the intention of relentlessly attacking a preteen’s innocent perspective. I just...I can’t...what do I say here, guys? How does one possibly convey in mere words how unbelievably pathetic it is for a teenager to actually make a serious intellectual assault on the sensibilities and moral perspective of a small child? This is a level of dickery beyond the usual mortal realm; this is the douchebaggery of the gods.
And that’s just the basics of what he’s doing. Let’s examine the details. Not only is he picking a fight with a kid, but he’s doing so with the intention of convincing her that the world and its people are defined only by conflict and struggle, about how pointless this is because life is only about encountering and destroying others in order to survive and have your way and blah blah blah Look At Me I Read Thomas Hobbes Aren’t I Special, which, he says, makes acts of kindness meaningless. He’d be an asshole just trying to convince a fellow adult of that, but for the love of Palutena, he’s trying to tear apart a little girl’s innocence! What kind of asswipe is such a miserable piece of shit that he has to spread his lousy perspective to children? As a bonus, he also tries to convince her that the her father won’t care for the flowers, which really has to just be dickery for the sake of dickery, since there’s no reason that Kevin, as Shion’s dad’s assistant, would know more about what the guy personally enjoys than the guy’s own daughter. And let’s not forget what she did to provoke this attack--she was trying to make flowers grow. So she could make her sick mom happy! It’s not like Kevin doesn’t know this intention, either; she tells him quite plainly what her intentions are. It ain’t like she’s shoving her innocent, kind ideas in his face or anything. She’s just minding her own business, and he starts this shit. Unbefuckinglievable.
Oh and hey, here’s some fun food for thought. Kevin’s perspective of how terrible the universe and its people are stems from the loss of his mother. Little Shion’s doing all this as a nice gesture for her sick mother. Nice empathy there, jackass.
Thankfully, Little Shion manages to withstand the slings and arrows of Kevin’s douchebaggery in this scene, but that’s not the only moment where Kevin is a dick to her. A little later on, the flowers Little Shion’s been growing get trampled by the hustling of soldiers as they prepare for the area to become a war zone, since their enemy, the Galactic Federation, has just begun to make its all-out attack on the city. Kevin happens by, and finds the poor kid weeping profusely as she kneels over them, heartbroken that all the work she put into making something nice for her parents has been so carelessly destroyed. It’s the kind of simple, sad loss for a child that gets to ya. Makes me feel like shedding a tear for the kid myself. What’s Kevin do? Why, he stops to gloat, of course. He reminds her that he told her not to bother, and reiterates that this won’t make anyone happy, before telling her not to bother wasting her time trying to grow any more.
CONGRATULATIONS, ASSHOLE, YOU WON THE ARGUMENT AND HURT THE FEELINGS OF A CHILD. Thank God you had nothing better to do, like maybe help prepare for the imminent attack, so that you could take the time to rub the failure a heartbroken child in her tear-streaked face. BIG MAN.
Oh, yeah, and here’s the kicker about this scene: Little Shion’s resilient enough that she refuses to give up, so she announces she’s going to go to Febronia and get more flower seeds. Kevin allows her to run off.
Oh, what’s that? You aren’t sure how that’s a moment of dickery? Well let me rephrase that. Kevin allows her, a young child, to run off alone in a war zone as a major military battle is beginning.
What a fucking tool.*
Reason Number 4: The shit he puts Shion through. You know, for someone who claims to love Shion more than anything else and never want to hurt her, Kevin sure doesn’t have much of a problem of putting Shion through absolute fucking hell. On the night that Shion’s mother and father were murdered before her eyes, Little Shion experienced such unimaginable mental pain that the magnitude of her suffering actually tore the fabric of time and space a new asshole and summoned the Gnosis. She was just a child at the time, and blocked out much of the details later, so she didn’t realize the magnitude of what she’d inadvertently done.
Kevin’s plans for rebuilding the universe for just him and Shion, plans which he’s convinced himself are in essence “saving” Shion, involve having Shion relive this night. Not just remember it, but relive it. That’s why Shion’s sent back in time (sort of but not really), so that she can be on the scene as an adult to see her recently murdered mother and father, and to watch her younger self be so overcome with pain that her screams of anguish call forth lost souls to ravage the galaxy. That is an actual, significant part of Kevin’s plans--to force the woman he supposedly loves to relive the worst night of her life, to once more feel and understand what the game tells us was the most powerful suffering of any human being in the universe, with the added bonus of her being mentally aware enough this time to understand that she’s responsible for calling forth the Gnosis. I find myself once again staggered by how unable I am to find the words for this level of douchebaggery.
Oh, and it’s against this backdrop that he decides to reveal himself, step back into her life after pretending to be dead for, what, 7 years? AND he drops the bombshell of her connection to KOS-MOS draining her life (a claim that’s never verified, and kind of just dropped fairly shortly afterwards). So let’s just review here: Causes Shion to relive the greatest pain in her life, the greatest pain in all the universe. Blows her mind in the process because she now knows that it’s her fault the Gnosis are destroying the universe. Further wreaks havoc on her mental state by revealing that he’s still alive, AND working for the same team as her enemies. And reveals that her connection to KOS-MOS, the strongest and most trusted personal relationship Shion has by this point, is killing her. It’s after all of this happens that he says he wants her to join him. That’s what all this was leading up to. His plan to get Shion on his side is to cause her to spiral into a complete and total, incredibly painful mental breakdown, reduce her to an emotional shambles so she won’t have enough shards of coherent thought left over to resist him.
Best boyfriend ever. I cannot believe I’m saying this, I really can’t, but I think Kevin Winnicot actually surpasses Edward Cullen in the Emotionally-Unhealthy Romance department.
Reason Number 5: Allen has a point. At one point, Allen berates Kevin, saying that rather than having a strong will, as Kevin clearly thinks he possesses, Kevin and the rest of the Testaments actually lack resolve. He points out that they all accepted and used the great power given to them by Wilhelm only to run away from the reality of death. For all of Kevin’s lofty plans and arrogant talk, he’s still just a coward terrified by the shadow of the Reaper. It’s a pretty accurate assessment. And as he’s presiding over the pain and deaths of many others because he can’t accept the simple facts of life, causing others to suffer the same thing that he himself is trying to escape, so do I declare him (and the other Testaments) a tool once more over, on grounds of malicious and cowardly hypocrisy.
Reason Number 6: The shit he puts Shion through, part 2. I’m still a little hazy on whether dying at the hands of the KOS-MOS prototype was or was not part of Kevin’s plan, since dying is a prerequisite to becoming a Testament and gaining the power that comes with that position but otherwise it didn’t seem like something he’d intended. Nonetheless, intentional or not, he wound up being resurrected by Wilhelm to continue with his plans resurrect to Mary Magdalene and gather Anima and activate Zarathustra and all that jazz, and he never once told Shion that he was back from the dead. For...what is it, 7 years between his death and the opening of Xenosaga 1? Can’t remember. We’ll say it was 7 years. For 7 years, Kevin’s death has haunted Shion, the death of the man she loved, the end of the only time in her life that she can remember being happy. Kevin couldn’t just once in all that time have popped in and let her know that he wasn’t actually dead? Couldn’t once have alleviated at least that one scar of the past that she’s carried in silence?
Of course not. Because if he’d done that, he couldn’t have as effectively broken her mind later by showing up, and that would’ve made it harder to save her, since you can’t save anyone without first severely damaging them emotionally! Ass.
Reason Number 7: He beats up Allen. Now yeah, Allen’s standing up to him and calling Kevin out on being a bad influence on Shion and saying that Shion shouldn’t go with him, but here’s the fact of the matter--Allen couldn’t have done a thing to stop Kevin from walking off with Shion. He’s incapable of harming Kevin or physically stopping him, so any violence on Kevin’s part is strictly gratuitous.
Uh, yeah, awesome, Kev, way to show how much of a man you are. Beat the guy who isn’t actually a threat to you at all (Allen even SAYS that he’s powerless right before the beatdown commences) into the ground. You’re, like, so totally tough and manly, using your superpowers to pummel the completely helpless. What’s your encore? You gonna go to a local nursing home and smack around some bedridden retirees? Maybe get into a fist-fight with a week-old kitten? Match wits with an 8-year-old? Oh, no, wait, you already did that one. You’re a real champ, Kevin.
Oh, and hey, that’s not all there is to his mercilessly pounding the weak and defenseless Allen. As Kevin is finishing up with his completely needless beatdown, he begins to taunt Allen about it! Just knocking someone who can’t fight back senseless isn’t enough for Kevin Winnicot, apparently. No, he’s got to gloat about it, too, because apparently he’s no more mentally mature than some random middle school hoodlum. And he’s doing it like it was some sort of significant victory for himself! News flash, Kevin: you won that fight because you had a superior, superhuman power that you acquired as a gift from Wilhelm! You didn’t earn any of that strength yourself! Jeez! It’s like if someone handed you a baseball bat, girded you in a full set of plate mail, and injected you with Captain America super serum for good measure, and then told you to beat the crap out of Moss from The IT Crowd. If you taunt your victim in a fight that one-sided, that makes you a titanic tool! Which is precisely what Kevin is. Sheesh, what a prick.
Reason Number 8: Yet more of the shit he puts Shion through. Rather than accept Shion’s final choice to leave him, he decides to kill her friends, because they’re “confusing” her. First of all, way to respect the wishes of the woman you supposedly love, asshole. God knows she couldn’t possibly make a decision for herself, right? Secondly, yeah, THAT’S sure as hell gonna make the situation better, you idiot. I mean, murdering people Shion cares about right before her eyes in order to make her want to be with you? How could that possibly backfire? And lastly, you just have to love the hypocrisy of it all. Kevin won’t accept her decision because THEY’RE confusing her? I’m sorry, Kevin, buddy, but refresh my memory--when was it, exactly, that you first made your bid for Shion abandoning her friends and coming over to your side? Wasn’t it right after you’d done everything in your power to give her a mental breakdown? I’m pretty sure that as far as “confusion” goes, it doesn’t get much stronger than reliving the horrific and savage deaths of your parents as you learn that you called forth the destruction of the world and also just found out that your most trusted personal connection is killing you and your dead boyfriend isn’t dead and now has evil superpowers. You didn’t seem to object to her making decisions in confusion THEN, when it would work in your favor! Hypocritical prick.
Speaking of hypocrisy, the whole Kevin Is A Dick package ties up neatly for me with this one line, spoken by Mr. Winnicot to Shion: “I don’t want to hurt you either.”
What do you think you’ve been doing this whole time you moron.
As I said before, I’m not sure what Namco’s intention was with Kevin. Did they intentionally make him this much of a tool, wanting the player to hate his lousy stinking guts with a passion? Maybe. If so, great job. But my gut says that they wanted Kevin to be a sympathetic villain, yet another misguided soul whom we would empathize with on some level rather than despise. They tried too hard to emphasize his supposed love for and devotion to Shion, they portrayed his past moments with her too positively, and they had him too honorably betray Wilhelm and die for her for it to be anything but Namco attempting to make Kevin out to be a misguided but ultimately sympathetic antagonist. And if that’s the case, then they failed, big time. Because his tiny moments of decency are utterly swallowed up in the huge tidal waves of douchebaggery that I mentioned above. Kevin Winnicot is a tool, plain and simple.
* Now, technically speaking, we only see all this stuff with Little Shion as part of the story arc where Shion and company are sent to the past (but secretly aren’t), so technically we’re seeing Past Events as they’d have happened if Present Shion were meddling with them. Still, since this representation of the past is otherwise supposed to be 100% accurate, and since Present Shion’s meddling didn’t seem to cause any significant differences with regards to the interactions of Kevin and Little Shion, AND since we see from Kevin’s recollections later in the game that he does remember meeting Little Shion under those same circumstances, we can very safely assume that all the events as we witness them of Kevin’s interactions with Little Shion are in all significant ways accurate to how it actually happened. So yes, he WAS a dick back then by all logical accounts.
And now, the rant.
I actually had thought I’d be wrapping up my long line of Xenosaga rants by now, but somebody actually said that they like them, so on we go with them. Granted, that means I’m basically only catering to a single person by continuing, but on the other hand, that’s still me reaching out to like 25% of my total readership, so this is totally legit. Besides, it’s not like Xenosaga is running out of flaws to point out and criticize any time soon.
Speaking of those flaws, what shall I speak of today? Perhaps I could question why the hell Virgil is one of the Testaments--he’s a guy who dies an hour into Xenosaga 1 and has a very small and only vaguely tangentially-related history with protagonist Shion, so why the hell is he rubbing elbows with the likes of Albedo, the main villain of Xenosaga 1 and 2, Voyager, the main villain of Xenosaga: Pied Piper, and Kevin, the guy whose legacy is the core of the series from the very start to the very end? Or I could take to task the Professor’s explanation of the hero group’s (supposed) journey to the past, the dangers it poses, and how to fix it, for playing faster and looser with science and time travel than a Star Trek engineer writing a Doctor Who episode. Perhaps I could rant about Past-Virgil’s bizarre and utterly reasonless decision to sacrifice himself for Present-Shion and her friends by holding off a small group of enemies that they had already outrun and could easily defeat anyway. Or maybe I should just do a rant about how the looped repetition of loudspeaker announcements in the background of several areas of the game need to SHUT THE FUCK UP BECAUSE THEY’RE DRIVING ME CRAZY, DEAR SWEET CELSIUS ON A SANDWICH I HEARD YOU THE FIRST TIME YOU ANNOUNCED THAT THE SECURITY LEVEL HAD BEEN SWITCHED TO “A,” STOP TELLING ME EVERY 10 SECONDS!
Er, sorry. My mind seems to have a low breaking point for annoying, useless, repeated vocals. Still, having an announcement for where the Omega Res Novae demonstration’s being held being drilled into your head every 15 seconds as you wander around a facility has gotta be annoying for just about anyone.
Anyway! Let’s mix it up today and do a rant about something loathsome, but which may be so by design. Today, I will rant about Kevin.
Kevin Winnicot is a total dick.
Really, Kevin is just a tool. A huge tool. A tremendous tool. A tool of galactic proportions. It may have been intentional on the part of Xenosaga’s writers to have him be as unlikeable as he is, but I’d be inclined to say that they probably were shooting for a sympathetic villain with Kevin, at least partially. And if that’s the case, they failed big time. And here, not necessarily in order of magnitude, are the reasons why:
Reason Number 1: Kevin is a villain. After his death at the hands of archetype KOS-MOS (she must have known he was a douche even before being properly conscious), Kevin was brought back to life to be the Red Testament, right-hand jerk to Xenosaga’s main villain Willhelm. During his time as Red Testament during the events of Xenosaga 2 and especially 3, Kevin uses Shion’s growing confusion, huge emotional turmoil, and old love for him to his advantage, cruelly manipulating her and stoking the fires of her mental breakdown so that he can get her to join him in his scheme to...to...reset the universe, I think, like Willhelm is planning, only Kevin wants to do it so that it’s (somehow) only him and Shion in the universe. At least, that’s what I THINK his intentions are; it’s not like the game makes it easy to suss out what’s going on, why it’s happening, and what the intentions are behind it. There’re times during the game’s finale when you couldn’t understand the dialogue less if it was all in Al Bhed.
So essentially, Kevin’s out to end the current universe and as a result kill every person currently living in it, which is a typical dick move for a villain, but even further, he wants to remake the universe so that it’s only for 2 people. That’s actually a case of being a bigger jerk than the main villain of the whole series--Wilhelm’s at least going through his many machinations and manipulations for the misguided meaning of somehow salvaging the universe by ending it and resetting it or whatever. Wilhelm’s at least not out for a personal, extremely selfish vendetta, and while his plan also kills all things currently living, at least it’s not also with the intention of barring any other people from ever living in the universe again.
Oh, yeah, and the reason that Kevin’s a villain is more proof of what a giant tool he is. See, as a child, Kevin’s mother died as a result of some catastrophe (Gnosis attack, if I recall right), and used her last moments to help Kevin get away safely. Since that moment, Kevin has hated the entire universe, and it’s from that hate that his desire to destroy it utterly springs. Okay, fine. It’s a short-sighted and stupid reaction to have, but nothing unusual in RPGs for a villain, so I won’t consider that by itself as a count of jerk-itude. BUT, during the course of his planning to assist Wilhelm in ending the current universe, Kevin meets and falls in love with Shion. Now, logically speaking, if his original reason for wanting to destroy the current universe is that he feels it’s irredeemable and terrible, as is stated in the game, then shouldn’t his reasoning change a little once he meets and falls in love with Shion? I mean, Shion, like everything else, is a part of and natural result of this current universe. Shouldn’t the fact that he really, really likes this particular part and result of the universe be a fairly obvious tip-off that there are some parts of the universe so significantly good that they’re worth not destroying?
I mean, he wants to save Shion from the end of the universe, so logically speaking, he must think that she’s good enough that nothing should be done to destroy her. But then why is he letting everything ELSE be destroyed? You can point out that in his whole life, she was the only good thing, but that doesn’t make sense as a reason to destroy the whole universe and everyone in it besides her, because Kevin has not BEEN everywhere in the universe and interacted with EVERY person. He cannot say with any certainty that there is NO ONE else out there as good and worth preserving as Shion. To assume that she’s singular in that regard is foolish--in a colonized galaxy with trillions (or maybe more) of individuals residing in it, it’s statistically nigh impossible that, if there really were only 1 single person as good and worth preserving as Shion, he would just HAPPEN across that 1 single person out of trillions. The only reasonable assumption to make would be that the universe was capable of producing people like Shion in a quantity rare enough that Kevin would only ever have a chance to meet 1 in his lifetime, BUT common enough that he WOULD actually have that chance. And don’t tell me not to bring rational logistics into this--Kevin is a scientist, a brilliant one. The basics of logical thought processes and statistical understandings are a core necessity for a huge portion of his life. So if he gave his plans any real thought once Shion’s in the picture, if he had the basic intelligence and human decency to give the extermination of trillions a real, actual second thought at any point, he would almost certainly realize that basic law of averages indicates that his destroying the universe would doom a tremendous amount of people whose goodness and worth are comparable to Shion’s, and since he can’t bear to let Shion be destroyed by his plans, he shouldn’t be able to go through with a plan that would destroy them as well.
But Kevin attempts to go through with his plans, so we can only conclude that he is a stupid tool who gives no real thought to his actions even though they affect countless people’s lives. What an ass.
Reason Number 2: Kevin didn’t want to let Febronia save Virgil’s life. He argues against it and is rather annoyed when Febronia does it anyway. Now I’ll grant you, there’s reason to at least hesitate before saving the life of an enemy soldier, and Kevin brings up some piddly little reasons why Febronia’s actions will be mildly risky for her in regards to how the higher-ups on their side will see this. Still, it’s a bit cold and mean-spirited to have a good Samaritan bring in a dying person, and to just shake your head as you watch the man bleed out and say “No, sorry, against company policy.” Febronia comes up with a perfectly plausible way for her to save Virgil without putting herself or others at any particularly great risk, and Kevin is still against it, only begrudgingly letting her do what she wants while wiping his hands clean of the matter. Since she has effectively assuaged all of Kevin’s legitimate concerns, he really shouldn’t have any problem with her making the choice to save a human being’s life, unless Kevin just plain dislikes the idea of not letting people die in agony. But he nonetheless does still have a problem with it, and so, he is a douche.
Reason Number 3: Kevin is a dick to little girls. We see the first time he meets Shion, which is when she’s 8 years old (according to Xenosaga's wikipedia), and he's 14 (the game later sort of implies that he loved her from the moment he saw her, incidentally, which is kind of creepy, made worse by the fact that he sure as hell looks and acts a lot older than 14, not to mention very contradictory to this scene, as we’re about to see). Little Shion is trying to grow some flowers outside the “hospital” (actually a research facility) in which her mother is a patient. Her reasoning is that when her mother wakes up, Shion wants her to be able to see pretty flowers from her room’s window, and her dad would be happy to see them, too. Very cute and sweet, just the sort of childlike kindness you’d expect from a loving daughter.
Kevin’s reaction is different. Kevin decides that the appropriate response to witnessing this is to start a philosophical argument with Shion about why the world and everyone in it is horrible, and so doing nice things for other people is pointless.
Seriously. Every time I watch this scene, I can’t believe what I’m seeing. This guy, age 14, is picking a fight with an 8-year-old. The dude is seriously engaging in a philosophical debate with the intention of relentlessly attacking a preteen’s innocent perspective. I just...I can’t...what do I say here, guys? How does one possibly convey in mere words how unbelievably pathetic it is for a teenager to actually make a serious intellectual assault on the sensibilities and moral perspective of a small child? This is a level of dickery beyond the usual mortal realm; this is the douchebaggery of the gods.
And that’s just the basics of what he’s doing. Let’s examine the details. Not only is he picking a fight with a kid, but he’s doing so with the intention of convincing her that the world and its people are defined only by conflict and struggle, about how pointless this is because life is only about encountering and destroying others in order to survive and have your way and blah blah blah Look At Me I Read Thomas Hobbes Aren’t I Special, which, he says, makes acts of kindness meaningless. He’d be an asshole just trying to convince a fellow adult of that, but for the love of Palutena, he’s trying to tear apart a little girl’s innocence! What kind of asswipe is such a miserable piece of shit that he has to spread his lousy perspective to children? As a bonus, he also tries to convince her that the her father won’t care for the flowers, which really has to just be dickery for the sake of dickery, since there’s no reason that Kevin, as Shion’s dad’s assistant, would know more about what the guy personally enjoys than the guy’s own daughter. And let’s not forget what she did to provoke this attack--she was trying to make flowers grow. So she could make her sick mom happy! It’s not like Kevin doesn’t know this intention, either; she tells him quite plainly what her intentions are. It ain’t like she’s shoving her innocent, kind ideas in his face or anything. She’s just minding her own business, and he starts this shit. Unbefuckinglievable.
Oh and hey, here’s some fun food for thought. Kevin’s perspective of how terrible the universe and its people are stems from the loss of his mother. Little Shion’s doing all this as a nice gesture for her sick mother. Nice empathy there, jackass.
Thankfully, Little Shion manages to withstand the slings and arrows of Kevin’s douchebaggery in this scene, but that’s not the only moment where Kevin is a dick to her. A little later on, the flowers Little Shion’s been growing get trampled by the hustling of soldiers as they prepare for the area to become a war zone, since their enemy, the Galactic Federation, has just begun to make its all-out attack on the city. Kevin happens by, and finds the poor kid weeping profusely as she kneels over them, heartbroken that all the work she put into making something nice for her parents has been so carelessly destroyed. It’s the kind of simple, sad loss for a child that gets to ya. Makes me feel like shedding a tear for the kid myself. What’s Kevin do? Why, he stops to gloat, of course. He reminds her that he told her not to bother, and reiterates that this won’t make anyone happy, before telling her not to bother wasting her time trying to grow any more.
CONGRATULATIONS, ASSHOLE, YOU WON THE ARGUMENT AND HURT THE FEELINGS OF A CHILD. Thank God you had nothing better to do, like maybe help prepare for the imminent attack, so that you could take the time to rub the failure a heartbroken child in her tear-streaked face. BIG MAN.
Oh, yeah, and here’s the kicker about this scene: Little Shion’s resilient enough that she refuses to give up, so she announces she’s going to go to Febronia and get more flower seeds. Kevin allows her to run off.
Oh, what’s that? You aren’t sure how that’s a moment of dickery? Well let me rephrase that. Kevin allows her, a young child, to run off alone in a war zone as a major military battle is beginning.
What a fucking tool.*
Reason Number 4: The shit he puts Shion through. You know, for someone who claims to love Shion more than anything else and never want to hurt her, Kevin sure doesn’t have much of a problem of putting Shion through absolute fucking hell. On the night that Shion’s mother and father were murdered before her eyes, Little Shion experienced such unimaginable mental pain that the magnitude of her suffering actually tore the fabric of time and space a new asshole and summoned the Gnosis. She was just a child at the time, and blocked out much of the details later, so she didn’t realize the magnitude of what she’d inadvertently done.
Kevin’s plans for rebuilding the universe for just him and Shion, plans which he’s convinced himself are in essence “saving” Shion, involve having Shion relive this night. Not just remember it, but relive it. That’s why Shion’s sent back in time (sort of but not really), so that she can be on the scene as an adult to see her recently murdered mother and father, and to watch her younger self be so overcome with pain that her screams of anguish call forth lost souls to ravage the galaxy. That is an actual, significant part of Kevin’s plans--to force the woman he supposedly loves to relive the worst night of her life, to once more feel and understand what the game tells us was the most powerful suffering of any human being in the universe, with the added bonus of her being mentally aware enough this time to understand that she’s responsible for calling forth the Gnosis. I find myself once again staggered by how unable I am to find the words for this level of douchebaggery.
Oh, and it’s against this backdrop that he decides to reveal himself, step back into her life after pretending to be dead for, what, 7 years? AND he drops the bombshell of her connection to KOS-MOS draining her life (a claim that’s never verified, and kind of just dropped fairly shortly afterwards). So let’s just review here: Causes Shion to relive the greatest pain in her life, the greatest pain in all the universe. Blows her mind in the process because she now knows that it’s her fault the Gnosis are destroying the universe. Further wreaks havoc on her mental state by revealing that he’s still alive, AND working for the same team as her enemies. And reveals that her connection to KOS-MOS, the strongest and most trusted personal relationship Shion has by this point, is killing her. It’s after all of this happens that he says he wants her to join him. That’s what all this was leading up to. His plan to get Shion on his side is to cause her to spiral into a complete and total, incredibly painful mental breakdown, reduce her to an emotional shambles so she won’t have enough shards of coherent thought left over to resist him.
Best boyfriend ever. I cannot believe I’m saying this, I really can’t, but I think Kevin Winnicot actually surpasses Edward Cullen in the Emotionally-Unhealthy Romance department.
Reason Number 5: Allen has a point. At one point, Allen berates Kevin, saying that rather than having a strong will, as Kevin clearly thinks he possesses, Kevin and the rest of the Testaments actually lack resolve. He points out that they all accepted and used the great power given to them by Wilhelm only to run away from the reality of death. For all of Kevin’s lofty plans and arrogant talk, he’s still just a coward terrified by the shadow of the Reaper. It’s a pretty accurate assessment. And as he’s presiding over the pain and deaths of many others because he can’t accept the simple facts of life, causing others to suffer the same thing that he himself is trying to escape, so do I declare him (and the other Testaments) a tool once more over, on grounds of malicious and cowardly hypocrisy.
Reason Number 6: The shit he puts Shion through, part 2. I’m still a little hazy on whether dying at the hands of the KOS-MOS prototype was or was not part of Kevin’s plan, since dying is a prerequisite to becoming a Testament and gaining the power that comes with that position but otherwise it didn’t seem like something he’d intended. Nonetheless, intentional or not, he wound up being resurrected by Wilhelm to continue with his plans resurrect to Mary Magdalene and gather Anima and activate Zarathustra and all that jazz, and he never once told Shion that he was back from the dead. For...what is it, 7 years between his death and the opening of Xenosaga 1? Can’t remember. We’ll say it was 7 years. For 7 years, Kevin’s death has haunted Shion, the death of the man she loved, the end of the only time in her life that she can remember being happy. Kevin couldn’t just once in all that time have popped in and let her know that he wasn’t actually dead? Couldn’t once have alleviated at least that one scar of the past that she’s carried in silence?
Of course not. Because if he’d done that, he couldn’t have as effectively broken her mind later by showing up, and that would’ve made it harder to save her, since you can’t save anyone without first severely damaging them emotionally! Ass.
Reason Number 7: He beats up Allen. Now yeah, Allen’s standing up to him and calling Kevin out on being a bad influence on Shion and saying that Shion shouldn’t go with him, but here’s the fact of the matter--Allen couldn’t have done a thing to stop Kevin from walking off with Shion. He’s incapable of harming Kevin or physically stopping him, so any violence on Kevin’s part is strictly gratuitous.
Uh, yeah, awesome, Kev, way to show how much of a man you are. Beat the guy who isn’t actually a threat to you at all (Allen even SAYS that he’s powerless right before the beatdown commences) into the ground. You’re, like, so totally tough and manly, using your superpowers to pummel the completely helpless. What’s your encore? You gonna go to a local nursing home and smack around some bedridden retirees? Maybe get into a fist-fight with a week-old kitten? Match wits with an 8-year-old? Oh, no, wait, you already did that one. You’re a real champ, Kevin.
Oh, and hey, that’s not all there is to his mercilessly pounding the weak and defenseless Allen. As Kevin is finishing up with his completely needless beatdown, he begins to taunt Allen about it! Just knocking someone who can’t fight back senseless isn’t enough for Kevin Winnicot, apparently. No, he’s got to gloat about it, too, because apparently he’s no more mentally mature than some random middle school hoodlum. And he’s doing it like it was some sort of significant victory for himself! News flash, Kevin: you won that fight because you had a superior, superhuman power that you acquired as a gift from Wilhelm! You didn’t earn any of that strength yourself! Jeez! It’s like if someone handed you a baseball bat, girded you in a full set of plate mail, and injected you with Captain America super serum for good measure, and then told you to beat the crap out of Moss from The IT Crowd. If you taunt your victim in a fight that one-sided, that makes you a titanic tool! Which is precisely what Kevin is. Sheesh, what a prick.
Reason Number 8: Yet more of the shit he puts Shion through. Rather than accept Shion’s final choice to leave him, he decides to kill her friends, because they’re “confusing” her. First of all, way to respect the wishes of the woman you supposedly love, asshole. God knows she couldn’t possibly make a decision for herself, right? Secondly, yeah, THAT’S sure as hell gonna make the situation better, you idiot. I mean, murdering people Shion cares about right before her eyes in order to make her want to be with you? How could that possibly backfire? And lastly, you just have to love the hypocrisy of it all. Kevin won’t accept her decision because THEY’RE confusing her? I’m sorry, Kevin, buddy, but refresh my memory--when was it, exactly, that you first made your bid for Shion abandoning her friends and coming over to your side? Wasn’t it right after you’d done everything in your power to give her a mental breakdown? I’m pretty sure that as far as “confusion” goes, it doesn’t get much stronger than reliving the horrific and savage deaths of your parents as you learn that you called forth the destruction of the world and also just found out that your most trusted personal connection is killing you and your dead boyfriend isn’t dead and now has evil superpowers. You didn’t seem to object to her making decisions in confusion THEN, when it would work in your favor! Hypocritical prick.
Speaking of hypocrisy, the whole Kevin Is A Dick package ties up neatly for me with this one line, spoken by Mr. Winnicot to Shion: “I don’t want to hurt you either.”
What do you think you’ve been doing this whole time you moron.
As I said before, I’m not sure what Namco’s intention was with Kevin. Did they intentionally make him this much of a tool, wanting the player to hate his lousy stinking guts with a passion? Maybe. If so, great job. But my gut says that they wanted Kevin to be a sympathetic villain, yet another misguided soul whom we would empathize with on some level rather than despise. They tried too hard to emphasize his supposed love for and devotion to Shion, they portrayed his past moments with her too positively, and they had him too honorably betray Wilhelm and die for her for it to be anything but Namco attempting to make Kevin out to be a misguided but ultimately sympathetic antagonist. And if that’s the case, then they failed, big time. Because his tiny moments of decency are utterly swallowed up in the huge tidal waves of douchebaggery that I mentioned above. Kevin Winnicot is a tool, plain and simple.
* Now, technically speaking, we only see all this stuff with Little Shion as part of the story arc where Shion and company are sent to the past (but secretly aren’t), so technically we’re seeing Past Events as they’d have happened if Present Shion were meddling with them. Still, since this representation of the past is otherwise supposed to be 100% accurate, and since Present Shion’s meddling didn’t seem to cause any significant differences with regards to the interactions of Kevin and Little Shion, AND since we see from Kevin’s recollections later in the game that he does remember meeting Little Shion under those same circumstances, we can very safely assume that all the events as we witness them of Kevin’s interactions with Little Shion are in all significant ways accurate to how it actually happened. So yes, he WAS a dick back then by all logical accounts.
Tuesday, October 8, 2013
Shin Megami Tensei: Devil Survivor 2's Yamato's Folly
Shin Megami Tensei Year continues, but before we get to the rant proper, Imma just plug this Kickstarter project right here: Cosmic Star Heroine. All told, it looks like it'll be a rather creative and fun RPG, so take a look and consider backing it.
And now, back to your regularly scheduled rant.
Honestly, there’s a lot about Shin Megami Tensei: Devil Survivor 2 that doesn’t impress me. I mean, it’s an alright RPG, but come on! “Alright” may be acceptable for a game in some other series, like Final Fantasy, “alright” may even be a tremendous achievement for a few series, like Dragon Quest, but “alright” is just not worthy of the prestigious name of Shin Megami Tensei! What’s the deal, Atlus?
But anyway, there still aren’t that many things about the game that merit outright criticism. Nonetheless, there ARE some, and I AM running an overly critical RPG blog here, so...let’s talk Yamato!
I gotta say off the bat that I don’t much like Yamato. He wants to reshape the present world into a meritocracy, an unequal world where the strong rule absolutely over the weak. Although it’s not precisely like the brutal might-makes-right world that Chiaki wishes to create in SMT3--Yamato’s intention is to maintain a clear and strong society, and the “strong” refers more to individuals who are more skilled, who perform more essential functions than others. A brilliant scientist would, I believe, be a very powerful person in Yamato’s merit-based society, regardless of their physical strength. Though I find this vision of a new world order to be leagues better than Chiaki’s nasty, brutish, and short ideal, it’s still one that I’m philosophically opposed to, and since Yamato stakes so much of his own character depth upon this idea, I can’t help but dislike him as much as I do his meritocracy.
Nonetheless, I’m fairly convinced that his vision’s got some flaws in it beyond what my bias can concoct on its own. The game offers a half-hearted argument against Yamato’s meritocracy on grounds of human equality and how we should all get along and so on, but beyond theoretical social arguments, Yamato’s vision is seriously flawed, for a couple reasons.
The first reason comes from a scene you can witness during the game’s course that’s meant to develop Yamato’s character. It’s actually rather reminiscent of some of the character development of Mitsuru from SMT Persona 3. Yamato and the Protagonist, whose semi-canon name is, I think, Hibiki, happen across some takoyaki, which he views as beneath him, since it is commoner food (good thing he explained, because I sure as hell wouldn’t have known myself). He does try it, however, and immediately finds that it is delicious.
Sadly, that’s more or less all the scene amounts to in the game, save some possible mention later on of his new fondness for takoyaki. I think it was only intended for the humor value. But take a look at this scene more deeply: we have an instance here where Yamato has a predetermined notion that something having to do with the common people, those who he considers beneath him, is bad. But when he actually gives it a chance--the very instant he does!--he finds that his belief was completely wrong, and that there is pleasing merit in this food, this product of the commoners, this representation of the weak! Although surely in a small way, this scene is a very effective metaphor for his views upon the supposedly lower people of the world and as a metaphor shows just how fragile and inaccurate his view, a view based on little to no actual, personal experience, can be! Honestly, it’s fucking tragic that this scene is never built off of later in this direction, because it would have turned this occasion into a strong and worthwhile argument and point of character development. As it is, its lack of impact on the plot and cast simply makes it a lesser shadow of a previous game’s better character and better scene. But the point is still completely reasonable to be inferred--Yamato’s views are flawed by inexperience and his own admission that the weak can provide a product, a service, that he desires.
Far more compelling, however, is my second argument for how the game itself shows the folly of Yamato’s beliefs--that argument being Protagonist Hibiki himself. It is well-established in SMTDS2 that Yamato has spent his life as head of his organization seeking out the best and brightest individuals possible as recruits, those whose skills, abilities, and intellects will be able to serve him best. And it is likewise well-established, by Yamato’s own words, that Hibiki is better and more useful than most, perhaps even all, of the agents that Yamato so carefully selected. Hibiki, who is only a volunteer, not an actual organization member. Hibiki, who Yamato never knew of until this crisis. Hibiki, who comes from the lower rabble that Yamato’s philosophy dismisses.
Question for ya there, Yamato. If you’ve crafted your organization to be as perfect a representation of your philosophy as possible, and the random bystander Hibiki has turned out to have hidden talents that make him better than any individual in your organization (and by a significant margin), doesn’t that sort of, y’know, completely invalidate your idea that the regular, unexceptional people you so casually dismiss can have no worth? You can’t even say Hibiki’s that much of an exception to the rule, because most of his party members are also civilian volunteers, and are more effective than the majority of Yamato’s elites.
Now, there is a seemingly strong argument against this point. You could say that Hibiki actually proves Yamato’s point, because Hibiki only became exceptional once the game’s events are in motion--essentially, he only excels when adversity comes to him, when it becomes a matter of survival, and that could reasonably be inferred to be the sort of circumstances that Yamato’s world order of meritocracy would naturally create.
There’s some good sense to this argument, but one must keep in mind that the dire circumstances of SMT Devil Survivor 2’s events are very different from the ones of Yamato’s meritocracy. Yamato’s meritocracy is shaped from from his view of an ideal world, and as such, the details of how the environment will pressure people to do well or be dominated will be based on his conceptions. Hibiki represents a potential of common people that Yamato has already previously failed to discover through Yamato’s methods of determining merit, so there’s no reason to think that a world based off of the beliefs and mental processes that created those faulty methods would be any less flawed in its assessment of people. If his judgment of merit failed before, and nothing significantly alters that judgment, it will fail again.
Yamato’s philosophy is flawed, flawed not by the game’s intended counter-position of a possible society of equality and share and share alike, but flawed rather by a demonstrable lack of experience and by strong representational evidence. And don’t get me wrong, I’m not unhappy to have his philosophy’s arguments weakened, being that I disagree strongly with it. But what I am unhappy about is that the game doesn’t seem to realize that it’s given itself a good setup to better explore the personal failings of Yamato’s vision of meritocracy, never acknowledges or capitalizes on these pieces of evidence and the arguments inherent within them that I’ve outlined here, but instead offers nothing but theories against the meritocracy that are just as hypothetical and insubstantial as the ones against the other side. Shin Megami Tensei usually humbles me with its subtle nuances of storytelling...it’s a very strange feeling to think that I might actually have noticed a significant avenue of their theme and plot that was apparently, to use the words of another SMT game’s character, outside the bounds of their own conjecture.
And now, back to your regularly scheduled rant.
Honestly, there’s a lot about Shin Megami Tensei: Devil Survivor 2 that doesn’t impress me. I mean, it’s an alright RPG, but come on! “Alright” may be acceptable for a game in some other series, like Final Fantasy, “alright” may even be a tremendous achievement for a few series, like Dragon Quest, but “alright” is just not worthy of the prestigious name of Shin Megami Tensei! What’s the deal, Atlus?
But anyway, there still aren’t that many things about the game that merit outright criticism. Nonetheless, there ARE some, and I AM running an overly critical RPG blog here, so...let’s talk Yamato!
I gotta say off the bat that I don’t much like Yamato. He wants to reshape the present world into a meritocracy, an unequal world where the strong rule absolutely over the weak. Although it’s not precisely like the brutal might-makes-right world that Chiaki wishes to create in SMT3--Yamato’s intention is to maintain a clear and strong society, and the “strong” refers more to individuals who are more skilled, who perform more essential functions than others. A brilliant scientist would, I believe, be a very powerful person in Yamato’s merit-based society, regardless of their physical strength. Though I find this vision of a new world order to be leagues better than Chiaki’s nasty, brutish, and short ideal, it’s still one that I’m philosophically opposed to, and since Yamato stakes so much of his own character depth upon this idea, I can’t help but dislike him as much as I do his meritocracy.
Nonetheless, I’m fairly convinced that his vision’s got some flaws in it beyond what my bias can concoct on its own. The game offers a half-hearted argument against Yamato’s meritocracy on grounds of human equality and how we should all get along and so on, but beyond theoretical social arguments, Yamato’s vision is seriously flawed, for a couple reasons.
The first reason comes from a scene you can witness during the game’s course that’s meant to develop Yamato’s character. It’s actually rather reminiscent of some of the character development of Mitsuru from SMT Persona 3. Yamato and the Protagonist, whose semi-canon name is, I think, Hibiki, happen across some takoyaki, which he views as beneath him, since it is commoner food (good thing he explained, because I sure as hell wouldn’t have known myself). He does try it, however, and immediately finds that it is delicious.
Sadly, that’s more or less all the scene amounts to in the game, save some possible mention later on of his new fondness for takoyaki. I think it was only intended for the humor value. But take a look at this scene more deeply: we have an instance here where Yamato has a predetermined notion that something having to do with the common people, those who he considers beneath him, is bad. But when he actually gives it a chance--the very instant he does!--he finds that his belief was completely wrong, and that there is pleasing merit in this food, this product of the commoners, this representation of the weak! Although surely in a small way, this scene is a very effective metaphor for his views upon the supposedly lower people of the world and as a metaphor shows just how fragile and inaccurate his view, a view based on little to no actual, personal experience, can be! Honestly, it’s fucking tragic that this scene is never built off of later in this direction, because it would have turned this occasion into a strong and worthwhile argument and point of character development. As it is, its lack of impact on the plot and cast simply makes it a lesser shadow of a previous game’s better character and better scene. But the point is still completely reasonable to be inferred--Yamato’s views are flawed by inexperience and his own admission that the weak can provide a product, a service, that he desires.
Far more compelling, however, is my second argument for how the game itself shows the folly of Yamato’s beliefs--that argument being Protagonist Hibiki himself. It is well-established in SMTDS2 that Yamato has spent his life as head of his organization seeking out the best and brightest individuals possible as recruits, those whose skills, abilities, and intellects will be able to serve him best. And it is likewise well-established, by Yamato’s own words, that Hibiki is better and more useful than most, perhaps even all, of the agents that Yamato so carefully selected. Hibiki, who is only a volunteer, not an actual organization member. Hibiki, who Yamato never knew of until this crisis. Hibiki, who comes from the lower rabble that Yamato’s philosophy dismisses.
Question for ya there, Yamato. If you’ve crafted your organization to be as perfect a representation of your philosophy as possible, and the random bystander Hibiki has turned out to have hidden talents that make him better than any individual in your organization (and by a significant margin), doesn’t that sort of, y’know, completely invalidate your idea that the regular, unexceptional people you so casually dismiss can have no worth? You can’t even say Hibiki’s that much of an exception to the rule, because most of his party members are also civilian volunteers, and are more effective than the majority of Yamato’s elites.
Now, there is a seemingly strong argument against this point. You could say that Hibiki actually proves Yamato’s point, because Hibiki only became exceptional once the game’s events are in motion--essentially, he only excels when adversity comes to him, when it becomes a matter of survival, and that could reasonably be inferred to be the sort of circumstances that Yamato’s world order of meritocracy would naturally create.
There’s some good sense to this argument, but one must keep in mind that the dire circumstances of SMT Devil Survivor 2’s events are very different from the ones of Yamato’s meritocracy. Yamato’s meritocracy is shaped from from his view of an ideal world, and as such, the details of how the environment will pressure people to do well or be dominated will be based on his conceptions. Hibiki represents a potential of common people that Yamato has already previously failed to discover through Yamato’s methods of determining merit, so there’s no reason to think that a world based off of the beliefs and mental processes that created those faulty methods would be any less flawed in its assessment of people. If his judgment of merit failed before, and nothing significantly alters that judgment, it will fail again.
Yamato’s philosophy is flawed, flawed not by the game’s intended counter-position of a possible society of equality and share and share alike, but flawed rather by a demonstrable lack of experience and by strong representational evidence. And don’t get me wrong, I’m not unhappy to have his philosophy’s arguments weakened, being that I disagree strongly with it. But what I am unhappy about is that the game doesn’t seem to realize that it’s given itself a good setup to better explore the personal failings of Yamato’s vision of meritocracy, never acknowledges or capitalizes on these pieces of evidence and the arguments inherent within them that I’ve outlined here, but instead offers nothing but theories against the meritocracy that are just as hypothetical and insubstantial as the ones against the other side. Shin Megami Tensei usually humbles me with its subtle nuances of storytelling...it’s a very strange feeling to think that I might actually have noticed a significant avenue of their theme and plot that was apparently, to use the words of another SMT game’s character, outside the bounds of their own conjecture.
Saturday, September 28, 2013
Icewind Dale 2's Superiority to Icewind Dale 1
Well, I've had the new color and placement theme for this blog up for 10 days now, and no complaints so far, so I'm gonna assume that it's good to stay.
I know it was a big hit with PC RPG gamers back in the day...but in all honesty, I didn’t really think much of Icewind Dale 1. In fact...well...I think it was actually kind of a bad RPG. Not very bad, but a little bad.
ID1 has a cookie-cutter western fantasy plot, the villains are undeveloped and uninteresting, and since the entire main cast are silent protagonists with no distinguishing traits whatever, there is seriously just nothing whatsoever in the game to catch and hold your interest besides exceptionally generic tabletop-to-video-game RPG gameplay, some kind of nice backgrounds, and a couple of nice background tunes.
If I had to take a guess as to how this came to pass, it’d be that the game’s developers were trying to bring the Dungeons and Dragons experience from your basement or the back room of the local comics shop as faithfully as possible. And in a sense, they succeeded.* With ID1, you’ve got the basics of a long-term campaign plot in a classic Dungeons and Dragons land, starring an adventuring group who kinda just rolled into town out of nowhere. They're a group of characters whose every trait is determined by the player at the character’s creation, and who are given no personality whatsoever by the game itself so as to have no impediment to the player’s ability to imagine the characters however the player wishes. That’s a pretty basic start to a D + D campaign, right there.
The problem is that there are certain elements of a tabletop game that you can’t imitate in a game like Icewind Dale 1--those featuring human interaction. The reason that a basic and unimaginative plot maintains one’s interest over a lengthy set of D + D sessions, the reason that empty characters who have no personality thrust upon them by the story’s narrative don’t get boring, is that D + D has human interaction helping it along. It’s the social aspect that gives the game most of the fun, ultimately. The way you and your friends work together to solve the conflicts thrown at you by the Dungeon Master makes those conflicts more interesting, the way that every step of your journey is narrated by your DM and your group forces you to employ your imagination to see it all (and it’s hard to be bored by one’s own imagination; your mind instinctively tries to interest itself, provided it’s given some leeway to do so), the way your characters are given personal shape both by their players and by their companions’ players’ actions...it all adds up to a good time, if you’ve got fun, imaginative people to play with.
But you see, that’s it right there--empty characters and basic plots work for a tabletop game because the social and imagination factors enhance them, fill them in (in fact, it wouldn’t work with more concrete plots and characters), but when you take those same factors and transfer them into a video game RPG, a more or less solo activity where the world and story are concretely displayed and told, and imagination’s ability to make positive adjustments is very limited, all you have is a bland game with empty characters. To make a Dungeons and Dragons video game right, one must go further, take steps in the storytelling process that wouldn’t normally be necessary. That’s why RPGs like Baldur’s Gate 1 and 2 are good--they take the normal D + D foundations, and build off of them with well-defined (and well-written) support characters, and a more detailed plot. Icewind Dale 1 does not.
Now, Icewind Dale 2 is interesting, because even though ID1 was, so far as I’m aware, a commercial success and lauded by many players, ID2’s writers seem to have gone out of their way to try to improve several of the shortcomings of the first game.
For starters, there’s the plot. Now, I wouldn’t call Icewind Dale 2’s plot amazing or anything, but there’s definitely a stronger effort to have the plot maintain its hold over all the game’s events than there was in ID1. The events the lead into one another seem more clearly defined, and the reasons and goals of each step of the campaign feel more present--there’s considerably fewer times in ID2 where it feels like you’re kind of just vaguely wandering around, hoping to stumble over the next part of the story by accident. The plot is also better in general--it has better twists, exploration, and narration, and there’s some human depth to it this time around, aspects of it that warrant appreciation and even consideration. At its heart is the question of the treatment of half breeds in the Dungeons and Dragons setting, and even if it doesn’t exactly explore that question in depth, it at least gives us a glimpse at this deeper cause. And in doing so, we get a game that more solidly ties itself to the D + D lore and culture than ID1 did. ID1 basically was just its own bare-bones story taking place in a Dungeons and Dragons setting; ID2 takes the interesting issue of prejudice against half breeds, which is, from what little I’ve seen of the Dungeons and Dragons lore, an intrinsic element of the D + D universe. ID2 even references one of the most major overlying plot points of the setting through this theme, the Blood War. So ID2 not only has a better, fuller plot, but it endeavors to tie that plot more significantly to the series in which it takes place, and doing so makes this game all the better, makes it seem a relevant, important piece of the overall D + D picture.
The cast of ID2 is also much improved. Granted, the major flaw of the first Icewind Dale cast has not been improved upon--we’re still being saddled with not 1, but a full party of 6 voiceless, personality-less characters. Sigh. As I said earlier, I understand the reasoning behind it, but I still think that reasoning just makes for a less interesting game. Even your standard Silent Protagonist in a JRPG gives more color to his game than all 6 of these “characters” do.
Still, the rest of the casting in ID2 is very much better than its predecessor. The game’s plot-important NPCs have more personality, and actually seem to have some decent relevance to the game’s events. This time around, the narrator seems like someone actually telling a story, not just blandly reporting facts as seemed the case with ID1’s narrator, and she and her uncle are fun and engaging characters in their own right. And best of all, Icewind Dale 2 actually has a couple of decent villains. While I think that Isair and Madae had much more potential as villains than the game tried to realize, they nonetheless have some depth and background to them, with understandable motivations and emotions, and goals whose motives were good. In fact, if their actions had only been a bit less extreme, I’d actually say their villainy was justified. As with any good villain, having Isair and Madae as the game’s antagonists elevates ID2’s quality as an RPG quite a bit.
In the end, Icewind Dale 2 still isn’t much more than just an okay RPG. Its plot is fine, but not amazing, its cast is decent where it can be, but severely lacking in its most important aspects (the actual party members), and the theme of half-breed prejudice is interesting and worth exploration, but isn’t actually delved into all that much after all is said and done. Still, ID2’s a huge leap forward from the bland time-waster that was Icewind Dale 1, even though ID1’s sales meant that it really didn’t have to be, and I credit it for that.
* I only ever played a couple of sessions of Dungeons and Dragons in my youth, so I do have to admit that my familiarity with and perceptions of its universe and the general playing of the game are not too experienced. So just bear that in mind if I go in the wrong direction here.
I know it was a big hit with PC RPG gamers back in the day...but in all honesty, I didn’t really think much of Icewind Dale 1. In fact...well...I think it was actually kind of a bad RPG. Not very bad, but a little bad.
ID1 has a cookie-cutter western fantasy plot, the villains are undeveloped and uninteresting, and since the entire main cast are silent protagonists with no distinguishing traits whatever, there is seriously just nothing whatsoever in the game to catch and hold your interest besides exceptionally generic tabletop-to-video-game RPG gameplay, some kind of nice backgrounds, and a couple of nice background tunes.
If I had to take a guess as to how this came to pass, it’d be that the game’s developers were trying to bring the Dungeons and Dragons experience from your basement or the back room of the local comics shop as faithfully as possible. And in a sense, they succeeded.* With ID1, you’ve got the basics of a long-term campaign plot in a classic Dungeons and Dragons land, starring an adventuring group who kinda just rolled into town out of nowhere. They're a group of characters whose every trait is determined by the player at the character’s creation, and who are given no personality whatsoever by the game itself so as to have no impediment to the player’s ability to imagine the characters however the player wishes. That’s a pretty basic start to a D + D campaign, right there.
The problem is that there are certain elements of a tabletop game that you can’t imitate in a game like Icewind Dale 1--those featuring human interaction. The reason that a basic and unimaginative plot maintains one’s interest over a lengthy set of D + D sessions, the reason that empty characters who have no personality thrust upon them by the story’s narrative don’t get boring, is that D + D has human interaction helping it along. It’s the social aspect that gives the game most of the fun, ultimately. The way you and your friends work together to solve the conflicts thrown at you by the Dungeon Master makes those conflicts more interesting, the way that every step of your journey is narrated by your DM and your group forces you to employ your imagination to see it all (and it’s hard to be bored by one’s own imagination; your mind instinctively tries to interest itself, provided it’s given some leeway to do so), the way your characters are given personal shape both by their players and by their companions’ players’ actions...it all adds up to a good time, if you’ve got fun, imaginative people to play with.
But you see, that’s it right there--empty characters and basic plots work for a tabletop game because the social and imagination factors enhance them, fill them in (in fact, it wouldn’t work with more concrete plots and characters), but when you take those same factors and transfer them into a video game RPG, a more or less solo activity where the world and story are concretely displayed and told, and imagination’s ability to make positive adjustments is very limited, all you have is a bland game with empty characters. To make a Dungeons and Dragons video game right, one must go further, take steps in the storytelling process that wouldn’t normally be necessary. That’s why RPGs like Baldur’s Gate 1 and 2 are good--they take the normal D + D foundations, and build off of them with well-defined (and well-written) support characters, and a more detailed plot. Icewind Dale 1 does not.
Now, Icewind Dale 2 is interesting, because even though ID1 was, so far as I’m aware, a commercial success and lauded by many players, ID2’s writers seem to have gone out of their way to try to improve several of the shortcomings of the first game.
For starters, there’s the plot. Now, I wouldn’t call Icewind Dale 2’s plot amazing or anything, but there’s definitely a stronger effort to have the plot maintain its hold over all the game’s events than there was in ID1. The events the lead into one another seem more clearly defined, and the reasons and goals of each step of the campaign feel more present--there’s considerably fewer times in ID2 where it feels like you’re kind of just vaguely wandering around, hoping to stumble over the next part of the story by accident. The plot is also better in general--it has better twists, exploration, and narration, and there’s some human depth to it this time around, aspects of it that warrant appreciation and even consideration. At its heart is the question of the treatment of half breeds in the Dungeons and Dragons setting, and even if it doesn’t exactly explore that question in depth, it at least gives us a glimpse at this deeper cause. And in doing so, we get a game that more solidly ties itself to the D + D lore and culture than ID1 did. ID1 basically was just its own bare-bones story taking place in a Dungeons and Dragons setting; ID2 takes the interesting issue of prejudice against half breeds, which is, from what little I’ve seen of the Dungeons and Dragons lore, an intrinsic element of the D + D universe. ID2 even references one of the most major overlying plot points of the setting through this theme, the Blood War. So ID2 not only has a better, fuller plot, but it endeavors to tie that plot more significantly to the series in which it takes place, and doing so makes this game all the better, makes it seem a relevant, important piece of the overall D + D picture.
The cast of ID2 is also much improved. Granted, the major flaw of the first Icewind Dale cast has not been improved upon--we’re still being saddled with not 1, but a full party of 6 voiceless, personality-less characters. Sigh. As I said earlier, I understand the reasoning behind it, but I still think that reasoning just makes for a less interesting game. Even your standard Silent Protagonist in a JRPG gives more color to his game than all 6 of these “characters” do.
Still, the rest of the casting in ID2 is very much better than its predecessor. The game’s plot-important NPCs have more personality, and actually seem to have some decent relevance to the game’s events. This time around, the narrator seems like someone actually telling a story, not just blandly reporting facts as seemed the case with ID1’s narrator, and she and her uncle are fun and engaging characters in their own right. And best of all, Icewind Dale 2 actually has a couple of decent villains. While I think that Isair and Madae had much more potential as villains than the game tried to realize, they nonetheless have some depth and background to them, with understandable motivations and emotions, and goals whose motives were good. In fact, if their actions had only been a bit less extreme, I’d actually say their villainy was justified. As with any good villain, having Isair and Madae as the game’s antagonists elevates ID2’s quality as an RPG quite a bit.
In the end, Icewind Dale 2 still isn’t much more than just an okay RPG. Its plot is fine, but not amazing, its cast is decent where it can be, but severely lacking in its most important aspects (the actual party members), and the theme of half-breed prejudice is interesting and worth exploration, but isn’t actually delved into all that much after all is said and done. Still, ID2’s a huge leap forward from the bland time-waster that was Icewind Dale 1, even though ID1’s sales meant that it really didn’t have to be, and I credit it for that.
* I only ever played a couple of sessions of Dungeons and Dragons in my youth, so I do have to admit that my familiarity with and perceptions of its universe and the general playing of the game are not too experienced. So just bear that in mind if I go in the wrong direction here.
Wednesday, September 18, 2013
General RPGs' AMVs 10
I finally got around to making a personalized scheme for this blog, instead of just using the default template and colors (which WAS nicely functional, I must say). What do you guys think? I know it's not exactly a work of art, but I'm hoping it's reasonably pleasant to read on? Anyway, on with the rant.
Wow, 10 of these rants. That’s some kind of milestone, right? I guess? Well, whether it is or not, I’m sure as hell not gonna do anything special anyway. Business as usual, people, either ignore this and wait for the next, more interesting rant (as I suspect most of what few readers I have do each time I make one of these), or watch these videos and give them a Like and a Comment if they please you.
FINAL FANTASY
Final Fantasy 8: Full Moon, by Elessar1985: https://www.youtube.com/watch?v=d5BgLyCLqts
The music used is FullMoon, by Sonata Arctica. While there are parts where this AMV kinda drags itself along (it’s a fairly long song), overall this is a pretty textbook case of a good AMV. The scenes match well to the lyrics, the song’s tone, or both, they’re cut together to follow the song’s direction smoothly, overall everything comes together in one neat, enjoyable package.
Final Fantasy 10: Yuna, by Zaon08: http://www.youtube.com/watch?v=Z5TBKC_4eKU
The music used is Primavera, by Ludovico Einaudi. Simple, quiet, deep, and lovely, this AMV does a very nice job of giving the viewer a short but poignant summary of Yuna’s journey that fits the tune well.
KINGDOM HEARTS
Kingdom Hearts 1 and Chain of Memories: Stars, by InvertedJabberwocky: https://www.youtube.com/watch?v=3s4-JDOZ1ac
The music used is Stars, from Les Miserables (the musical, not the sub-par movie). Not much to say about this, it’s just a decent AMV. The music’s doing the lion’s share of work in this one, with the KH visuals just sort of keeping up with it and working with its lyrics, but it does so adequately, and makes for a decent watch.
Kingdom Hearts Series: I’m Home, by FoolishNoob1337: http://www.youtube.com/watch?v=qdA_QnEcfIs
The music used is Alex on the Spot, from Madagascar 2. This song’s strange mix of upbeat pop with a kind of beautiful desperation works really well with Kingdom Hearts’s visuals, and the visual edition and scene selection is just effortlessly streamlined and perfect. This is a great Kingdom Hearts AMV and really effectively conveys Sora’s desire to be able to return home to Destiny Islands with the people he loves. This is a damn fine AMV, and from now on I’m going to associate this song far more strongly with Kingdom Hearts than with Madascar 2.
MASS EFFECT
Mass Effect 3: Into the Nothing, by Taylor Smith: http://www.youtube.com/watch?v=FFq7_xcB-Rw
The music used is Into the Nothing, by Breaking Benjamin. This is a great AMV, with great scene-to-music coordination that not only matches the song’s lyrics and tune nigh perfectly, but also all comes together to use the song as a description and tribute of the game. The one criticism I have (besides Taylor’s atrocious taste in love interests for Shepard, that is) is that there’s just too many scene changes too often, although I have to admit that they’re done very well all the same. Still, great AMV here, no question of it.
Mass Effect 3: My Way, by Garaman257: http://www.youtube.com/watch?v=NoG8LB8QKWg
The music used is My Way, by Frank Sinatra. You know, with all the hundreds of AMVs out there that just use the same songs by Evanescence, Linkin Park, 30 Seconds to Mars, and so on over and over again, it’s refreshing to see someone effectively use something a little more unconventional. Putting Shepard’s journey and finale to Sinatra’s proud song of recollection works damn well, and makes for an AMV both fun and satisfying.
Mass Effect Series: Breathe Me, by Xeriana11: https://www.youtube.com/watch?v=FlbhAawBlBU
The music used is Breathe Me, by Sia. Xeriana11’s the one who made that awesome Mass Effect AMV about the Illusive Man which I did a special rant for a little while back, and she’s back with another solid offering this time. The music’s used effectively and meshes well with the visuals to set the mood and tell the story, if I’m interpreting it right, of a female Shepard who’s contemplating the things she’s done, showing us both the regrets she harbors and the love she has for her friends, the ones who she’s sacrificing herself for. A well made and emotional AMV, to be sure.
TALES OF
Tales of the Abyss: Dist the Rose Spins Around, by 2ndIgnition: http://www.youtube.com/watch?v=yDM1paIb4I8
The music used is You Spin Me Round, by Dead or Alive. Okay, maybe this one is only an AMV in the very strictest, most technical sense, but come on, cut me some slack--this is awesome.
Wow, 10 of these rants. That’s some kind of milestone, right? I guess? Well, whether it is or not, I’m sure as hell not gonna do anything special anyway. Business as usual, people, either ignore this and wait for the next, more interesting rant (as I suspect most of what few readers I have do each time I make one of these), or watch these videos and give them a Like and a Comment if they please you.
FINAL FANTASY
Final Fantasy 8: Full Moon, by Elessar1985: https://www.youtube.com/watch?v=d5BgLyCLqts
The music used is FullMoon, by Sonata Arctica. While there are parts where this AMV kinda drags itself along (it’s a fairly long song), overall this is a pretty textbook case of a good AMV. The scenes match well to the lyrics, the song’s tone, or both, they’re cut together to follow the song’s direction smoothly, overall everything comes together in one neat, enjoyable package.
Final Fantasy 10: Yuna, by Zaon08: http://www.youtube.com/watch?v=Z5TBKC_4eKU
The music used is Primavera, by Ludovico Einaudi. Simple, quiet, deep, and lovely, this AMV does a very nice job of giving the viewer a short but poignant summary of Yuna’s journey that fits the tune well.
KINGDOM HEARTS
Kingdom Hearts 1 and Chain of Memories: Stars, by InvertedJabberwocky: https://www.youtube.com/watch?v=3s4-JDOZ1ac
The music used is Stars, from Les Miserables (the musical, not the sub-par movie). Not much to say about this, it’s just a decent AMV. The music’s doing the lion’s share of work in this one, with the KH visuals just sort of keeping up with it and working with its lyrics, but it does so adequately, and makes for a decent watch.
Kingdom Hearts Series: I’m Home, by FoolishNoob1337: http://www.youtube.com/watch?v=qdA_QnEcfIs
The music used is Alex on the Spot, from Madagascar 2. This song’s strange mix of upbeat pop with a kind of beautiful desperation works really well with Kingdom Hearts’s visuals, and the visual edition and scene selection is just effortlessly streamlined and perfect. This is a great Kingdom Hearts AMV and really effectively conveys Sora’s desire to be able to return home to Destiny Islands with the people he loves. This is a damn fine AMV, and from now on I’m going to associate this song far more strongly with Kingdom Hearts than with Madascar 2.
MASS EFFECT
Mass Effect 3: Into the Nothing, by Taylor Smith: http://www.youtube.com/watch?v=FFq7_xcB-Rw
The music used is Into the Nothing, by Breaking Benjamin. This is a great AMV, with great scene-to-music coordination that not only matches the song’s lyrics and tune nigh perfectly, but also all comes together to use the song as a description and tribute of the game. The one criticism I have (besides Taylor’s atrocious taste in love interests for Shepard, that is) is that there’s just too many scene changes too often, although I have to admit that they’re done very well all the same. Still, great AMV here, no question of it.
Mass Effect 3: My Way, by Garaman257: http://www.youtube.com/watch?v=NoG8LB8QKWg
The music used is My Way, by Frank Sinatra. You know, with all the hundreds of AMVs out there that just use the same songs by Evanescence, Linkin Park, 30 Seconds to Mars, and so on over and over again, it’s refreshing to see someone effectively use something a little more unconventional. Putting Shepard’s journey and finale to Sinatra’s proud song of recollection works damn well, and makes for an AMV both fun and satisfying.
Mass Effect Series: Breathe Me, by Xeriana11: https://www.youtube.com/watch?v=FlbhAawBlBU
The music used is Breathe Me, by Sia. Xeriana11’s the one who made that awesome Mass Effect AMV about the Illusive Man which I did a special rant for a little while back, and she’s back with another solid offering this time. The music’s used effectively and meshes well with the visuals to set the mood and tell the story, if I’m interpreting it right, of a female Shepard who’s contemplating the things she’s done, showing us both the regrets she harbors and the love she has for her friends, the ones who she’s sacrificing herself for. A well made and emotional AMV, to be sure.
TALES OF
Tales of the Abyss: Dist the Rose Spins Around, by 2ndIgnition: http://www.youtube.com/watch?v=yDM1paIb4I8
The music used is You Spin Me Round, by Dead or Alive. Okay, maybe this one is only an AMV in the very strictest, most technical sense, but come on, cut me some slack--this is awesome.
Sunday, September 8, 2013
Shin Megami Tensei: Persona 3's AI-Controlled Party Members
So far my Shin Megami Tensei rants of 2013 have been pretty positive and meaningful, and I’ve tried to present some food for thought that emphasizes good aspects of the SMT games. But who wants to read all that crap? It’s much more fun to complain about stuff! Which brings me to today’s rant subject: the semi-infamous Party Member AI of SMT Persona 3.
It’s like this: In SMTP3, during battles, you, the player, control the protagonist Minato’s actions. But that’s all. The other 3 members of the party act according to the game’s whims, not your own. It’s not entirely outside of your control, as you can assign each party member a certain basic style of action to follow during the battle (for example, you could put someone on Healer mode, and as a result their actions will be primarily concerned with healing the party’s wounds before taking offensive actions), but that gentle prod in a certain direction is all the control you’re allowed--the specific actions from one turn to the next are outside of your control.
This is a problem.
Now, SMTP3 wasn’t the first RPG to employ AI in party members, nor has it been the last. Quite a few have had it in one way or another. Allies in Shining Force EXA are computer-controlled, for example, with the player only getting to determine their behavior patterns, rather than the whole behavior, as with Persona 3. In Secret of Mana, Seiken Densetsu 3, and The Secret of Evermore, you can control all party members’ actions when you wish, but without your direct action, the party members not being moved around by you specifically will engage in combat with the AI controlling them. Much the same with Kingdom Hearts 1 and 2--you can give party members specific orders and set them to act according to certain AI patterns, but they’re generally controlled by the game itself as you go along. And it’s basically the same with Dragon Age 1 and 2, Baldur’s Gate 1 and 2, Arcanum: Of Steamworks and Magic Obscura, the Mass Effect series, the Star Ocean series, and so many others. On occasion you even get a party member who can’t be controlled in any way, such as with Bow-wow in The Legend of Zelda: Link’s Awakening, or the troopers in The Magic of Scheherazade. That complete lack of control is also often the case of very temporary guest party members, too, like the ones you occasionally have in Final Fantasy Tactics. Persona 3 is not the only game with AI in charge of party members, not by a long shot. It’s not even the only game in its own series with AI-controlled party members; both SMT Devil Summoner Raidou Kuzunoha titles have Raidou’s demons on semi-autopilot.
Its AI is also not even all that bad, really. I wouldn’t say that Persona 3’s ally AI is perfect, or even particularly great, but it’s certainly functional, and although you do have to compensate for it some of the time, it could be far worse. Hell, a lot of the examples I listed above have AI that makes for far less useful allies than that of SMTP3. Without direct and constant supervision, Mass Effect allies don’t tend to be much more than decoys, for example. Your allies in SMTP3 actually do seem like they’re trying to cover your back, even if they’re not always doing it well. The allies of Secret of Mana, by contrast, just seem to be going it solo, with no interest one way or another in a team effort. Allies in Final Fantasy Crystal Chronicles: Ring of Fates are even worse, just standing around and only sporadically attacking enemies. So it’s not like Persona 3’s AI is even all that bad.
So what’s the problem, then, with Shin Megami Tensei: Persona 3’s AI? Why so much irritation focused upon it by myself and others, and not on the AI of other games?
The problem is that it’s in a game where it has absolutely no place, no practical application whatsoever. Look at most of the games I mentioned above that also have party members controlled largely or entirely by AI. You know what a LOT of them have in common? They’re games with battle systems in which fights take place in at least partial real time. Enemies move and act freely in Kingdom Hearts and Final Fantasy Crystal Chronicles: Ring of Fates, and so do you. Everyone isn’t just standing around waiting for each turn to begin and end in The Legend of Zelda, Star Ocean, and Baldur’s Gate games, and as a result, the action is fast-paced enough that the player can realistically only dependably control one single character. Sometimes you have the time and wherewithal to direct your allies’ actions in Mass Effect, but ME has pacing which necessitates you concerning yourself with your protagonist’s actions first and foremost. Some games are so fast-paced that just controlling one party member taxes you to your limit, and you NEED a game’s AI to keep the rest of the party going.
SMTP3, however, runs on a very traditional turn-based system. In true turn-based combat such as this, enemies and allies do not move until you’ve finished assigning your party’s actions for the next turn, and once everyone’s acted in that turn, they all stop and wait for you again. With a fast-paced, action RPG like Shining Force EXA, there is a REASON to have your party members directed by AI--you’re too busy controlling the protagonist to keep up with everyone else. But when the whole battle system waits on you, that reason for AI controlled teammates is gone.
Not every game I mentioned as having AI party members is an action RPG, though. The Magic of Scheherazade’s troopers are only present during the turn-based battles that occur between scenes, for example. But you know, the troopers are just nameless mercenary grunts whose services you’ve purchased, and are totally optional. The actual, real party members of TMoS are fully controllable during the turn-based battles. The troopers are just some bonus damage-dealers, not a real part of the party. You don’t have any particular reason to expect full control of them. And RPGs where an AI controlled guest is helping you in battles? Well, there it makes a certain amount of sense that you don’t have control of them. They’re not meant to be your long term comrades, they’re just helping you as an outside party. A temporary guest party member doesn’t give you the same feeling of someone you should be in control of as an actual, major member of the fighting team.
So there’s no reason, gameplay-wise, for your Persona 3 party members to be AI-controlled, nor does it seem particularly logical. And here’s the problem: that gives it no excuse for its detrimental effect on the gameplay. See, turn-based gameplay is one of the most boring kinds of gameplay imaginable, essentially reducing the actual gaming part of your game to a mundane mental process that is identical to the one for navigating windows and folders on your computer, or ordering lunch from a menu. There is really only one tiny, totally inadequate nugget of gameplay enjoyment created by vacuuming the rest of the fun out of a game to make it turn-based, and that is the strategy aspect. Planning out what to do each turn to damage your enemies and keep your party members alive, while taking into account the countless variables of stats, hit points, magic endurance restraints, elemental strengths and weaknesses, status ailments and benefits, and so on, it all takes a fair amount of strategic planning to do it successfully. Your reward for putting up with the boredom of turn-based combat is knowing that your strategies are sound and that you’ve used your resources effectively.
So what would be a really, really stupid idea when you’re making a turn-based game? Taking 75% of all precise strategic control out of the player’s hands! You can only vaguely plan out the behavior of 3/4ths of your party in this game, and that is detrimental to the ability of the player to play with precise strategy--and thus is detrimental to the main point of turn-based combat. It’s especially bad when one considers that this is a Shin Megami Tensei game, part of a series where strategic gameplay is especially important. It just makes no sense.
Atlus luckily seemed to recognize their error, and the SMTP3 remake on the Playstation Portable allowed for full control of the party. Still, it’s hard to believe that they actually thought this was a good idea. What the hell were they thinking? They couldn’t possibly have thought that needlessly taking the majority of control away from the player would increase the fun. Was it supposed to be story-related, somehow? Like...like...saying that most of the time, you can’t control other people, that you can only really control yourself and hope others follow your guidance? Because that would kinda work with the Social Links thing kinda well, and you could say that being unable to control the party members is kinda like how you can’t control the way the Tarot Cards of your destiny fall, but being able to control the protagonist in the party signifies the part our free will plays in our lives, only a third as much as uncontrollable destiny, but if your will and wisdom are great enough, that small part can be enough to tip the scales in your favor so you can make your own destiny nonetheless...By God, could it be that Atlus was using the AI-controlled party members to make the gameplay itself a symbol of the messages of fate and one great individual’s free will, creating a whole new level of beautiful meaning by layering their ideal and theme into the very process of their game art? Are they even more brilliant than I had thought?
...No, I’m pretty sure this time I really am reading way too much into this. AI party members in Shin Megami Tensei: Persona 3 was a stupid idea, Atlus screwed up, The End.
It’s like this: In SMTP3, during battles, you, the player, control the protagonist Minato’s actions. But that’s all. The other 3 members of the party act according to the game’s whims, not your own. It’s not entirely outside of your control, as you can assign each party member a certain basic style of action to follow during the battle (for example, you could put someone on Healer mode, and as a result their actions will be primarily concerned with healing the party’s wounds before taking offensive actions), but that gentle prod in a certain direction is all the control you’re allowed--the specific actions from one turn to the next are outside of your control.
This is a problem.
Now, SMTP3 wasn’t the first RPG to employ AI in party members, nor has it been the last. Quite a few have had it in one way or another. Allies in Shining Force EXA are computer-controlled, for example, with the player only getting to determine their behavior patterns, rather than the whole behavior, as with Persona 3. In Secret of Mana, Seiken Densetsu 3, and The Secret of Evermore, you can control all party members’ actions when you wish, but without your direct action, the party members not being moved around by you specifically will engage in combat with the AI controlling them. Much the same with Kingdom Hearts 1 and 2--you can give party members specific orders and set them to act according to certain AI patterns, but they’re generally controlled by the game itself as you go along. And it’s basically the same with Dragon Age 1 and 2, Baldur’s Gate 1 and 2, Arcanum: Of Steamworks and Magic Obscura, the Mass Effect series, the Star Ocean series, and so many others. On occasion you even get a party member who can’t be controlled in any way, such as with Bow-wow in The Legend of Zelda: Link’s Awakening, or the troopers in The Magic of Scheherazade. That complete lack of control is also often the case of very temporary guest party members, too, like the ones you occasionally have in Final Fantasy Tactics. Persona 3 is not the only game with AI in charge of party members, not by a long shot. It’s not even the only game in its own series with AI-controlled party members; both SMT Devil Summoner Raidou Kuzunoha titles have Raidou’s demons on semi-autopilot.
Its AI is also not even all that bad, really. I wouldn’t say that Persona 3’s ally AI is perfect, or even particularly great, but it’s certainly functional, and although you do have to compensate for it some of the time, it could be far worse. Hell, a lot of the examples I listed above have AI that makes for far less useful allies than that of SMTP3. Without direct and constant supervision, Mass Effect allies don’t tend to be much more than decoys, for example. Your allies in SMTP3 actually do seem like they’re trying to cover your back, even if they’re not always doing it well. The allies of Secret of Mana, by contrast, just seem to be going it solo, with no interest one way or another in a team effort. Allies in Final Fantasy Crystal Chronicles: Ring of Fates are even worse, just standing around and only sporadically attacking enemies. So it’s not like Persona 3’s AI is even all that bad.
So what’s the problem, then, with Shin Megami Tensei: Persona 3’s AI? Why so much irritation focused upon it by myself and others, and not on the AI of other games?
The problem is that it’s in a game where it has absolutely no place, no practical application whatsoever. Look at most of the games I mentioned above that also have party members controlled largely or entirely by AI. You know what a LOT of them have in common? They’re games with battle systems in which fights take place in at least partial real time. Enemies move and act freely in Kingdom Hearts and Final Fantasy Crystal Chronicles: Ring of Fates, and so do you. Everyone isn’t just standing around waiting for each turn to begin and end in The Legend of Zelda, Star Ocean, and Baldur’s Gate games, and as a result, the action is fast-paced enough that the player can realistically only dependably control one single character. Sometimes you have the time and wherewithal to direct your allies’ actions in Mass Effect, but ME has pacing which necessitates you concerning yourself with your protagonist’s actions first and foremost. Some games are so fast-paced that just controlling one party member taxes you to your limit, and you NEED a game’s AI to keep the rest of the party going.
SMTP3, however, runs on a very traditional turn-based system. In true turn-based combat such as this, enemies and allies do not move until you’ve finished assigning your party’s actions for the next turn, and once everyone’s acted in that turn, they all stop and wait for you again. With a fast-paced, action RPG like Shining Force EXA, there is a REASON to have your party members directed by AI--you’re too busy controlling the protagonist to keep up with everyone else. But when the whole battle system waits on you, that reason for AI controlled teammates is gone.
Not every game I mentioned as having AI party members is an action RPG, though. The Magic of Scheherazade’s troopers are only present during the turn-based battles that occur between scenes, for example. But you know, the troopers are just nameless mercenary grunts whose services you’ve purchased, and are totally optional. The actual, real party members of TMoS are fully controllable during the turn-based battles. The troopers are just some bonus damage-dealers, not a real part of the party. You don’t have any particular reason to expect full control of them. And RPGs where an AI controlled guest is helping you in battles? Well, there it makes a certain amount of sense that you don’t have control of them. They’re not meant to be your long term comrades, they’re just helping you as an outside party. A temporary guest party member doesn’t give you the same feeling of someone you should be in control of as an actual, major member of the fighting team.
So there’s no reason, gameplay-wise, for your Persona 3 party members to be AI-controlled, nor does it seem particularly logical. And here’s the problem: that gives it no excuse for its detrimental effect on the gameplay. See, turn-based gameplay is one of the most boring kinds of gameplay imaginable, essentially reducing the actual gaming part of your game to a mundane mental process that is identical to the one for navigating windows and folders on your computer, or ordering lunch from a menu. There is really only one tiny, totally inadequate nugget of gameplay enjoyment created by vacuuming the rest of the fun out of a game to make it turn-based, and that is the strategy aspect. Planning out what to do each turn to damage your enemies and keep your party members alive, while taking into account the countless variables of stats, hit points, magic endurance restraints, elemental strengths and weaknesses, status ailments and benefits, and so on, it all takes a fair amount of strategic planning to do it successfully. Your reward for putting up with the boredom of turn-based combat is knowing that your strategies are sound and that you’ve used your resources effectively.
So what would be a really, really stupid idea when you’re making a turn-based game? Taking 75% of all precise strategic control out of the player’s hands! You can only vaguely plan out the behavior of 3/4ths of your party in this game, and that is detrimental to the ability of the player to play with precise strategy--and thus is detrimental to the main point of turn-based combat. It’s especially bad when one considers that this is a Shin Megami Tensei game, part of a series where strategic gameplay is especially important. It just makes no sense.
Atlus luckily seemed to recognize their error, and the SMTP3 remake on the Playstation Portable allowed for full control of the party. Still, it’s hard to believe that they actually thought this was a good idea. What the hell were they thinking? They couldn’t possibly have thought that needlessly taking the majority of control away from the player would increase the fun. Was it supposed to be story-related, somehow? Like...like...saying that most of the time, you can’t control other people, that you can only really control yourself and hope others follow your guidance? Because that would kinda work with the Social Links thing kinda well, and you could say that being unable to control the party members is kinda like how you can’t control the way the Tarot Cards of your destiny fall, but being able to control the protagonist in the party signifies the part our free will plays in our lives, only a third as much as uncontrollable destiny, but if your will and wisdom are great enough, that small part can be enough to tip the scales in your favor so you can make your own destiny nonetheless...By God, could it be that Atlus was using the AI-controlled party members to make the gameplay itself a symbol of the messages of fate and one great individual’s free will, creating a whole new level of beautiful meaning by layering their ideal and theme into the very process of their game art? Are they even more brilliant than I had thought?
...No, I’m pretty sure this time I really am reading way too much into this. AI party members in Shin Megami Tensei: Persona 3 was a stupid idea, Atlus screwed up, The End.
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