So, I wanted to do something a little bit different today, and I hope you’ll indulge me in a somewhat more personal post than usual.
Today is the third anniversary of my marriage to my wife Andie, you see, so I thought it would be nice to show her some appreciation, what with said anniversary falling on Waifu Wednesday and all. After all, what better waifu is there than an actual wife?
That was a rhetorical question!
Continue reading Waifu Wednesday: Anniversary Special
EA’s recent announcement that it was shuttering Visceral and “pivoting” (ugh) the Amy Hennig-fronted narrative-centric single-player Star Wars project it had been working on probably didn’t come as a surprise to anyone.
It did, however, rekindle a discussion that last cropped up back in 2010 — once again involving Visceral, interestingly enough, this time with regard to the addition of multiplayer to Dead Space — when EA Games’ Frank Gibeau commented that he believed “fire-and-forget, packaged goods only, single-player, 25-hours-and you’re out” experiences were “finished” and that “online is where the innovation, and the action, is at”.
The “pivoting” of the new Star Wars project is based on many of the same principles as Gibeau’s arguments from 2010: indeed, EA’s executive vice-president Patrick Söderlund claimed that the decision was due to a perceived need to “deliver an experience that players will want to come back to and enjoy for a long time to come” — or, to put it another way, the oft-mooted idea of “games as a service”.
I don’t want that. And I’m certain I’m not the only one.
Continue reading You Can Keep Your “Games as a Service”, I’m Fine with Single-Player, Thanks
“Video games aren’t movies.” That’s a line of criticism that those who prioritise mechanics over narrative like to level at cutscene-heavy games, particularly those by creators such as Hideo Kojima and David Cage.
And while it’s true that making effective use of games as a form of interactive media tends to emphasise actual interaction over passively watching cutscenes, one can hardly deny the spectacle offered by strongly movie-inspired titles, and the flexibility that entirely computer-generated scenes and characters can provide creators.
Which makes it all the more unusual that so many games focus on movies as their primary inspiration rather than other forms of media. Sure, some role-playing games might be rather operatic in tone, visual novels are effectively “Books Plus” and rhythm games provide a new way of experiencing pieces of music, but video games have never embraced the idea, of, say, musical theatre.
Or so you thought…
This article is also a video! Hit the jump to watch it, or catch it on YouTube.
Continue reading Stormblood: The MMO as Musical Theatre
We’ve already discussed how, despite its massively multiplayer online nature, Final Fantasy XIV as a whole is very much an authentic Final Fantasy experience in its own right. But is the opposite true?
If you’ve read the headline you’ll already know that yes, of course it is. But one of the most interesting things about the game as a whole as it has developed from its disastrous 1.0 incarnation through A Realm Reborn and Heavensward into Stormblood is how well it has managed to balance these two seemingly disparate aspects: the strong narrative of the Final Fantasy series, and the sheer amount of things to do and quality of life features that a hardcore MMO player expects from a game like this.
Today we’re going to examine that latter aspect in detail.
Continue reading Stormblood: It’s a Great MMO, Too
Final Fantasy XIV and its long-running spiritual predecessor Final Fantasy XI are in an interesting and slightly awkward position.
They’re numbered mainline installments of the long-running Final Fantasy series, which, in theory, should attract series veterans, but they’re also massively multiplayer online role-playing games. The latter is a genre typically (and not necessarily correctly or fairly) associated with being time-consuming, challenging and dependent on playing alongside other people — and thus not especially attractive to those who prefer to play games solo, concentrate on story or take things at their own pace.
What we’re going to talk about today is how Final Fantasy XIV is as much a good Final Fantasy as it is a good MMO — and why you shouldn’t sleep on it if you’re a Final Fantasy fan who doesn’t typically go in for online games.
Continue reading Stormblood: Yes, It’s a Great Final Fantasy
Today we’re going to take a closer look at Final Fantasy XIV’s combat mechanics, and how they’ve been refined between the original release of A Realm Reborn and Stormblood.
For those who’ve never played a massively multiplayer online RPG before, Final Fantasy XIV’s mechanics may require a bit of an adjustment, as they’re rather different from the various systems the series has used in the past. But for those familiar with other popular MMOs such as World of Warcraft, the game will quickly become second-nature — with a few important distinctions from the conventions of the genre.
Perhaps the most interesting thing about Final Fantasy XIV’s mechanics is that, although clearly inspired by the way a popular Western title has done things, there’s a strong feeling of “Japaneseness” to them that gives the game a very strong sense of its own identity, making it a unique experience even to MMO veterans.
Continue reading Stormblood: This Ain’t No Action RPG
Square Enix’s second Final Fantasy MMORPG is a big success now, having just enjoyed the release of its second expansion pack, but things weren’t always so rosy.
In fact, the story of how Final Fantasy XIV came to be what it is now is one of the most interesting in all of gaming — and certainly an inspiring example that demonstrates even if you release a completely broken mess of a game, it’s not necessarily beyond redemption.
Today, then, let’s take a look at the history of Final Fantasy XIV as a whole, and in particular how it’s developed since the release of A Realm Reborn in 2013.
Continue reading Stormblood: Introduction