Hi folks! Been a bit quiet around here of late, I know. An update for you, though: I’ve been experimenting with making videos, and am going to try and put out more when I can, both “readings” of existing articles accompanied by visuals, and original content.
Here’s the first example of the latter: a look at Omega Quintet for PlayStation 4. Enjoy!
More articles to come soon. Thanks for following MoeGamer!
The story so far: In the beginning, Polygon’s Phil Kollar posted an article called “Atlus can do better than this creepy, porn-lite dungeon crawler“. This has made a lot of people very angry and been widely regarded as a bad move.
With apologies to the late, great Douglas Adams for the bastardisation of his quotation, it’s worth exploring this subject a little further, if only to counter the extreme negativity of Kollar’s article — negativity which, frankly, appears to come from a position of ignorance as to what games such as Dungeon Travelers 2, the game under scrutiny in the article, actually involve.
You see, it’s okay to like ecchi or even hentai content. It’s also okay to not like ecchi and hentai content. Where it stops being okay is when someone who doesn’t like these things starts calling for publishers to stop catering to people who do like these things.
Why? Because if these games continue to exist, people who don’t like them have the option of not buying and supporting them with no harm done. If they don’t exist, meanwhile, the people who do like them have no option — they simply have to go without. And that doesn’t strike me as terribly fair; it would be a case of certain individuals having the power to act as the “morality police” on behalf of people who may not share their ideological viewpoint.
Is that a problem? You’re damn straight it is; let’s explore it in a little more detail.
Continue reading Let’s Talk About Dungeon Travelers 2 and “Ecchi” Content
Criminal Girls, one of the more controversial Japanese titles to make it over to the West in recent years thanks to its semi-explicit depiction of BDSM-style “punishment” scenes, actually proved to be one of the more interesting games I’ve played for a while owing to its exploration of a concept we tend to take for granted: trust.
In most games, there’s an unspoken trust between the players and the on-screen characters. You trust them to do what you tell them and they, in turn, trust you to make the right decisions that won’t get them killed. The latter part in particular isn’t always made explicit because the player’s presence isn’t usually acknowledged, but in games where you’re not playing a self-insert protagonist, there’s a strong argument that it’s implied.
Criminal Girls is a little different, however. Not only do you, the player, have a participant role in the game — albeit not as a combatant in the game’s battle sequences — but you also have to spend a hefty amount of time convincing your party members to trust both you and each other. And it’s here that things get pretty interesting.
One of video gaming’s great strengths is the opportunity it affords us to truly, interactively immerse ourselves in other cultures.
We talked about this a little while back when we examined how Steins;Gate is positively dripping with the otaku culture of Tokyo’s Akihabara district, even going so far as to include an in-game glossary explaining and defining all the memes, urban legends and specialist jargon that crop up throughout the narration and dialogue.
Steins;Gate is far from an isolated example, however; Acquire’s Akiba’s Trip 2, localised for Western PS3, PS4 and Vita audiences as Akiba’s Trip: Undead and Undressed, also provides you with the opportunity to live the life of an otaku in their spiritual home — and in a somewhat more interactive manner than Steins;Gate’s visual novel stylings.
Oh, and also there are vampires. Kind of.
As we saw recently, there are those among us who believe that the Japanese role-playing game has been in consistent decline since Final Fantasy VII, and that only now are we starting to see a “comeback”.
We’ve already talked about how this is a load of old nonsense, and that in fact the role-playing game genre has been healthy for a good few years — just a little different to its mainstream status back in its PlayStation heyday, instead preferring to cater to a niche audience of passionate fans rather than attempting to be everything to everyone; the latter option is now the domain of the triple-A sector.
So with that in mind, what better time to contemplate a selection of great role-playing games from the last few generations of console hardware, all of which have been released since the Squaresoft classic first wowed everyone back in 1997?
Note: As with any list, this isn’t intended to be an exhaustive or authoritative selection. These are my personal picks for games that I’ve found noteworthy and particularly enjoyable from the PS1 era and beyond; I’d love to hear some of your favourites in the comments, too.
Continue reading Ten Great RPGs That Came Out After Final Fantasy VII
If IGN’s Colin Moriarty is to be believed, then Japanese role-playing games have been in a “steep decline” since Final Fantasy VII.
You and I, as fellow enthusiasts of Japanese gaming, both know that this is perhaps a somewhat questionable claim to make, but it’s also worth examining, particularly in light of the fact that Moriarty doesn’t stray very far from the Square Enix comfort zone during his ponderings of this supposedly fallen genre.
In fact, the genre has been extremely healthy for many years now; it’s simply undergone some fairly significant changes from how we knew it in the mid-’90s. And why shouldn’t it? Stagnation isn’t fun for anyone, particularly in the fast-moving realms of technology and entertainment — two fields that are notorious for fashions and trends changing, at times, overnight.
So, with all that in mind, let’s ponder the changing face of the JRPG over the last 15 years or so.
Continue reading Are JRPGs Primed for a Comeback? No; They Never Went Away
It’s been a little while since our last report from Eorzea, the setting of Square Enix’s spectacular rebooted MMO Final Fantasy XIV, and so it’s about time we checked in.
Last time we spoke, you may recall that there was some controversy over a new game system added in the 2.3 Defenders of Eorzea patch, known as The Hunt.
Loosely inspired by the similar mechanic in Final Fantasy XII, The Hunt challenges denizens of Eorzea to track down and defeat numerous powerful monsters in exchange for a new type of currency: Allied Seals. This currency is in high demand because not only does it allow access to some attractive vanity gear and exclusive minions, it also indirectly allows players to acquire Sands and Oils of Time, which in turn allow them to upgrade item level 100 “Weathered” weapons, armour and accessories into their item level 110 counterparts.
There was a problem, though: the attractiveness of these rewards meant that there were suddenly swathes of people zerg-rushing the monsters for The Hunt, which caused all manner of other problems.
Now that patch 2.35 has been released, incorporating a few fixes to The Hunt, is the experience at least playable now?
There’s a reason we don’t see all that many direct sequels in gaming these days: they’re extremely difficult to do effectively.
This is particularly true in genres where individual installments are sprawling, lengthy affairs with narratives of a length equivalent to your average TV series — such as, say, role-playing games. This isn’t to say that developers don’t have a good go at it — Square Enix has done it three times to date with the Final Fantasy series’ X-2, XIII-2 and Lightning Returns installments, for example, and one of the best things about the wonderful Shadow Hearts series is the coherence of its narrative, particularly between the first two games — but often it’s just easier to have games in a series like this be thematically similar rather than directly related to one another.
Such has been the case for most of the Tales series’ lifespan, bar a few outliers like Tales of Destiny 2 and Tales of Symphonia: Dawn of the New World. Xillia 2 has a difficult role to fulfil, then: it’s the sequel to a great game, and it needs to follow up all the things that title did well, improve the things it could have done better and provide a very good reason for people to go back into the same world with the same characters.
Does it manage this without “reducing, reusing and recycling?”
Continue reading Tales of Xillia 2: The Difficult Second Game
While it may be hyperbolic to say that an RPG can live or die by its combat system — I’ve played plenty of games over the years that remained compelling despite shambolic or overly simplistic battle systems — it’s certainly an important part of the experience as a whole.
The Tales series has always somewhat done its own thing with regard to battles over the years, eschewing both the turn-based nature of many traditional RPGs and the quasi-real-time Active Time Battle style of most Final Fantasy games. For those unfamiliar, a Tales game typically involves real-time combat with a party of four characters, with various button combinations unleashing both a selection of regular attacks and special “artes” that differ according to the character. In many cases, the games have even offered multiplayer functionality, with additional players able to take on manual control of other party members alongside the main player.
Tales of Xillia featured a particularly strong take on this battle system, with a cast of characters who all handled markedly differently from one another thanks to different weapon types and unique special abilities. When combined with the Link system that allowed characters to attach themselves to one another and trigger further unique skills, it became a flexible but easy-to-understand system into which you could delve as much as you desired. Those who simply wanted to button-mash hack-and-slash could stick with a single character; those who wanted a little more variety could switch around who they played as at a moment’s notice.
Tales of Xillia 2, unsurprisingly, follows suit, with a few little twists here and there.
Continue reading Tales of Xillia 2: Those Who Fight Together…
Long gone are the days when an RPG could get away with a linear progression system, with characters simply learning skills at predefined levels.
Instead, these days we see all manner of different takes on the traditional “level up” system — and a few games that abandon it altogether in favour of alternative means of progression.
Tales of Xillia 2 doesn’t totally abandon a conventional progression model, but it does do some interesting things with how you develop your characters’ abilities and progress through the story. A number of different systems all interact with one another, ultimately allowing you to tailor the game somewhat to how you want to play.
But does it work? Well, read on and find out.
Continue reading Tales of Xillia 2: Becoming a Better Person
