One interesting difference between “conventional” MMOs such as Final Fantasy XIV and mobile games with MMO elements such as Dragalia Lost is how they handle side stories and multiplayer “raid” content.
In your average MMO, raid content — typically defined as a series of significant challenges that are dependent on a much larger group of players than the game’s usual multiplayer aspect — remains present in the game after its introduction, but gradually declines in “relevance” as time goes on. In cases like Final Fantasy XIV, where there’s a significant narrative component, it remains worth engaging with to enjoy the story, but the more time that elapses since its original launch, the less helpful it becomes to players in mechanical terms.
In mobile MMOs, however, raid content is typically a limited-time affair, confined to an event that offers special rewards to everyone who participates for a short period of time. And that’s exactly what’s going on in Dragalia Lost right now.
Continue reading Dragalia Lost: Loyalty’s Requiem
If you’ve been playing Nintendo and Cygames’ new mobile release Dragalia Lost, you’ve probably noticed it has a rather distinctive soundtrack.
The reason for this is not what you might expect: rather than being composed specifically for the game, with the composer making use of a deliberately stylised approach to the overall audio aesthetic, the game instead uses an almost entirely licensed soundtrack, courtesy of Japanese singer and rapper Daoko.
If you haven’t come across Daoko before, well, what better time than the present to have a look over her previous work, including that which appears in Dragalia Lost?
Continue reading Dragalia Lost: What’s That Sound? It’s Daoko
Last week, we took a first look at the latest moe anthropomorphism mobile game, Girls’ Frontline (or “Gun Ladies”, as my wife calls it).
Since then, the game has officially launched out of open beta and got well underway, so I figured it was worth taking a closer look. With that in mind, I’ve been playing it a whole bunch over the course of the last week or so.
Short version: it’s really fun, it has interesting mechanics and great art and it is fair and generous. Sounds like a winning formula to me!
Continue reading Girls’ Frontline: A Closer Look
Moe anthropomorphism — aka “girls who are also [insert things that are very much not girls here]” — is a popular trend, particularly in the mobile and free-to-play gaming markets.
We’ve seen a number of success stories in this “genre” of popular entertainment over the last few years, with probably the most famous example being Kadokawa Games’ Kantai Collection, which went on to spawn anime, manga and all manner of other merchandise.
It’s unsurprising, then, that other developers remain keen to capitalise on the public’s apparent hunger for “girls who are also things that are not girls”. One of the latest games to cater to this demand is Girls’ Frontline by Chinese outfit MICA, brought West by Sunborn Games. Since a fair few people on my Twitter feed have been playing this recently, I thought I’d check it out for myself…
Continue reading Girls’ Frontline: Moe Anthropomorphism Goes Bang-Bang!
Granblue Fantasy is filled with an enormous variety of awesome characters, most of whom are playable characters that can be drawn in the gacha.
From the very outset, though, you have two faithful companions who never leave your side: the protagonist’s feisty baby dragon-type thing Vyrn, and Lyria, the latter of whom in particular is a big reason I find myself continually drawn back to the game.
While initially appearing to be the same sort of “mysterious young girl” character seen in a wide variety of Japanese role-playing games over the years — and particularly in mobile-social RPGs such as Granblue Fantasy and its peers — Lyria quickly distinguishes herself as a thoroughly pleasant character to have around, making her an ideal companion for you, the player, as you proceed on your journey around this fantasy world.
Continue reading Granblue Fantasy: Spotlight on Lyria
Since starting to play Fate/Grand Order, I’ve cleared the prologue story chapter and moved into the next Singularity… but from thereon I haven’t made a great deal of progress in the narrative.
The reason for this is that I’m finding Fate/GO’s core battle gameplay to be so enormously appealing and enjoyable that I’ve been having a blast doing nothing but the daily quests. These are a series of narrative-free challenges of varying difficulty set up to provide you with an easy way to acquire experience-yielding cards for fusion, currency to pay for various character powerups, mana prisms to produce bundles of helpful items, or simply to test your skills.
It’s testament to Fate/GO’s excellent mechanics that “the daily grind” isn’t a chore, and is instead an interesting and varied way to try out varied party combinations from day to day.
Continue reading Fate/GO: The Joy of the Grind
I’ll freely admit that, up until the time of writing, I’ve had little to no familiarity with the Fate series as a whole aside from recognising various Saber incarnations and Tamamo no Mae on sight, and having some complicated feelings towards Astolfo.
But with the North American release of Fate/Grand Order — accessible outside the US by using a service such as QooApp for Android to download the app — I decided that I’d jump in. (I’m also planning to jump right back to the beginning of the series and the Fate/stay night visual novel in the next few months, so please look forward to that.)
And what do you know? I’ve been having a grand old time with a game that, while superficially similar to other mobile-social RPGs such as Granblue Fantasy, successfully distinguishes itself with a strong degree of audio-visual polish, some interesting mechanics and one hell of a lot of words. Pretty appropriate for a work whose source material is notorious for being roughly on a par with Lord of the Rings in terms of length.
Continue reading Fate/GO: Servant to the Gacha